Three films I forgot about: Break Ke Baad, Mere Brother Ki Dulhan, Love Sex aur Dhokha.

One of the ways this blog is supposed to work is as a sort of opinion repository, which I can access to recall what my initial thoughts on a movie were, or what my thoughts after a multitude of rewatches ended up being. But then it so happens that I am absolutely lazy and occasionally forget to write about films I watch. The following three are some films I watched in the last 18 months that I then completely forgot to write about.

Break Ke Baad was a plane film for me, so I must've watched it when flying to Asia in early 2011. Or flying from Asia, little later than year. I honestly can't recall. As a plane film, this one is perfect - I don't particularly care for either of the stars, so I wasn't very likely to seek this one out, but I was nonetheless very enthusiastic to see more of Deepika Padukone and Imran Khan. They are a part of the new generation of stars I rambled about in this post: the folks who haven't yet quite impressed me but I keep hoping I'll get on the bandwagon soon enough.

The film itself is a simple enough romcom story: two childhood best friends, falling in love, and complete with the sorts of misunderstandings and failures in communication that happen when you've got two very different people interacting in a new mode - going from friends to loved ones. I remember being very unimpressed with the film initially, but sometime over the second half I was won over. I'm usually more forgiving when it comes to plane films anyway. When you're on a plane, I find myself in that weird, almost unreal state between sleep and consciousness. My ears are clogged, there's a lot of background noise, I'm surrounded by strangers.. It's all just weird. So when at that point I can submerge myself in the world of a film, it works a little better than if I was on the ground, in my bedroom, watching it on my laptop. So by the finale I was in tears - Deepika has a monologue bit that just kind of broke me.

But then .. it was a plane movie.

Mere Brother Ki Dulhan seemed to have everything going for it but somehow still failed in my eyes. The quirky romantic comedy setting of Imran's character seeking a bride for his brother (Ali Zafar!), and finding one who he happens to have a past with (Katrina Kaif) sounds like a pretty solid Bollywood entertainer. Add good songs, lots of Hindi filmi referential fodder, and a flashy YRF coating on the whole thing, and I should be melted into a happy puddle at this film's feet, right? Correct! I'm not that hard to please, honestly.

And yet...

Katrina's character's "rocker chick" style and "outrageousness" felt so try-hard it was unbearable instead of just cheesy (and therefore acceptable, the kind of thing you forgive a film that's otherwise charming). The manipulation from the main pair of the whole situation would have been fine, had I liked either as a character, but they both seemed very cardboard and bland. Ali Zafar's character, regardless of the fact he was kind of an asshole, ended up winning my sympathies more and the secondary pairing was pretty much a highlight of the whole film for me.

And what about those filmi history references? They didn't even make me crack up a smile. It was like they didn't try very hard to make the references clever or creative, it was just reference after reference and after a while, it was just like "Oh you referenced that movie, oh you referenced another film, oh yes Sholay is a famous film, well done, yes Raja Hindustani did have a scene like that, you are correct!". It just didn't really come together. Of course, this is all entirely subjective. I'm the kind of reviewer that probably likes or dislikes a film depending on how much coffee I drank that morning. But still. I keep thinking of films I enjoyed which also had a ton of filmi references. And I just can't help but think they put more of a creative spin on those jokes than this film did..


This film is not very new by this point but I did only watch it late last year, and it's definitely worth talking about, for all those who didn't see it: Love Sex aur Dhokha is a little, more independently produced than mainstream Hindi film, that slots comfortably in the "found footage" film genre. It's composed of three, slightly interjecting stories of precisely what it says on the box. Since the actors are unknowns, the film manages a brilliant, slightly eerie vibe of how this could actually all be very real, even when at the back of your head you know it's a completely fictional story, if somewhat based on real events (such as DPS MMS Scandal).

A part of what makes LSD so brilliant is how it uses the "found footage" genre's tools to create smaller stories than previously (after all, the genre was kicked off by Blair Witch Project, a supernatural horror film, and later made it big when JJ Abrams did his Cloverfield, a found footage monster actioner). Horror is probably the automatic choice for this genre, because the idea of people going missing, vanished into nothingness, with all that's left is a recording of what precisely happened to them, is a powerful starting point for any film.

