Elements of Murder

Dial M for Murder

(1954)


Directed by- Alfred Hitchcock

*Ray Milland, Grace Kelly, Robert Cummings, John Williams

As I was watching Dial M for Murder I was half worried if it would turn out to be like Rope, which was the Hitchcock film I saw right before this one.
Like it, in the sense that it would follow a formula and a linear storyline with no unforeseen development or as they say, a catch.
Now, not that Rope was not a good film, it was fantastic. Only it didn't make you jump out of your seat. All it did was to follow the 'plan' brilliantly well.

But as the murder scene is played out and the anxiety waxed, a terrible accident shook me up from my seat and the film off its cliched track and onto something mindbendingly amazing!
After that it was a cat and mouse game that kept me completely off the scent.
I knew what was going on when and what will shortly follow but towards the end there was this terrible nagging, an uneasiness that something didn't add up somewhere.
And when it finally did I was overcome by its petty brilliance.

The film deftly explores all elements of murder. Motive, the Act and finally, Retribution.
The story which follows a sly yet motivated husband, his unfaithful wife, her gumshoe of a lover and a determined inspector runs on the steam of it's surprise act with great intent and carries forth this blazing thriller ably until it seems to run out of gas and quite suddenly, injects new life with a catch that not only solves all problems, but handsomely.

Ray Milland's acting is superb. He plays the calculating schemer Wendice with an ease that slips in effortlessly.
Meanwhile Grace Kelly's wide-eyed wife Margot who becomes a double-victim, firstly of her husband's evil plot and then of the long, misguided arms of the law is believable. As is Cummings' detective novel author Halliday.
But John Williams' snoopy Chief Inspector Hubbard is the one who truly stands up to Milland's fantastic bad guy with slick hair and a vicious smile.

Based almost entirely in an apartment, the film is directed with absolute expertise.
Every pan, every zoom of the camera was done dexterously to accentuate the significance and symbolism of various objects and scenes.
Hitchcock really directs this one with such airtight drama and earnestness that the atmosphere creates half the effect of the film.

An awe-inspiring work of cinema that throws off the obvious and presents an intelligent and inventive adaptation of a play.



Rating- 4.5/5

A Maturely Mystifying Teen Noir

Brick

(2005)


Directed by- Rian Johnson

*Joseph Gordon-Levitt, Nora Zehetner, Matt O'Leary, Noah Fleiss, Lukas Haas, Emilie de Ravin

Rian Johnson's teen detective neo-noir that follows a relentless loner clawing his way into the decaying underbelly of the schoolyard drug ring and the deep layers of "the crust" brims with senseless jargon and sharp slang that befits this teenage murder mystery.
All of it, the film's premise and characters are based in a world complete in itself. Replete with not just school archetypes but also the essential players of a film noir this movie is a treat and challenge as it unfolds its coils and the veil of mystery is gradually lifted.

Drawing inspiration from some great works of film noir, namely Chinatown in its visuals and trumpet solos and the works of a one, Dashiell Hammett the film is not just an homage but a great work in its own right with its unique style and setting.
The snazzy jump cuts and homemade, dreamy effects create a world of illusion which works. The seedy locales (one of which is uncannily reminiscent of The Third Man) provide a most eerie setting that plays a character of its own.

But its Johnson's teenaged characters, all having their own agenda that ground this film into a pseudo-reality we love to be deceived into.
The drug lord, his berserk muscle man, venomous femme fatale, the scrawny and bespectacled protagonist and his behind-the-scenes aid all slide perfectly into this teenage thriller that deals with some really grave problems like drug addiction and OD'ing.

An independent production both written and directed by Johnson, it is innovative, daring and has a reality about it that makes it a legitimate effort despite depending on a rather fantastic setup.
The music by cousin Nathan Johnson is an unusual mix of tunes that remind you of the noir genre while also maintaining a secrecy and edge to the film, with the use of utensils and glass instruments.

The plot which is suspended on past events and explores the protagonist's quest for answers seems convoluted a bit, but by the end all essential ends are tied up while maintaining respectable ambiguity.
The confusion at knowing so little is more than made up by the taut pacing, gritty editing and gradual revelations. 

Gordon-Levitt's performance as the subdued yet resilient Brendan packs a sublime punch. His mannerisms and actions are delightful and he slithers into this character perfectly.
Other cast members do a fine job too.
Nora Zehetner's untrustworthy femme fatale seems a bit pale compared to the sultry Kara of Meagan Good.

Overall a very good film which satisfies its purpose and works on an alternate reality as real as ours. (It reminded me of those teen mystery novels from childhood which tackled their subject in a very mature manner)
I loved the wacky terminologies (whichever I managed to grasp) and the whole environment it created.
Very watchable at a respectable length of 110 minutes.

Rating- 3.7/5

A Homage, A Masterpiece.

Chinatown

(1974)


Directed by- Roman Polanski

*Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez

'Cherchez la femme' in French means 'look for the woman', for it is a woman who is always at the heart of any and every crime.
The crime at hand is related to water, and yet the woman forms an integral part in its great puzzle.
LA is suffering from a drought and hundreds of gallons of water is being disposed off every night into the desert.
Who is behind this most incongruous conspiracy?
Private eye J.J. Gittes is determined to find out.

