Natsamrat Review

The words uttered by Ganpatrao in Natsamrat feels like a religious discourse, falling on ears like a soothing balm. It is after many a long years that dialogues with such finesse have been put up on the screen. They seem nothing less than those featured in plays Ganpatrao cherishes and brings to life on stage. Screenplay writers nowadays dumb down their content in a disquietude that the audience will not comprehend the gems of emotions they hide beneath the curtains called words. Here, the writing is intelligent treating the audience with the reverence it is often penurious of.

A forlorn Ganpatrao asks in an address to the characters he religiously brought into life ‘When will my grief be considered worthy as yours?’ Nana Patekar rises to this very question and breathes fire into this character. There are rare times when an actor just draws you into a movie, when he rises above the movie itself and well, puts you in a state of limbo where you are divested from your physical abilities to move. You just stare and get amazed. I hate to say it because I believe staunchly that every actor has untapped potential beyond realization, but this is a career-defining performance by Nana. He can’t rise above this unfortunately and it is an amalgamation of sadness and joy when I come to this realization.

As to the movie itself, it is left miles behind in the inter space between it and Patekar’s performance. It is ridden with the very cliches I had expected it to be free from the shackles of. The premise, although bases on a play by V.V.Shirwadkar, brings back memories of a much-superior Tokyo Story(or a much inferior Baghban as well), which forever immortalized the theme of the neglectful children-old parents through the mastery of the profound Ozu himself .

While being a compelling character-study, Natsamrat is lagging behind on adapting itself to the familiarity of its concept to the audience. But, with Nana Patekar’s visceral performance the movie is aeons ahead of what it could have been without him. It is Manjrekar’s ode to the purity and greatness of theater and its dialogues which remain forever etched in the minds of the audience, and peering through that field of vision, it is a beautiful and heartfelt ode, a one which should be watched at least once. Patekar’s performance embodies every emotion that actors strive to put up on screen through courses of their lifetimes, which in most cases unfortunately, bears not even a dint of success.

RATING : 8 / 10

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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.

Oru Vadakkan Selfie Review (No Spoilers)

G.Prajith’s Oru Vadakkan is about Umesh Manohar (Nivin Pauly), Shaji (Aju Varghese) and Thankaprasad (Neeraj Madhav) whose daily routine consists of just drinking, having fun, watching movies, and trying to woo girls. For them, it’s all fun and no work. When Umesh’s father tries to force him to join him at his grocery shop, Umesh runs away from his home and gets on a train to Chennai where he plans to pursue a career in film-making. While on the train he meets Daisy (Manjima Mohan) a girl from his village. While all his attempts to woo her fail, he takes a selfie with her without her knowing and sends it to Shaji who spreads around the information that Umesh has run away with Daisy to Chennai to get married. When Umesh returns from Chennai, he gets to know about the lies Shaji has spread and threatens to expose him to the public. So, Shaji accompanies Umesh to another trip to Chennai to find Daisy, where they meet Jack Tracker (Vineeth Srinivasan), a private detective. They hire him and soon they find Daisy, but then, they  uncover a web of lines and a road trip across Tamil Nadu is set into motion to uncover the truth behind this.

By the way I have described the plot people will think it is embedded with spoilers, that is why I informed beforehand that this review is depraved of spoilers. If you have read the whole plot synopsis I have typed, then your basic perception will be that this is some cliche ridden Malayalam with no heart. Believe me, it’s not !

The story begins as it should. As an entertainer. Making us acquainted with its hilarious and unique style was a great move. Very very unique is this movie. Nivin Pauly is natural. Everytime I see him on screen, I forget he is acting. He is the Hugh Grant of Indian cinema. If you go look up Hugh Grant’s Wikipedia page, the following is the description about the actor :-  ‘Hugh Grant approaches his roles like a character actor and attempts to make his acting appear spontaneous. Hallmarks of his comic skills include a nonchalant touch of irony or sarcasm and studied physical mannerisms as well as his precisely-timed dialogue delivery and facial expressions.’

