Movie

INTERSTELLAR – The symbology of Interstellar and the things you might have missed.

This post WILL NOT go into the science behind the movie. There are already enough posts for that (Link at the end).

ALRIGHT! ALRIGHT! ALRIGHT!

ALRIGHT! ALRIGHT! ALRIGHT!

What this post WILL GO into are the plot points and significances, symbolisms (intended or otherwise) and other fan-fiction regarding INTERSTELLAR. Long story short, you may feel I am reading too much into it and your doubt may be completely valid as well. I am just putting out those things which I felt, and which I haven’t seen being discussed anywhere.

1 – The Case of the mysterious Indian Surveillance Drone

Earlier in the movie we see Cooper and his kids come across an old Indian surveillance drone and Cooper tries to chase it down and then takes out its Solar Panels to charge the combines at his farm. The combines later stop working and Cooper fixes them. Mr. Nolan spends a good part of 5-10 minutes on the whole sequence and nothing seems amiss. Except it does.

Just gonna stand there and watch you burn.

Just gonna stand there and watch you burn.

Now, let’s rewind to the start. The movie starts with Cooper dreaming about his crash (which we later learn, happened due to a gravitational anomaly) and then Murph talking about the ghost, which NO ONE is taking seriously. So, a mysterious Indian drone comes down for reasons unknown. Except the reason would have to be another gravitational anomaly through which THEY were trying to communicate with us (and as we later learn, Murph and Cooper).

So, Gravitational Anomaly -> Drone comes down -> Cooper uses it’s power for combines -> Combines stop working due to the anomaly in Murph’s room -> Makes Cooper concerned -> He immediately suspects Murph’s room and finallly takes, Murph’s ‘ghost’ seriously. 

So, the drone was another way to send the message across by THEM.

2 – Dr. Mann as the representation of quintessential ‘Man’

Right from the story of Adam and garden of Eden and yada, yada, yada – Man by nature has been described as innately selfish and naive and who gives into temptations and survival instinct more easily than not. Dr. Mann despite being the ‘best among the lot’ was the representation of Man (Mann?)

Saving the World, one Mann at a time.

Saving the World, one Mann at a time.

After losing all hope and giving up, Mann still makes sure that if anyone comes in to rescue him, there is a plan in place. He disables KIPP, as the robot would have betrayed him, knowing the planet is unfit for  survival. Not only does he disable KIPP but also programs it to explode if anybody gets the access to the data. All for his own survival and later maybe to implement the Plan B. But mostly, to save his own ass.

3 – Cooper and the God phenomena

Cooper represents all that’s right with the humans. Intense love for his family. Thinks Earth doesn’t belong to only humans. Wants to save the humanity. All that jazz.

A far-fetched thought but hear me out – If we consider Mann as the representation of Man (as per point 2) and the concept of Lazarus being placed very non-subtly throughout the movie, remember how it’s Cooper and not Romilly or Amelia who wakes Mann up. In the story of Lazarus, it’s Jesus who wakes up Lazarus after 4 days of death.

So Cooper, is in a sense the metaphorical angel/messenger of God. Too far-fetched?

Alright, fast-forward to the Tesseract. Here, during the conversation between TARS and Cooper, he specifically mentions – “They didn’t choose me. They chose her. We’re the bridge.”

Bulk beings have built a Tesseract. They have the data that humans need to save themselves. Now, how does this message/data get across? You need a messenger to do that for you. Voila, Cooper.

Okay, still a long shot? Well, remember the “First handshake” (touching of fingers) that Amelia has with THEM and later it turns out the handshake was between Cooper and Amelia.

Does it remind you of anything? Let me help.

Though Cooper's astronaut suit was much cooler than that robe.

Though Cooper’s astronaut suit was much cooler than that robe.

What the movie seems to suggest is that ‘God’ is no supernatural being but in fact, a superior version of our own. The bulk beings who are playing Gods to save us are just extremely advanced versions of us.

Man is, in fact his own saviour.

4 – A Fan-Fiction Explanation of THEM and what really happened –

This theory was originally posted in the comments section here and seems pretty darn good so I am reproducing it here.

“The following is my theory explaining how ‘they’ survived, flourished and conquered the five dimensions in the first place even before Cooper succeeded in saving mankind. This is probably what happened

Plan A didn’t work out initially; it was Plan B that worked. ‘They’ are not the descendants that made possible from Plan A, but Plan B (descendent of Cooper and Amelia). Here it is how it worked out in more details.

