'30s, Dillinger, FBI And A Desperate Manhunt. Minimal Style, Maximum Effect.

PUBLIC ENEMIES
(2009)

Directed by- Michael Mann

Written by- Ronan Bennett, Ann Biderman & Michael Mann

*Johnny Depp, Christian Bale, Marion Cotillard, Stephen Lang, Stephen Dorff, Jason Clarke, Michael Bentt, Stephen Graham, Billy Crudup

There are films which you don't fall in love with instantly, but a subsequent rewatch surprisingly turns your entire impression of them around and you are left wondering how could you have missed it the first time?
Public Enemies is one of those films.

I remember not being impressed by it the first time, despite the stellar cast and lucrative setting, and just gave it 2.5 stars.
But boy, how my views changed after this rewatch!


What a truly masterful film, superbly directed and told in a slow-burning, realistic fashion.
The film follows legendary bank robber, John Dillinger (played by Johnny Depp) and his gang as it's doggedly pursued by FBI agent, Melvin Purvis (Christian Bale) and his team of G-men.

But the film doesn't take the beaten path of exploring the flamboyant lifestyle of a celebrated gangster, him with his cronies and his broads, rather takes a serious, life-like approach to the character, thereby lending him believability. 
He has the cronies, he has the broads, and he has the fast cars and noisy guns like all other gangsters, but they have function and aren't just for show.

At the other end is his nemesis, Purvis, who is disciplined and methodical. A perfect opposition to a strong protagonist, supported by, well, J. Edgar Hoover.

The film really got to me with its restrained tone. 
There are gunfights, bloody noisy ones too, and there are chases and thrills and all the obligatory gangster ingredients. But they are executed in a unique style which doesn't overdo the exhilaration of a bank robbery, or the erratic action in a gunfight. 
It may seem like a downer to some, probably did to me in my first viewing, but I really appreciated it this time around.


Technically too, the film is wonderful. The digital cinematography was sumptuous to say the least.
The accelerated frame rate seemed a bit off initially, but I got used to it.
The music was delightful, perfectly supporting the screenplay and providing some memorable tunes.
However, the sound seemed a but uneven, as there were sudden bursts of noise amid silences even as characters were speaking.

Of course, there are a few downsides to it too. 
The story for one, drifts from one location to another but doesn't really settle in anywhere.
The pacing is even, but could have been rushed a bit. Even in scenes of tension the build up is not present, which could have had a lasting impact in such scenes.

The writing also seemed a bit lacking. There are some cool dialogues, but the story never really holds my interest.
However, I actually didn't need it too. Depp had that covered.


The acting was fabulous. With a cast led by Depp, Bale, Cotillard nothing less was expected. 
Depp ruled the screen with his serious turn as the cool gangster, effortlessly endearing him to us.

Overall, a very powerful film which doesn't flaunt its power through grand spectacles but a game of wits and cool characters.
Could have been better but still likable the way it is.

Rating- 3.8/5

Hilarious Hijinks, Adorable Buffoonery And A Film So Outrageously Quotable It Makes Fight Club Seem Like A College Lecture.

ANDAZ APNA APNA
(1994)

*ALL-TIME AWESOME*

Directed by- Rajkumar Santoshi

Written by- Dileep Shukla & Rajkumar Santoshi

*Aamir Khan, Salman, Khan, Raveena Tandon, Karisma Kapoor, Paresh Rawal, Viju Khote, Shehzad Khan, Javed Khan, Shakti Kapoor

My Most Favorite Hindi Film Of All Time. Period.

Andaz Apna Apna happened to me as a teenager not particularly interested in films, but even then I was amazed by how easily it sucked me in and effortlessly alienated me from the rest of humanity for the entirety of its running time.

And so, 2 hours and 40 minutes later, my jaw and stomach were aching like never before and I was still laughing like a madman. That's when I knew it wasn't the last I had seen of this infinitely rewatchable film.

And so it came to be. 
Andaz Apna Apna is easily the film that I've rewatched the maximum number of times. I've obviously lost count, but with every reviewing it becomes all the more satisfying as I join the actors in delivering every single dialogue. Yes, this is a film which I know like the back of my hand.