LSD does something more mundane - it makes the footage portray its characters in a way that feels intimate and real, and then when things go wrong, the viewer just feels for them. It's not horror, where you're asked to reflect their anxiety and terror yourself, but there's more range to the emotions than just running around scared. There's empathy, joy, uncertainty, betrayal... There is a bit of horror, too, but mostly at the fact that if you made the wrong choices in life, messed with the wrong people, stepped over the line one time too many, this might happen to you.

However, the benefit of sticking to realism, and not trying to showcase the supernatural or gruesome killings, is enormous, and this film is utterly worth watching, if only for how the stories seam together. The soundtrack - yes, there is one, and the way it's integrated is pretty interesting - is also very much worth listening to.

Only the truth prevails: Aamir's journey on the small screen.

It's not film-related, other than for Aamir Khan's presence and producer role, but I figured I'd talk about this anyway. Much to my delight, the first episode of "Satyamev Jayate" (the truth prevails) was put up on YouTube legally, for most people to see (I hear it's blocked in the US), and with good English subtitling to boot. Curious, I sat down to watch it.

Here is the link for your watching pleasure.

The first episode deals with sex selective abortions (often committed despite the mother's own wishes) and is pretty hard-hitting stuff. I'm sure some people will accuse this of being Aamir's vanity project, but he lets the people telling their stories get the centre stage, and talks to experts as well - there isn't much vanity to be seen here. While not perfect, the first episode seemed to be very good, informative and educational television - it tackles complex issues in a way that makes the viewer understand some of the complexity, but also that there is a very simple, humane solution. Aamir's unadulterated optimism and idealism shines through, but when it comes to such horrific things, it's precisely that hopeful attitude that allows one to digest it all. Some things are unfortunately not explored (connection to dowry, how gender inequality in general affects the issue), but what with the stories and the well-presented statistics, even an hour of running time goes by very fast.

I hear this first episode has raised the issue back to the national conscious, and hopefully some progress will happen because of it.

I have to say, while I understand the appeal of watching game shows that are hosted by film stars, though I never watched many myself (I think the Aamir episode of Salman's "Dus ka Dum" was the only one I sat through in full), I think this kind of more journalistic television is perfect fit for Aamir and I will continue following it. If you're interested in the same kind of issue-tackling television, I recommend you do the same.

Is not-kissing (or kissing) a thing anymore?

Most things are just reactions, and reactions to reactions. A person who hasn't seen Indian films at all might be puzzled as to why there isn't the ubiquitous kiss you find in American films whenever there is even just a thread of romance in there somewhere. Another person who has seen and likes Indian films might defend the "no kissing" trend by talking about the benefits of not-kissing; the flirtation through looks, gestures and dialogue. In fact, a filmi fan might even get overly defensive about this sort of thing: "why should there be kissing? it's called acting!"

I recognise this sort of defensiveness in myself when I was really getting into Indian films and everywhere I turned, it seemed, I found something new to love and gush about. Then there was the flipside of not-kissing: the gratuitous almost B-film style full-tongued make-out sessions that were rather a turn-off. Due to actors like Emraan Hashmi gaining reputation not as good actors but as "serial kissers", it's no wonder some people will actually claim a preference to non-kissing. Perhaps not quite coincidentally, some of the most popular actors, like Shahrukh Khan, still refuse to kiss on-screen.



But times change, and it's not 2005 anymore. While some people shed tears over the fact that it seemed that the "no-kissing" trend was petering out to give way for more on-screen macking, perhaps it wasn't so much a surge of the kissing trend as it was just moving to a period where neither option was the prevailing one. At times there would be kissing, at times there wouldn't be.

So I wonder - is not-kissing a thing anymore? Is it still a distinct trend, a phenomenon that's mostly observed?

In my own personal experience, I've noticed a definite shift from paying attention to nonchalance. I no longer notice that a film has kissing, or has fake-kissing, or hasn't got any kissing at all. A romantic pair bumping foreheads instead of lips can have the same emotional impact of a happy ending, but if there is kissing, I'm not usually taking notes as to whether this kissing is awkward, gross or perfectly executed. It no longer feels like a necessary or an unnecessary feature in mainstream Indian films. It's just another choice made by the director or by the actors in a way to convey a romantic relationship on-screen.


But of course, I may be alone in this. There may be some people who feel like not-kissing should remain a feature integral to romantic Indian films, that it gives them a unique emotional flare, where subtext is there, but lip-on-lip action just isn't, and doesn't have to be. Perhaps to some, there is still a relevant debate to be had about this subject.

What do you think?

I recently rewatched The Dirty Picture, and noticed that for such a raunchy, honestly sexual film with brazenly sexual characters, nearly all the kisses seemed to be the kind where actors just turn away from the camera. I'm sure that says something on this subject, but I'm not quite sure what..

Eye candy/brain melt: awesome Shankar song picturizations.

Say what you say about S. Shankar, the Tamil director extraordinaire, the man makes sure his films have interesting song picturizations. They are always worth sitting through, sometimes because they're just so odd, other times because the song is so good, but always, always because they are so amazingly visual in such interesting ways. Oh, and then there's the computer-generated special effects! Must not forget.

Here are some of my favourites.

Akkadanu Nanga from Indian


You know how hard it is to search for an Indian film named Indian? Gah, anyway. This mid-90's Kamal Hassan starrer has him sort of torn between two women, Urmila Matondkar and Manisha Koirala. This song in particular has Urmila, in all kinds of strange costumes, and thankfully the song just gets more bizarre as it goes along - the last minute is a joyfest of mid-90's computer effects. Laws of physics be damned! It's just pretty awesome.

Ale Ale from Boys



You know that bullet-time effect they invented when making The Matrix? You know what? Well, if you don't, here's an introduction video to it, in form of a love ballad. What ingenuity is this!

Kaadhal Yaanai from Anniyan (ie that song with Remo)

Watch here!

Just a link this time, as ErosTamil doesn't like embedded videos. A biased pick, since I love pretty much everything about Anniyan, so it goes without saying I also like every song from Anniyan. This one isn't even so much about sheer visuality, lavish sets or even computer-effects, though it has a bit of everything. It's just such a highlight of the film in all its wildness and hilarity and it's just awesome and I had to make it a part of this post. The song is also superb. Try watching it without getting it stuck in your head. Just try.


Vaaji vaaji from Sivaji



This is just one of those songs that defines Shankar's devotion to building lavish sets for his songs. It looks amazing, even if Rajnikanth is far from the most fresh-faced hero. Like a lot of good song picturizations that completely rip you out of the story temporarily and seem to take place on alternate plane altogether, it evokes the feeling of a story-within-a-story.

Every song from Endhiran / Robot

Why? Because I'm finding it virtually impossible to choose, or to skip over all of them. There's the incredible Kilimanjaro (shot on foreign location, duh)!, and the lovely Kaadhal anukkal that includes endless vistas of gorgeousness, and Irumbile which takes place inside a robot, with choreography and costuming that reflects just that, and Aarima aarima, which is just creepy and bizarre and perfect as is (and should probably carry a SPOILER warning to boot).

It's all good, is basically what I'm saying. Plot? Hmm, well, you probably recall my gripes...

Asku Laska from Nanban




This is the song picturization I never knew how to ask for but was clearly made for me, because it's nearly everything I love, all wrapped into one incredible package. It's a meta-song picturization with breaking-the-fourth wall, spoofs Shankar's previous song picturizations beautifully and also features the director himself. Best of all, it's set to a great, catchy song. All the parts of the songs come together fantastically, I enjoy both actors (I think Nanban really warmed me to Vijay - review pending!) in it and all the elements complement each other. It's basically four songs in one gorgeous set, and that's what makes it one of my favourite Shankar picturizations ever, if not the favourite.

So, any directors whose song picturizations you always end up loving? Any Shankar film songs I should have included in this list?

Deiva Thirumagal.

There are things in A.L. Vijay's Deiva Thirumagal that work splendidly: the casting is great and the performances are all pretty much superb. The mood and humour of the film is just right, and I was certainly moved by it in the end. It knows which strings to tug at, and when it does, you're smiling through tears.

Vikram's performance as the mentally challenged father, trying to gain back his young daughter, could have borderline offensive, but ends up rather subtle and believable. Anushka Shetty is great as the female lawyer who helps him, and the child actress playing the daughter is solid, too.

I saw a couple of reviews questioning the premise (can a mentally challenged person genuinely marry and be with another person in order to bring about a child?), which based on my (limited) knowledge of these matters is a very legitimate concern. But I suppose if you suspend your belief, as I did, the film is worth watching. Certainly if you're a fan of the main star, as I am, I wouldn't not recommend this, as it's one of his more memorable performances.

There's just one thing... And script-wise, it's a somewhat big problem. It's also a SPOILER, so look away now if you've not seen this film yet.

I found myself punched in the gut by the ending, and really by the whole story and everybody's inability to see the credible, completely acceptable alternatives to the either/or situation the film presents (which creates the drama). Why can't Krishna live with Bhanu's family in Madras? Or why can't Nila visit him every weekend? There are virtually limitless options that offer good compromises to this situation, rather than the horrible "either/or" the film forces us to accept.

I get that it's the saddest ending. But it doesn't have to be like that.

END SPOILER.

Agent Vinod - hollow spectacle.

Note: This review contains some minor spoilers (mostly in mentioning plot points or scenes).

Gah, is all I can say.

Sriram Raghavan, I know you can do better this. I know it. You got your big budget action masala, filled with international terrorist intrigue and Saif Ali Khan as the man who never gives out his real name. And yet .. 

I think the problem here is that Agent Vinod  has one foot in the sort of clever throwback Hindifilm referentialness that Johnny Gaddaar did quite well with, and another foot in slick post-millennium action thriller genre. So it never quite comes together, it's got these themes it throws at the viewer and subsequently seems to either abandon or not really follow all the way through. Like the idea about fake names, a clip also used in the trailer that amused me a ton - good, clever. I mean, one of the most ridiculous ideas in film history is that James Bond shares his name so much it becomes a catch phrase of the film. But instead of playing around with this idea of fake identities, the film just kind of leaves it there. In the end, Agent Vinod is just ..Agent Vinod, some guy who's good at kicking unmerciful ass when need be and who's addicted to the thrills provided by his job. Wow, colour me invested.

Which leads me to my next big gripe. Remember that pivotal scene in Omkara where Langda gets slighted and we see a couple of seconds of betrayal and hurt and anguish in his face, and then he blinks it away and is already plotting his revenge? I look at Saif Ali Khan in this film and wonder if that was the same guy in both performances, because it does not feel like it. Even as a fan, I would never try to talk up his acting abilities and compare them to those of the exceptionally talented Indian actors, but he has his moments, and he can achieve quite subtle, interesting things with his acting. In here, the character that is quite hollow in terms of characterisation remains hollow thanks to the acting. The cool-as-a-cucumber thing works well in action, but there are so many moments that are more quiet and that have potential for him to do something extra, add something to this character who is just kind of plain. And he doesn't.

And honestly, that does bother me.  He's got no excuses, he's the producer and with a good director, who he's worked with before. He could do so much more with this role. Instead he just does his usual. Whoopdedoo. Moving on.

Kareena gets the same complaint. I kept waiting for there to be more backstory, something more interesting added to her role, but since there wasn't anything, and it was good, but it wasn't anything beyond that. There's also no thought put into the romantic angle; the two fall in love somewhere along the way, I guess, and the film flirts with the idea that Vinod meets a lot of sexy dangerous women in his line of work (Bond style) but neither of these things are contrasted or expanded upon. What makes Kareena's character special? The script gives us very little to build off on.

The problem with the film isn't that it's horrible; it's extremely competently made, and has things in that are extremely commendable. The use of foreign locations is always great, and fits the story as it progresses. The camerawork, editing and action sequences are great, and there are some definite stand-out scenes, like the scene where the scene cuts back and forth between present and a flashback of Vinod's previous encounter with a certain individual, or the single-shot shoot out, accompanied by a song. There's plenty of stuff here where you're forced to just go, "wow, that's cool". The song sequences don't jar, either, and are very well used within the context of the plot. There are multiple good elements and that's partly why this film is so aggravating to me.

