Moner Manush (Quest) [ 2010]

Bengali auteur Goutam Ghose took an extremely challenging task by deciding to portray the life and thoughts of iconic folk (Baul) singer Lalon Fakir in his latest film. This was the man who proved to be a huge inspiration for India’s greatest litterateur Rabindranath Tagore himself, and formed the basis for quite a few of Tagore’s compositions. Yet, despite his legendary standing in Bengal, a major portion of his life is shrouded in mystery and word-of-mouth, thus requiring Ghose to do enormous research to get the story as close to reality as possible. Two distinct strands have been chosen to chronicle Lalon’s story. The ‘present’ deals with a winding, music-filled discussion (‘adda’) between Jyotirindranath Tagore (Priyanshu Chatterjee), Tagore’s elder brother, and an aged Lalon, that took place a few months before the singer’s death. The ‘past’ is brought forward through elaborate flashback sequences covering how a poor, simple and music-loving young man, is taken under the wings of a respected Baul-singer, and his journey through mysticism and personal challenges that finally convince him that religious godma and societal norms are ephemeral and ultimately meaningless. The movie’s slow pace, deeply philosophical tone and digressive plot might be off-putting to many, but there’s no denying its place in the pantheon of remarkable works of art. And Prosenjeet Chatterjee didn't just undergo a complete physical transformation for portraying the protagonist, he also gave a fascinating performance that must be seen to believe. Stunning cinematography, a slew of fascinating songs of Lalon, and lilting flow of the script, unfold complex conversations and ideologies that were ground-breaking and universal.





Director: Goutam Ghose
Genre: Drama/Musical/Rural Drama
Language: Bengali
Country: India

033 [2010]

033 conforms to the themes of its predecessor Madly Bengali in that it is about a Bangla Rock Band, it is about a group of four egocentric and lost youths who learn to come to terms with themselves, and it is also about how the immensely rich and dynamic musical history of Calcutta has found a new face in the form of its underground rock circuit; so how does it stand out? Not so much in content as in form. The film, which is about a boy-band named after the STD code of the city they are based in, and on how a melancholic young girl, in search of her roots, manages to leave a small impact on the band members, has been presented in a manner that is wildly experimental and out-of-the-box in terms of treatment. It manages to be freewheeling and even a wee bit iconoclastic, like the songs of the Beetles and Dylan, or the ideologues of Che Guevera, whose posters adorn the trench, a neon-lit shack owned by a veteran music lover who calls himself Santiago, where the band practices their music. Jerky camera motions, jump cuts, handy-cams, slow-mo-s, psychedelic lightings, etc. have all been fused into the breezy improvised script, along with wit, humour and some wonderful original compositions by Chandrabindu (as well as a terrific redo of a Mohiner Ghoraguli classic), to present a movie that its debutant director must have had one hell of time while making.




Director: Birsa Dasgupta
Genre: Drama/Existential Drama/Musical/Experimental
Language: Bengali
Country: India

This Is It [2009]

Compiled into a behind-the-scenes kind of documentary from over 100 hours of footage filmed during rehearsal sessions for his last planned world tour, This Is It perhaps comprises of the last few popularly released shots of Michael Jackson prior to his shocking death. At that particular stage of his life, he was presumably no more than a battered man driven, in his personal life, to the edge of sanity and nearly his last penny. Yet we see MJ literally belying his failing health and age through undiminished passion and strive for perfectionism. The fact that a person like him, who has been doing shows since he was a kid, getting so engrossed in the rehearsals and ensuring that every nuance and angle of the upcoming shows are covered to the last detail, is truly something to behold and applaud. Of course, we also get glimpses of the creepier side of his complex persona from time to time, like when he explains with graphic detail how the sound is hurting his “inner ear”. But, despite all our preconceived notions of the man, he comes off as a rather mild-mannered and soft-spoken individual, and a self-appointed Messiah of sorts. What was also interesting to note was his being surrounded by a bunch of sycophants trying really hard to please MJ with their overtly servile behaviour, and genuflecting to his every whim. The “film noir” sequences and MJ dancing to his enormously popular numbers were also fun.





Director: Kenny Ortega
Genre: Documentary/Music
Language: English
Country: US

A Hard Day's Night [1964]

The producers of A Hard Day’s Night, in all probability, had one thing alone in mind when they conceptualized the movie – to cash in on the intense hysteria and mass frenzy surrounding the Fab Four. But, in the surprisingly jaunty hands of Richard Lester, the movie turned into a freewheeling, satirical and humorous cult classic, combining the peppy feel of early Beatles music with French Nouvelle Vague filming sensibilities. And in its circuitous, whimsical and delightfully irreverent portrayal of a fictitious day in the lives of the four iconic Liverpudlians – John Lennon, Paul McCartney, George Harrison and Richard Starkey (aka Ringo Starr), all playing themselves, the movie managed to present a definitive zeitgeist of a time that has since been immortalized with the moniker Beatlemania. Shot in dazzling black-and-whites and based on a madcap script with an abundance of self-deprecating humour, the movie is filled with idiosyncratic characters like Paul’s amusingly eccentric granddad, comical managers, and an uptight TV producer. The movie is peppered with such legendary songs like the title track “A Hard Day’s Night”, “Can’t Buy Me Love”, “She Love You (Yeah, Yeah, Yeah)”, among others. A fascinating blend of avant-garde narrative, brilliant (and at times, surreal) music videos, and cinema verite techniques, the movie, made in the form of a mockumentary, feels remarkably fresh even after nearly five decades of its release.





Director: Richar Lester
Genre: Comedy/Satire/Showbiz Comedy/Musical
Language: English
Country: UK

Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha) [1968]

Pather Panchali in particular, and Apu Trilogy in general, might be his most internationally famous work, but if you ask any Bengali-speaking Ray aficionado, more often than not you’ll find Goopy Gyne Bagha Byne is THE movie they all like to remember him by. On one hand this timeless classic was a delightful children’s fantasy filled with humour, adventure and magic, while on the other it was a subtle yet powerful statement on the absurdities of war, brought forth through high satire and sharp insight – things that only grownups would be able to appreciate. The tale, adapted from a short story by his grandfather, is about two young, simple-nature guys – Goopy and Bagha, who upon getting banished from their respective villages, end up being awarded three magical boons, including, among others, the ability to spellbind people (literally as well as figuratively) with their music. This wonderfully charming movie stands out as a clear elucidation of Ray’s unmatched versatility – not just in terms of seamlessly traversing across genres, themes and tonalities, but also in the auteur’s ability to don a staggering number of hats over and above that of a director’s. Apart from directing, writing the screenplay and composing the background score for the movie – things he did for nearly all his movies, he also wrote and composed a plethora of unforgettable songs, as well as designed the costumes of the characters! The acting by every single member of the cast was outstanding – especially Tapen Chatterjee as Goopy, the inimitable Rabi Ghosh as Bagha, Santosh Dutta in the double role of long-lost twin brothers and kings about to go to war with each other, and Jahar Roy as an evil minister. The movie also employed special effects – as in the breathtaking ‘dance of ghosts’ sequence, which were spectacular given the movie’s budget as well as the era it was made in.





Director: Satyajit Ray
Genre: Comedy/Fantasy/Musical/Adventure/Political Satire
Language: Bengali
Country: India

Love Aaj Kal [2009]

In Love Aaj Kal, director Imtiaz Ali has used the classic template of “boy meets girl, boy loses girl, boy wins girl” twice over; thankfully he has infused in it freshness and humour so that the end product is quite watchable. Having said that, the movie hasn’t succeeded in avoiding all the clichéd pitfalls of a mainstream Bollywood movie – it has its fair share of unnecessary song-and-dance sequences, every single complication gets mysteriously sorted out in time for the ‘happily ever after’ finale, and the NRI part of the story appears ludicrously unrealistic at times (what I fail to understand is, why so many NRI stories are filmed in the first place!). The director however is smart enough to appear as if he isn’t following the beaten path, without ever loosing sight of his producer’s coffers. The story is about two parallel love angles – one corresponding to the present, while the other told through flashbacks. The acting is decent, with perhaps only Deepika Padukone’s performance being worth noting. Watch this movie only if you’ve some time to kill.

Director: Imtiaz Ali
Genre: Drama/Comedy/Romance/Musical
Language: Hindi
Country: India

Dancer in the Dark [2000]

The finale of what enfant terrible and self-professed genius Lars von Trier calls his “Golden Hearts Trilogy”, Dancer in the Dark is that rare movie that manages to enthrall and repel in equal measures. A revisionist musical like perhaps no other, the movie received both flak and adulation from its deeply polarized viewers when it was released. I can understand what prompted the former group to passionately throw brickbats at it, but there’s no denying the movie’s raw, heartbreaking emotional power. It is about a frail, working-class Czech émigré Selma (brought to life thanks to an astonishing performance by Bjork) who is saving money to help prevent her son from having her fate – that of slowly going blind – until a debilitating tragedy shatters all her plans and dreams. In a brilliant cinematic maneuver by Trier, Selma, in order to escape her glum existence, often resorts to musical dream sequences; the dull, near-claustrophobic “real” events have been marvelously juxtaposed with vibrant, saturated colours in the “dream” ones. The long-drawn climax might seem brutal and even sadistic to many; however, terrific performances by the wonderfully chosen cast (especially Catherine Deneuve), the surprisingly gripping narrative, and the undeniably innovative filmmaking technique employed by Triar (of combining a musical with a drama), made watching this grim, disturbing movie an absolutely memorable, and in a way, liberating viewing experience for me.





Director: Lars von Trier
Genre: Drama/Musical/Avante-Garde
Language: English
Country: Denmark

Madly Bengali [2009]

Anjan Dutt, one of my favourite troubadours, has finally become his own man as a filmmaker, and in glorious fashion. Bow Barracks Forever was good film albeit for a niche audience; Bong Connection and Chalo, Lets Go showed promise, but didn’t really deliver as much. With Madly Bengali he has created a movie that is as much filled with nostalgia as it is with humour. The movie is broken into 4 chapters, with each dedicated, in turns, to one the four members of the eponymous Bengali rock band – Pablo, Benzy, Neon and Baaji, struggling to make music in a world full of noise. Though distinct in character and background, and each with a baggage of their own, they however are united by friendship and their common passion for music. Set against themes ranging from marital problems and religion to juvenile sex and drug abuse, the movie indeed manages to capture the pulse of today’s Kolkata. The songs composed by Neel Dutt, the director’s son, are terrific, more so given that music is essentially what the movie is all about. And whenever the beautiful vignettes of the city made me a tad sentimental, the awesome screenplay, replete with dry humour as well as good situational comedy, had us all laughing like maniacs. The director himself has played a pivotal role as a drifter who becomes the band’s manager-cum-mentor. Lew Hilt, as a former musician and the owner of a dilapidated garage where the band jams, Chandan Sen, as a foul-mouthed local goon, and Saswata Chatterjee, as an alcoholic father, are especially brilliant in the acting department. The movie has its negatives, I agree; but the positives outweigh them handsomely, making this a far more definitive chronicle of the underground rock culture in India vis-à-vis the Hindi flick Rock On.





Director: Anjan Dutt
Genre: Drama/Comedy/Musical/Ensemble Film
Language: Bengali
Country: India

Rab Ne Bana Di Jodi [2008]

I had watched Ghajini prior to this; moreover, my enthusiasm for the movie was zilch to put it mildly. Hence, suffice it to say, I had a far better time than I had expected, while watching it. Starring the indefatigable Shahrukh Khan, Rab Ne… is a formulaic movie but with a heart. Overtly sentimental, melodramatic at the drop of a hat, brazenly sappy, filled with over-the-top romance and relying heavily on coincidences – the movie is as mainstream as it gets; yet, (though I find it too embarrassing to admit) I found the movie strangely enjoyable. The story couldn’t be any more filmic – a man, married to a much younger girl in a marriage of convenience, gets a secret image makeover, changes his identity, and starts romancing her on the backdrop of a reality-show dance competition. The part of a geeky, unspectacular, soft spoken, middle-class, scooter riding, shy man and loving husband has been played extremely well by Shahrukh. It’s when he becomes the more recognizable lover-boy, err man, during the character’s dual existence that the situation starts getting more run-of-the-mill. Debutant Anoushka Sharma has done a pretty good job as the young bride. The snap shots along with a voiceover that chronicles what happens after the incidents of the movie, shown during the end credits, are quite hilarious. This is a feel good movie and nothing more.





Director: Aditya Chopra
Genre: Drama/Romantic Comedy/Musical
Language: Hindi
Country: India

Ghajini [2008]

Bollywood, in the last few years, has developed a ready-made formula for quick and easy success – plagiarize a famous/cult foreign flick, suitably modify/delete contents that viewers might find incomprehensible or controversial, ‘Indian-ize’ them by adding songs, dances, romance and comedy, and voila, your movie is ready to go for shoot. Ghajini is the latest in this crappy trend, with the source being the brilliant, mind-bending thriller Memento, but bereft of the bravura filmmaking of the Nolan classic. Ghajini is filled with inane characterizations, a complete lack of an eye for detail or rationale, filled with comic-book like action sequences that are a straight lift of B-grade Tamil movies and containing more bloopers than the makings of sitcoms; consequently we had a few more laughs (make that a lot) than perhaps was the director’s intent. And to make matters worse, the movie stars Amir '8-Pack' Khan, who, with his fame for Method acting, had created an enormous hype prior to release, thus making the show that much more ludicrous. Being afflicted with ‘Short Term Memory Loss’ can be a boon when you are watching a movie like this.





Director: A. R. Murugadoss
Genre: Action/Revenge Movie/Romance/Musical/B-Film
Language: Hindi
Country: India

Singin' in the Rain [1952]

I can’t say that I have seen all the great musicals that are there to see; in fact musicals aren’t my favourite genre to start with. But of all the ones that I have seen, Singin’ in the Rain has got to be my favourite (may the makers of Sound of Music, An Englishman in Paris, My Fair Lady et al rest in peace). A delightfully loving homage on Hollywood’s dream factory, the movie has provided a captivating portrayal of star system and the real people behind the makeup, though a slapstick superstar of silent movies (Gene Kelly at his enthralling, histrionic best) and an ingenue who hates the glossy make-believe world portrayed therein (played charmingly by Debbie Reynolds), at the backdrop of cinema’s revolutionary and historic transition from silent films to talkies. Hilarious, humourous, satirical, affable, poignant, insightful – this is heartfelt, nostalgic and good cinema at its best. And who can ever forget Gene Kelly tap-dancing his way to glory to the title track “I’m Singin’ in the Rain”, rendered unforgettably by the mellifluous baritone of Frank Sinatra, in one of the most brilliantly choreographed and photographed sequences in film history. Pure magic.





Director: Stanley Donen & Gene Kelly
Genre: Comedy/Musical/Showbiz Comedy/Satire
Language: English
Country: US

Once [2007]

Watching Once felt like a breath of fresh air for the simple reason that I didn’t have to be immersed in complex character studies, disturbing plot developments, and cynical humour in the quest for watching a good movie. A serendipitous and heart-warming tale of two gentle, lovelorn individuals and how they affect each other’s lives profoundly – he is a talented Irish songwriter who composes pieces of love and loss but never dreams beyond playing on the pavements of Dublin; she is a Czech immigrant who sells flowers and plays the piano during lunch time at a music shop because she can’t afford to buy one – the documentary-style musical is a charming piece of work. Devoid of any artsy pretentiousness and made on a shoe-string budget, Once strikes a chord (make that C Sharp) because of its simple, heart-felt portrayal of human emotions and of course, some truly well-composed songs. Given the storyline, it was tailor made for a dark, acid tale of self-destruction, or for that matter, a maudlin tear-jerker and sappy melodrama; hence the simplicity, understated humanity and the platonic friendship contained herein, but ripped off any overt sentimentalism or bitterness, is all the more touching, and I must add, appreciable.





Director: John Carney
Genre: Musical Drama/Romantic Drama
Language: English
Country: Ireland