Isn’t that exactly how you would describe Nivin Pauly ? In my opinion, Hugh Grant is one of the greatest actors ever born, and Nivin Pauly is well on the road to become one. Many people may stereotype him. Say that he just does the same thing over and over again ? But everytime he does it, isn’t he well under the skin of his character ? Dialogues are nothing but things that we say ever day. But the way he presents them in such a spontaneous way and with perfect timing ! It doesn’t err in a single scene. It is always enjoyable too see him in the same character over and over again.

Aju Varghese is another person is this movie who has super comic timing. He is in for the fun, and like hell does he give it to the audience. He is superb. Manjima too is very good. Vineeth Srinivasan is not perfect in his comic timing in this movie. I later came to understand that he is made for dramatic roles, not comic ones. This is very apparent in the later half of the movie, when it exposes its emotional core.

MY ROUTINE TOMORROW :

6 : 00 – WAKE UP

6 : 17 – GET OFF THE BED

6 : 25 – START TO BATHE 

6 : 45 – WAKE UP FROM SLEEP IN THE BATHROOM

7 : 10 – GET READY FOR SCHOOL

7 : 15 – CLIMB THE SCHOOL BUS LIKE TOM CRUISE IN ROGUE NATION

7 : 20 – STRANGLE MY FRIEND FOR SAYING THAT THIS MOVIE’S CLIMAX SUCKS

As the movie began, everyone around me was like this is the same shit over and over again. Everybody thought this wasn’t going to end well. A great man once said ‘To say a message, be funny and not gritty’. Since, that quote sucks so badly, you have surely figured that it was said by me, but it holds truth for this movie.

Engaging is the only word that I can use too describe this. It takes its time to set up things considering it is so complicated on paper. And then it begins. Oru Vadakkan Selfie is just like ice in its nature. Ice melts from solid to the form it actually was before, a liquid. This movie is in its heart a drama, it is just given shades of comedy. The hilarity starts to wane off gradually, but still keeps the audience engaged with its occasional one-liners.

And this movie also acted as a litmus paper for judging many of my friends, because it proved many of them are idiots. Almost all of them hated the ending. Why ? Because they can’t appreciate something which has a meaningful end. A socially-prevalent message had crept into this movie without our knowing and is conveyed beautifully in the movie’s climax. And for the first time, the leads don’t get together. It brings such maturity to the table unseen in Malayalam cinema for a very very long time. And the cinematographer deserves a special mention because the movie is visually arresting.

While being a successful comic caper, Oru Vadakkan Selfie is in its heart a beautiful mature drama which delivers a very strong message to the audience at the climax without downplaying it in any way and is definitely a must-watch.

Rating : 9.3 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. YOU CAN ALSO REQUEST A REVIEW OF A MOVIE OR SITCOM IN THE COMMENTS BELOW. 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/pages/Demanded-Critical-Reviews/1565666967024477?ref=hl YOU 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.

Premam Review

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Alphonse Putharen’s Premam is about George David (Nivin Pauly) who experiences love with three different women during his life and how these women change his life is depicted in the movie. The movie also focuses on the changing world and how George’s friends get involved in his attempts to woo these women.
Nivin Pauly is brilliant in this movie. He successfully gets the transition of his character right from George’s teenage to adulthood. The supporting actors are superb in their role. Krishna Shankar and Shabareesh Varma are superb in their roles.
The direction of this movie is stupendous. Rarely have I seen a coming of age movie flowing as seamlessly through its narrative as Premam. The movie is almost 3 hours long but there is not a moment when you are bored. The script of the movie is superb. The transition of time has been thoroughly focused in the script. The methods of wooing change and the maturity of the romances change.
Everything works for this flick. The cinematography is superb in this movie. Alphonse Putharen, the director of this movie, has himself edited the flick which worked out pretty well for this movie considering its running time. The direction always has a vision of the movie even before its made, and Alphonse has ensured that scenes keep on changing continuously that the audience doesn’t feel the long running time. The score of this movie is awesome. And I really liked that Contra song which was so perfectly timed in that movie.
The movie’s best aspect was that it focused on the stationary characters’ dialogues too. If you have watched the movie, of which chances are humongous, you may notice that although the camera is focused on the main characters, there are dialogues in the background that are audible to us, and they give us some of the best laughs and realism. The movie has infused everyday life into its core like Court and therefore gives us the best laughs that many of you, and also me, haven’t had since a long time. Really, after the release of 3 Idiots, this is the only movie that had me laughing from the beginning to the end.
This is the only Indian movie which has learned from Hollywood movies. I recounted Juno and (500) Days of Summer throughout the flick. About the faults, I think that movie does drag a little on the Malar sequence but believe me in the end, you will end up wanting more.
Premam is a superb entertainer and one of the best movies of the year which will leave you laughing from the start to the end. Everything fortunately works for this movie, and supplemented by the superb script, this movie is a treat and should we watched as soon as possible (for which you may have to wait because in some places, the tickets are already booked for three weeks. I too had to come empty-handed from the theater 2 times because the tickets were sold out the previous day and therefore, I intentionally went to a newly opened mall in a remote place. Got middle seats, can’t complain ! 🙂 )

Rating : 9.3 / 10

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/pages/Demanded-Critical-Reviews/1565666967024477?ref=hl YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com.

Piku Review

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Shoojit Sircar’s Piku is about Piku Banerjee (Deepika Padukone) who lives with her father Bhashkor Banerjee (Amitabh Bachan). Bhashkor struggles with constipation and considers constipation as hazardous as cancer. Bhashkor unintentionally creates problems in Piku’s professional and personal life. Piku wants to sell her ancestral property in Kolkata but Bhashkor prevents her from doing so. To decide about this matter, Piku and Bhashkor go on a road trip to Kolkata with Rana Chaudhary (Irrfan Khan) driving them and also Budhan (Balendra Singh) accompaniying Bhashkor to assist him.

The actors dazzle in their roles. Deepika Padukone and Amitabh Bachan are so realistic in their roles. But the main attraction is Irrfan Khan, who with his controlled performance, infuses the much required energy into the movie. At a point, we even forget that these guys are acting.

The movie begins at a snail pace with scenes dragging on and all the jokes going flat. But, the movie picks up pace at the end of the first half and then it becomes a very entertaining and heart-warming movie. The movie also encounters some deeply philosophical questions such as ‘ Me may developing but we are doing so by uprooting our own roots. Then what is the use of such development ?’ The movie gives enough time for character development which has been absent from Bollywood for a long time. And the movie has brilliant dialogues and has one of the most befitting climaxes in Hindi cinema. We are given to draw up our own lines, which is very satisfactory.

It gives such a stark realistic view of the typical Indian family and has a brilliant layered screenplay. I recently received news that Piku will have a sequel and I am thinking of making a page called ‘PLEASE DON’T SPOIL THIS AND GIVE US CRAP’.

The cinematography and production design of this movie is radiant and is perfect for a family viewing.

Piku is a heartfelt movie which gives ample time for character development and also lives up to is layered screenplay which is further boosted by brilliant performances and is a must-watch.

Rating: 8.7/10

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/pages/Demanded-Critical-Reviews/1565666967024477?ref=hl YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com.

Court Review

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Court was the winner of the Best Feature Film at the Indian National Awards and also Lion Of The Future at the Venice Film Festival. Therefore, it aroused my curiosity and I went to watch it today.

So, it is about Narayan Kamble, an aging folk singer and poet who gets embroiled in a legal issue regarding the death of a sewage cleaner. The movie explores the various scenarios of a Sessions Court and also explores the social life in Maharashtra and the various issues embroiled in the state through Narayan Kamble, his lawyer Vinay Vora and the public prosecutor Nutan.

Court is an awesome work of art. I may compare it to A.G.Inarritu’s Birdman because just like Birdman it is an art film which can be acknowledged as a dark-comedy. Court doesn’t linger at all and every scene is so important that it keeps our attention towards the flick and even if our attention wares off in some scene, the movie brings it back with its awesome one-liners. It is a brilliant dark-comedy and not one of the jokes went flat. It gives so much attention towards miniscule details such as the typist chatting on her cell phone during the legal proceedings, a lawyer following a woman for work, etc and that was one of the best aspect of the movie.

There were thought-provoking scenes such as the one in which Vora is attacked senselessly by two people for insulting their sect, a play against the immigrants of Maharashtra, etc. The best and the most funniest scene was that of the judge refusing to hear a case because the defendant has worn a dress without sleeves which is against the moral code of the Court.

Court has brilliant performances by Vira Sathidar, Vivek Gomber and Geetanjali Kulkarni. They shine in their roles. Their performances are visceral.

The film is built on conversations like se7en. A scene in which Nutan and a woman in the train converse about their family’s food is so stark real. Chaitanya Tamhane infuses such scenes in the movie that anyone in Mumbai can relate to the movie.

The direction is spot on and doesn’t miss a detail. The script is brilliant and boldly states that it is the people and not the law that is flawed and that the Victorian laws need to be modified. The script also shows the nonsensical claims made by the lawyers to push the dates in the Court.

The ending is an enigma in itself. That is also why I compared it to Birdman. The audience is left to guess what the ending meant. In my opinion, the ending showed that normal life goes on and that the case of Narayan Kamble will keep on dragging till his end.

Another of the thought-provoking scenes that I was awed was when Narayan delivers a staunch poem about what is art and how obscurity has been considered as art in the modern age and right after his poem finishes, the next performance is of teenage girls dancing to an item song.

In short, Court is flawless to most of its parts and I highly recommend it to anyone interested in watching a thought-provoking courtroom social satire. (Which will only be adults and eccentric teens like me.)

Rating: 9.2 /10

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/pages/Demanded-Critical-Reviews/1565666967024477?ref=hl YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com .

Clouds of Sils Maria

Brilliant work of art. I was going to post a review but found this to be interesting

Fast Film Reviews

Clouds of Sils Maria photo starrating-3andahalfstars.jpgClouds of Sils Maria is a provocative film. The gamut of topics that pass through the consciousness of screenwriter (and director) Olivier Assayas are plentiful and diverse. It considers youth vs. age, life vs. death, the past vs. the present, art vs. commerce, and fame vs. anonymity. Good heavens! Any one of these would’ve been enough fodder for an entire script, but Assayas touches on all of these topics. The complexity of Clouds involves trying to figure just what heck the narrative is actually about. It’s arty to the point of ambiguousness. Regardless Assayas clearly delineates a deep poignancy amongst women.

Maria Enders (Juliette Binoche) is an international star that is on her way to accept an award on behalf of world renowned playwright Wilhelm Melichior. In her early 20s, she played Sigrid, the ingénue in a play he directed called The Maloja Snake. While en route by train, she…

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Detective Byomkeh Bakshy Review

Featured image So today, I thought about reviewing a Bollywood movie and Detective Byomkesh Bakshy was the most recent Bollywood movie I had seen.

So, Byomkesh Bakshy is a thriller film by Dibakar Banerjee. It stars Sushant Singh Rajput as the protagonist who investigates the disappearance of Ajit Bandyopadhyay’s father and during the process stumbles upon a conspiracy to overthrow the British Government in India.

Well, Sushant Singh Rajput gives a good performance as Byomkesh. He is one of those few folks in Bollywood you should watch out for. But, the highlight of the movie was the performance of Neeraj Kabi which gave me the chills in the end.

The movie has two twists, before the interval and one in the climax which were very good. The layered screenplay is awesome but it proves out to be an average detective movie. The direction is awesome. Dibakar does brilliant work in directing. The movie feels so real. Hats off to Vandana Kataria, the production designer, who created such a stupendous Kolkata of 1940s . The costumes and make up is brilliant.

On the technical aspects, this movie is a treat. The one thing that was a positive aspect of the movie was that Byomkesh explains every scene at regular intervals. The thing about the movie is that many dialogues are indecipherable. Therefore, it helped that Bymokesh explains the scene at regular intervals. We get the scene afterwards, but when I was watching it, I was like scratching my head and muttering ‘ What the heck is going on ?’ and I was irritated throughout the flick.

The worst part of the flick was the climax. It ended Tarantino style, but with no sense whatsoever. There was sword-fighting, dead bodies lying all around, idiotic dialogues, and an insane blind guy shouting for revenge in the climax. Therefore, typical Bollywood gibberish cliche was back. This movie has an equal proportion of pros and cons and I recommend you to not waste your money on this one and just watch it when it comes on television.

     Rating : 6.6/10

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