Piravi Review

Cinema’s modus operandi can be capsulized in three basic steps – concocting a ship of emotions, warping us within them and then scupper itself. So, as a medium, I believe cinema has been inherently blessed with the ability to educe a reaction or the another from the audience, even if just the shock of the shattering of the world it encapsulates us in.

But there are exceptions, and what this piece emanated from is a duly fascination with coming across one. ‘Piravi’ is the first movie in a long time to leave me speechless. I firmly believe the tone has something to do with it. That to choose nature over plot and characters in the exordium to acclimatize me to the pace of the film (which is of life itself) had something pivotal to do with the hanging feeling of a very non-absence of a cinematic world to play these characters in.

I also feel the actors had something to do with it as well. The way Premji conducts himself throughout the movie makes it impossible to think that he exists outside it, as if his body and this role are as inscrutably bound to each other as destiny to life.

The settings are the final nail in the coffin. I don’t remember the last time where pretendedly, a movie had a cultural identity of its own, which made it feel like it belonged to the place from where it tells the tale. The cut-off locale in Piravi makes everything seem complete and everyone to have an obstinate, sure and self-sufficient place. The brute routines give the appearance of a place which exists beyond the realms of time and space, only bound by peerless ennui.

It was William Wordsworth who put it as succinctly as anyone can, that the child is the father of the man. What Piravi is about at its crux, is the loss of that man. Towards the denouement, there is a scene in a boat which is moving for a multiplicity of reasons, one of which being is that Chakyar is no different from the baby which clings to his mother. His mind has resorted itself to the only comfort that babies know of, which is the stability of love and the least care of who they get it from.

In a recent conversation I had, the question of the importance of art came up. My answer was ‘Every passing day, we look at the harsh realities of life materializing all around us. We see our worst nightmares being the living reality of most. And what do we do ? We look away. Away from all that causes us malaise. And after that, we return back to our bearing of common place individuals in sepulchral cities trying to filch a little more money from each other. This is where art comes in. It forces us to look at the truth, into ourselves, shows us how our morality is nothing but a mere farce, exploits our conscience and aims to change our very nature, to makes us into individuals who sympathize with all and hate none. As Jean Luc-Godard said ‘Cinema is truth 24 frames per second’. Piravi is truth

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

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Fallen Angels Review

I often bore my readers by complaining about how bored I am by formula movies that recycle the same moronic elements. Now finally, here’s a movie not on autopilot. Watching Fallen Angels is like entering a world of its own for it can exist solely in the mind of Wong Kar Wai and no one else. Every once in a while you come across such movies, with the worlds they engender being like none other in memory, each of them staking out a completely new place and colonizing them with peerless imagination. Believe me, Fallen Angels is like nothing you have seen before.

While watching it, you will either resolutely resist it or absolutely give yourself over to it. Now which of these paths your emotions let you tread on, I haven’t the faintest of ideas. Yet there is one thing that I can say with utmost veracity and that is, that the enticing invitation that Kar Wai extends into this phantasmagoria that he concocts is enough to hold you spellbound till the credits roll.

The music, the camera, the lighting, the colors, all of which ran on different latitudes while I was watching Chungking Express, come on the same plane here and fabricate an orgasmic experience for the senses as well as the mind. The color pallet on play is so exuberant and blithe that, yes, I can only compare it to The Double Life of Veronique. And even in Kieslowski’s world, they could not cease being separate elements while in Kar Wai’s world, the lights do not subsist to accentuate the feel. They rather seem to emanate from within the characters themselves, from their moods, emotions, senses.

I can’t seem to remember any scene in recent cinema which such striking sensuality as the masturbation sequence with Michelle Reis. The music sets the mood, the lights fill the gaps and by the time (which seems like forever when the scene plays out) her hands reach between her legs, we are with her – writhing in pleasure in what seems to be a lust for life that Kar Wai arouses from within us, far more titillating than any ample skin show that the naive resort to.

I have watched Chungking Express and In The Mood For Love, yet watching Fallen Angels, it felt as if it was the first Kar Wai I was watching. I admired the aforementioned movies, and share with countless other lovers of cinema, a deep admiration for the innovative lighting, camera movement and editing they have, yet that admiration is all that those movies seemingly educed in me. On the other hand, watching Fallen Angels, I saw an artist, unable to conceal the very depth of his vision, standing completely naked before his audience. All the techniques and plethora of characters he bombards us with seems to be nothing but a farce to distract us, to ward us off from coming across that beating heart of his which he conceals in every passing frame. To watch Fallen Angels, was to understand who Wong Kar Wai was, as an artist and more importantly, as a human being. And to say what most of those who I have and will come across in my life will not have the misfortune to hear, I guess I like him.

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

Eraserhead Review

The world of Eraserhead seems like a spiritual extension of the theories Jack Ripper propounded in Doctor Strangelove. The precious bodily fluids have been polluted and the world has plummeted into an apocalyptic bedlam following a probable nuclear explosion. The chasm between the world and those who inhabit it has become illogical, pathetic and absurd. No wonder it was one of Stanley Kubrick’s favorite movies.

Eraserhead works like all of Lynch’s other works, in tone rather than plot. We are so confined in the world of these characters, so intrigued by the absurdity that we ‘demand’ an explanation. Yet Lynch knows better than to give one, for any payoff it seems would be impotent when compared to the set-off.

Which brings me to think, is the set-off the payoff ? Is the very invitation Lynch extends into the absurd world of his the point of his works ? His movies seem to start in the middle of nowhere, end in the same way as well and in between, the magic happens. Furthermore, the structure accentuates our lack of satisfaction in whatever answers we think we encounter.

The film continually makes a gesture to itself as a source of meaning and discovery independent of the protagonists, and the audience ceaselessly tries to attribute a final meaning to the affairs. Yet Lynch evokes rather than supply. Hesitate to put a final meaning to Eraserhead, dear reader, but rather try energetically, even frantically, to figure out what Lynch has asked to have experienced, to have noticed and understood.

Eraserhead stands like an enigma cloaked in a mystery, a labyrinth without a center. For me, it even worked as a personal expression of the agony of Lynch himself as an artist, projecting himself in the form of The Man In The Planet, agonizing in pain with every pull of the lever of the stage he is setting up. Lynch knows that no relation of a dream can convey the dream sensation, that commingling of absurdity, surprise and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams. The realization dawns upon on him with every passing frame that we live and as we dream – alone.

Eraserhead is a movie about a plethora of characters searching for a movie to fit themselves in. Where are they going ? We don’t know. Lynch doesn’t say.

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes