The Blind Side: Review

In 2006 Michael Lewis released a book entitled, The Blind Side: Evolution of a Game that told the tough story of professional football player Michael Oher and his journey to the NFL. The book was adapted into a feature, and centers on a young and homeless Oher (Quinton Aaron) who is taken in by the affluent Tuohy family in Memphis, Tennessee. He isn’t so much a delinquent as he is misguided, and the film highlights how they gave him the direction to reach his full potential in sports and in life.

Plot

The Blind Side is based on the humble beginnings of Michael Oher, an abandoned inner city kid who’s mother is a drug addict and father is no where to be found. A family friend finds a way to enter him into an upscale private school due to his size and athletic ability. While there he struggles with his grades, sleeps in the gym, and wears the same outfit on a daily basis. During a rainy walk from school, he’s discovered by the Tuohy family and slowly becomes a permanent staple in their lives. Throughout his stay, he’s given a tutor to help with his studies, a shot at college education, and a chance to play professional football in the NFL.

What Worked

Ray McKinnon: This Oscar winner (Best Short Film, The Accountant) stars as Coach Cotton, one of the driving forces behind Michael’s football success. McKinnon pulls off the right balance of sincerity and selfishness in his role. Initially, Cotton sees Oher as an amazing career opportunity, but he eventually sheds that desire to put the player’s future in front of his own.

Humor: This movie is a lot more lighthearted than one would expect. Going off the trailer, you get the impression that this will be a tear jerker along the lines of Rudy or even Friday Night Lights, but it’s not. There are a lot of comedic moments especially between the family that make this film refreshing but not depressing.

Closing Credit Sequence: This may seem like an odd thing to point out, but after the film comes to an end, the closing credit sequence is the cherry on top. It features photos of the real life Tuohy clan, along with Michael throughout the years. There’s even footage from Oher’s drafting ceremony into the NFL, which is beyond priceless.

What Didn't

The Screenplay: There’s nothing about this story that makes it stand out amongst other films that have similar premises. It follows a formula that we’ve seen time and time again in not only the sports genre, but drama, comedy and everywhere in between.

The Supporting Actors: For the most part, the main cast did decent work, but everyone around them appeared to be phoning in their performances. In particular, the group of “street thugs” from Oher’s old neighborhood were cast very badly. You could tell that these were professionally trained actors trying to do their best thug impressions. Their dialogue was stereotypical, and you could actually see the disbelief on their faces as they delivered each line.

Overall, The Blind Side is not your typical, sappy drama. It has plenty of lighthearted moments to keep you on the up and up, in an otherwise generic sports tale. The story isn’t terrible, but leaves much room for improvement. Don’t go into this movie thinking that you’ll see a lot of football action, because you won’t. This film concentrates more on Oher’s family and school life than the actual sport. This may be something that appeals to those who aren’t fans of the game, but may turn off those who are.

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Road To Sangam: Review

A simple yet a powerful docu-feature, Road to Sangam is a gentle and heartwarming journey that takes you through the forgotten Gandhian values and principles. Like the khadi that Gandhiji interlaced, Road to Sangam is simple and uncomplicated.

Plot

Road to Sangam is a story of a devout Muslim car mechanic, Hasmatullah (Paresh Rawal), who runs a workshop in one of the prominent Muslim localities of Allahabad. He is also the secretary of the local mosque committee but doesn’t share a cordial rapport with the president Nawab Kasuri (Om Puri).

Things start to take a turn when one day he is entrusted with the job of restoring an old V8 Ford Engine within a week’s time. Hasmatullah is elated to take on the vintage machine, completely oblivious to the fact that it was the same engine that carried the ashes of Mahatma Gandhi to be immersed at the Sangam. As Hasmat works on his new assignment, a powerful bomb explodes in his town leading to the arrest of innocent Muslim youths.

Kasuri along with Maulana Qureshi (Pawan Malhotra) calls for a strike and orders the businesses to be shut as means of protest against the government. Hasmat joins the boycott only to realize the importance of work at hand. The vehicle is now being repaired to immerse a part of Gandhiji's ashes forgotten in a bank vault. It is now the wish of Gandhiji's surviving successor Tushar Gandhi that the last of the great man's ashes be immersed in the Sangam of Ganga, Yamuna and Saraswati.

Hasmat is in a fix. Will he support the protest and abandon the repair of the engine or go against the wishes of his community. Thus begins the journey of a true Muslim with a real Gandhian spirit.

Performance

Paresh Rawal as Hasmatullah is very convincing. As an obstinate motor mechanic, with a gentle soul driven by clarity of purpose steams no hindrance from religious extremism. Paresh as Hasmatullah is simply outstanding.

Om Puri’s portrayal as Mohammed Ali Kasuri is well-defined. Pawan Malhotra as the Maulavi who keeps provoking the committee in the name of religion deserves a special mention.

Debutant director Amit Rai’s effort in making a thought provoking film that simply carts the message of equality and humanity without getting clichéd is laudable. The story is gripping but the at times the pace is slow that gives the film a docu-feature feel.

The makers couldn’t have asked for a better time to release the film than a day before Gandhiji's death anniversary. If your platter is some meaningful cinema and not just sheer entertainment then, Road to Sangam is highly recommendable.

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Ishqiya: Review

After Classic Westerns and Curry Westerns, the likes of Vishal Bharadwaj seem to have designed a desi sub-genre where the bucolic Bihar backdrops are credibly carried off by the rural realms of Maharashtra’s Wai village. Call it ‘Wai-stern’ or whatever, but from Omkara to Ishqiya this rough-and-tough sub-genre has often been an antidote to candyfloss cinema, while still having a heart and in the right place.

Plot

Two petty thieves, uncle Khalujan, played by Naseeruddin Shan and his nephew Babban, played by Arshad Warsi, are on the run after double-crossing their boss. When all other avenues for shelter dry up, they land up at the house of a friend only to be told that he is dead. His widow Krishna, played by Vidya Balan, takes them in. What follows is an incredibly tangled tale of love and longing, guns and deceit.

Both uncle and nephew fall inexorably in love with her. Khalujan conducts an old-world romance, listening to her sing and in a lovely scene, even peeling garlic in her kitchen. Babban is aggressively sexual but the poetry of their love is underlined with danger. You are always aware that nothing is quite what it seems.

What Worked

Abhishek Chaubey keeps the pacing brisk and the humor, crisp. He skillfully shifts notes going from suspense to laughter in a blink. And the dialogue, by Vishal, is pitch perfect.

Ishqiya would have faltered if the performances had not matched the writing but all three leads are absolutely terrific.

What Didn't

In the second half, there are stretches in which the plot starts to blur and the end-twist is less than convincing.

Performances

Vidya Balan’s smoldering looks scorch the screen even as her eyes hint at tragedy. She proves that she is miles ahead of the cookie cutter Barbie dolls that clutter Bollywood and that sensuality has very little to do with showing skin.

Arshad Warsi is feral as Babban and Naseeruddin Shah, heart-achingly vulnerable as an old man giddy with love. Watch his smiling eyes in Bharadwaj’s lilting composition Dil Toh Bachcha Hai Ji. Salman Shahid (last seen in Kabul Express) is an interesting character and Adil Hussain makes for a strong negative lead.

If you have the patience and the willingness to savor an edgier, less populist popular Hindi cinema, you will be amply rewarded. Highly recommended.

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Avatar steals Titanic’s thunder

Epic action adventure Avatar sunk the global box office record set in 1997 by Titanic to become the highest grossing film of all time.
On Monday, January 25th, Avatar touched USD 1.859 billion, officially passing Titanic (USD 1.843 billion) to become the Industry's Biggest Film in history at the Worldwide Box Office.
The milestone cements the place of Cameron, who produced, directed and wrote both Titanic and Avatar as the most successful moviemaker of all time.
With the movie still going strong in cinemas worldwide, industry observers say it is likely to touch USD 2 billion.
In India, the film has done a business of Rs 105 crores so far, making it the biggest ever Hollywood film in India and 2nd biggest film in India after 3 Idiots for 2009. The film has earned record collections at Imax, 3D and single screens across the country.
The theatrical run of Avatar continues in 122 countries around the world on over 16,000 screens with a whopping 72 percent of WW GBO or USD 1.35B coming from 3D screens thus far.

Rani Mukerji walks out of Deepa Mehta’s next

Rani Mukerji has walked out of Deepa Mehta’s film, an adaptation of Salman Rushdie’s masterpiece novel Midnight’s Children, because she apparently didn’t want to play the mother of a 14-year-old. That she happily played a mother of two kids in Yash Raj Films’ Ta Ra Rum Pum almost three years ago is another matter.
A source said, “She asked Mehta that how she can play the mother of a 14-year old when she herself is just 30? She preferred to leave the film instead.”
Initially, Rani was quite excited about the idea of working with Mehta as it would have been the first time in her 13-year career that she would have worked with a female director. Reportedly, she had even met Rushdie and Mehta in Toronto for the same.
Equally Deepa Mehta was also excited at the prospect of working with Rani. Mehta confirmed that Rani is no longer in her film. She also said that Rani had informed her about the same. “Rani was required to play a mother in a section of the film, but there is no kid in the film who is 14 years old,” said the filmmaker.
However, Mehta dismissed the buzz that Rani turned her down because she didn’t want to play a teenager’s mother. She said, “Rani had some personal reasons for not doing the film. I cannot disclose the reasons because there are some things, which are confidential between a director and an actor. I have great regard for Rani and total respect for why she is not working with me in this film.”
Mehta’s film was planned for a September 2010 release but with this unexpected roadblock it seems that Mehta is now racing against time.

Rambha engaged to Indran

High spirits and revelry filled the air as celebrities glittered at one of the most anticipated engagement ceremonies of K’town.
Yes, it was glam girl Rambha’s engagement to businessman Indran Padmanathan. The actress looked like a million bucks in her off-white jewel-encrusted designer wear and was all smiles.
The grand ceremony was held at the Park Sheraton Hotel, Chennai.
While the couple coyly posed for shutterbugs, Rambha’s brother Vasu played perfect host to the occasion by making sure that the guests enjoyed the evening to the hilt. The ceremony had it all — good food, stars, glitz and glamour.
Indran has also presented a brand new BMW car to Rambha as an engagement gift.
If reports are to be believed then the marriage of Rambha will be held on March 27, 2010 in Tirupathi.

Rann: Review

After the politician, if one were to pick a profession that was as scorned, it would have to be that of the TV journalist. It is distressing that we no longer have any expectation from the news. We no longer expect (though we continue hoping) it to be entirely truthful, accurate or justice-oriented. We are happy when the media takes up for Jessica Lal and such cases and we give our full support; but by and large, we know we are helpless when we watch empty stories being paraded as news.

Then there’s the issue of making up news, as one character puts it, 'like a film'. Now, this concept has been interestingly depicted in Hollywood films like Wag the Dog, where an entire news of America going to war is fabricated and shot by a hired film producer. Heck, even Phir Bhi Dil Hai Hindustani said pretty much the same thing as Rann, but in a tragicomic manner. Here the tone is self-serious and dark, and the message lost in all the intensity.

Plot

Vijay Harshvardhan Malik (Amitabh Bachchan) is the founder of a private news channel, India 24/7. A hardcore upholder of journalistic ethics, his channel is battling for survival. Jay (Sudeep), his son, looks at his father's news channel purely as a business enterprise that must make profits to justify its existence. He hates that his competition (Mohnish Behl) is doing better than him.

The story takes a turn when a corrupt politician, Mohan Pandey (Paresh Rawal), decides to use the channel to his advantage by using Vijay's son-in-law Navin (Rajat Kapoor). Pandey aspires to be the Prime Minister and indulges in a vicious campaign against his political opponent.

Navin is the most insecure man on earth and won't rest till he becomes the number one industrialist in the country. He, in turn, involves his brother-in-law Jay in Pandey's game plan.

What Worked

The film does have its moments. The time when a sensational interview line is repeated thrice for effect; the self-deprecating joke of a filmmaker announcing a film on the recent blasts; and the one where a journalist asks intelligent questions to a politician going to be elected PM, only to be replaced with a conventional interviewer who asks aapko kaisa mehsoos ho raha hai (How are you feeling?).

Amit Roy's cinematography is eye-catching. Dialogues are power-packed. The background score plays a crucial role. It heightens the impact of various scenes.

What Didn't

The problem with Rann is that, save that one sequence and some interesting moments leading up to it, the film is a drag. At interval point, in fact, you aren't even sure where the film's going. In the second half, when you find out where the film is going, you realise that it isn't really going anywhere at all.

Ok, the film tells you how news on television is manipulated to suit the needs of politicians and about the abuse of the media's power to mislead the aam janta. Point noted.

But the one-sidedness of the script makes you question if the film is supposed to be a realistic depiction or merely a punching bag for the electronic media, which has faced enough flak in the past already.

Was it necessary to present each character like they come from another world? Malik's rival Ambrish Kakkad - who is also the head of the channel with the highest TRPs in India - mouths dialogues like "News ko masala banake becho". Politician Mohan Pandey walks around with gulaal applied on his forehead and shouts into the microphone every time he gives an interview.

Businessman Navin Shankalya smirks at the littlest of things, and Malik's son Jay, grunts and smokes and yells.

These unidimensional, repetitive and irritating 'caricatures' get on your nerves, even as the script moves from one scene to another in the most hurried fashion. It's not like they aren't long drawn enough to induce yawns, but the story in itself seems to move at a snail's pace.

You never watch a Ram Gopal Varma film to see a great story. You watch his films to see what he has done with those stories - what you call a 'treatment' director.

Over the years, Varma has used, and abused, the same treatment in his films to such an extent that it has lost its novelty and fun factor now. Extreme close-ups, dark environs, a garish back ground score.

If he insists on continuing with his style of filmmaking, the least he can do is ensure that there's a great script to back it up. This one, though, seems to be a rush job.

Performances

Performances are earnest. Bachchan, despite being present in only a few scenes, is powerful. Riteish Deshmukh does well in an intense role, while Sudeep goes overboard at most times. Gul Panag shrieks through most of the film. The troika of Paresh Rawal, Rajat Kapoor and Mohnish Behl remind you of Subhash Ghai villains - plotting and planning and grinning pointlessly.

The most poignant of all scenes, the finale monologue, has earned the film its stars. Translated in English, Malik says– 'News was meant to be the aim, and money its means. Now money is the aim, and news is the means of getting it’. And then Malik questions this with a powerful kyon (why?). Now that’s the part we were hoping the film would give us a perspective on.

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Brad Pitt splurges $ 1.1 million on a bachelor pad

Actor Brad Pitt has reportedly spent over $ 1.1 million on a bachelor pad in the Hollywood Hills to help him sort out his split from partner Angelina Jolie revealed a report.

Built in 1920 and originally on sale, the property has two bedrooms, two bathrooms, a bar area and a cave built into the foundations, reports revealed.

"The house oozes character. Brad has had his eye on it for some time but he decided now was the right time to buy because he wanted a place to call his own," said a source. "He needs somewhere quiet that doesn't have memories of Angie and where he can be alone and think about what he does next," added the source.

It was reported that Pitt's mother Jane has stepped in to try to save his relationship with Jolie. The 70-year-old has apparently become close to the actress after working with her while setting up a cancer centre.

Pitt and Jolie are already believed to have enlisted lawyers to negotiate the division of their over $330 million (205 million pounds) fortune and custody of their children.

But a family source said: "Brad is desperately trying to cling on to the wreckage of the relationship as he is still very much in love with Angelina and believes they can make it work.”

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Chiranjeevi Sarja and Aindrita Ray in a drunken fight

Ever since Chiranjeevi Sarja and Aindrita Ray teamed up for the former’s launch pad Vayuputra, there have been rumours of them being an item.

The recent gossip floating about in Sandalwood about the duo is their alleged fight in a star hotel on the old airport road.

Though not substantiated, rumour mongers are claiming to be eyewitness to a fight between the two actors which took place when they were dining together in the hotel. The reason is said both their ‘high spirits’. Interestingly, the rumour has a twist in the end. Aindrita had to apparently clear the bill as Chiranjeevi was there without his wallet. For the last few days, this story has taken various shapes in Sandalwood.

