Sridevi's majestic return in 'English Vinglish'

So I took the plunge and went for 'Bollywood' the other weekend. Shocker, I know. And p.s., the reason Bollywood is in quote marks is because the film, English Vinglish is a triumph and doesn't remotely feel like any of those lumpy, bloated and trippy saturated things that are churned out of Mumbai, supposedly passing as 'films'.

And so it is that English Vinglish rises to the highest echelons of film-making, another blessed example of brilliant writing, superb casting contained within a tight, focussed narrative. And of course, the wonderful Sridevi is the binding ingredient to it all, so long missing from our screens, so sorely missed because for once, the female character is central in the true sense, her seemingly 'small' battle made profound and dare I say, even epic, by an explorative and sensitive story.

Killing it in NYC in my 'exotic' sari bitches!

*POSSIBLE SPOILER ALERT*
She plays an Indian housewife, Shashi, famed for her super tasty ladoos (if you don't know what ladoos are, shame on you) not able to really speak or understand English, and severely put down by her bratty daughter who makes out she is some unworthy human being for not being able to master the lingua franca of the world. When Shashi's sister asks her to come to New York to help arrange her daughter's upcoming wedding, she has to go there all by herself initially. Once there, after an encounter with a overly grouchy woman at the till of a grungy cafe, (scene is typical Indian melodrama here), Shashi decides to learn English in secret by taking a class everyday, which promises she will have mastered the language in four weeks. Hilarity ensues - or there about - as well poignant moments of triumph. The film doesn't skate over the seemingly insignificant trials, which only wonderfully emphasises how potentially inhibited you are if you don't know the language (totally scared me off Tokyo, can you imagine trying to navigate the underground there? And I'm somewhat 'worldly').

Basically, it was a joy to watch, it was neatly paced and I just stared up at Sridevi absorbing what I have so been starved of since circa 2002. The writing and the character was perfectly considered for her  and she did it every justice, so props also goes to Gauri Shinde, the writer-director.  I hope other 'actresses' in Bollywood can take note and aspire to this but I doubt it.  Even the supporting cast were strong and thank god they cast *actual* American Indians as American Indians (it's a deal breaker when you have Indians pretending they're American Indian or British Indian because they cannot do it, or when Dutch or Eastern European people are cast as Americans/British - Lagaan passed the test and that's when you know the film makers took their job seriously and respected the work). Also, the filmmakers respected the location and setting, New York, rather than having people prance around it all shiny like. Aside from some 'funky fresh' montage sequences, the cinematography served the story and protagonist, without flashing itself around saying 'look at me!' And as a result, people, it was gorge.

Finally, what got me the most and raised the film from damn good to exceptional, was the profound pearls of insight the film bestowed, illustrating how such a simple story of struggle can really mean so much and teach you great lessons about the experience of existence, namely family and the 'art' of communication without understanding words and shit (the killer dialogue was when Shashi admits at the end that when you don't like yourself, everything connected to your life appears bad to you, so you then get attracted to new things. But when you learn to love yourself, that 'bad' life transforms and looks wonderful again - woo, some deep ancient wisdom right there). Did I cry? Yes and you know it's got you then.

Ok, I'll wrap by saying that English Vinglish is a great triumph - not only in its high quality but also proving that not all is lost in Indian cinema, where you can still have a great symbiosis of writing and acting. Brava!

VERDICT: 10/10

War Horse

There is something to be said about a film that is simply beautiful. It's not complicated, it's not trying too hard to create some supra aesthetic (*cough* Immortalz *cough*); it's content and natural approach brings together a lovely film.

I say lovely because I do not think it great exactly but War Horse's cinematography and composition is splendid and though I have not seen the play, it feels inspired by such tonal and mood set by the lighting within a theatre. Otherwise the sweeping shots of European countryside are wonderfully captured. And at the heart of it all is a splendid performance by a horse.

No risk of clunky dialogue and more emotional range than Kristen Stewart (boom!), the horse, Joey, is a wonderful personification of spirit. And yes, I do loves me a spirited animal character and one that can race across fields, wind sweeping through mane.

It's totally revived my childhood desire to have a horse companion.

All of this is set beside some touching human conflicts, displayed through Albert's father who has suffered through a previous war. The horrors of the First World War contrast to the romantic, picturesque opening in Devon and that animals are party to the brutal conflict, forced to race into fire and pull abominable heavy artillery brings home how awful it was on these creatures as well - human lives alone weren't lost in the thousands.

As with any Spielberg film, the performances are all first class, with Jeremy Irvine playing the heart and determination needed that sees him united with his horse. The rest of the stellar cast, including Benedict Cumberbatch and Emily Watson, all play their parts admirably and I was particularly impressed by Celine Buckens who plays Emilie, the French girl who takes in Joey and the black stallion (watch out for her). But no one comes close to the horse (or horses), who captures the film and resonates the universal truths about humanity (ironic? - nay!) and enduring friendship. And the script is tight, with no line wasted or arbitrary. Altogether it feels contained but epic - the winning combo for a masterfully made film and there are precious few directors who can balance this as Spielberg does.

In Speilberg's hands, the entire film is a moving experience with John William's soundtrack sustaining this throughout. I will understand that for some, this will not be their cup of tea. For me, it was completely my batch of favourite brew - soothing and warming with a bit of bittersweet bite (if you brew it strong - which I do). Not sure why I ended it on such a note but seeing as the film is made up largely of British contributions, I'll let it be.

VERDICT: 8/10.

The Ides of March - London Film Festival Review

I was very fortunate to be invited along to the premiere of the film at the LFF. I have taken ages to coming around and writing this review, so I reckon I'll be giving a rather brief (perhaps vague?) review of it, as its not as immediate in my mind as I would like. Let's see what Memory dredges up!

This film is a well put together, well acted piece and is commendable on many accounts. Mr. Clooney himself, when introducing the film, said it was nice to have a film like this that wasn't all explosions and insane action sequences. And George is right of course - for all of you that follow this blog regularly (you don't need to scoff!), you will know how I champion a well contained narrative and impressive acting/casting.

Don't I look sinister? But I'm a Democrat, thumbs up!

I love American politics - all the intrigue and the back-hand deals and the veneer of imperious dignity, reminiscent of Ancient Rome which the USAns love to emulate (and hence the title). The film goes through these layers and peels them back one by one - starting with idealistic but robust faith and belief displayed through Ryan Gosling character's trust and enthusiasm for the candidate he campaigns for, Governor Morris. Gosling is really quite impressive and sustains our journey through his story as he descends into the messy business of presidential campaigning, with revenge, affairs yada yada all there. Only this doesn't go crazy and though melodrama could be used as a term for the film, there is a more subdued tone - the tension is palatable in scenes but the dramatic moments are 'off stage' which presents a sort of interesting Greek tragedy feel, such as when Stephen listens to Molly's (Evan Rachel Wood) voice messages, the intern he has a fling with.

The writing is solid - nothing to find fault, for there is great balance of quick banter, measured words and comedy. In terms of pace, it's constantly engaging with just enough intrigue and you are allowed room to admire the content because it's also in the capable hands of Philip Seymour Hoffman and Paul Giamatti - and Mr. Clooney himself, who has less screen time than you might think but makes it count. The confrontational scene between Morris and Stephen (Gosling) is in a closed kitchen of some pub/restaurant and full of shadows. It's wonderfully symbolic as we understand how dark the world has become for Stephen.

There's great observations about loyalty, the price of one's mistakes, who really pulls the strings and how one political party can be so pitted against one another within their own ranks - all very Roman. The end shot is brilliantly done and sums up the film and Clooney's directing (lots of lingering shots). I'm not going to say what it is - go watch it and find out.

Solid is a word I would use, so while I was more than satisfied with the film, I'm not sure it's a breakthrough one and stands simply as a good example of good film making.

VERDICT: 8.4/10

True Grit - a true, honest film

I'm rather late in writing my account of what I thought of this film but I hope I haven't forgotten what my immediate thoughts were on such a strong film.

Once again, I put forward a case for a good film, well told, that doesn't have maddening spectacle as it's centre-piece but is an straight forward story, acted thoroughly impressively and shot beautifully. The sum of all of those simple elements is enough to give you a very worthy film. Yes, it was snubbed somewhat at the Oscars etc but who cares a fig for awards anyhow?

Amazingly, though there are the formidable actors, Jeff Bridges and Matt Damon, in here, the real force behind the film comes from the narrator and character of Mattie Ross played exceptionally well by Hailee Steinfeld. She holds herself brilliantly in every one of her scenes and to make her mark against the other actors around her is a grand feat so all credit goes to her. Jeff Bridges is hilarious and slurs his lines so that they are barely discernible but it all adds to this larger than life character that, in the final moments of the film, proves his 'true grit'.

The film rotates around this deep need for Mattie to avenge her father's death which isn't handled with any real sentimentality or heart wrenching emotion but instead builds up like an inevitable shot out that you know is coming when you watch an old style Western. The film mirrors the dogged eared determination of it's protagonist in that respect and doesn't indulge in any subplot. I found myself rather wrapped up in events though and there were definite moments when I found physical emotional responses bursting forth. Major thumbs up :D

The natural landscape of the story is the only element that keeps it from being a super self contained film and its stunningly shot by the cinematographer, Roger Deakins. The opening shot of the film is a masterpiece, a real painting coming to life in front of you.

I'm not going to say much more, other than this film is one you should make the effort to watch: acted well, shot well, scripted well and told well - what more could you want? The Coen Brothers deliver solidly again. I haven't read the book so cannot comment on how it's been adapted but even as a film standing on its own, its a worthy one.

VERDICT: 8.8/10