The biggest plus point of the film is obviously, its supremely quotable dialogue. Every line. Every. Single. Line. said by each and every character, no matter how trivial, is a gem which only adds to its glory. Humor drips from every word, be it the nonchalant "Hailas!" or Teja's grumbled mutterings.
Nothing goes to waste. Everything makes you roll over laughing.


But I fear even the incredible writing wouldn't have been as effective if not brought to life so effervescently by the magical cast. All characters are vital and bring their own flavor to the story.
From Anand Akela to Robert and Bhalla, every, and especially the tangential characters, are indispensable. 

For what would have Amar been if he didn't have the cockiness so effectively brought out by Aamir Khan? Would Prem have been the lovable buffoon he is if not for the antics of Salman?
Andaz Apna Apna depends as much on its stupendous cast as it does on Santoshi's evergreen lines and his assured direction.

And that brings us to the strongest suit of this perfectly ridiculous film. Santoshi's masterful direction. 
Now, I know for a cornball comedy, direction isn't really one of the most essential aspects. The material and acting basically drive the film, but this is one such example where both are exponentially made better through Santoshi's keen direction.

Every scene is defined by not just the lines and their execution but by how they are played out on film. The choreography, the chorus of multiple actors inhabiting a scene altogether, show how Santoshi pays close and crucial attention to the finer details while developing a scene. 
Dialogues aren't just jotted down on paper and recited in front of the camera, the actors become the characters and are directed to deliver them intuitively, even if it means making a jumbled up 'kuch ka kuch' on screen. 
But when you look through this noisy mess where more than one person is on with his own quibblings and decipher the ridiculous realism in every character, you realize that this isn't a fluke. That this is flawlessly and methodically executed genius.
And that's what I love about Andaz Apna Apna.

Of course, the direction lacks in a lot of places, like the continuity errors which are strewn throughout the film. Or the camerawork which usually half-crops an actor out of the frame while leaving lots of empty space at the other end.
But all of that only makes it all the more humorous in a 'meta' kind of way. 
I mean, who cares if Salman's hair continuously oscillate between a mullet and a shorter crop?

Over the years, it has enjoyed a cult following. Even bordering on So Bad It's Good lists, but that's a false assumption. Andaz Apna Apna is not a bad film by a damn sight. It's a truly pathbreaking, genre-defining film which doesn't conform to the sleazy, low-brow humor of Bollywood or even the boring satires or social commentaries. 
It is pure fun.

In a league of its own. Rather, a world of its own, where goons with SMGs hang up their weapons when threatened by a 'khaali rifle', where when you ask somebody to follow you, they usually tend to take the lead, where giving pocket change as extortion money is perfectly acceptable by the kidnapper.

I would have liked to quote my favorite line from the film, but there isn't one. The entire screenplay is one complete bundle of dialogue which is one of the most enjoyable things on this good earth I've had the pleasure of experiencing.
So, thank you Rajkumar Santoshi, for giving me and all of posterity this ultimate product of unprecedented and unmatched awesomeness!

Obviously, it's not perfect, but I still love the shit out of this movie!

Rating- 4.6/5

A Derailed Robin 'n the Hood Tale. And A Gangster Saga of Drugs, Guns, Gore & Glory.

KING OF NEW YORK
(1990)

Directed by- Abel Ferrera

Written by- Nicholas St. John

*Christopher Walken, Laurence Fishborne, David Caruso, Victor Argo, Wesley Snipes, Giancarlo Esposito, Janet Julian


A beautifully lit, neo-noirish gangster film that sees Christopher Walken play a coldblooded Robin Hood figure. 

Released from prison, Frank White takes control of his mob and eliminates the competition which he deems unworthy of running the streets due to their amoral affiliations.
The police of course, disagree with Frank's methods and set out to get him, either by the book or off it. 

