Dear
@ewarren
and
@AOC
,
I’ve a lot of respect and admiration for your views, and this is not an attempt to deride you. That said, though, I was disturbed—and alarmed—by your recent tweets regarding the University of Farmington, and I want to broach this topic with you (1/135).
This is not the sound of clanging of plates and spoons. This is not about Coronavirus. This is the surround sound of submission, played for the Dear Leader, giving him a signal that subjugation will be accepted without question.
Calm down, Chetan. The sudden 'compassion' of the Indian audiences for Sushant Singh Rajput is hypocritical to say the least. And if you've any doubts about it, you should check the box-office figures of not just Sonchiriya but any good Hindi film over the last decade.
Sushant's last film releases this week. I want to tell the snob and elitist critics right now, write sensibly. Don't act oversmart. Don't write rubbish. Be fair and sensible. Don't try your dirty tricks. You have ruined enough lives. Now stop. We'll be watching.
Man, Manmarziyaan is such a great album. It not only has great music and lyrics. I've of late started to use it as a Red Bull/coffee shot. No matter how depleted I feel, it always picks me up.
I remember checking Pakistani Twitter and laughing a lot after we won the match in the 2019 World Cup. The humour was great and endearing. But what did we do yesterday? Went after our own fast bowler because he's a Muslim.
Gehraiyaan 'glorifying cheating' - and other similar takes - belong to the same genre of film analysis as 83 was a good film because it was 'inspirational'.
"You can't sit with 20 independent filmmakers in a room after they've made made their first film (...) Put them in a room, and it'll explode like a bomb. They'll be like, "I'm a bigger 'auteur' than you."
NO truer words have ever been spoken. Thank you for saying this.
I feature in a new Netflix four-part docu series on Yash Raj Films— unshaven and wearing a chappal—and immediately reduce its collective beauty by some 20 points. Jokes apart, I enjoyed doing it and exploring the stories of old Bollywood.
Here's me trying to not frown:
In fact, it were the critics - and *not* the audiences - who gushed about the movie (because it was that good). Many critics included it in their year-end list of best films. For me, it was the best film of the year:
Six months after SRK spoke, I profiled a famous impersonator of his, Raju Rahikwar. Raju told me that the repercussion of Khan speaking against the government was so severe that *he* had stopped getting shows.
(So yeah, I get people's angst, but it's not easy.)
“Why you no say nuthin Khans, we made you heros, you sad us”
The Khans spoke out years ago. When they said “we feel unsafe” you didn’t ask “why” & look around you to access the objective truth but made it sound like THEY were wrong for feeling that way. You didn’t do your job.
And it was of course topped off by loud, aggresive cries of "Har Har Mahadev" and "Jai Shri Ram". Some context: this is about a virus. You've got to be scared of this country.
On International Translational Day, my long reported piece on a wondrous art form, where translated words not just capture the content and context of the original but also sing: subtitling Bollywood songs.
#Aww
at all the people being surprised that Rajkumar Hirani made a bad film. The dude has made *one* good film. *One* (Munnabhai MBBS).
And, of course, many Indian film critics have to keep manufacturing anger to tell themselves that their jobs have meanings. So did I, once.
12 in the night, smoking a cigarette in the balcony, hoping the next line of the piece materialises somehow. Nothing nice about it.
And then, an auto zips on the main road blasting Satya's 'Sapnein Me Milti Hai', making you smile.
India is an endearing short story (sometimes)
Also, the public discourse around Sushant's suicide has been plain disgusting. Don't sacrifice complexity at the altar of populism. Celebrity culture—of which neoptism is a part—doesn't exist in vaccum. It is enabled by the media *and* the audiences. The B'wood production houses+
Ayan Mukerji named SRK's character Mohan Bhargava to just check how many critics would mention it in their reviews (Swades connection!). Among the ones I've read, all of them did.
References and Indian film critics: Old Monk and Coke.
My favourite line in Salman Khan's Antim was “Duniya me kuch nahin tikta sivaye plastic ke.” But besides lesson in materials science, the movie offers nothing. Review:
+ need to do some solid introspection—of that there's no doubt. But it's time the audiences did some soul searching, too. It's terrible that all of this needs to be said in 2020, but here we're.
#madeinheaven
starts off shakily but ultimately morphs into a piece that has some penetrating insights about India's rich elites and class divide, and the different ways in which we sacrifice identities for success or acceptance. Wrote about it here:
Sardar Udham is a rare biopic, a rare patriotic film, that understands the true essence of those two words. It'd have been an impressive film in any year, but in 2021—when the world is on the verge of implosion—it is an exceptional achievement. Review:
My parents, like many Indian parents, like Modi. So, when my mum called me to praise my Kashmir Files review (!), she also said that she told my dad, "Don't you think he sounds very angry?" To which my dad replied, "Koi problem nahin. Humaara ladka Leftist ho gaya hai." 😅
I've obv been following Hindi cinema for a really long time, but the level of discourse has never been lower. Not just from Bollywood audiences but also critics.
No problem with anyone disliking Gehraiyaan ofc - or any other film - it's the quality of analysis.
Saw Karnan last night. What a film, I was blown away. There's something so pure about elemental Tamil cinema—the way it blends "art" and "commercial", the way it looks at the world, the way it makes you feel—that is absolutely stunning.
Let me be very clear: Even in a world devoid of such ideas as 'communal polarisation' (and so on), The Kashmir Files - just at the level of 'objective' storytelling - is trashy. More than your ulterior motives behind liking this film, I worry about your artistic taste.
That Bloomberg essay, which has gone viral, is a new exercise in neoliberal brazenness. It has absolutely no sense of history and its lunges at 'national solidarity'—who is “we” that he keeps talking about? “Growth” for whom?—are quite shameful. A shit piece, in all.
In the context of the alleged suicide of a Jadavpur University student, I wrote a piece on how Bollywood has normalised ragging - and bullying - over the years. (After a long break, I'm back to writing!)
'Is Love Enough? Sir' is one of the best Hindi films of the year. It is tender, poignant, and assured about the story it wants to tell, not getting sidetracked by easy sentimentality. And Tillotama Shome is absolutely brilliant. Review:
Someone should just make a hyper-jingoistic movie and title it 'This Film Will Surely Win a National Award Next Year (By God)' and be done with this whole nonsense.
I was largely unimpressed and unmoved by Gully Boy. Zoya Akhtar, the filmmaker, imposes on this story a generic pathos, and a banal worldview (very disconnected, very Bollywood), shortchanging the people and milieu providing it artistic mileage. Review:
Hello all. My uncle just got a hospital bed, so l've deleted the tweet. Thank you so much for the help. I can only hope that the next few weeks are kinder on us and our families - and that we continue to help each other in whatever ways possible. Thank you again.
I quite liked Gehraiyaan. Compared to Kapoor & Sons (because there's a lot to compare), it is less affecting and cohesive. And a portion of its climax hints that the filmmaker is losing out of ideas. Not a biggie. Yet. Review:
In our latest podcast,
@reelreptile
and I discuss the mediocrity of Bhuj and Shershaah, the blatant 'selloutness' of Ajay Devgn and Akshay Kumar post-2014, and the inflection point of jingoism in Bollywood:
But my favourite MAMI story is this: An elderly guy, last year, just wanted to watch the first 20 minutes of a film. I asked why. "Because of my wife," he said. "She couldn't watch the first 20 minutes, and is in a different screening rn, so I'll tell her what she missed." Wow.
That SRK-Letterman interview was so poorly researched that, after a point, it was painful to watch. Also, WTF was up with that generic sitar-flute sounds in the background? It was quite clear that Letterman had no interest in, or knowledge about, his subject. Quite disappointing.
So glad that Koozhangal has been chosen as India's entry to Oscars. I had seen it earlier this year, as part of the Rotterdam film festival, and immediately sensed that it was something special. Review:
I think I'm gonna tear up (don't worry, I won't, coz I'm dead from inside), but this really brings back so many childhood memories. I'll list three from the top of my head:
This interview of Saif Ali Khan—especially from 7:30 to 12:30, where he talks about the politics of Tanhaji—is wonderful. A rare moment of vulnerability and hesitance, and even shades of apology, by a Bollywood star is on full display here.
Very illuminating video essay on Mindhunter, which nails a significant editing nuance: cutting a scene in a manner that translates its inner-rhythm and -meanings.
