Geo’s Talkies – OK Kanmani

‪#‎OKKanmani‬ is vintage Mani Ratnam, even if it sounds like a cliche. The GodFather of modern romance at various points of time right from Mouna Raagam right up to Alaipayuthey has written a story that involves a man and woman of today, wonderfully played by Nithya Menen as Tara Kalingarayan and nicely portrayed by Dulquer Salman as Aditya Varadharajan.

Conversations over cell phones, professional aspirations and goals, values (some would say the lack of it) all have been woven into the story. He layers these troupes with those of an ageing couple faced with their own problems in day to day life. Its almost like a plant blossoming under a giant tree the two couples separated by age. The movie is also about Prakash's Raj's Ganapathy, in one of his finest roles ever, and Leela Samson's Bhavani though the trailers focus on Adhi-Tara.

The hip upper class crowd, for a change isn't portrayed as scheming and lacking in moral and ethical values. After a series of botched up female acting calls, the ace auteur nails it this time with his cast. Ramya Subramanian gets a good role to play in her first full scale movie outing almost like Swarnamalya and Medha got in Alaipayuthey. Buses, trains, rain, sea front, telephone calls, bikes all get a fresh take in this story. Though Mani's characters are mostly upper-middle class / upper class they always travel by public transport.

The story is light weight, entertaining and lacks serious drama or tension building moments. AR Rahman's re-recording (an Indianism for background score) has a higher amount of piano this time and the BGM is co-credited to Qutub-e-Kripa (KMMC composers). PC Sreeram's camera is inventive in it's angles, particularly featuring Adhi and Tara. The first series of conversations between the couple is beautifully staged and immaculately captured. Another Madras Talkies' regular Sreekar Prasad has edited the movie.

This movie is Mani Ratnam giving his fans a re-arrangement of his troupes, to people who felt he strayed away from his strengths as a story teller. [Asides: The movies didn't have to be rated U/A. "Pollachi Mahalingam", "Kalingarayar", the "TN-66 J" registered Audi and the name itself makes up a lot of references to Kovai aka Coimbatore. For some of us there is no other place like Cbe].

Independence Day – India - play list

Along with wishing everyone a happy independence day I’d like to put forth an independence day play list of sorts. A collection of songs whose words and music have a strong patriotic spirit to it.

• National anthem: Featuring Pt. Hariprasad Chaurasia, Vikku Vinayakram, Ravikiran, Kumaresh & Ganesh, Pt. Vishwamohan Bhat, Ustad Amjad Ali Khan, Pt. Jasraj, this collective instrumental version was produced by AR Rahman for the album "Jana Gana Mana".
• Missing: Loosely based on the iconic “Vande Mataram”, this piece was composed and produced by AR Rahman for the album "Vande Mataram".
• Vande Mataram:  Written by Mehboob and sung by the ‘crown princess of Indian playback music’ Lata Mangeshkar, this song was composed and produced by Ranjit Barot for the album "Vande Mataram 98". It combined the best of the modern and the yesteryears, a feat Ranjit Barot  effortlessly manages to accomplish given his strong classical training and a background in rock music. The choir’s harmonic rendition of “Suchalaam sufalaam” that opens this song is unique and a spell binding effort.
• Maa Tujhe Salaam: Rendered, composed and produced by AR Rahman (Does anyone still remember Yak Bondy?) for the album "Vande Mataram", the words for this song were written by Mehboob. The brief given to him was to not write a song that the youth would like but never sing.
• Desh mere desh: Sung by Sukhwinder Singh & AR Rahman, composed and produced by AR Rahman for the movie "The legend of Bhagat Singh". The words of this song were written by Sameer.
• Yeh jo desh hai thera: sung, composed and produced by AR Rahman for the movie "Swades". Javed Akthar’s words bring a melancholic and fond feeling to friends living in foreign lands and to natives alike.
• Theme music from "Bombay": Composed and produced by AR Rahman for the movie "Bombay", this song is alleged to have taken 3 months to complete delaying the release of the movie. Based on the same raag as Mohandas Gandhi’s favourite song, this piece of music kicked off the trend of having instrumental compositions on mainstream film music albums, although AR Rahman has been doing it since his first movie “Thiruda thiruda”. “Bombay” is also the best selling casette tape of all times in India, if the accounting was transparent in the industry it would have rivalled MJ’s “Thriller” too in terms of copies sold.
• Azadi: Sung, composed and produced by AR Rahman for the movie "Bose, the forgotten hero", the words were written by Javed Akthar. This movie didn’t get quite the attention it deserved, it was a good effort and the music was top notch. This was one of AR Rahman’s lengthiest albums with a total of 19 tracks on the soundtrack CD.
• Thamizha thamizha: Sung by Hariharan, written by Vairamuthu, composed and produced by AR Rahman for the movie "Roja". (Bharat humko jaan say pyaara hai is the same tune in Hindi)
• Desk ki mitti: Words by Javed Akthar, sung by Sonu Nigam, composed and produced by AR Rahman for the movie "Bose, the forgotten hero".
• Sarfarosh ki tamanna: Written by Sameer, sung by Sonu Nigam & Hariharan, composed and produced by AR Rahman for the movie "The Legend of Bhagat Singh". 

“Chak de” composed by Salim-Sulaiman due for the movie “Chak de India”, “Mera mulk mera desh” from the movie “Diljale” composed by Anu Malik are some honourable mentions.

This writer has a strong bias towards AR Rahman which would be evident looking at the songs in this play list. There have been timeless gems from the olden days, since my understanding and exposure to music from that period is limited I’ve restrained myself to only mention songs that came out after 1992.

Are there any other songs in the last 2 and 1/2 decades that should have been mentioned?

Geo’s Talkies - Skyfall

“This is the end” sings Adele when James Bond falls of a train, that’s passing a viaduct, into a river having been shot by one of his own and the opening credits begin. Sam Mendes sets the tone right at this point on what is to come. The pre-credit sequences are high octane with chases on four wheels and two wheels and that mandatory train which always seem to have the CAT equivalent of L&T Proclain and some stunning cars that have to end up as crushed metal.

Before getting shot 007 was attempting to retrieve a stolen hard disk that contained the list of NATO operatives across the world and MI-6 continues to pursue the target to retrieve the data before the cover of the field operatives are blown. In Julian Assange style the antagonist reveals five names every week putting pressure on MI-6 and M who is not just fighting a battle with an unknown enemy but also keeping political pressure from inside the UK at bay.

How 007 comes back and saves the organisation from the antagonist forms the rest of the story. The antagonist is one of the cleverest villains Bond has had to face in the last 50 years, who also has a homophobic streak that plays humorously. The mandatory Bond girls are there, one of them, as it always happens, gets killed brutally. There is no mention of any physical intimacy between Bond and the other though the lines they speak are risqué. The Ashton Martin DB5 (BMT 216A) which first appeared in GoldFinger (*ing Sean Connery) makes it’s appearance in this one.

Q now is a computer geek who still needs Bond’s brain to figure the name of a tube station that’s involved in a core plot point in the movie. The gun he passes on to Bond should be made mandatory to own, why wouldn’t anyone want to possess a gun that won’t fire without the owner’s finger prints on the trigger?

Thomas Newman’s first attempt at scoring for the Bond franchisee is a welcome change, the music  is void of the bravado we’ve come to associate with David Arnold’s score. Except for the legendary Monty Norman’s James Bond Theme which plays in the OST as arranged by David Arnold, Thomas goes ahead and weaves his own tapestry around the drama which makes the score subtle, synthesized in parts and engaging. It’s only fair to Sam that he brought Thomas into the movie after their successful collaboration on The Road to Perdition, American Beauty and Revolutionary Road.

Roger Deakin’s cinematography captures the mood of every scene lucidly and the latter scenes in Scotland thankfully aren’t postcards for Scotland Tourism but are stark and vivid to carry forward the narrative. Sam Mendes is no Michael Apted (The World is not enough) or Martin Campbell (Golden Eye, Casino Royale). Therefore this Bond movie is more of a drama with bursts of superb action sequences. Skyfall is a must watch.

Geo’s talkies – Departures (Japanese)

Departures was the winner in the best foreign film category at the Oscars in 1999. The movie is based on a novel titled Coffinman and was directed by Yojiro Takita and has English subtitles.

Daigo Kobayashi is a cellist with a modern Japanese orchestra which closes down due to lack of patronage. This leaves Daigo without a job and forces him to sell his costly and professional cello, move to the town he was born in to occupy the house left back by his deceased Mother. Daigo responds to an advertisement about a job with Sasaki and manages to bag it only to realize it wasn’t what he thought it to be. The job is to prepare dead bodies for burial, encoffination is the term used by some.

Reluctant Daigo learns the trade from his boss Sasaki, a man of few words but who portrays immense respect for the dead and living, who meticulously work on dead bodies with respect to wash, clean, clothe and make them look their best in the last few moments left on Earth. Daigo’s wife Mika doesn’t like his job when she get’s to know it, he becomes a pariah with the only other association he’s shown to have in the movie.

Daigo nurtures an almost perfect relationship with his boss and eventually learns to respect and practise his trade with art like precision. Having raised by a single mother, he nurses a grudge for his Father who deserted them while he was a child. His wife leaves him asking him to decide if he wants to continue the profession or live with her.