Sriram Raghavan had a million pieces moving in the way that the plot came together in Johnny Gaddaar, and delivered a more simple but good thriller in Ek Hasina Thi. He knows his film references, but he's usually not bogged down by them - the story moves forward and juggles different elements. In here, the plot is just not as interesting, and not as complex. Unlike EHT where you're simultaneously disturbed and cheering the main character on, in here I found myself with barely any lukewarm emotions towards any of the characters, good or bad. I've seen other reviews mention the absolute lack of humour, and concur - this film certainly needed it, especially when it could use Saif's in delivery.

Were my expectations just too high? I don't think so. I just know what everybody involved is capable of, and rather than giving their everything, it seemed they put together something that is competent and has thought put into it, but is lackluster as a whole. I keep wondering about scale; perhaps Agent Vinod would've been better with one or two less locations, one or two less bad guys or characters, maybe 30 or so minutes chopped off the running length. Maybe that squeezing down of the scale would've allowed for tighter plot, better characters, and less of this hollowness of the grand scale variety.

Kahaani: unraveling intrigue.

This post contains SPOILERS because to paraphrase Don - to discuss Kahaani without mentioning spoilers is not difficult, it's impossible. Please just go watch the film before reading, you won't regret it, as it's a tight, solid thriller. 

Goodness me, do they make good movies in Mumbai without sticking Vidya Balan in them? Does she get first pick for every character-driven film with an awesome female role?

One could hardly protest, if this was the case. 

I think the real joy in watching a film like Kahaani are threefold. First off, it's a brilliant depiction of Kolkata in a way that doesn't come off like a bureau of tourism paid for it, but still makes you want to visit the city and learn about its various facets, much like Vidya's character in this does. Previously I didn't think much of the city, but now I definitely want to visit it. 

Secondly, it is very likely to completely bamboozle its viewer in a way that is simply delightful. I would never claim to be the most perceptive or clever watcher when it comes to solving mysteries, but what this film does is that I'm sure even the most attentive viewer would be following the wrong things in the mystery. The simplest deception is often the most brilliant: when you're busy trying to piece together how the hell there are no records, no data, no sign of her husband, and how deep the corruption inside the Intelligence Bureau must go for the main perpetrator of the terrorist attack to go free, you fail to question that very starting point for the story. After all, it's just the starting point. 

Vidya's performance convinced me so much that even the times when I maybe noticed some hints here and there, and thought to myself, "Maybe she's not really pregnant, maybe she's lying about some things," I quickly brushed these suspicions away and focused on something else. There's also a lot here to think about, and ponder through. The different multiplicities, from Bengali nicknames to Bob Biswas' ordinary demeanor, and the parallel mysteries of the missing husband and the terrorist attack two years previous, as well as the constant Durga festival references, keep the viewer busy, but just might make sure you miss out on the most essential mystery of them all. Our heroine is so genuine, likable, determined and puzzled by her new surroundings that you're more likely to suspect everybody else, not her.

Maybe because of that unquestioning reliance on our main character, if there's one thing I wish the film had had more of, it's back story for her. How long was this all planned? Did she have background in her husband's line of work? Of course, not all questions need to be answered, far from it, but it's a thing I found myself thinking through after the film ended.

The performances are pretty much all solid. I doubt I'm the only viewer who really warmed to the Bengali actor Parabrattam Chatterjee. He conveniently reminded me that I've only seen one Bengali film - my continuing like of Tamil & Telugu films kind of makes me forget that regional, non-Hindi cinema doesn't just mean films of those two big industries, and there's much outside them I should probably explore.

7aam Arivu: with science like this, who needs sci-fi?

Note to all Indian filmmakers, but particularly A. R. Murugadoss - sometimes the less scientific plot solution is the more believable one. 

7aam Arivu (translates Seventh Sense) is a big Tamil action entertainer that aims to educate the Tamil-speaking audiences about the greatness in their history, and to not to play down the achievements of the past. Surya plays both Bodhidharma, the ancient Pallava prince who ends up teaching medicine to the Chinese, as well as inventing martial arts, and the modern-day circus actor Arvind. Shruti Haassan is the genetic engineering student, who's got a special interest in Arvind..

I'm pretty good at suspending my belief, and a lot of films I love have questionable applications of medicine, psychology or science. But sometimes there comes a point where a film is trying a little too hard to sell you the reality of something, and your brain just fails to come to terms with it. So I sat there, watching this film, constantly going, "But genetics doesn't work like that! But hypnotism doesn't work like that! But that's not what genetic memory means!"

So I thought of alternatives, and came to the conclusion that even reincarnation, a concept that I don't personally believe in, would have been a more passable solution here.

As good as the action masala ingredients are here, the message and the fervour in which it is sold to the audience, end up undercutting the film's true potential. The crux of the matter is a good point made about the self-deprecating views expressed by many Tamils that often apply to colonised people. Since the colonisers have sold the idea of their culture being superior, the colonised feel inferior, and that feeling might linger in their cultural subconscious long after the period of colonisation. Regaining this self-confidence in your own history is important. But the way this message was delivered could have been so much more subtle and less aggressive, and padded with something more believable than the blatantly science-fictiony science presented as current fact. Also slightly uncomfortable is the portrayal of China as the Big Bad here. 

It's a bit tragic that a film that could've explored say, the roots of martial arts in Tamil culture, gets bogged down in fantastical science and Tamil jingoism so much that even the good stuff (mostly comprised of Surya's performance and the handsome action) gets shadowed by the sheer wasted opportunity.

I read an article somewhere that Aamir Khan was once again so impressed by this Murugadoss film (as he was with the 2005 Ghajini that I reviewed here) that he's planning to remake it in Hindi. Oh, Mr Khan, please stay away from this one, or at least radically reform it. 

Rajapattai - straight from my id to the silver screen.

Some films are simply unapologetic star vehicles.

There's another theory I've got on Rajapattai, and it goes something like this: after Raavan(an) and Deiva Thirumagal, all of them serious, involved, challenging and lauded roles, maybe Vikram just wanted a day off.

But, being the kind of actor he is, this is him on a day off.

I'll explain further: I'm sure some people on-set took the making of Rajapattai very seriously. Some of the plot does attempt the same sort of socially conscious message that most Tamil action masalas chuck at their audiences. Still, at the core, Rajapattai is a mix of comedy that spoofs the film industry and various excuses for Vikram just to be Vikram - from being funny to being a badass, to being a romantic hero at some Italian locale. That's really all this film is, when it comes down to it.

The plot goes a little something like this: Vikram plays a gym boy (that extra who plays a rowdy in Tamil film action scenes, and usually gets beaten by the hero pretty easily) who dreams of becoming a villain. He can talk the talk, he can walk the walk. He saves an old guy from some real life goons and the old guy tells him what's up: his son is trying to destroy the orphanage the old man and his late wife built. As you might have guessed, this turns Vikram's character into a real life hero. The heroine Deeksha Seth is sympathetic but given a role that is criminally underwritten - she is almost literally just there for the songs and to get into trouble. Also note-worthy is the fact that the villain, a corrupt politician naturally, in this is a woman.

Perhaps one problem with the film is that it doesn't quite commit to its spoof elements, nor the serious underpinnings of its thin storyline. It's a Vikram vehicle, and it's just kind of a silly one, but it's not to silly that you would laugh your head off, if you weren't in the right mood. It kind of walks a very, very fine line in this department.

I always said that Om Shanti Om's greatest problem was that it tried to be serious during its second half, when the first was spent in Goofville, Population: Hilarious. I suppose you could lob the same accusation at Rajapattai, but I forgive it, because it's just not trying very hard. It's a dumb film with elements of spoof, elements of self-referentialness, and in many ways it does feel like Vikram's day off. He's not lazy with his acting here, but he is having a ton of fun with it, and that shows. Maybe some would call this a missed opportunity at delivering a solid, every-genre-delivered-upon masala, in the style of Anniyan or something. But call me easy to please - I enjoyed the hell out of this silly movie. To me, it just fulfilled its purpose.

There are things that make you wonder, to be honest - is Vikram's painfully obvious "youthful look" stylist taking part in the spoof hijinks or just a major fashion crime? Regardless, I laughed my head off at his designer facial hair and silly dyed faux-hawk. If nothing else, the hilarious action scenes are worthwhile, and for all the serious plot the movie throws at us, the climactic fight scene also features Vikram's character just kind of playing around with his opponent.

So maybe to some, this film isn't worth the hairdye spent on its main star, but for me, it was just a terrifically fun ride.