Plan A failed, Cooper and Amelia initiated Plan B and succeeded. Eventually, people on earth died out, while the children of Cooper and Brands flourishes up to the point that they master the five dimensions. Having mastered the five dimensions, they are no longer mortal (beyond biological form – like ghost or you may prefer to call them the God) and become omnipotent – like creating a black hole here, and a wormhole there.

However, there is one limitation. They can’t ‘walk’ in to the past and say hi (as Amelia mentioned in the movie). At most, they can only communicate with the people from the past with limited gravitational force (as Cooper illustrated).

DAT TRIP BRO

DAT TRIP BRO

Having the knowledge of Cooper’s life and his greatest regret, his descendent granted Cooper his wish (in the movie by creating those holes and coded messages), and led him to finally meet his daughter and also to make Plan A works. At this point, you may question; why ‘they’ did that given there is a risk that things may screw up (both Plans failed), and destroyed themselves? Remember they have conquered the five dimensions.

Possibility 1: They are omnipotent, even the altered past can’t destroy them.

Possibility 2: They don’t care shits. It is love (only love transcends time/space). They are selfless, not like you and me.

Possibility 3: They know it will not go wrong, no matter what, their calculation is precise. i.e, Cooper goes back to find Amelia in the habitable planet – probably to f each other and initiate Plan B. Conclusion: Plan B succeeded to create Plan A, then Plan A made Cooper to execute Plan B.”

(P.S. – The name of the Robot KIPP seems like an obvious nod to Kip Thorne the theoretical physicist on whose theories (along with the others) about wormholes and black holes, the whole movie is based.)

This post goes into another possible fan-fiction theory about how TARS and CASE are much more (and the post goes way too deep) than they seem.

This post has almost all the links you need to read about the science of Interstellar. Skip the plot-holes articles. Waste of time mostly. Fill up the comments section with what you felt and any other alternate theories, fan-made or otherwise. Tada.

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Madness

“She smiles.

It could well be that this means no more than a crush or what they say, an infatuation.

She smiles and you lose your mind.

But isn’t that a darn miracle in itself?

How can you give a name to that rush of blood in your whole fuckin’ body just as she takes a sip of coffee from a cup?
It’s just coffee damn it.

You feel dizzy while she moves past you laughing with her friends.
And you hate yourself for it cos’ you ain’t got no control over that thing boy.

You feel like a ship lost in the sea without her.
Floating aimlessly through your life.
She’s your only anchor.
Only that she doesn’t know about it.

They never do.

They come, they go and you just sit there helpless cos’ you still ain’t got no control.

But that feeling you get where you imagine your own little house in the suburbs with her.
Spending your days talking about nothing and laughing about stupid things.
Playing with your god damn baby and all those silly daydreams that guys dream about when they act all stupid.
FUCK.

No one’s got a right name for that bloody feeling boy.
They call it crush, infatuation, love.

I call it madness.
Cos’ you still ain’t got no fuckin’ control over it boy.
No. Fuckin’. Control.

And there you go boy..

She smiled again.“

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‘गैंग्स ऑफ़ वासेपुर’ – क्योंकि ये ज़रूरी है

‘गैंग्स ऑफ़ वासेपुर’ को रिलीज़ हुए एक हफ्ता हो चुका है. पिक्चर को पसंद-नापसंद किया जा चुका है. पर वासेपुर अभी भी दिमाग पे छाई हुई है, ज़ाहिर है कि और कुछ हो न हो, ये एक ज़रूरी फिल्म है.
“The Magic of Cinema”.शायद वही.

पर कुछ बातें जो मुझे खटकी हैं वो हैं audience के अलग और कुछ अजीब reaction. मैंने ये फिल्म नागपुर के एक ठसाठस भरे पिक्चर हॉल में देखी थी (गौरतलब है कि नागपुर सलमान खान का गढ़ माना जाता है और ‘दबंग’ के all-India collections में नागपुर सबसे आगे था.) पिक्चर में करीब ७०-८० बार गालियाँ आती हैं. फिल्म सच्ची घटनाओं पर आधारित है और गालियाँ ज़रूरी हैं क्योंकि वासेपुर कि गलियों में घूमने वाले, बात-बात पर कट्टा चलाने वाले जिन लोगों की ये कहानी है वो गालियों का प्रयोग रोज़मर्रा में करते हैं. आप और मैं भी गरमा-गर्मी में इनका प्रयोग करते हैं और कुछ अपने मन में ही देकर सुकून का अनुभव कर लेते हैं.
बहरहाल, फिल्म में जितनी बार भी गालियाँ आयीं, लोग जोर से हँसे. जोकि मुझे खटका क्योंकि ये लोग भी आपस में गालियाँ देते है पर हर बार उसे मज़ाक के तौर पे नहीं लिया जाता और न ही ठहाका मार के हंसा जाता है. फिल्म में भी सब जगह इन्हें मज़ाक के तौर पर नहीं डाला गया. जहाँ हैं वहां सही हैं. पर शायद हमें सच्चाई को मज़ाक में और मज़ाक को सच्चाई की तरह लेने की आदत पड़ गयी है.