If you're interested in movies that depict the anxieties and imperfections of young love, then, as opposed to Imtiaz Ali, you should turn to South Korean filmmaker Hong Sang-soo. Start with his Right Now, Wrong Then (2015):
One of the best test cricket victories ever. No Kohli, no Shami, no Ishant, humiliated in the last test. The art of comeback, written in glowing prose by a young Indian team. Hats off, guys!
Ashvin Kumar's No Fathers in Kashmir applied for a censor certificate more than 6 months ago. The CBFC's guidelines state that it shouldn't take more than 68 days to certify a film. And yet, the film is still stuck with the censor board. I find out why:
And this problem will only intensify in the coming years, as: 1) the OTT platforms keep drowning us with their 'content', 2) more and more outlets hire half-a-dozen 'writers' to opine on the said content, 3) those pieces don't get edited. At all.
Quite intriguing that both Bong and Lee Chang-dong hail from Daegu, once the hub of Korea's conservative party. Another obvious similarity is their last films: the social commentary in Burning (2018), especially the rage of Korean working class, finds echoes in Parasite.
@shreemiverma
lol, my therapist once told me that she and her colleagues once filed a petition against the movie as its depiction of schizophrenia was so misleading.
No problem with people not liking Darlings, but what is this utterly vapid hot take that it's a
#AllMenTrash
film? Because it's quite simply not.
Again, I don't think people watch films these days. Firstpost had a similar column *before* the film was out.
I gives up.
This is *not* a problem of Oxford comma. This is a problem of parallelism. There should have been an '-ing verb' before Bernie Sanders, too. You want to hate on Oxford comma? Do it all by means, but write a proper sentence first.
Netflix restrained from releasing the documentary Bad Boy Billionaires. I'm afraid this will set a bad precedent for investigative documentaries in future:
Glad to share I'm a South
@AsiaSpeaks
fellow this year. I'm looking forward to working with my mentor (McKenzie Funk) hoping his insights would make it a better book.
You can read about the other fellows and their projects here:
The 5-am-waking, blanket-draping 10-year-olds glued in front of their TV sets, considering disappointment an inevitability, would like to thank you guys. Thank you for setting a part of us free.
Need 6 Remdesivir injections for my uncle. He's admitted in Max Vaishali. I've a doctor's prescription. If you can share some verified leads, it'll be very helpful. Thank you.
Nepotism makes it tough to write film reviews. The copy of Sadak 2 was filled with all kinds of Bhatts: Pooja, Mahesh, Alia. Can't go by their last names, impossible to differentiate; and writing Mahesh Bhatt as "Mahesh" sounds as if I went to school with him.
He doesn’t like most of my films. I like most of his reviews.
@Plebeian42
Review: ‘An Action Hero’ Is a Movie That’s Truly Difficult To Predict via
@thewire_in
The Indian government banned my satirical Website, DowryCalculator, without any notice or reason, in September 2018. With
@internetfreedom
's help, I challenged the decision in the Delhi HC. Its first hearing came up a few days ago. Here's the case summary:
Absolutely. I'd like to further state that a clear thorough-line connects capitalism and casteism. Both are 'upstairs-downstairs' structures, sustained by a simple, eternal promise. Upstairs? There's always someone to look up to. Downstairs? There's always someone to subjugate.
Ideally, should they speak? Absolutely, no doubt about that. It's also true that nothing is easy in these times. But while we justifiably rage at their silence, it's also important to note the true weight of consequences. That's it.
Feels surreal to title a Word file 'Irrfan Khan Obituary'. Life doesn't have to be this cruel and absurd - but well it is, and what can we do? You were a true gift, sir, and we're grateful for your brilliance.
How many cliches must a sports film peddle/
Before you call it 'inspirational'?
How many tires must Farhan wrestle/
Before we tell him that, yes, you've acting muscle
The answer, my friend, is streaming on Amazon Prime.
#Toofan
Went to meet cinematographer Robert Richardson with a lot of pretentious questions and trepidation. But by the end of the conversation, I was doing shots with him, getting trolled by him, and mustered the courage to (very slightly) troll him back. Excerpt:
Normalization of domestic abuse? Toxic? What?
Have people stopped watching films these days? Have they gone completely nutty?
Some 'commentary' around Darlings is just bizarre.
"Raksha Bandhan is so masterfully incompetent that if it ran a 100m sprint alone, it would still come second."
Review, the worst Hindi film of the year, Raksha Bandhan: