Publié le 24 Novembre 2008

« Meenaxi, tale of three cities » by M.F. Husain (2004), is exactly that, a Bollywoodian befuddlement. The film is a pathetic attempt at building “something else” than a traditional love-story, and, because of lack of inspiration or lack of artistic common...

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Publié le 18 Novembre 2008

Well! I’m pleased to announce that I too have escalated the Everest… Er, I mean I finally read Vikram Seth’s 1472 page novel “ A suitable boy ”, and that it has been a fascinating experience: thanks M. Seth! Such a length is said to be unparalleled in...

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Publié le 13 Octobre 2008

While I was reading about Satyajit Ray’s Charulata (1964), and thinking of Pakeezah (1972), critics mentioned Abrar Alvi's (or Guru Dutt’s - he apparently was almost as much behind the camera) Sahib Bibi aur Ghulam (1962) as a paradigmatic sort of film....

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Publié le 4 Septembre 2008

What attracts one to Juhi Chawla is her absolutely irresistible smile. Okay, she was “only” a Miss India (1984), but frankly, Yash Chopra’s idea to cast her as Shahruhk Khan’s idol in Darr is not a bad one, far from it. I believe one can really fall passionately,...

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Publié le 28 Août 2008

The Stranger (1991) is an atomic experiment. Satyajit Ray imagines what might happen when a normal urban family of three (the target) is bombarded with a high-energy free electron in the shape of a long lost uncle who enters their lives from outer space,...

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Publié le 22 Août 2008

Here’s another beginner – after Aag – Shyam Benegal ’s first long feature film shot in 1973, after he had finally got enough appraisal for his work shooting advertisements (apparently more than 900 !) and documentaries. Ankur means “seedling”: some people...

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Publié le 12 Août 2008

Aag: fire. In this Early Raj Kapoor Movie, fire is a symbol of love, naturally, but also creation and destruction. It is fit that this film stands at the beginning of Raj Kapoor’s career (his first movie as an adult was in 1943), since there is a strong...

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Publié le 31 Juillet 2008

I’d seen other films with her before, but I really discovered Tabu thanks to Cheeni kum. “Cini kam” means “less sugar”. And that’s what Bollywood has to offer with Tabu: a less sugary actress! With Tabu, the sweetness of many other mainstream actresses...

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Publié le 22 Juillet 2008

Of all the commentaries I have read about Kamal Amrohi’s 1972 movie Pakeezah, this one (Upperstall.com) corresponds most to what I thought of it : “Pakeezah is a stylized, larger than life mythicization of the familiar tale of the prostitute with the...

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Publié le 10 Juillet 2008

Kasauli, Himachal Pradesh, 1977. Nanda Kaul, an old solitary lady lives in her house on the mountainside. Something depressing about her presence there, as if she was hiding away from some family secret. The house: a witness of generations of Colonial...

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Publié le 3 Juillet 2008

It’s become a recurrent syndrome: I need a second viewing or reading to appreciate some of India’s prominent masterpieces! (For it has been recognised as such, see this link , or this one for example). This has been very true for Charulata (charu = attractive,...

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Publié le 26 Juin 2008

It took me a long time to finish The Inheritance of Loss. Not only because there has been so many things to do in the past months, but also because somehow the novel didn’t correspond to what I am at ease with, a real storyline evolving around recognisable...

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Publié le 21 Juin 2008

I watched Calcutta Mail on Jaman (Jaman.com) because of Sudhir Mishra and the good memories I had of Dharavi , Main zinda hoon and Chameli . All three movies are urban movies, and deal with the impact that cities have on the individual, or perhaps rather...

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Publié le 17 Juin 2008

Hi everyone… Here’s that detailed observation of the dream-sequence in Raj Kapoor’s Awara which I had promised you! I’m in fact quite pleased I had set that aside, because there is so much in it, and even more than what my Western perspective can divine,...

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Publié le 3 Juin 2008

Like perhaps a number of you, I discovered Manisha Koirala in Dil se , by Mani Ratnam, and was attracted by that irritating mousy character of the terrorised terrorist, who with her distant but intense eyes tries to escape Shahrukh’s advances, but not...

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