ये कहानी उस जगह की है जहाँ की ख़बरें ‘अमर-उजाला’ और ‘दैनिक जागरण’ के क्षेत्रीय पन्नों पर छपती हैं. अर्नब गोस्वामी और राजदीप सरदेसाई के आदी शायद उससे relate न कर पायें और क्योंकि हम उनसे काफी दूर हैं इसीलिए वो गालियाँ हमें या तो हंसाती हैं या discomfort महसूस कराती हैं.
क्या एक normal reaction देना इतना मुश्किल है? शायद हाँ.

Gangs-of-wasseypur-new-posters-and-wallpapers-abx
कुछ लोगों का कहना है कि पिक्चर बहुत vulgar और cheap है.
हमें ‘शीला की जवानी’ और ‘मुन्नी बदनाम हुई’ आदि, जोकि सिर्फ अंग प्रदर्शन के लिए बनाये हुए item songs हैं, उनसे कोई आपत्ति नहीं है. अगर कोई शब्द अपने आपको सबसे आसानी से explain करते हैं तो वो है “item song”. साफ़ तौर पर ये वो गाना होता है जिसका प्रयोग सिर्फ लोगों को खींचने के लिए किया जाता है और उसके लिए अधनंगे खुले प्रदर्शन से बेहतर हथकंडा नहीं है. (ऐसे गाने ज़्यादातर उन फिल्मों में होते हैं जिनकी कहानी लोगों को खींचने के लिए  काफी नहीं होती. यहाँ मेरा उद्देश्य इन गानों को बनाने वालों के विरोध में नहीं है पर हमारा दोगलापन दर्शाना ज़रूरी है.) जितना बड़ा स्टार उतना बड़ा गाना. और ‘aesthetically shot’ होने के कारण इन्हें public domain में accept कर लिया जाता है और ‘vulgar’ tag तो दूर-दूर तक नहीं दिया जाता.
इस समय मेरे मन में एक गाली ज़रूर आ रही है पर उससे मेरे अभिप्राय पर कुछ ख़ास फर्क नहीं पड़ेगा. छोडिये.
खैर, वासेपुर में कोई item song या kissing scene नहीं है. क्योंकि गाँव और छोटे कस्बों में मुंह पर चूमना कोई आम या ज़रूरी बात नहीं होती. बल्कि, kissing भी एक तरीके से यहाँ western (या french कहें) phenomenon है और पिक्चर में दिखाए गए उस २०-३० साल पहले के fridge की तरह ये भी अभी तक अंदरूनी भारत में पूरी तरह पैठ नहीं कर पाया है.
अगर तब भी आपको फिल्म ‘vulgar’ लगी हो, तो इसका मतलब है के आपका दिमाग स्क्रीन पर चल रहे scene से आगे निकल गया है. निर्देशक और किरदार, और किसी को न सही पर आपको उत्तेजित करने में सफल हो गए हैं और ‘vulgar’ शायद आपके दिमाग में बनी वो image है जिसे अब आप guilty-feeling के तौर पर बाहर उलटी करके निकाल रहे हैं. निकालते रहिये.
शायद कुछ देर बाद आपको अच्छा लगे.

Gangs_of_wasseypur_film
और एक बड़ा मुद्दा उठाया जा रहा है के फिल्म में बदला तो हुआ ही नहीं, सरदार खान बाकी कामों में लग गया और यूँही बिना बदला लिए मर गया. दर्शक को उसके किरदार से कोई sympathy नहीं हुई और इसलिए फिल्म भी मात खा गयी.
जनाब, ये एक सच्ची कहानी पर आधारित है. फिल्म में कोई हीरो नहीं है. मतलब, conventional defintion वाला तो कतई नहीं. सरदार खान निहायती कमीना, शातिर, ठरकी और एक हत्यारा है. राह-चलते आदमी को जो चाक़ू गोद-गोद के मारने में हिचकी नहीं लेता उससे आपको बहुत sympathy तो नहीं होनी चाहिए.
अगर आप ऐसे इंसान को ढूंढ रहे हैं जो किसी महिला की इज्ज़त लुटने से बचाता है, या किसी गाँव को डाकुओं के आतंक से या फिर जिसकी बहन की हत्या हो गयी है और ऐसी ज़बरदस्ती थोपी हुई sympathy आपको चाहिए तो साहब ये गलत फिल्म है आपके लिए. यहाँ कहानीकार आपको ज़बरदस्ती कुछ “feel” करवाने की कोशिश नहीं कर रहा है. ये वो manipulative सिनेमा नहीं है जहाँ हीरो के आंसू निकलते ही पीछे से १०० violin मेघ-मल्हार बजाने लगते हैं और आपकी रुलाई फूट पड़ती है. वो काम आजकल के prime-time TV shows बेहतर कर लेते हैं. 