What starts as a regular assignment for Gittes, which is peeping into the lives of adulterous husbands, takes a turn for the unobvious when he unearths a conspiracy far greater than anyone imagined.
On the sharp edges of this sinister plot are the two Mrs. Mulwrays, the real and the impostor; the chief engineer of the water department, Mr. Mulwray and his influential, arm twisting father in law.


Chinatown is an ode to the forgotten world of film noir when people always wore hats and drove long cars, when a smooth talking private eye bedded his femme fatale clients.
But its not one of those cheesy pulp films which only tap at the surface of the fond memories we have of that era, it goes beyond cosmetic inspirations and creates its own world, inhabited by its own people breathing a life of their own.
And yet it is grounded in that same reality which produced some of the greatest films.

That is the biggest achievement of this film. It is not just a masterful homage to the film noir genre, it is so perfect it ends up becoming the crowning jewel of that culture. Truly, a masterpiece in its own right.

The protagonist, like the quintessential private eye is a slick, strong-willed fellow bent on solving the big riddle, not out of moral responsibility maybe, but for his own contentment.
But Nicholson lives that character with such effortless ease and assuring conviction that he makes Gittes grander, more realistic and a delight to watch.
Every moment he is onscreen you are glued as to what he's gonna do now. And mind you, these moments are all the moments in the film because there is not a single scene which does not feature the protagonist.

Polanski uses this technique so amazingly to make the film an arresting experience where the viewer teams up with Gittes to unearth the plot. We know what he knows, we feel what he feels and we react to the twist with the same surprise as him.

While Dunaway as the damaged and ethereal beauty Evelyn Mulwray impresses, it is John Huston as the towering Noah Cross who delivers a performance which invokes genuine surprise. The way his character is written and the great twist is introduced, he becomes appalling and horrific just the same way as he is intimidating.

But Chinatown has so many strengths that range from the acting to direction to the cinematography, the story and music. Every pillar stands firm and shoulders the overall epicness of the film.

The cinematography by John Alonzo, which is as sharp as Faye Dunaway's eyebrows and as grand as Huston's personality unlike most noirs which used to focus on the city, captures the sprawling LA boulevards with the same grandness as its dusty wilderness.
The arid landscapes of LA where the ghosts of a river which haunt the doomed Hollis Mulwray, are captured so beautifully they remain etched in memory.

There are so many instances of great cinematography that make this film not just a thrilling adventure but also a visual delight.
The shadow play inside the rooms, the bed scene, the orange grove all of them leave an impression of a truly mindblowing camerawork.
(The only problem I had with the cinematography was that the titular district of the finale was not fully explored and thus didn't have as strong an impact as the whole film which revolved around it)


Then there is Jerry Goldsmith's haunting music.
Written in only ten days it compliments the film's eerie, dark and cynical setting. But more than that it leaves its own indelible mark on the narrative. Imagining Chinatown without the awesome trumpet solos is nearly impossible.
'Love Theme from Chinatown' is as haunting as a dark night and as enchanting as a full moon.

But the biggest achievement of the film is Robert Towne's script.
Definitely one of the greatest original screenplays ever, what truly makes it so powerful is the slow build up. The gradual rise of the stakes getting higher, the atmospheric tension which is never apparent but ever imminent. The urgency in the back of the head that something big is going on which ultimately finds its way to the fore in an explosive climax. The synergy of two crimes intertwining and bursting out in the end and their horror which is displayed on screen with such stark brutality it leaves you dumbstruck.

Roman Polanski creates one hell of a film enriched with all the elements of definitive film noir and more.
His direction takes this film a notch above what it would have been otherwise, what Towne's sequel (directed by Nicholson himself) turned out to be.
A masterpiece, a timeless classic and a film that will awe you into stupor with its rich visuals, high production values, perfect acting, sharp dialogue, unforgettable music and an award winning script.


Rating- 4.8/5
I enjoyed it more than I had hoped.
This is pure cinema. Mindnumbing and awe-inspiring.

A Classic Quotation of Chiaroscuro in Cinema

The Third Man

(1949)



Directed by- Carol Reed

*Joseph Cotten, Orson Welles, Alida Valli, Trevor Howard

British post-war noir based in Vienna, a city segregated by four powers and ruined by the aftermath of war is one of the best, most shining examples of the genre.
With its seedy locales (from cobbled streets to dingy pubs), shady characters (the scrupulous friends and the unwilling witness), masterful camerawork (splendid wide angle shots along with tilted, queer and innovative angles) and a background score which is as magnificent as unusual, The Third Man stands tall as the prime example of everything a noir film should be.

Holly Martins comes to the city to stay with his friend Harry Lime, but he arrives ten minutes too late as his friend is killed in a road accident at his own doorstep, by his own driver, in the company of his own friends, pronounced dead by his own doctor who also, quite comfortably walks into the scene.
Soon these incredible circumstances begin to nag at the nosy b-grade western writer who takes it up with the police to prove his friend's innocence, who are actually more than relieved at the death of the infamous racketeer, Lime.
As Martins grasps for clues he falls for the troubled actress Anna, who was his friend's lover and is recuperating from the sudden loss.
Eventually, this web of shadows and deceit reaches a striking crescendo as a blinding revelation builds into a most astonishing finale.

The strong point of The Third Man is not the perfect acting by its cast, with Cotten as the poor judge of character Holly Martins, who plays the foreigner-comes-to-town part of a noir hero damnably well and Welles as the conniving villain who's revelation shakes up your insides; neither is it the expert direction of Reed who maintains an iron grip over the narrative showing only what he wants us to see and keeps us on toes with the subtle, silent hints he plants on screen; nor is it the smart writing which was first made into a novella by writer Graham Greene to better explore the world of the film; it is, in fact as with all great noirs, the incredible camerawork that becomes the hero of this film.

Robert Krasker's mindblowing cinematography which not only captures the mood, melancholy and misery of war torn Vienna deftly, but also delves into its underbelly with equal ease. The final scenes which form one of the best examples of cinematography in a film noir are also some of the most amazing moments on film, the long winding chase in the sewers which culminates into a most thrilling climax will remain etched in my memory forever.
The way the city's ruined structures are depicted quite in the same vein as it's thriving nightclubs coupled with a dexterous play of shadows and lighting makes it a beloved example of chiaroscuro in cinema.

Everything about this film is near perfect.
It grips you right from the opening monologue (presented by Reed himself) and as the story progresses it sucks you in a quicksand of drama, excitement and moral ambiguity.
The way it surreptitiously leaves the fate of the protagonist open ended (in stark contrast to the novella) adds depth to his actions and their effects.

A quick word about the phenomenal yet quirky music by Anton Karas, which virtually uses just one instrument; the zither, to form the most haunting and appropriate background score. 'The Third Man theme' became a rage worldwide with its new sound that not only complimented the film but is also a pleasure to the ears.
In fact Karas' zither duly accompanies Krasker's lenses in making this film the fondly memorable experience that it is today.

A powerful film that uses every trick of the trade and packs a punch that will impress, inspire and entice you to the charm of this fantastic genre.
Kudos to Carol Reed, who was understandably inspired by Welles' own style of filmmaking and created this screen gem.

Rating- 4.7/5

An Ad-Vantage To Noir

The Killing

(1956)



Directed by- Stanley Kubrick

*Sterling Hayden, Elisha Cook Jr., Jay C. Flippen, Ted de Corsia, Joe Sawyer, Marie Windsor

There are heist films and then there's a heist film by Stanley Kubrick. Kubrick only a budding genius back then made this film on a small budget in collaboration with his patron James Harris, with a restricted reign on his artful imagination and yet he did a fantastic job. His innovative idea of telling the story through various vantage points adds a freshness to every iteration while also building up the excitement.

The story about a bunch o' hoodlums who plan to make a fortune by ripping off a racetrack, flows smoothly until their schemes are spilled to the greedy wife of one of their own. This sets in motion various nefarious schemes that greatly affect the solution of this potboiler affair.

The film also explores the 'human element' in an erstwhile perfect heist. The element of avarice, wrath and simple nerves playing its part in a cog-and-wheel situation and how that affects the conclusion.

Cleverly directed with a few shots that stand out particularly, make brilliant use of light with a dexterous play of shadows. The meeting in a shady apartment or the scene where George goes to kill his unfaithful wife, the expression on his bloodstained face, remain etched in memory long after.

(George here being the memorable gunsel from 'The Maltese Falcon', Elisha Cook Jr., ah how well Kubrick utilizes him)

The acting by everyone is fine. Marie Windsor as the insatiable vamp leaves a mark, as does Cook Jr. However the lead actor Sterling Hayden fails to impress. It's still Kubrick who's the real star of his film.

But a character that sticks with you is the wise old wrestler, Maurice. With his overflowing knowledge and superior intellect, the mountain of a man manages to impress albeit having a short role.

 

The shots are planned well, the racetracks are depicted in their expanding vastness and the horses look beautiful indeed. From the gloomy indoor settings to the bright outdoors Lucien Ballard captures everything splendidly.

But it's the screenplay, adapted from a novel by Lionel White and written by Kubrick himself that towers above all. The dialogues, such as those between the husband and wife where he convinces her of his love and she, quite shrewdly coaxes him to spill the beans add flesh and blood to the narrative. Even the narration, which does provide a slight documentary look, reminiscent of his shorts, is convincing.

The justice done to the characters and the untold yet evident fate of the sole survivor delivers a chilling blow.

Overall, a darn good film. Very different from the rudimentary noirs, in both styling and substance and yet true to the roots of the genre, this one is certainly one of the best heist films you've seen.

Kubrick is the man, or God. Whichever you will prefer.

Rating- 4.5/5

Chasing Through A Dreamland

The Night of the Hunter

(1955)




Directed by- Charles Laughton

*Robert Mitchum, Billy Chapin, Shelley Winters, Lillian Gish

Charles Laughton's inspiring noir thriller about a murderous Preacher is one of those early works of genius which basically created the templates that many films would follow for years to come.
As the menacing Reverend Harry Powell calls for the two innocent children in a sing song voice you can virtually feel the tension seeping through the screen and into the sweat of your palms.

Utilizing brilliant set design and the remarkable camerawork by Stanley Cortez, Laughton creates a dreamland which the two nimble protagonists endeavor through. That is how poetic the language of the film is. From the town to the river, the farm and the house of Miss Cooper, the perilous journey of John and Pearl, forming the centerpiece of the film is depicted very, very artfully.

And it's not just the sets but the lighting and the play of shadows conducted by Cortez that leave an indelible mark on one's mind.

(The giant shadow of Powell's head caused by a streetlamp inside the children's bedroom or the scene where the Preacher murders the mother in that crypt-like room.)

But what accompanies the narrative smoothly while enhancing the dread of the scenes is Walter Schumann's unforgettable music. With two original pieces, 'Lullaby' and 'Pretty Fly' (the latter being so enchanting I still can't stop humming) that are placed perfectly, the score is haunting and melodious at the same time.

Also making use of the traditional hymn, 'Leaning in the Everlasting Arms' as a motif for the killer, Laughton creates a chilling picture of vice and villainy through the mere use of a song.

But the film is so brilliant in its symbolism and the contrasts that watching it and unraveling these beautiful secrets is a treat in itself.

Such as, the literally angelic representation of Rachel Cooper (in the beginning), while she plays the role of a guardian angel for the kids; a bible-reading, god-fearing angel.

And Icey and Walt Spoon's switch into the cursing forebears of the mob is justifiably humorous.

Though what slightly put me off was the anti-climactic end of Harry Powell.

Then it's the acting. Robert Mitchum is every bit perfect as the seething villain, Harry Powell; the serpent with the silver tongue. His mannerisms, his accent and distinguished baritone and the way he narrates that 'Story of Good and Evil', all of it forms an image of a perfectly loathsome character, dimpled chin and all.

Lillian Gish as the benevolent Miss Cooper looks the part. Her kind motherly face and the slight quiver in her voice and the resolute firmness in the way she cocks her shotgun, it is all promising.

Finally, its the boy, Billy Chapin who plays an important role so very effectively.

This film is as deep in meaning as it is visually stunning.

It will remain not just one of the most unforgettable noirs but also a film that formed a brilliant specimen of cinema.

Rating- 4.4/5

A New Twist of Nuclear Noir Nihilism.

Kiss Me Deadly
(1955)


Directed by- Robert Aldrich
*Ralph Meeker, Maxine Cooper, Gaby Rodgers, Nick Dennis, Cloris Leachman

A sleepy film noir that takes the turn of a sci-fi espionage film by the end as it reaches maximum mystery and a chilling end!

Mike Hammer is a shady private eye who pimps his secretary for blackmailing wealthy and adulterous husbands. 
One night while driving along the highway as he gives a lift to a mysterious girl he ends up getting caught in a web of unresolved answers and two-faced players.
Trying to find the killers of the mystery girl, he ends up losing his friends on this insane vendetta and much more.
But as the smoke clears and revelations are made Hammer looks in the face of a plot far more greater and sinister than he had ever imagined.

The film builds up slowly, never giving away what its really about as you hang on to loose ends while character after character are introduced and the protagonist gropes helplessly in the dark, but scriptwriter A. I. Bezzerides does a fantastic job with tying up those ends in a perfect knot which has the thrills and the chills.

The direction is also very good, some of the shots are clearly distinctive of a noir and go along with the detective-in-pursuit motif splendidly.
Meanwhile Meeker fills in the tough guy role effortlessly. He knows how to grin mercilessly as he tortures his victims and to clench his jaw when in a fix. 
This film however has two femme fatales as opposed to the one. Maxine Cooper's slutty secretary Velda who traps rich husbands for her boss, however, pales in comparison to the diabolical vixen Gabrielle, played superbly by Gaby Rodgers. Her heel in the end is one of the most chilling femme fatale moments of film noir.

Overall the film which starts off as a cheesy, whodunit (and remains so until almost halfway through) boils down to a gritty nihilistic take on themes never before explored in this dark genre.
One of the pathbreaking films of Noir.

Rating- 3.7/5
Heavily recommended. You will be surprised.

Mythbusting & Mindblowing! 'Indie'd...

The Man From Earth

(2007)



Directed by- Richard Schenkman

*David Lee Smith, Tony Todd, John Billingsley, Ellen Crawford, Annika Peterson




An indie movie with such an amazing concept that hits you in the gut like a sledgehammer and leaves you awestruck, suspended in the air, for its 1 hour 27 minutes of running time.
To put it simply, John Oldman is a professor who unexpectedly resigns from his post. He is also a 14000 year old Cro-Magnon caveman.
Set entirely in the living room of his house where he narrates his extraordinary story, from prehistoric to the present, to his initially unbelieving and eventually bewildered friends.

Written by Jerome Bixby (as his last work) the film spans over a vast canvas of themes and notions of human history, exploring and doing justice to all possible premises. John's journey is described amid heated discussions and humorous arguments and that saves it from being a fairytale occupied by its own grandness. 
In fact the film plays with your emotions expertly while challenging theories and even facts we so firmly believe in, in a tongue in cheek kind of a manner.

The crucial moment when John makes one of the most astounding revelations is handled deftly. The horror it creates somehow shadowing over the awesomeness it exudes.
Though nothing substantial happens throughout the screenplay and all we learn is John's fantastic backstory, the magnitude of the effect it has on it's audience is nothing short of, no, much greater than biblical.