There isn’t too much dramatic tension in the narrative, all such setups are resolved before they can sink in. The movie has been shot very beautifully with classical or classical-like orchestral music to back up the shots. The third movement (popularly known as Ode to Joy) from Beethoven’s 9th plays in it’s full 6 track glory in the early section of the movie showing Daigo’s orchestra. Daigo find more music and looks inward as his learning of his trade progresses.

The ending reunites Daigo back with his wife and brings closure to his inner turmoil in a very nice way. The Japanese have made an art of folding paper, which goes by the name Origami. Even routine and mundane activities like manufacturing in an assembly line is practiced like an art in Japan. It’s hence not very surprising to see how much of a care and devotion is laid out to prepare dead people and give them a fitting farewell from this world.

There are many scenes that stand out due to content that’s emotional or soul stirring. A dead wife’s husband crying “Naomi”, Daigo’s boss Sasaki’s methods while working, Mika starting to take pride in her husband’s profession, the Japanese people’s liking for good food, all have been portrayed exquisitely. A scene depicting salmon trying to swim up a river while dead one’s float downstream is profound in meaning. The scene where Sasaki & Daigo show up 5 minutes late to be shouted at mirrors the fact that the Japanese are sticklers for punctuality.

Departures is a must watch on any movie lover’s list, for the way characters have been laid out and made to play; around the theme of mortal certainity, of death and loss, yet would make you exclaims “What a beautiful movie!” instead of anything negative.

Geo’s Talkies – Kerala Cafe

Kerala Cafe is a collection of 10 short films filmed by different directors and technicians while Ranjith steers the overall idea and concept and also produces the film. I have to start this post with a disclaimer. The only other movies of similar nature I’ve seen are Paris, Je’ t aime & New York, I love you. Thanks to Joshua who made me see the former, the movie was very good while the latter wasn’t a laudable effort.

Ranjith is a prolific script writer and director who over the past decade or two exhibited expertise in writing scripts to cater to the masses and also scripts which tread the line between art and popularity rather carefully. Some stories he has written / adapted for the screen are lilting and poetic. The list of directors comprises people who direct popular mass entertainers and people who make sensible movies that appeal to the class audience. The central theme of Kerala Cafe is journey (yatra) and all short films incorporate this into their theme.

Nostalgia is the first short film starring Dileep, Navya Nair directed by M Padmakumar, shot by Anil Nair based on a poem Naaduvazhikal . Two minutes into this short film you are shaken by the contrast of feelings in the protagonist played by Dileep who is an NRI from Dubai visiting his hometown in Kerala. Navya Nair plays his wife is the cynic in the frame who sees through Dileep’s actions. Sudeesh plays the role of Dileep’s friend in his hometown who works as a waiter in Kerala Cafe.

Island Express written and directed by Shankar Ramakrishnan has been shot on film by S Kumar. Based on the derailment and loss of 100+ lives when the Island Express derailed from the Peruman bridge in Kollam district of Kerala, this film brings together characters who have lost a loved one on that ill fated night. Sukumari, Maniyan Pilla Raju, Jayasuriya, Prithviraj, Rahman, Geethu Christie and Kani play warm roles in this short, each one having lived through the loss visits the accident spot. Maniyanpilla Raju plays the role of the engine driver from the night of the accident, to even attempt to describe all the subtle emotions on his face would be an exercise in futility.

Lalitham Hiranmayam is the next short directed by Shaji Kailas, stars Suresh Gopi, Jyothirmayi & Dhanya Mary Varghese. Rajesh Jayaraman writes the story while GSujith Vasudev captures the visuals on film. Suresh Gopi and Jyothirmayi are a married couple with a girl child, disaster strikes in the form of a confession Suresh Gopi does to his wife about an affair he’s been having with Dhanya Mary Varghese. This short was the one big surprise to me personally, I never expected Shaji Kailas, known for mass masala entertainers, to demonstrate skill and craft in narrating the travails of a man torn between love in a manner that is poetic and subtle devoid of swooshes one is normally used to associate with his name.

Mritunjayam is a story by Ahmed Sidhique, directed by Uday Ananthan, shot by Hari Nair. It’s a thriller, an IB officer seeks the help of his half sister to crack a case of murder in a haunted old anchestral mansion. Thilakan as the custodian and Rima Kallingal as his granddaughter light up the screen. Anoop Menon plays the IB officer and Meera Nandhan plays his half sister. This short is full of solid thrills, be prepared to get spooked. Audiophiles can use this short to setup sound levels on their sub woofer.

Happy Journey stars Jagathy Sreekumar, Nithya Menon and Bindhu Panicker’s voice. Written and directed by Anjali Menon, this short has been shot by MJ Radhakrishnan. A lecherous co-passenger played  by Jagathy get’s the experience of his life when the teenager he’s been feeling up on a journey from Ernakulam to Kozhikode (Calicut) turns out to be a suicide bomber or so she says. There is palpable tension if you don’t double guess the direction the narrative is going.

Aviraamam written and directed by B Unnikrishnan, shot by Shamdat is the story of Siddhique and Shwetha Menon. IT businessman Siddhique is neck deep in dept due to the the recession. One fine morning he decides to take his life after packing off his wife and two kids to their grandparents house. There has to raw sensuality when Shwetha Menon is on screen in a Ranjith production, there is. However at the end of this short the difference between a good and bad actor is shown when Siddhique and Shwetha are shown on screen, one excels in conveying remorse, pain and the other leaves us confused.

Off Season is directed by Shyamaprasad, written by Joshua Newton, shot by Azhagappan. Suraj Venjaaramood narrates the story of a Portuguese couple which sorts of gives out an accurate picture of the backpacking foreigners we keep bumping into on trains and buses, the types that dont drive into a 5 star hotel the moment they land. This short is the funniest in the whole bouquet.

Bridge is a story by TR Unni, shot by Suresh Rajan and directed by Anwar Rasheed. It takes us in parallel through the life of a kid and an old lady. The kid adores a kitten with whom he plays, his Dad throws the kitten out of the house causing heartbreak to the little fellow. On the other side of the bridge is Saleem Kumar and Kalpana, dhobis by profession. They struggle to make ends meet and Saleem Kumar’s mother is getting too old to manage in a poor man’s house. The title is probably an allusion to the connection it makes to two different strata or segments in society.

Makal directed by Revathi is a story by Deedi Damodaran. Canned by Madhu Ambat, this short is a story of adoption, exploitation of the girl child where the naive and gullible are taken for a ride by the well heeled. One cant have anything less when someone as capable as Revathi is wielding the megaphone I guess.

Puramkaazchakal is an adaptation of CV Sreeraman’s story by Lal Jose, Vijay Ulaganathan plays the role of cinematographer.  Sreenivasan takes a bus to Chalakudy via Malakkapara. Midway through the journey joins Mammootty, who appears impatient and arrogant much to the irritation of the crew and passengers. Mammootty is the only superstar in India who doesn’t distract me from his role, any role he plays I see the character and not the star. In a master stroke of a narrative this is the best short in the whole collection to me.

A big thumbs up to Ranjith for this fine effort, this is a laudable effort and needs to be encouraged in the interest of good cinema.

Roberto Benigni's next

After the super good 'Life is Beautiful' and 'Pinnochio', Roberto Benigni is back with 'The Tiger and the snow'. This movie appears to be another romance set in the times of the Iraq war. Trust Roberto to treat the story sensitively and in an incredibly humorous manner. I can't wait to see this movie, but I doubt if it would be ever released in my country. That reminds me of something, time to visit Burma Bazaar.

79th Academy Award Nominations

The nominations for the 79th Academy Awards (OSCAR) are out and this is one of those years when John Williams' score hasn't made it to the list because he didn't have any releases in 2006. Movies nominated for original score are :

“Babel” (Paramount and Paramount Vantage) Gustavo Santaolalla
“The Good German” (Warner Bros.) Thomas Newman
“Notes on a Scandal” (Fox Searchlight) Philip Glass
“Pan’s Labyrinth” (Picturehouse) Javier Navarrete
“The Queen” (Miramax, Pathé and Granada) Alexandre Desplat

Sadly AR Rahman's songs too failed to figure in the original song for a motion picture list. The following are the one's nominated :

“I Need to Wake Up” from “An Inconvenient Truth”, Music and Lyric by Melissa Etheridge
“Listen” from “Dreamgirls”, Music by Henry Krieger and Scott CutlerLyric by Anne Preven
“Love You I Do” from “Dreamgirls”, Music by Henry KriegerLyric by Siedah Garrett
“Our Town” from “Cars”, Music and Lyric by Randy Newman [My favourite]
“Patience” from “Dreamgirls”, Music by Henry KriegerLyric by Willie Reale

"Apocalypto" figures in both the sound editing and sound mixing nominations and it should win the Oscars despite the presence of heavy weight competition from "Pirates of the Carribean: Dead Man's Chest" and "Blood Diamond". I wouldn't be surprised if the sound mixing award went to 'Dreamgirls' though. The visual effects award would most certainly go to the minds that worked on "Pirates of the Carribean: Dead Man's Chest", "Superman" and "Poseidon" are the others nominated in this category.

The best animated feature film of the year award should go to "Cars". "Happy Feat" is a strong contender and so is "Monster House". "Water" directed by Deepa Mehta makes it to the final list in the best foreign film category, I don't know the odds of this movie winning the oscar, but I hear it's got a good chance. Interestingly it was Canada's official entry in this category. "Rang De Basanti" apparently didn't make it to the final list. Go through the full list of nominations and take your pick, let's hope the academy finally breaks the oscar jinx and gives Martin Scorsese the oscar for best director.