Mission Turkey!

Please put your hands together to felicitate the one and only Apoorva Lakhia for making the worst film of the year so far – Mission Istanbul. This one's a Turkey if there ever was one, and to relish it, you've got to be in the mood for Christmas!

To put it mildly, ‘Mission Istanbul’ is ‘Murder of Cinema’ and I am sure the future generations of film students could write several theses on this murder. It has such a cruelly contrived story that you wonder if the writers of the script are truly in touch with the real world. Guess what! Al Qaeda roams free in Kabul post the American invasion of Afghanistan and the public killings still take place in football stadiums under the rule of the new Afghan government. Not just this, Northern Alliance is still fighting its battle with Al Qaeda. I truly feared that the Director would next show Ahmed Shah Masood alive and kicking the sh*t out of Al Qaeda. Thankfully, that didn’t happen!

The film could have made interesting points about the economics of terror, the commoditization of news and its sensationalized packaging as entertainment. It also alludes to various vested Western interests in keeping the region in conflict but takes that thread nowhere. Sequences, set pieces and plot devices are liberally sourced from Hollywood fare such as Enemy of the State, The Siege, The Matrix, Swordfish and the Hong Kong actioner Infernal Affairs. The rest apparently came from the fertile imaginations of the director and writer. One of which would be the blatant product and tagline placement for a fizzy drink (Mountain Dew) done so horribly badly that I, for one, am never going to be able to pick up a can of that stuff again!

Vivek Oberoi opts for a knowing smirk while Zayed Khan looks like he's barely able to control his steroid rage. No opportunity to overact is missed by either of them. Shabbir Ahluwalia and Nikitin Dheer are no better. Shriya Saran constantly looks like she's straining to remember her lines (or she's smelt something unpleasant) while Shweta Bhardwaj's simpering appears better suited for ads in the back pages of certain guy magazines.

Apoorva Lakhia’s (one of the most overrated Directors in Bollywood) style of filmmaking is to take stylish shots and put them in quick succession to each other and add the remaining impact by loud background music. He really needs to work as an assistant under some truly qualified director to get the basics right. This is the same movie that was offered to Apoorva Lakhia, with the accompanying fat pay cheque, it was not money well spent for the producers Suniel Shetty & Ekta Kapoor.

There are so many flaws in the film that one can keep on writing….. The true heros of the film are the audience who brave sitting through this ‘Mission Turkey’. And before this piece becomes even more incoherent than it already is, I must sign off and attempt to undo the brain damage. Let's just hope Apoorva Lakhia doesn't decide to make a sequel and call it MI:2 as he has already compared this ‘Mission Turkey’ to ‘Mission Impossible’ in one of his interviews!

Umar sari toh kati ishqe butta mein momin. Aakhri waqt mein kya khaq Musalman hogaye?

The loose translation of the above Urdu couplet by legendary poet Momin Khan would be: All your life you lived in non-Muslim ways. In your old age, how can you become a Muslim? For me this couplet quiet sums up Khuda Ke Liye – In the Name of God.

I’ve been reading a lot about Khuda Ke Liye – first Pakistani movie to release in India after 43 years, a movie that has become a craze all over Pakistan, so much so, that on one hand there was a fatwa against it by some radical maulvis and on the other hand an endorsement from Pervez Musharraf, the director of the movie went on vacation with his family, as soon as the movie was released fearing his life, the film was recently honoured with Pakistan's highest civilian award Sitar-i-Imtiaz, etc.., I was very curious to watch Khuda Ke Liye and since I had missed it when it released in India a few months ago, I decided to buy the DVD of the film.

I remember getting bowled over by Pakistani director Sabiha Sumer’s excellent film Khamosh Pani a couple of years ago when it was shown at the MAMI festival. Khamosh Pani told the story of a youth in rural Pakistan who falls under the influence of fundamentalists, and turns his back to his mother and his lover.

Writer / Director Shoaib Mansoor’s movie Khuda Ke Liye – In the name of God goes a step further. The story is interesting as it handles two major issues – religious extremism and racial profiling - and twines them well. There are other issues also that the movie tries to focus on; condition of women during Taliban days in Afghanistan, theological issues of acceptance of music and cultural contextualization of Islam and the way various groups are putting forward their own version of the religion. The film’s introspective theme also takes a look within the contemporary Pakistani society and shows the wedge between the moderates and extremists, it also brings to the fore the less-acknowledged truth that Muslims are being viewed with increasing suspicion in the West. All it takes for you to become a terror suspect is be a Muslim, even though a progressive and moderate one. Besides this, the film also highlights the double standards in the largely patriarchal Pakistani Muslim society where women have to follow what men decide for them, even against their wishes.

Loaded with such relevant issues Khuda Ke Liye turns out to be a film that not just entertains you, but it raises questions in your mind about the denigration and hypocrisy in our society and religion. The movie also attempts to take on the raging debates consuming the Muslim World and Muslims living in foreign lands. The story starts somewhere in pre 9/11 timeframe and ends in late 2002 in the midst of which it follows various characters facing an array of issues in life.

It is a heart wrenching film with good performances by all the actors Shaan, Fawad Khan, Iman Ali and Naseeruddin Shah, who has a cameo in the film and not surprisingly a very powerful one. The film’s music and songs are mesmerizing, particularly 'Allah Ho' and ‘Bandeya’.

Khuda Ke Liye is a brilliant movie, especially if you are interested in what Islam has to say on various issues. Shoaib Mansoor deserves kudos because he tackles a bold and controversial theme that attacks Islamic fundamentalism in a subtle way and that too, in Pakistan. With honest intentions, deft handling of a serious, sensitive and pertinent subject Shoaib Mansoor has done a creditable job as Writer / Director.

A theme like the one depicted in Khuda Ke Liye – In the Name of God is more for the thinking viewer, who loves to ponder over the movie after watching it.

Faisle nahi unke natije galat hote hai

RGV is amongst the finest storytellers Bollywood has produced, no two opinions on that but I guess there has been an overkill of underworld films from RGV himself, everyone’s seen that and done with.

While going to Contract, if one expects some serious insight into the nexus between Mumbai underworld and the terror network then RGV’s underworld-meets-terrorism flick is a major disappointment! At the best the film is a vendetta tale and how much more can you experiment with a genre that's beaten to death? Its time RGV should stop making any more films on the underworld.

Satya or for that matter Company, came at a time when the underworld subject wasn’t much explored in bollywood and RGV’s realistic, hard-hitting and at times shocking treatment of the subject caught the attention of the audience, and since then we have seen lots of movies based on underworld and now almost there is no part of the underworld, which is not cinematized.

RGV’s earlier films on underworld were comprehensive when it came to story, character sketches and how things played out, but the riveting and realistic effect of RGV’s earlier underworld films is conspicuously missing and the prime problem with Contract is that it's too superficial!

RGV, who seemed to have got his rhythm back to some extent with Sarkar Raj, fails to go above mediocrity with Contract. I don’t understand why RGV still keeps treading on the beaten track and comes up with yet another forgettable film!

In his blog RGV has said that he just wants to make “thousands of films” - and I am sure films like Contract will definitely help him achieve that quickly.

Its time RGV takes a cue from one of the lines from Contract where the hero says, “Faisle nahi unke natije galat hote hai” (It’s not decisions, but their outcome that goes wrong).

P.S: With ‘Phoonk’ RGV returns to yet another of his favourite genre of filmmaking, lets hope he doesn’t fumble again.

Indian Short Film that’s making waves worldwide.

'Rewind' which had a successful premiere at the Locarno International Film Festival is probably the world's first short film that’s truly reverse. Unlike a Memento or Irreversible, 'Rewind' is a shot by shot reverse film. It is also a first where the film is moving in reverse while the voiceover is moving forward. 'Rewind' recounts backwards, the last moments of three friends who are betting their lives and a million dollars on a game of Russian roulette. The last man standing takes the diamonds but how he got there is what the film reveals.

Amongst others, 'Rewind' has been screened at the following international film festivals like Locarno International Film Festival - Switzerland (Premiere), Victoria Independent International Film Festival - Australia (Best Film under 10 minutes), Seattle International Film Festival - USA (Grand Jury Prize), Montreal World Film Festival - Canada, Palm Springs International Film Festival - USA, Tampere International Film Festival - Finland, Milano International Film Festival - Italy, Stuttgart International Film Festival - Germany, Al Fajr International Film Festival - Iran, Short Shorts International Film Festival - Japan, Brussels Short Film Festival - Belgium, Indielisboa International Film Festival - Portugal, Los Angeles International Film Festival - USA, Tirana International Film Festival - Albania, Winterthur International Film Festival - Switzerland, Cleveland International Film Festival - USA, Atlanta International Film Festival - USA, Jackson Hole Intermational Film Festival - USA, DeReel Independent Film Festival - Australia, Tout Ecran - Switzerland, Cine Globe - Switzerland, Asian Hotshots - Berlin - Germany, Indian Film Festival of Los Angeles - USA, etc., to name a few. The only stop left for ‘Rewind’ is to make it to the Oscars next year!

‘Rewind’ is now being distributed internationally by Shorts International, the largest distributor of short films in the world. Subsequently, ‘Rewind’ is also being distributed by Apple iTunes on their internet platform. This is the first of a kind deal for an Indian film – short or otherwise. ‘Rewind’ is also the first Indian short film to have had an all India theatrical release by PVR, Rewind was screened as a bonus film prior to the widely acclaimed Michel Gondry comedy 'Be Kind Rewind'.

'Rewind' is directed by Atul Taishete, who has also worked as a professional screenplay writer. He wrote the screenplay for the feature ‘Risk’ and additional dialogues of the much acclaimed ‘Johnny Gaddar’.

My favourite Top 10 Bollywood films of 2007.

After my last post here, where I had written about the ‘Top 10 Asian Films – Action’ by Samuel L Jackson, a few of my friends told me to try and write my favourite Top 10 Films of Bollywood in 2007. As said earlier, though I am not into making my top 10 lists, here I am just trying to see if I can really do it…

Of late, Indian film industry is changing and every year its bringing new hope and new kind of movies. In terms of fresh ideas, unique concepts, and fascinating projects, I think 2007 was a year of creativity at its best in recent times.

Generally the Top 10 is picked based on box office collections, while that to me is a great barometer to judge the quality of the film, it is not necessarily the best one because some of the best films (content wise) bomb at the Bollywood boxoffice!

My favourite Top 10 Bollywood films of 2007 are here, in no particular order…

1. Black Friday
2. Taare Zameen Par
3. Chak De India
4. Jab We Met
5. Johnny Gaddar
6. Dharm
7. Bheja Fry
8. Manorama 6 Feet Under
9. Om Shanti Om
10. Life in a Metro

There were a few close contenders for the Top 10 list, films that I enjoyed but somewhere they missed a mark to be part of my list. The films include The Namesake, Guru, Blue Umbrella, Parzania, Strangers, 1971, Cheeni Kum, Honeymoon Travels Pvt. Ltd., Gandhi My Father, Welcome & Hey Babby.

I have tried my best here, I Would love to hear your Top 10s and why you picked them.

Top 10 Asian Films - Action

It's always nice when someone you respect shares your opinion. So I was pleased to read Samuel L Jackson's list of his Top 10 Classic Asian Films. Jackson, of course, knows a thing or two about action flicks for sure. In fact, he co-starred with Geena Davis, in one of my favorite Hollywood action film - The Long Kiss Goodnight.

Here's Samuel L Jackson's complete list:

1. Oldboy (South Korea, 2003)
2. Audition (Japan, 1999)
3. City on Fire (Hong Kong, 1987)
4. Infernal Affairs 1, 2, & 3 (Hong Kong, 2002, 2003, 2003)
5. Ong-Bak: The Thai Warrior (Thailand, 2003)
6. Azumi (Japan, 2003)
7. Family (Japan, 2007)
8. Duelist (South Korea, 2005)
9. Hard Boiled (Hong Kong, 1992)
10. Hero (China, 2002)

Apart from Family (the only film on his list that I haven't seen) I have to say that Samuel Jackson has come up with quite a respectable top 10, or perhaps that should be top 12 if you count Infernal Affairs as three films.

I'm not that into making top ten lists myself, but if I did, I'd include many of Jackson's picks, though most certainly not Duelist, which I liked but not as much. Plus, Crouching Tiger Hidden Dragon would have to be at the top of my list.

Bole tho, picture mast hain mamu, miss nahin karneka!

The era of simple story telling is finally back in Bollywood. Oh! How we missed all this while. Film making is essentially about telling a story and Jaane tu… hits bulls eye here...

Debutant director Abbas Tyrewala (who claim to fame was the dialogues of the Munna Bhai series, Maqbool, Main Hoon Na, etc.,) holds great potential and has penned some amazing dialogues and lyrics. Some of the dialouges in the movie has you rolling on the floor. For example: The scene where Aditi sees her brother playing with his pet mouse and asks him - "You really love her na;" to which he cattily replies, "No, we're just friends." Or in another scene where Aditi asks her brother “Can I sit here?” to which her brother casually replies “it’s your house, your bums, sit wherever you want to”. The nonchalant way in which the dialogues are delivered is absolutely amazing.

The dead parent in the photo-frame may be an old plot-device (as old as Hum Paanch on TV), but it’s a stroke of genius on Abbas’ part how he ties it up so smartly in the film. Also, the horsemen - at first such a harebrained and pointless idea, but so cleverly incorporated in the narrative. The director has also managed to aptly showcase a whole lot of relationships in the movie - be it that of siblings, friends or parents and kids.

At its heart, Jaane tu… is a refreshing film. Refreshing because of its humour quotient, Refreshing because of its emotive scenes, Refreshing because of its witty dialogues, Refreshing because of its fun moments, Refreshing because of A R Rahman’s outstanding soundtrack, Refreshing because the film’s cast and crew look like they actually enjoyed making this film.

Another Khan joins the long list of great Khans that the Hindi film industry boasts of. One look at debutant actor Imran Khan onscreen and you're taken back in time, reminded of the chocolate-boy hero of Qayamat Se Qayamat Tak - Aamir Khan. Like Uncle, Like Nephew! Genelia exudes exuberance and adds life to her character. She handles emotions like jealousy, confusion or rage with élan, she’s spontaneous and sparkling.

Both Imran and Genelia share intense and electrifying chemistry which literally bounce off each other and keeps you spellbound when they’re on screen. Apart from these two lead performances, we have the spirited and feisty Ratna Pathak-Shah, the brooding and brilliant Prateik Babbar, the luminous Manjari Phadnis, and then those four amazing cameos Naseeruddin Shah, Paresh Rawal, Arbaaz Khan & Sohail Khan.

The film itself is a simple, young, urban, collegiate romantic comedy. And comments on such movies should really boil down to, if it entertains you or not. This one does. Whether it works or not. This one does. Period.