The acting by the entire cast is good. Especially by David Lee Smith as the primeval professor John Oldman. And he is supported well by Tony Todd as the inquisitive and mildly supportive Dan and the cheerful Biologist Harry played by John Billingsley.

However, there are a few chinks in the armor, primarily technical issues such as some parts of the dubbing and in the handling of certain scenes, especially towards the end which muff the overall dexterity of the narrative.
But the final gut-punch by John Oldman (or any one of the various pseudonyms he has adopted if you prefer) which you may somehow foresee, still leaves you shaken, impressed and in wonder of just how amazing this film is.


Rating- 3.8/5
Be prepared to have your minds blown. Blown to bits I say.
What a fantastic idea!

Of Scouts, Lawyers & Lovers

Moonrise Kingdom
(2012)


Directed by- Wes Anderson

*Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Harvey Keitel and Bob Balaban


As Wes Anderson's Cannes opener begins, the camera sweeps across the rooms of a house, showing the daily lives of its inhabitants as we see a young girl pouring over a book.
The house is called Summer's End and the girl is Suzy Bishop, the troublesome daughter of an attorney couple living on an island known as New Penzance.
Suzy has been interacting with a pen pal she made when she participated as a Raven in Benjamin Britten's play Noye's Fludde. The pen pal is Sam Shakusky, an orphan Khaki Scout who is rather unpopular in his camp.
The duo decide to elope and thus begins this hearty adventure of a kid couple lost in a storm of emotions, innocence and a charm so beautiful that makes you fall in love with everyone who touches this story.


The sequence where Scout Master Randy Ward inspects the goings-on of his camp, Camp Ivanhoe, and discovers that a cadet is missing sets tune for the comic mood that transcends over the rest of the film.
The action which sees a daring rescue from a raging fire and a lightning bolt that strikes our hero on a pile of rocks, even, rings with that adventurous theme of the scouts.

But Moonrise Kingdom isn't the story of smitten scouts, nor is it a tale of broken homes and the tangles of human relationship. But it is, in fact, a lovely, heartfelt ode to the beating hearts and the apprehensive touch of a first love so strong it braves storms, lightning, floods and the wild to survive. A love powered by the principles of scouting and the wings of imagination. A love that leaves its home and creates its own Kingdom.


Narrated by Bob Balaban and set in an island community in 1965, brimming with that old world charm, the film has a beautiful imagery that is enhanced by the brilliant cinematography of Robert Yeoman. The green wildernesses, the turquoise oceans and the Khaki shorts form such an enthralling palette that leaves you astounded by it's visual eloquence.


The acting by the perfect ensemble cast is apt.
Bruce Willis as the bespectacled, sad Captain Sharp downplays his character splendidly and achieves a sympathetic perfection.
With Bill Murray and Frances McDormand as the headstrong attorney couple who raise their kids with military strictness and fail to understand the longing of their own daughter's heart.
The cameos by Tilda Swinton as Social Services and Harvey Keitel as the outrageous Commander Pierce leave a mark.
But among the adult cast it is Edward Norton's unsure, inexperienced and yet daring part-time-Maths teacher/Scout master that evokes empathy by the overall sense of goodness brimming about him.
And finally the lead actors, the couple in love, the man and wife; Jared Gilman and Kara Hayward as Sam and Suzy deliver a performance of such conviction at such a young age which forces you to acknowledge their love as no less than that of legends, albeit with its own quirky sense of humor.


It is a film about the innocence of childhood and the eccentricities of love, of real people who strive in their real lives and scouts who march ever forward with flag, badge and banner and how love provides solace from the chaos of this grown up world.


Rating- 4.4/5

Bhai Lose SWAG!

Ek Tha Tiger
(2012)


Directed by- Kabir Khan

*Salman Khan, Katrina Kaif, Ranvir Shorey, Girish Karnad, (Doodh)



I know it's late and pointless reviewing this film but well, lets just get this out of the way.
Like most movies I got into this one late (about 5 mins) and probably missed a lame joke concerning cigarettes (as I've heard) and Bhai's entry.
But soon the loss is forgotten and the mood is set when Bhai starts jumping off rooftops and going ninja with clotheslines.
After a fierce bout of seetis and taalis the scene ends with heavy cash flow on the streets and Bhai walking out of the frame in his signature strut.
Now most people miss this but Kabir Khan here is such a badass with symbolism that he strategically placed this scene to subliminally signify his film's predetermined performance at the BO and laugh in the face of his contemporaries.
Also to reassure YRF for making such a pathetic film.

But moving on, Bhai gets back to his sarkari quarter and takes milk from the doodhwala (the doodh having an extended role in the film. And it does show promise, I'll tell you that)
And in no time Bhai is ready for his next assignment. Facial injuries notwithstanding.
Soon Bhai is assigned to observe a prodigal professor of Indian origin and look-see if the guy is secretly supplying information to Paki agents.
Cut to: Dublin
Bhai dons smart sweaters and loiters around park benches and subsequently gains entry into the Prof's house. But why do you even need the professor?
The guy barely comes on screen and in no way helps move the story forward.
The doodh has a bigger role than him.

Bhai is soon distracted by the beautiful caretaker and loses all interest in the professor. And whatever little screen time the guy had is robbed from him.
Then follows a weak love story, sans any good songs, good humor and good reason.
Its just that Kabir Khan managed to rope in both Salman and Katrina together after a long time and solely decided to depend on their confused relationship status to take care of the film. There is just NO love story happening here.
But then comes the twist which must have made Kabir Khan feel so pleased with himself that he doesn't even care that the public could sense it from miles away and hours before.
Yes, Katrina is a spy beyotch!
that too ISI, ooooh..

Bhai is heartbroken or constipated going by his expression, but he gathers his wits and musters his patriotism to shoot his lover in the face, right before interval.
Or so you think, Kabir Khan is 'streets ahead' of you and Katrina is alive! #LikeABoss
Bhai's chivalry having overpowered Bhai's farz, he let a rival spy (probably armed with weapon secrets and his heart) slip away.

But never mind the hiccups, the story continues to move ever so forward without managing to get anywhere.
Cut To: Sarkari quarter, and the doodh gets some more screen time. By now overpowering Girish Karnad by it's blinding performance.
(I can see a star is born)
Bhai is lovelorn and decides to take up a desk job, quitting field work altogether.
Yet fate forces him to cross paths with his love once again and he sets off for a UN conference to meet Zoya Bibi. That's Kat btw.
(Yes, Pakis are very respectful to their ladies, even if they are AWOL secret agents)
After too much waltzing and fooling around Bhai simply takes off with the girl jumping from speedboat to airplane to bus to rooftops again!

Now the only good thing about this film that makes all this spineless ruckus bearable is the action. The parkour-powered chase sequences coupled with some amazing hand-to-hand combat featuring both Bhai and *ahem* Bhabhi, breathe dragon fire in the erstwhile dead film.
The stunts are performed with finesse and executed with flawless precision.
There is a distinctive flow to the action and you can see it, and that pleases you all the more.

But Kabir Khan returns to his signature bullshittery and stabs all good things and decides to end the film with the obligatory lameass car chase followed by a surprising and genuinely funny teamwork between RAW and ISI.
In the end Bhai decides to take the action up a notch by boarding a plane amid take off on his phancy bike.
(Batman take cue)

The film ends with enough room for a sequel and its viewers' faith in Bhai left in tatters.
There is no quirky humor of your regular Salman fare, no cocky dialogue that usually sends the public in an uproar and only a momentous peek at his finely sculpted abs. There's just not enough Salman in there.
Kabir Khan tries too hard to make a believable love story of a spy which comes across as an un-Salmanly experience and leaves a bad taste in your mouth.

If only Bhai was allowed to carry off his effortless swag as always, this film could have scored. If only there were better lines and a tighter script, this film could have scored. If only Kabir Khan didn't try to make it an eligible contendor for award season, this film could have scored.
Sadly, it doesn't.

Kabir Khan makes a botched up, witless attempt to portray himself as a mainstream director with sensibilities and substance. But you're casting Salman Khan, you better throw all sense out of the window for good and dive right in.


Rating- 2.5/5
Watch it only for the rush of the action scenes, then kindly leave the theater.

The City, A Murder And Noir

The Naked City (1948)

Directed by- Jules Dassin

*Barry Fitzgerald, Don Taylor, Howard Duff, Dorothy Hart


The Naked City is about New York, starring New York and made in New York.
A wonderful ode to a wonderful city with colorful narration and genius camera work.
With the starting monologue (presented by producer Mark Hellinger) attempting to provide it a documentary style we are introduced to the chief character; New York city.
William H. Daniels' superb cinematography captures the very soul of the great city in a stunning montage that spans from empty theaters to high society gatherings, a cleaning woman about her job to a radio host playing records on air.
As the narrative proceeds we witness a murder, that of a young model by the name of Jean Dexter. Alongside we are introduced to the other principal characters living their lives, oblivious to what that beckons them.

The story in a nutshell is pretty neat. Cops investigating Dexter's murder are hot on the trail of the murderers. But the clever web of shadows that falls over the rather simple mystery maintains the secrecy like a charm. And as new sides of the dice are revealed the viewer relishes in delight of the taut thrills that the film packs, including a very elaborate and sizzling climactic chase.

The film is also special in showcasing the minute details of a real police procedure. From dusting the room for prints to combing every inch of it for clues. and even the false leads that tend to misdirect the investigations and not to mention provide some unintentional humor.
It is the realistic depiction of the functioning of the police body that gives the film the haunting feel of realism.

The characters played out by the wonderful cast are rooted into reality and we feel the false pride of Frank Niles just as the youthful excitement of Detective Halloran.
But it is the wise old man of Barry Fitzgerald, Det. Lt. Dan Muldoon who overshadows the rest of the cast by his experience and wit.
From mumbling happy songs to mimicking crazy, old ladies, Fitzgerald is all there and his acting is first rate. Funny, calculating and warm.
Though there is one more character, as sharp as the old timer and even more cunning.
It's the brilliant narration by Hellinger that drives the film forward with a powerful force. There are scenes where the narrative might lag, such as while looking for witnesses all across the city, but it is the satirical dialogue of the narrator that provides these scenes with a comical edge.

Dassin's direction which takes control from the word go and never slips in the slightest for the rest of the film is commendable. The pacing of the scenes, the heels, the timing, all of it is nothing short of perfect.
Dassin handles his characters on a leash and they follow every command dutifully.

But what really makes this film so lovable, so rare is the awe-inspiring cinematography.
From the NY skyscrapers to the streets, the children's parks to the offices all of it is immortalised onscreen forever as one of the finest examples. And why not, as the film has been shot entirely on location.
Not a single shot was taken in a studio as the film is completely based in New York, a fact complimenting its own unique documentary style.

In the end, The Naked City is a wonderful achievement.
A splendid commentary on the millions of oblivious lives and their ironies that fill the city and make it complete. Make it real.
One of the brightest of films noir, complete with fleshy characters and a thrilling storyline and its own distinctive style.

Rating- 4.4/5

Miss* Miss* Bang! Bang!

Gangs of Wasseypur II
(2012)


Directed by- Anurag Kashyap

*Nawazuddin Siddiqui, Huma Qureshi, Richa Chadda, Zeishan Quadri, Tigmanshu Dhulia, Piyush Mishra, Rajkumar Yadav, Pankaj Tripathi, Reemma Sen


[SPOILERS!]


Anurag Kashyap's follow-up to the mindblasting Part I begins right after Sardar Khan's assassination. And from that point on its evident things will never be the same in Wasseypur.


THE PLAYERS:

First of all, Kashyap introduces many new characters that form an integral part of the story and yet you somehow feel that they could have been easily avoided. The reason being that they fail to reach out to you during the minimal screen time they get.
Unlike last time where even a short role by Vipin Sharma (as Ehsaan Qureshi) left a mark due to his superb acting in that, "Ab toh sach bol de bhosdi ke!' scene. (remember him nodding like a buffoon?)

GOWII has various colorful characters, some with their own signature handicaps and even exotic names, which somehow seem to be placed deliberately in the mix, only for the sake of adding more variety, which was quite unnecessary in the first place. The prequel had a perfect blend of earthy, believable characters that were deeply embedded in the story.
Many characters here have not much to do except act as devices to spawn new plot lines that ultimately reach the end. And in hindsight you like to believe that you could have done without that particular plot line or even the character.
For instance, Shamshad Alam whom I found an utter waste of screen time and a totally useless character in the story. However he did have lengthy role and played some part in the downfall of the empire and the corruption of Definite.

The major characters however are dealt with a maturity that reminds of the preceding film. firstly, Mohsina (Huma Qureshi) who graduates from a filmy girl next door-cum-love interest to Faizal into a pillar of support who serves as the only solace for the troubled Faizal.
Also Naghma Khatoon, Faizal's fiery mother, one of the strongest characters from the previous film is somehow tamed and tended to the shadows in this one, but that only compliments her old age. Her initial scenes only showing a bit of the flair that she sported in Part I.
The rest of the primary characters like Sultan, JP continue to strive in the backgrounds while still getting their own moments to shine.
But Piyush Mishra's Chacha Farhan gets truly sidelined and barely has a dialogue to speak.
The aged Ramadhir Singh also suffers a similar fate as his fellow characters from Part I. Subsided to only a few scenes and a bloody climax, he doesn't get much time to share his old man's wisdom.
Except for that amazing 'garden ki chaai' scene where he delivers one of the best punches from the film.
"Jab dak is desh mein cinema rahega log chutiya bante rahenge"

And then there are the two primary characters, firstly its Faizal the protagonist, burdened with the responsibility of exacting revenge for his family.
His character who was a worthless pot-junkie in the previous film grows into a menacing crime lord with an insatiable bloodlust. The decay of Faizal's character is shown splendidly by Kashyap.
The final scene where Faizal rains death upon his sworn enemy with those emotionless eyes and that childlike fixation on his pallid face, combined with the killer beats of Sneha Khanwalkar's badass KKL track (to which I'm listening as I write this review), itself makes the rest of the film worthwhile. His journey complete and his actions redeemed.
Now on the other side of the coin is the cagey and wily Definite, the new breed of Mafia springing up from this soil watered by the blood of generations.
Definite is a character whose real intentions are never revealed throughout the film. That is until the final scene.
He helps Faizal, plots against him, saves his life and teams up against him again until the viewer is left utterly clueless as to what this enigmatic young character is all about. And in the end he delivers his final blow.
His is the only character journey after Faizal that is justified by Kashyap.


THE STORY:

Credited to Zeishan Quadri (also playing Definite), Akhilesh, Sachin Ladia and Anurag Kashyap, the story is rather straightforward and without much twists and turns. A lot does happen along the narrative yet all of it instead of boiling down to the finale is scattered here and there and most of it seems pretty pointless in the first place.
A lot of sub plots are created and then left hanging.
Like the election angle which was so profusely advertised. We never see the end of it and in fact Faizal yearns to quit the election almost immediately.
His sorrow though understandable is somehow misplaced and badly timed. Yet its the wonderful acting by Nawaz that pulls it through.

There are a few other things which bug you about the story in hindsight.
GOW I had a fantastic storyline and superb narration by Piyush Mishra. It was a tale spanning decades and states and told the bloody history of Wasseypur through the eyes of its own people, how they came to and what spawned the bloody rivalries that haunt the town to this day.
This time around however the narration seems lacking. There aren't much historical developments and the story seems to spin out of control despite desperate attempts at fusing the narration at certain points.