The plot flows smoothly but you wish there was more to it. Frank's benevolence is hinted at in the beginning but it doesn't grow. And the plot shortly abandons its initial premise to focus on the bloody gang-war between Frank's men and the police.

Christopher Walken as the remorseless philanthropist, Frank White, is superb. He is soft-spoken, sinister and even spooky when he has to be.
He is aided by a young and energetic Larry Fishburne and pitted against a fiery David Caruso.

The cinematography is something else. It balances the dark, smokey noirish elements delightfully with the neon lit cityscape. Add to that a surreal play of shadows and reflections and a color-blasted sequence of awesome blue towards the finale and you just can't help applauding Bojan Bazelli's craft.

Overall, a good, solid film. Starts off with a nice heading but despite taking a different direction altogether, maintains its shit together.
Well acted and finely directed. 
I didn't go crazy for it but I did like it a lot and would probably watch it again.

Rating- 3.8/5

Dopplegangers, Thieves, Chases & Unbelievable, Nail-biting Suspense.

JEWEL THIEF
(1967)

Directed by- Vijay Anand

Written by- K.A. Narayan & Vijay Anand

*Dev Anand, Vyjayantimala, Ashok Kumar, Tanuja, Nazir Hussain, Sapru


Another Vijay Anand suspense thriller that deals with identity, this one is propelled by a labyrinthine plot and held together by a baffling mystery.

A common man, Vinay, is repeatedly mistaken for someone else and as he deals with the unsettling discovery of having a criminal doppleganger, he is thrown in the midst of a confounding conspiracy that takes him across the country in search of the evasive jewel thief, 'Prince'.
Vijay Anand maintains supreme secrecy as he leads us on a manhunt where the bad guy always gets away by a hair's breadth. That is until the predictable and deus ex machina-ish climax.

But despite the guessable ending, I couldn't dislike the film, because of all the fun that preceded it. Anand crafts a mightily intriguing plot from the done to death tropes of mistaken identity and dopplegangers. 
I mean, this is a 1967 film and the sheer fun that it has with its plot is incredible. Yes, a lot of plot elements are ludicrous but this is a tighter, more polished screenplay than Johny Mera Naam anyday. I was hugely impressed.

Though the resolution was easy, I was bowled by how the film had me on the edge of my seat throughout. The suspense maintained by the airtight mystery is delicious and though the finale somewhat dampens its effect, it doesn't completely ruin the experience.

The other and even more awesome aspect of the film was S.D. Burman's immortal music. Song after song came and awed me by how deeply embedded it already was in my memory.
Seemingly, every song is a classic, its unforgettable melody tattooed on posterity.


The cast too is perfect. Leading man Dev Anand is as quirky and energetic as ever. He becomes the character and fills it with his infinite, quivering energy.
There's a bit of a romantic triangle in the beginning but the refreshing Tanuja soon shifts to a supporting role, while the unbelievably opulent Vyjayantimala shines as the troubled leading lady.
Ashok Kumar as the villain was convincing. There was one particular scene, though, that caught my attention and sort of cemented his character as a badass and not just a caricaturish Hindi baddie. 
As he sticks a cigarette in his mouth an apprehensive henchman offers him a lighter, to which the suave Kumar responds by taking out a lighter of his own and saying, "Apna kaam karo". I instinctively cheered.

Overall, an entertaining film which had me actively participating, rather than passively enjoying it.
Not perfect by any definition, but an absolutely satisfying experience.
Take away the '60s melodrama, the bizarre action and the exposition infested narrative and you have a winner of a plot told with conviction and undeniable style.

Rating- 4.0/5

Lust. Greed. Murder. Escape? A '70s Inspired Cocktail of Thrills, Suspense and Delightful Shenanigans.

JOHNNY GADDAAR
(2007)

Written & Directed by- Sriram Raghavan

*Neil Nitin Mukesh, Rimi, Dharmendra, Zakir Hussain, Vinay Pathak, Dayanand Shetty, Ashwini Kalsekar, Govind Namdeo



And finally! A rewatch with all due preparation.
I watched the two films which are most prominently referenced in Johnny Gaddaar before watching this. They were Parwana and Johny Mera Naam.
Both were decently interesting '70s thrillers which had some nice things to offer. But their contribution to cinema is taken to a higher level with this gem of a Hindi film which weaves its plot around them but adds tons of its original flair and becomes an unforgettable neo-noir and my most favorite film to come out of India in the last decade.

Sriram Raghavan's reference ridden, 70s' Bollywood inspired thriller, which borrows from a lot of classic sources its smart plot points, is a treasured watch.
Every time that I watch it, and I watch it quite often, I am lost in gleeful admiration of this deviously layered film.


A neo-noir which follows a shady protagonist who falls into a circle of lust, greed and murder only to be lost in the trappings of his own device.
But more effective than the serpentine plot is the colorful world that it inhabits. The world of Mumbai. 
A Mumbai of cool shades, splashy shirts, seedy gambling dens, bars and discos. A Mumbai of vibrant characters who all have their own quirks, characteristics and agendas.
And when these characters, in this world, come together, and are given to human vices, anything is bound to happen.

The plot is pretty simple at first glance. A gang cracks a deal with a corrupt cop and money is to be transferred between two cities. 
But one of the members decides to steal the money midway and elope with his girl.
And so, is set in motion an unprecedented chain of events which follows Murphy's Law with about the same verve as Barjatya films do Hindu festivals.

Surprisingly, the plot never sags in the two hours of runtime. From overcoming one hurdle to the next we are completely absorbed by Vikram's shenanigans. 
And therein lies the film's true strength, that despite knowing the identity of the killer we are incredibly invested in the adventures of this doomed protagonist, a nice tip of the hat to two legendary Wilder noirs.

But Johnny Gaddaar is so much more than a good story contained inside a well defined world. It is terrific cinema which scores highly on all fronts.
The casting is sheer perfection. And not just the primary characters, such as Dharmendra's Seshadri, Zakir Hussain's Shardul or Vinay Pathak's Pakya, but even minor characters who inhabit this film leave an impression and manage to stay with you despite fleeting appearances.
Of course, your attention is arrested by this newcomer who delivers a devil of a performance, visibly restrained with evil seething at its seams. Neil Nitin Mukesh showed incredible promise with his debut. But robbing him off the debut Filmfare was not the only time Ranbir 
Kapoor left him behind.

Then there's Muraleedharan's snazzy camerawork. The camera flows smoothly and surely and constructs some wonderful and new shots, while also paying homage to some famous signature shots of celebrated filmmakers. 
The imagery is dominated by the color red, which forms a recurring motif in the film, just as danger and death.

The editing by Pooja Ladha Surti is ace. The cuts are exquisitely placed and used with marvelous technique, while simultaneously parodying the film's inspirations and also adding greatly to its flavor.
I found the editing to be among the strongest suits of this film.

However, the aspect which soars high over others and remains with you the longest is the film's stupendous music. Some of the choicest tracks from the '70s are compiled along with inspired music from Shankar-Ehsaan-Loy.
The foot-thumping Move Your Body and the thrilling title track stand out among original compositions but they are duly accompanied by truly commendable remixes, such as Johny Breakbeat Mera Naam and Revenge of the '70s.
The film's background score is another bonus which can get you in the mood like clockwork. I, for one can never resist The Caper Begins whenever it turns up on the shuffle.

Johnny Gaddaar is a superior album, masterfully orchestrated and with choice selections from the treasure trove of yesteryear music.

But it is ultimately, Sriram Raghavan's keen direction and supreme eye for detail which towers over the film and makes it the way it is. Quirky, inspired, witty, and well, just damn (near) perfect!

Finally, Johnny Gaddaar becomes more than the sum of its fabulously entertaining parts. Never have I seen a Hindi film so assured and uncompromising about its filmmaking aesthetics while still being massively entertaining and conforming to Bollywood masala norms. 
If we were to ever witness the best of both worlds as far as masala and meaningful cinema go in our country, we did that with Johnny Gaddaar. 
I'm not saying that this is the best Hindi film ever made, but it is certainly the greatest example of a complete Bollywood Hindi film which doesn't cater to just one breed of audiences.

Rating- 4.5/5

Old Friends, Old Enemies, and a New World Order. A Grand Sequel and a Superb Spectacle.

CAPTAIN AMERICA: THE WINTER SOLDIER
(2014)

Directed by- Anthony & Joe Russo

Written by- Christopher Marcus, Stephen McFeely

*Chris Evans, Scarlett Johansson, Sebastian Stan, Samuel L. Jackson, Anthony Mackie, Robert Redford, Cobie Smulders


Oh, brother. After a somewhat disappointing start to Phase II, Marvel finally lands the big punch, and how!

A film which closely matches The Avengers in style and scale, Captain America: The Winter Soldier is a proper follow up to the epic superhero mashup of 2012. 
It carries on an important thread from The Avengers storyline too, which is targeted killing and the employment of lesser evils for the greater good. And the film not just ably addresses those issues but also successfully provides a tidy resolution for them in what becomes a spectacle to rival the mega-prequel.


Director brothers Anthony & Joe Russo are in firm control throughout the film as it unfolds in the form of a political thriller, as opposed to the adventurous actioner which the previous Captain America outing was. But the times, they are a-changin' and Cap Rogers is trying hard to catch up with them. 

The film, as is the case with all good Marvel films, is evenly strewn with generous amounts of humor, action, drama and suspense.

Bringing in the laughs are the buddy moments between Cap and his 'wingman', The Falcon, along with Black Widow who is determined to set up the old soldier with a keeper.
Though Widow's past is once again briefly touched in the film, it's about damn time someone made a standalone Black Widow movie!

The drama is stirred with the death of a prominent character midway, but as well handled as it was, it's become sort of a gimmick, now used to give characters that much needed thrust in the middle of things and has little to do with someone actually dying, as has previously happened in Marvel films.

But the spellbinding action completely redeems any complain one might have with this film, for it is purely incredible. 
The set pieces featuring the attack on Fury, Steve's escape from the Triskelion and the final battle aboard the three helicarriers are grand scale affairs which resonate The Avengers' tone of a world scale threat.
However, it's not just massive explosions and gigantic ships crashing into buildings, but also the smaller, smarter bursts of action which bowl you over. The fight scenes are supremely coordinated and exceptionally executed.

The only problem I had with the film was the titular villain. No, the Winter Soldier is in no way an easy threat, quite the opposite, in fact. But the writers failed to add much conviction to his intimidating persona. 
Shrouded in obvious secrecy and looking like a crackpot, the Winter Soldier seemed a half baked idea and though more development will definitely be invested (given Sebastian Stan's 9-picture deal with Marvel) here he felt somewhat out of place. It could have been just anyone standing in his shoes to pose as the threat. There was no individuality to his character.


However, the joys far outweigh the gripes in this seemingly complete film.
I loved the smartly placed easter eggs and references to the rest of the MCU throughout the film. Some of them even made me jump in my seat with excitement. (I'm looking at you, sorcerer!)

Overall, a smashing ride of adrenaline, thrills, action and political drama of ethical significance
I liked Captain America: The First Avenger the most in the pre-Avengers line-up. This one is my favorite post-Avengers.
Absolutely loved it!


Rating- 4.1/5

Multiple Identities, Separated Brothers, Search for a Father. Pure Cheesy Fun!

JOHNY MERA NAAM
(1970)

Directed by- Vijay Anand

Written by- K.A. Narayan & Vijay Anand

*Dev Anand, Pran, Hema Malini, Jeevan, Iftekhar, I.S. Johar, Premnath

Critiquing a '70s Bollywood film is similar, yet quite the opposite of critiquing, say, a French film. 
Both require incredible attention and are pretty long.
However, for the latter you have to focus and take in all the superficial beauty and then look beyond that for the thematic wonder hidden beneath the layers within the movie. 
For the former you have to maintain your focus amid all the general bullshittery flying about in every direction and enjoy the fun in-between moments of genuine cinematic pleasure these films have to offer. Both aren't easy jobs.


Vijay Anand's Johny Mera Naam does belong to the latter category but he makes going through it a breezy, enjoyable affair with his lovable tidbits strewn throughout the screenplay which help you through moments of dullness and worthless drama.

He crafts a quintessential Bollywood corny, funny, thriller/romance/drama film featuring actors in multiple roles, beautiful locations, memorable music and some really cool moments.

This is the simple story of two brothers separated as children. One becomes a cop, the other, obviously a crook.
What follows is an interesting, low stakes game where the cop infiltrates the crook's ring and befriends him, ultimately leading to the revelation and a teary reunion. That 'reconciliation by boxing' scene was pure cheesy fun. And I loved it!


Overall, a pretty good and complete Hindi film. It has its low moments where you just wish the plot would fast forward towards resolution, but when Vijay Anand throws in a neat little twist it swiftly grabs your attention and you start having fun again.

The previous '70s film that I watched (Parwaana) had a massive one-up over this, which was its running time. Johny Mera Naam is a good one hour longer than Parwaana and this hour is probably filled with needless meanderings about the plot just to develop a romantic subplot or the goofiness procured by three identical brothers. 
Ok, scratch that. I.S. Johar was cool. (The guy is a Bafta nominee!)

All the performances were fine. All the actors, unforgettable.
From Dev Anand's agile retorts and legendary gimmicks to Pran's rich, calm voice and Hema Malini's big, enchanting eyes.
The character artists all did a fine job too.

A film with good rewatch value and one that didn't age too badly thanks to Anand's nifty little bag of tricks.


Rating- 3.7/5

Love, Thrills, Cliches. And a Wickedly Delicious Murder Mystery!

PARWANA
(1971)

Directed by- Jyoti Swarup

Written by- Agha Jani Kashmirir, Madhusudan

*Amitabh Bachchan, Yogeeta Bali, Navin Nischol, Om Prakash, Asit Sen, Shatrughan Sinha


A wicked murder mystery that unfortunately spends a majority of its screentime catering to masala Bollywood norms.
Jyoti Swaroop directs a cliche train of boy loves girl-girl loves someone else-spurned boy swears to reclaim what's rightfully his, fittingly quoting the age old adage, "Everything's fair in love and war". 
And so, Parwana delivers one of the most sinister murder plots ever conceived on Indian celluloid.

This is a very stiff and very new Amitabh Bachchan's only fourth film, where he appears as the coy, oily haired and mild mannered artist, Kumar. Though his unique flair is clearly evident in scenes of emotional outburst.
When his unrequited love for girl next door, Asha is challenged by her newly betrothed, Rajesh, Kumar takes it upon himself to win Asha by hook or by crook.

There are cliches abound and of course nearly half the film could be skipped through, because it doesn't take a fully functioning brain to guess '70s bollywood love stories. It is when the crafty Kumar weaves his diabolical web that things start to get interesting. And they soon get out of hand too in the climax when his masterstroke is eventually revealed.

I learned of this film while watching Johnny Ghaddaar, which pays a grand homage to it in basing its plot on Parwana's murder technique, and so, despite its premise being spoiled for me, I can say I really enjoyed the nefarious plot unfurl right in front of me.

In other departments, Madan Mohan's music wasn't anything special. The dialogues your usual '70s Urdu/Hindi amalgam.
The most memorable performance from the film, however, remains the cameo from Shatrughan Sinha as the fiery public prosecutor. He plays the sleazy sarkari vakeel who will do anything to break the accused and wiggle out a confession with the stereotypical loud conviction of all Hindi film prosecutors.

Yes, this is not a perfect thriller. But it's certainly one of the most original ones, at least where it matters. And though the real murderer and his whole plan is guessable thanks to some shit editing and lame direction, that doesn't take away from the fun.

I really enjoyed this film, because as cheesy as it was, there was a certain charm to the old world, family values infested '70s era Bollywood which has been lost forever. And I appreciate that whenever I get the chance to reminisce about it.
But top that off with a neat mystery and you have me hooked!


Rating- 3.7/5

Outrageous Colors, Flashy Neon Lights, Surreal Sets, Eternal Music. Bad Film and A Grand Spectacle.

TÖKYÖ NAGAREMONO [TOKYO DRIFTER]
(1966)

Directed by- Seijun Suzuki

Written by- Yasunori Kawauchi

*Tetsuya Watari, Chieko Matsubara, Ryuji Kita, Hideaki Nitani, Tamio Kawaji


My mind is imploding right now due to a surge of passionate and conflicting emotions.
Seijun Suzuki's Tokyo Drifter is a most polarizing film. Badly made and an absolute treat to watch.
The film juggles the good and bad aspects with equal ease and ends up as a heady cocktail of spiked cinematic pleasure.

Quite basically;

The Good: Lovely cinematography. Exquisite lighting. Unforgettable music. Dreamy sets.

The Bad: Hammy acting. Patchy writing. Weird action. Lazy direction. Sloppy editing.

So, it's more or less even-steven, but I still can't come to dislike the film, because for all its fallacies the film has stayed with me and I can't get it out of my head.

The visual aspects of the film are undoubtedly incredible and its strongest point, and so, half the credit for my love for the movie would go to cinematographer Shigeyoshi Mine. He starts off in black and white and then moves to color via a montage of Tokyo city.
He then throughout the course of the film treats us with stunning visuals whether of snow covered landscapes, colorfully lit environments, or the beautifully captured urban surroundings.

But even that isn't all as Suzuki takes it a notch higher with his surreal sets which give the film a unique, dreamlike quality.
The neon-lit bar, disco and restaurant are all wonderfully crafted, but the crowning jewel is the minimal set featuring low stairs. a giant piano and weird sculptures in the climax. We see it first lost in blackness as the heroine sings, pining for her lover but as the hero steps in, the set magically fills with dazzling white light by his angelic aura, radiated from his pristine white suit.

Also Hajime Kaburagi's music is phenomenal. The main theme is such a hauntingly beautiful tune I still can't get over it and have been incessantly humming it ever since I first heard it.

Yes, there are some terrible, terrible cons in this film too, which are seemingly unpardonable. The writing is hazy and the plot gallops away without ever resting to settle the ongoings in the viewers' minds.
The editing is a bit off too and entirely disconnected sequences are almost intercut so they seem to be happening simultaneously and you lose all perception of time in the screenplay.

But despite its over-acting, infeasible action, and a cliched and too nonsensical to be bothered about plot riddled with stock characters, Tokyo Drifter is a fantastic experience. 
Because when you look beyond the obvious trappings of story, character development and well, logic, you see a fulfilling and wholly unprecedented experience which goes far beyond its limitations and even expectations, and appeals to you on a most basic, sensory level.

Rating- 3.8/5

A Complete Crime Picture With Gangsters, Coppers, Capers and Conspiracies, Told in the Inimitable Melville Fashion.

LE DEUXIÉME SOUFFLE [SECOND BREATH]
(1966)

Directed by- Jean-Pierre Melville

Written by- José Giovanni, Jean-Pierre Melville

*Lino Ventura, Christine Fabréga, Paul Meurisse, Michel Constantin, Marcel Bozzuffi, Raymond Pellegrin, Pierre Zimmer


Le Deuxième Souffle is a fantastic experience. With an ample running time of 150 minutes it tells the story of a gangster who breaks out of jail and his subsequent attempts at getting back into the game.

It is told with Melville's inimitable style which includes sharp cuts, smooth transitions and tricky camerawork, that makes use of the camera as an organism within the film's environment as it maneuvers through gorgeously executed tracking shots and smartly positioned frames.

Jean-Pierre Melville's gangster noir is a treat for both fans of the genre and those new to it. With Marcel Combes brilliant cinematography which effectively caters to both the noir elements and Melville's own visual style. The exquisite lighting and moody shadows, which are prerequisites for the former, are brought out well, but combine it with the latter and you get something wholly unprecedented.

The story takes its own time to set up. We are gradually introduced to all the characters and the build-up takes a while before acquainting us with everyone. Melville follows seemingly disconnected threads with equal earnestness and detail and thus firmly establishes every character within the first half hour.
The escaping convict, the lonely woman and her protector, the over-smart cop, the scheming gangsters, everyone is perfectly etched out and it is when these characters pool into the main storyline does the excitement truly begin. 

Le Deuxieme Souffle is certainly one of the most complete crime films I've seen in a long time. There is a heist, the obligatory cat-and-mouse game between the police and the gangsters, even an almost personal sentiment to the cop's interest in catching the criminal, topped with enough action, double-crosses and shootouts. 

Plus, it's incredibly cool. All thanks to Melville's keen eye for detail which continues to add fun elements to the story. The crooked cigarette, Gu's queer murdering style, the diary, and how and where it ends. 
Not only is it a 'whole' film which despite a linear storyline keeps you engaged, it is brimming with originality and smartly developed characters. Particularly, the serious and very professional Gu and the confident and merry Inspector Blot.
Even the 'muscle', Alban, is a character of its own and you can see his importance for the siblings.

But it miraculously never comes off as pretentious or trying too hard to mix in all these different elements. Rather everything fits naturally into the narrative, and with minimal background score for added realism and tension.


Despite being longer than your average film, it never loses steam, in fact, expertly maintains the tension as it seamlessly transports from scene to scene.

In short, Le Deuxième Souffle is a marvellous film which maintains a balanced narrative and uses nifty techniques and well-rounded, entertaining characters to tell a wonderful gangster story.
Requires patience but you end up thoroughly enjoying it.


Rating- 4.2/5

Gangsters, Shotguns, Scotch, Cockney & Caine.

GET CARTER
(1971)

Written & Directed by- Mike Hodges

*Michael Caine, Ian Hendry, John Osborne, Britt Ekland, Geraldine Moffat 


Okay, first off, this film is the most British thing I've seen. Ever! That is the first impression I had of this amazing gangster film, but definitely better observations followed.

Michael Caine plays London based gangster, Jack Carter, who is out to investigate the foul play surrounding his brother's death. On this solo mission Jack comes across his fair share of old acquaintances, dangerous sharks and femme fatales before coming out the other end of the maze.
Exploring a Chandleresque plot director Mike Hodges presents Jack as a cold, no bullshit type character, his steely gaze seemingly detached from the rest of humanity. 

But for all his psychopathic behaviour Jack is also one of the coolest characters you've seen. The epitome of his calm and calculating persona being when he is intercepted by thugs while enjoying the company of a lady and instantly climbs out of bed toting a shotgun and shows the men off right onto the street, all the while as comfortable in his own skin and gun as, well, not many people can be.

The story is a bit thick. Events conspire behind the scenes as much as on screen and so require your attention, but what better way to hold your interest than a character as unpredictably interesting as Jack?
Caine's arresting presence keeps you transfixed on the proceedings and you follow him closely, even if you don't agree with his methods, right until the end.


Hodges' direction is ace. So surprisingly assured and restrained even though this is his directorial debut. The editing and camerawork are pretty fine too. 

Also Roy Budd's moody score stands out especially well. Specifically, the enchanting main theme, 'Carter Takes a Train', with its unique feel, perfectly utilizing the tabla, which plays in the beginning and end and more or less defines the film probably as well as Caine does himself.


But the best thing remains Caine's character and its journey. From being stealthy, cunning and hellbent on getting answers, he smoothly graduates to killing without thought or remorse. His sudden rage, his unfazed coolness, his ringing voice and his echoing, evil and sleazy laughter ably bring out the different shades of his personality, all thanks to Caine's phenomenal performance.

For me, as good as the film was, it was solely dependent on Caine's shoulders. Take him away and you take away the soul and the style from Get Carter.

 

Overall, an earnestly intense and incredibly stylish film which doesn't awe you with unpredictable twists but bowls you over with smart performances and the almost exotic feel of its ultimate Britishness.


Rating- 4.0/5