An imaginary look back on the Filmi Year 2013.

I think the year 2013 was never anticipated to be as special for Indian movies as it ended up being. I was certainly surprised, after 2012's batch of both good and bad films, for 2013 to be filled with such incredible and incredibly bizarre films! So it's good to recap, isn't it?

First off, I know I am not backed by many people on this, but I think the DDLJ sequel Dilwale Dulhania Phir Le Jayenge was actually one of the most brave, unconventional films of recent years. This is no RGV ka Aag, but nearly as classic as the original. Aditya Chopra's idea to have Raj and Simran (same names, nothing to do with the original characters) to be stuck together at the US border for days on end was a fascinating portrayal of the NRI community dealing with racism in the US. Kajol's performance as the tough-as-nails FBI agent just doing her job was absolutely something to witness, and her interactions with Raj, the journalist suspected of being a terrorist under a fake identity, painted a very complex picture of what it means to be a person of Indian descent in today's North America. The guest appearance by the famous cowbell was a special touch, but what really gets to you is the post-interval plot - where Raj discovers Simran's arranged marriage to a Hindu nationalist, set up by her US politician father, and decides to crash the wedding - for justice. How about that shoot-up on the mustard field? Brilliant.

A lot of people harped on this movie for its mutilation of the classic original, but to me this was the perfect case of something new, something borrowed, and something blue. Shahrukh and Kajol shine in these drastically re-written roles, and Aditya Chopra peels back the harmony of both the NRI experience and his idealistic Punjab imagery for a chance to really talk about something real. The romance takes the backseat, but I was in tears by the end all the same; the ending gave enough promise that these two might find happiness together. For that, DDPLJ is my movie of the year.

What didn't work as well was Dhoom 3. I was all set for a goofy good time and some action scenes, with Aamir as the villain, but some of the turns the story took were just too out there. While I appreciated holographic Guru Dutt for making an appearance, SPOILER - Katrina turning out to be just a clone of Aamir's villain character was a little disturbing to say the least. So what, was he romancing HIMSELF in the sexy picturization of The Thong Geet? Are you kidding me? Of course, some people claim that post-credits we get a clip where it turns out Aamir's clone was actually Salman's character, leading up to the next film in the series, but I won't believe it until I see it on the DVD!

Still, I've heard people praise Aamir's performance in this film, so maybe I just need to rewatch it. Another praised performance was of course Abhay Deol in the much discussed but not that widely seen dialogue-free art film Mere Ankhon / Me, also known as the "Abhay Deol stares at the camera for 4 hours" film. A lot of reviews just asked "why was this film made?" while I have a feeling I'll like it, so I'll ask - why wasn't this film made earlier?

On the Southie side, I hear good things about the Tamil Sridevi-Siddharth "switcharound" film Nee. Maybe it'll start a trend of older heroines with young heroes? I have some serious catching up to do..

My favourite comedy was definitely Akshay Kumar's Tere Liye Kuchh Bhi (I enjoy Akki's brainless comedies every now and then but this film was positively brainful!), but I really appreciated Sriram Raghavan's puzzlingly quickly-made tribute to modern cinema, the absolutely stellar, clever breaking-the-fourth-wall comedy, I Hate Imran Khan Luv Stories, in which Imran Khan meets himself from the future, chewing over his past and future career, its mistakes and how to fix them. Who would have guessed that Sonam Kapoor was so good at playing Imran Khan from the future? Some people thought this film was trying too hard, but I loved it.

Then there were some bad films, like Gooli Gooli Maar (why Abhishek, why?) and Emraan Hashmi's Teeen!!! (yes, three exclamation marks), which had the actor play three generations of characters, much like his character in The Dirty Picture. Whoever thought that was a genuinely good idea? And just when I was beginning to like Emraan! Vidya did great in her films this year, but that much is to be expected. Her and Madhavan teaming up again in Vishal Bhardwaj's short film Skirt about gender discrimination in the urban workplace was not flawless, but a good effort nonetheless.

As you can tell, I've still lots of films to watch, but out of this year's batch I'd recommend all of the films I've discussed - even the bad ones are special for the WTF factor! What did you love and hate in 2013? Is there anything I missed?