The overall story, if you look at it by combining the two parts seems to have a lag after Sardar Khan's death. Danish's attempts at vengeance though seem to pick up the tempo, but he is shortly and abruptly killed and the film descends in a narrative limbo from which it actually rises only in the climax.

This half of the story of Gangs of Wasseypur is certainly weaker and fails to bind the viewer like the predecessor. Even though this does have a grander scale, better guns and faster rides.
But maybe it was the uncertainty of a homemade bomb that provided the previous film with that grit, the sharp point of an icepick that gave it that edgy nature which made it such an enjoyable fare which despite being two and a half hours long still has a high rewatch value.
Something one can't promise about this part.


THE MUSIC:

Sneha Khanwalkar's music is one of the plus points this film has over its prequel.
The rustic tunes of Moora, the subtle music of Kaala Rey, the power-packed Chhi Chha Ledar, the flashy Electric Piya and the festive Taar Bijli all are songs that one not only remembers fondly but also that form an integral part of the narrative.
But the one track with its mindnumbing music and its awesome placement in the film that will remain etched in your memory forever is KKL.
A remix of the phenomenal Keh Ke Lunga track from the previous album, this is definitely my favorite. And Kashyap uses the song to its full extent as Faizal unloads magazine after magazine and rifle after rifle into the destroyed remains of Ramadhir Singh with such sadistic pleasure and such innocent satisfaction that makes this scene the apex of action cinema in India.
Other tracks that stand out are Moora, Chhi Chha Ledar, and Kaala Rey.

GV Prakash Kumar's Godfatherly background score gives the film the required gangster feel, adding intensity to some key scenes.


THE REST:

Rajeev Ravi's Cinematography is visually pleasing.
He captures the landscapes as well as the urban setting beautifully. There are ample chase scenes some of which are shot exceptionally. For instance Perpendicular's entry, shot in slow motion and narrated by Piyush Mishra paves the way for an interesting character.
Though that character meets a most undeserved and quick end is a different thing.

Kashyap's direction is good.
Though his grip slackens at times and the film tends to lag, especially after the interval. The film never actually picks up until the final chain of events are in order.
Probably its because Kashyap has crammed way too many characters to give it a City of God-like feel, but unlike his inspiration he fails to do justice to each and every one of them.


THE CONCLUSION:

So finally whereas GOW II fails to stand up to the standards set up by its predecessor it is still a pretty enjoyable fare.
Mostly for the characterization of Definite and the stupendous acting by Nawazuddin.
And mainly, the climax scene. And the music that roars in its background.
That is the reason I would be willing to watch this film again in theaters.
That scene actually signifies the power of cinema. The mindblowing effect it has on you and how it leaves you in stupor, I would pay again and again just to watch THAT scene play forever in a theater.


RATING- 3.5/5
A film I had immense expectations from, which despite being somehow disappointing was still very enjoyable.
Nawazuddin/Zeishan Quadri FTW!

Welcome World...

As I welcome myself to this new platform of cyber-expression there is a slight apprehension that hangs in this vacuum of the web. The virgin sheets of this blog herald a new medium to share my excitement for movies with countless counterparts and to reach out to those who appreciate and understand film.

Having written extensive reviews for the better part of my newly developed geekhood, sharing them with my online friends was an involuntary action. But there always remained the need to have a place where all these thoughts, ideas and inspirations could be gathered in a vault of memories and be accessed for ready reference.
Though a blog was always on my mind, getting down to creating it and accepting the responsibility to keep it running always seemed to bother my lazy self.
A lot of my friends had frequently suggested this and in fact I had created this blog long back itself, but actually getting it in shape and customizing the perfect look from a plethora of templates was always the most tedious of tasks.
But when the reviews rendered unmanageable on status updates and as comments on communities, it was evident the needful had to be done.

But that was not the only reason I came here.
Having your own blog gives you that misjudged sense of satisfaction, the feeling of being someone who is published, read and actually looked forward to. When the reality is you advertise your blog vehemently, virtually begging the world to read it like a door-to-door salesman. And the tired, disgusted people frown upon your work like a scrutinizing examiner and cast it as another vague opinion among millions.

And so who was I to refrain from the alluring aspect of being a revered author?
To hell with ridicule and nonacceptance. I am a writer, bitch. Read me because my opinion counts, my words despite being published on a free medium from which I also hope to earn some money on the side, are the words of wisdom. Free and yet wise.

So, as I conclude my maiden article I hope to have conveyed my message. That I make absolutely no sense and I am here solely because having a blog makes you a man of respected sensibilities.
But then there's one last thing to consider,
I Love Cinema!
Yes, more than writing my own blog and becoming a famous author, more than earning buttloads of money and more than accumulating respect, it is the love of cinema that drives me to create this blog and to reach out to all you fantastic cinephiles who share the same passion.
It is the magic of this wonderful art form that binds us cinema lovers across this expansive medium of the internet and makes us one massive, varying community that breathes the same air and lives the same life.

Here's to cinema and good times to come.
Cheers,
The Cineman.