Barfi.

As much as we may all miss the UTV hand, the new opener of UTV movies, with the three dancers and the banging drums, remains an early promise of a quality picture - especially when it comes to good, interesting stories. This is also the case with Barfi, the tale of a death-mute man (played by Ranbir Kapoor) in Darjeeling and how his extraordinary character and joie de vivre impacts the lives of two women - Shruti (Ileana) who Barfi falls in love with, and Jhilmil (Priyanka Chopra), the autistic girl Barfi knows from childhood.

This was India's Foreign Oscar contender of last year, and thus I am rather late to view and review the film. I guess one thing that could be said of it was the mixed reaction - while people applauded the performances, there was some grumbling about "inspired" scenes, which is precisely the kind of thing that puts a damper on a movie such as this one. Barfi tries very hard to be heartfelt, a bit of a tear-jerker and generally moving. For the most part, I felt like it succeeded. The performances are good, and the characters do come alive. The light-hearted comedy, even though quite silly and physical at times, never feels as out of place as it could be - Barfi does a good job in being half this sort of magical realism with its silliness, but also being a grounded film. I liked the film, but I didn't love it - at no point was I moved as much as I think the film wanted me to be. It didn't quite stick with me, despite having such good intentions, and generally doing a good job of fulfilling my expectations.

I guess as ever when stars of Ranbir and Priyanka's calibre pick up really unusual or challenging roles for them, that's the main discussion point of the film. I've got nothing of substance to contribute there - I thought both did well, as expected, and probably served some award nods for their performances, but I just didn't feel that special connection to either character, or the story itself. So despite all its goodwill and good facets, in the end, Barfi was just an okay film for me. 

Yeh Jawaani Hai Deewani - precisely that, and then some.

Two years ago I saw Zindagi Milegi Na Dobara, a comedy-drama about love, travel, friendship, youth and a little bit about growing up. I reviewed it with a slightly rambling audio review, and if you're too lazy to give that a listen, I'll recap my thoughts on the film: I liked it, but I didn't love it, and the whole experience made me rather pensive about what it means to grow up as a viewer. Suddenly things you adored about films are things you're no longer impressed by, and might even start to find annoying. I would have loved Zindagi Milegi Na Dobara, when I was younger, because it's heartfelt cheesiness and focus on male friendship above all else would have worked its magic on me, and everything that I still found good about the film - the music, the performances, the comedy - would've been heightened further.

I don't bring this up to draw a direct comparison between these two movies, even though they share a cast member (the darling Kalki Koechlin) and some common themes of youth and friendship and travel or because I saw both films in the same theater at Helsinki International Film Festival. I bring this other film up because the experience I had with it, and the experience I had with Yeh Jawaani Hai Deewani to me seem like siblings - watching Yeh Jawaani Hai Deewani was also a very personal experience, and some of the things I loved about it may be completely universal but at the same time I felt like the movie was talking to me. Just me.

Ayan Mukerji does an absolutely stellar job in wringing something really fresh out of the scene we've seen a million times in Hindi films: the uptight, studious girl Naina (Deepika Padukone) with the flirty, out-going dude Bunny (Ranbir Kapoor), at a train station, in the beginning of a journey they're about to go on together. A part of the triumph is just that instead of being these characters we've seen before a million times, as clusters of characteristics that form polar opposites (she's serious, he's funny and so forth), Naina and Bunny are actual characters. They form a chemistry and a friendship that is very much the extrovert making the introvert enjoy life and loosen up a little, but it's also more than that. 

The film is fluffy and funny and enjoyable, but it's also got this layer of realism about its young characters. The two other friends that complete the central cast - Kalki Koechlin as Aditi and Aditya Roy Kapoor as Avi - are not just friends to our lead characters, they have their own motivations and aspirations as well. These young characters accomplish their aspirations, fail to, change their aspirations because they've changed as people, all the things that people do at this point in their lives, when the world feels completely conquerable. 

I don't mean this to sound like an over-enthusiastic celebration of youth - I'm sure the question about aspirations, and what you want your life to be are relevant to many people at various stages in life. It's not an age thing, necessarily. But I guess that's where the personal film experience comes into play; I felt like YJHD was asking all the questions I'm asking myself right now. Bunny's enthusiasm for travel gains a new layer on the second half, when he has a series of conversations about his new job and his chosen nomadic life style with his friends from back home, really struck me. Travel is about living life to the fullest, in many ways, and gaining new experiences, but it can also hide something - a literal escapism from home, or from settling down. After all, if you never stop, you also never stop to think about where you're actually going, and where you should be going, or staying, instead.

If you've not seen this movie, reading this review might make it seem like a particularly serious fare, which I assure you it is not. The reason I fell in love with these characters was because they feel true to life, but also because they're just so funny. The narrative is woven with delightful, bouncy song-and-dance, from the opening number that features a great guest star appearance and there's rarely a moment when the film stops being entertaining. I love the depiction of friendship - joyous but not without problems, and not without being able to overcome those problems, and there is also a healthy friendship depicted between the two women at the centre of the film.

Is there anything wrong with the film? Well, no film is flawless, and there are a few comedic side characters who I did roll my eyes at a little. But for the most part, it's been a while since I've been this smitten, walking out of a Hindi film. I'm sure a part of it is just the giddiness of the theater experience (such a rarity for me) but most of the credit goes to the script: taking tropes I like, and turning them into more fleshed out characters with interesting dynamics and facets that just seem very true to life, all of these little things came together in YJHD rather beautifully. I haven't spoken word one about the two leads in this film, but it's almost like I don't feel the need to point them out specifically - I already know Deepika Padukone is definitely among the better new faces of the past couple of years, and Ranbir Kapoor is good, despite still not being a favourite of mine. Their chemistry is easy and comfortable here, and something I'm sure I'll enjoy in many future viewings.

Yeh Rajneeti hai - dirty, dirty politics.

I finally got around to watching Prakash Jha's Rajneeti, quite an epic tale of one family's unhealthy relations and how the politics ruin them, twist them, and ally them with each other as well as against each other. I loved it, not only because it was a well-made story juggling an impressive amount of characters, all with their own shades of grey and questionable decisions, but also because it revealed quite painfully the kind of things you might end up doing for the desire of power - the dark side of politics you never see politicians talk about, even for all that talking they get to do.
I have to again confess I don't know an awful lot about Indian politics, but I was still surprised at the blatant lack of worry that the politicians seemed to have regarding the opinion of the people they were elected to represent. Perhaps this goes for almost any democracy - the power is so high up the people cannot reach it, even though this is precisely what a democratic system tries to prevent from happening. Instead, the politicians do not live in fear of the people - but of each other. And what a messy game that can be. This film lays bare all the backstabbing, scheming and just plain reaches to any power that can be had in a way that's brutal.
And it is so very interesting to watch.

SPOILERS FROM HEREON OUT

This being a film about politicians, it's easy to start listing those who I hated while watching. Ranbir's Samar is absolutely despicable and to top it all off, he tries to blame the circumstances for his behaviour. Certainly the circumstances contributed, but his blind devotion to following the political game to its absolute sickest conclusion, and how coldly he played this game, was indicative of not just the circumstances, but the man who chose to act as he did, in those circumstances. At first I thought the way he played Indu (Katrina) was cruel, but then the rap sheet began to fill up with more terrible offenses, one after another.

Then there is his brother Prithvi, played by the ever-capable Arjun Rampal (sending us all into conflicted emotions, so charming, yet so hopelessly evil in this!), whose first scene features him, what's that, oh yes, taking sexual advantage of a girl who wants to get into politics. Now, while she seems willing initially, the whole scene has a very uncomfortable vibe, to the point that when it's later framed as rape, I found it hard to disagree. What a charmer. He also goes to great lengths to secure power, and has a fuse about the length of a baby's finger.

Manoj Bajpai plays an absolute crook in the other brother Veerendra, naturally, and Ajay Devgn is only a teaspoon more honest than the rest of them, but in comparison appears saint-like. Which of course means he gets gunned down on a dirty street.

A thing that struck me about the film, besides how awful the characters were (and let me re-iterate that this didn't take away from my enjoyment of the film - the story absolutely captivated me), was how vague the actual politics were. What was the difference between the two parties, besides the faces of their leaders? What were their policies, their promises, their stances on major political issues? None of these were discussed, debated, even stated. Nope. Just waltz into town in local attire, greet the common folk respectfully and the poor will worship you as god? Or was this just unwillingness of the film maker to actually draw connections to any real issues that might upset viewers or even worse, the censors?

I kept waiting for Naseeruddin Shah's leftist character to make a comeback but alas, he never did. Probably better for it, actually - his character got a peaceful death, at the very least.

Biggest gripe? How out of place was that item number? Oh dear.

Other than that? Recommend, recommend, recommend.

Ooi maa! Ajab Prem Ki Ghazab Kahani.

When making my Filmi year 2009 post I knew I had missed out on Ajab Prem Ki Ghazab Kahani, a romantic comedy (with emphasis on comedy) by Rajkumar Santoshi. The man directed by favourite Hindi comedy of all time, Andaz Apna Apna (discussed here), and based on what I'd heard of APKGK, this new film was also in the same vein of loud, hilarious comedy, but with a definite emotional center, too.

I was not wrong, glad to say. The story of Prem (Ranbir Kapoor) who falls for Jenny (Katrina Kaif) and the friendship/love that develops between them is a wonderful, twisty ride that doesn't let up speed and builds to the goofiest, loveliest of finales.

For a comedy that relies on loud comedy which may come off as gimmicky or simplistic, I think Ajab Prem.. has a pretty fantastically considered script. The pace is not that of many a loud Hindi comedy (think Priyadarshan's half-assed Hindi ventures), fast one moment and completely stuck the other; it flows nicely throughout and it's punctuated with a super-catchy, wonderful soundtrack (Tu Jaane Na sung by Atif Aslam is my favourite track). Unlike AAA, it doesn't parody Hindi films as loudly, though there's the occasional self-referential quip, including some hilarious references to AAA itself.

This is the first time I've really loved Ranbir in a performance, which is not to say I've loathed him before, but like a lot of stars, I think it takes a while for one to "get" why others like him so much. And in this movie, I simply understood. Prem may be a simple character archetype; the nice guy who sacrifices and does anything and everything for love, but Ranbir makes Prem seem real somehow, even in the fantastic setting of Ajab. Katrina Kaif is also in good form, though her acting still has plenty of room for improvement.

The only flaw of Ajab is the fact that it won't work for everybody; just like AAA is too loud, too extreme to be funny to some people. But I think those who it will work for, it'll be a tremendous watch. The kind of Hindi film that should be a more common experience than it actually is; a film that makes you laugh and cry, and then laugh through the tears.

Wake Up Sid - the audio review!

For the lazy, the hearing impaired and whatnot: I liked the movie, but wasn't as in love with it as some people.

If you want to hear me stumble over words, reveal something about my past, embarrassingly call Rahul Khanna "dreamy" and other things...

CLICK HERE! (Mild spoilers.)

..and either DOWNLOAD the mp3 with the review or PLAY it in a pop up window. The review is 5 mins 35 seconds long, so not too long I hope. :)

The subtle background score is "Memon House" by Indian Ocean, from the soundtrack to Black Friday.

Blues and hues of Saawariya.

So there it is. Saawariya directed by that-guy-whose-style-looked-like-something-I-didn't-care-to-see, in all it's Region 2 (that's European DVD region for those unaware) glory, staring at me in the shop shelf, placed mistakenly under the "Comedy" section. I know it's probably not smart, but forgive me - I rarely see Indian movies or "Indian-esque" films in my local shop, and when I do, I go a bit crazy (this explains the Marigold DVD in my shelf). The cover says "A genuine Indian Bollywood-movie" in Finnish - yes, as opposed to those ungenuine Indian Bollywood movies.

And so I do buy it, even though I'm almost certain I won't love it and pop it in on New Year's Eve.

The plot shouldn't be new to anybody. Based off Dostoyevski's "White Nights", Ranbir Kapoor (son of Rishi & Neetu) plays Raj, who comes to a very blue town to become a successful poet or musician, or something. He's like a Guru Dutt character on a sugar high, whose poetry sounds more cheesy than genuine. He meets Gulabji (Rani Mukherjee, probably the best performance and character in the film), a prostitute who he befriends and ends up falling in love with the beautiful Sakina (Sonam Kapoor, daughter of Anil), who is waiting for her own love, Imaan (Salman Khan).
Yadda yadda yadda. Sonam and Rani are both fantastically beautiful, Ranbir is generally good and proves he is capable of dancing like any new generation star should be, Salman gets to be effective (with kohl!) and the youngsters manage some very good, very convincing scenes together. But little by little, I realize I don't really care for the movie. It's not exactly dislike - it's simply apathy towards the story, towards the characters and their fates. When the film ends, I sort of shrug. "Already? Okay."

The dark blue colour scheme starts out lovely and the visuality of the film is undeniable, but it all gets to be a bit too much at some point. It just feels like it doesn't serve a purpose of any kind; had the story kept me engrossed in the film, I might've found it interesting or potentially meaningful. Like maybe the mood of the film changes the way I perceive the colours of it. But that doesn't really happen; the visuality of it seems skin-deep, if even that. I screencapped a lot, especially the lovely ladies of the film, but I would not call it the prettiest Hindi film ever.

So unfortunate. The songs, even though I quite liked them, felt awkwardly paced and whatever other things I found promising or good, I ended up being quite disappointed in. Raj starts out a funny, likable character and ends up going through a puzzling metamorphosis into a crazy-in-love guy that might've been more understandable, had the script been stronger. Sakina also suffers from mild insanity caused by love, but for whatever reason, it seems just the tiny bit more believable. The poetic dialogues - or wannabe-poetic if nothing else - seem to slow everything down and even though I had subtitles in my own language, I kept zoning out on the story and what was being said.

Oh well. I try to remember the things I did like - Gulabji and the kids when they're in the first stages of getting to know one another. The rest, to quote Avril Lavigne's ever-green tune "Girlfriend", is quite simply "so whatever".

Beginning the year with a superficial thought.

This is going to sound awful whatever way I put it, but I watched Saawariya (on Region 2 DVD because it's one of the three Bollywood films that has been granted that pleasure) last night and ...

... Ranbir Kapoor looks a lot like his mother, Neetu Singh. Only Neetu is gorgeous and Ranbir just looks funny.

Hmm.
He may be the only guy who I approve of the emo look for, though.

Review later.