But Chiranjeevi said that he has been having a hearty laugh at these stories. “I have not been to that hotel in six months, let alone last week. I have been preparing for my new film Gandedhe and the shooting started on Jan 22. I hardly have time to go out during my shooting,” he said. Being on the rumour circuit just into his second film may not be a bad sign after all.

Shah Rukh ko Dulhan Mil Gaya

Shah Rukh Khan went down on his knees and proposed to a girl dressed up as a bride at an event at Ahmedabad yesterday.

Shah Rukh Khan got married again yesterday at a five-star hotel in Ahmedabad to 20-year-old Tillana Desai. Wait, don’t jump to conclusions, it was a mock wedding that SRK impulsively thought up to pacify the girl who is in love with him. SRK was promoting his film My Name is Khan and didn’t think he’d run into a girl, dressed up as a bride, who also wanted her name to be Khan!

Our source said, “At his film’s event, SRK had to meet people with unusual love stories. Among the crowd, was 20-year-old Tillana Desai, who had come dressed in full bridal finery. When SRK asked her about her love story, she said she had been in love with a guy since she was seven but can’t marry him as he is already married.”

“When SRK asked her who the guy was, he was surprised to know that he was the man in question. She also said that she only uses the products that he endorses and refuses to buy anything else. The girl insisted that SRK should marry her. SRK used his million-dollar charm to overcome the awkwardness. The girl had even brought a ring with her. He went down on his knees and slipped the ring on her finger, saying that this is their rehearsal for the wedding” added the source.

The lucky girl was on cloud nine. We spoke to Tillana Desai, who gushed, “SRK was really cute. Usne mujhe yeh wedding ring pehnai. I told him that I’ve been crazy about him for years. Unfortunately, he is married. I guess he thought that my love story was very unusual and that’s why he said that we should get married and gave me this ring.

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Veer Review

Veer is basically Salman’s blockbuster Wanted set in a historical twilight zone.

When you walk into a costume drama written by Salman Khan and directed by Anil Sharma, historical accuracy, consistency and plausibility are not high on the priority list. What you’re looking for is an old-fashioned Hindi film brimming with tough men, beautiful women, chest-thumping dialogue and no-holds-barred melodrama.

Veer, a Manmohan Desai-meets-Gladiator epic, provides this but doesn’t weave it together with enough imagination or panache. This mega-scale love story has patches of power but mostly veers between being ridiculous and plain boring. There are moments of comedy that will have you laughing till your sides ache – it’s unintentional of course.

Plot

Heavily inspired by the 1962 Tony Curtis film Taras Bulba, Veer is set in colonial India and concerns a Rajputana tribe known as the Pindharis. These are unique warrior alcoholics. They are good at killing and drinking and have a dress sense that combines Gujarat emporium outfits with fur and seriously unkempt hair.

When the king of Madhavgarh, played by Jackie Shroff, cheats the Pindharis to please the British, the tribals swear revenge. The head Prithvi Singh, played by Mithun Chakraborty, even sends his sons Veer and Punya, played by Salman and Sohail Khan, to London for an education so they can figure out how the British mind works. Matters become complicated when Veer falls in love with the princess of Madhavgarh, played by debutant actress Zarine Khan, whom the Mumbai tabloids have uncharitably dubbed 'F'atrina because she looks like Katrina after too many pastries.

Veer valiantly battles the wicked king and the British and even manages to kick-start the Indian independence movement.

Performances

Veer rides on Salman's star power, but even his hardcore fans will be disappointed by this movie. Zarine Khan resembles Katrina Kaif, but wears one expression all through. Mithun is okay, while Jackie does his bit well. Sohail Khan irritates, meanwhile Puru Raaj Kumar and Aryan Vaid get no scope. Neena Gupta is as usual. The English actors are stereotypical.

If like me, you can find delight in the sheer delirium of a bad Bollywood film, then see Veer, otherwise do catch it on DVD. In a few years, this sensibility and swagger will be extinct.

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