इसे एक new-wave कह लीजिये या फिर सालों से चली आ रही इस तरह की फिल्मों का mainstream हो जाना कह लीजिये कि आज की हर फिल्म आपको manipulate नहीं करती बल्कि काफी कुछ आपकी judgment पर छोडती हैं और वासेपुर इस मामले में मील का पत्थर साबित होगी. आज से कई साल बाद तक इसका नाम याद रखा जायेगा जिसने सही मायने में unconventional और conventional के बीच की रेखा को पूरी तरह मिटा दिया.
वासेपुर भारत की underbelly को दर्शाता एक दर्पण है जिसमें हम झांकते हैं और हमें गंदगी दिखाई देती है. हमें दिखाई देते हैं रेलगाड़ियों का पाखाना साफ़ करते हुए छोटे बच्चे और एक ऐसा नर्क जहाँ इंसान की जान की कीमत कोयले से कम  और कौड़ियों के भाव है. शायद इसलिए हम इसे देखकर या तो हँसते हैं या घिनौना समझ कर नज़रंदाज़ करने की कोशिश करते हैं.

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ये कहानी बड़े शहरों को जोड़ते हुए किसी चौड़े highway की नहीं है, बल्कि उस highway से उतर के पांच मील अन्दर, इधर-धर दौड़ती हुई पगडंडियों और टूटी सड़कों की कहानी है.
Problem आपको तब होगी जब आप highway पर अपनी air-conditioned कार में बैठे हुए ही अन्दर की तरफ देखेंगे.
थोडा सा धूप में बाहर निकलिए और अन्दर जाकर देखिये..

क्योंकि ये भी ज़रूरी है.

 

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The movie that could have been…

Here’s What I liked –

1- The very real feel. The movie has been shot on a Canon 7D in dark alleys and bylanes of Mumbai suburbs. That’s audacious for you.

2- Performances – Not all of them though. But very solid by and large. Kalki is very good. Though at times you do get tired of seeing her since she’s pretty much in every frame of the movie. There are a lot of cameos. Even Naseeruddin Shah’s role would qualify as one though he is in starting credits. Gulshan Devaiya who impressed in Shaitan shows his versatility here in very less screen time. Prashant Prakash makes an assured debut.

3- The background score is brilliant to say the least. Plus the direction is nothing to complain about, Anurag frames the scenes so perfec….

That-girl-in-yellow-boots-bollywood-movie-stills_30

FUCK IT!

I don’t like a movie for it’s background score, it’s frames, it’s feel or heck even performances. I need to like the MOVIE, first and foremost. The rest are factors that make a good movie better or worse. They are important. Very important. But not more important than the story. And sadly, the story here is the weakest link and all the rest of the factors together can’t save the movie. It’s just not strong enough to sustain a two-hour long movie and that undoes all the rest of the good.

There are scenes which seem to have so much promise (like when ‘Chutiyapa’ visits Ruth) but not a single scene takes off. There are moments you feel could have translated into much more but they don’t. The screenplay doesn’t help either. There is ample scope to get distracted and the cameos somehow don’t really help the flow of the movie. The main character of Ruth is so central to the story that the rest of the characters seem chalked out just to fill in the spaces.

But, having said all that, this movie deserves to be seen because in contrast to the crowshit (read : Bodyguard) that is playing alongside in the theatres this is actually a real movie. An honest attempt at storytelling.

If only the story had something more.

BOTTOMLINE – It’s like a dark short story with a twist ending. But by the time the twist comes you are too distracted to care about it.

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Why you should watch ‘Delhi Belly’ and why not?

You will not enjoy Delhi Belly –

1- If you belong to VHP/SIMI/Shiv Sena or a religious or any other sort of fanatic society in general. (Though I’m pretty sure you’d watch it secretly when everyone is asleep at home. Pervert.)

2- If you have qualms hearing people utter expletives. Especially a very vivid variety of expletives.

3- If you have aversion to mild male nudity.

4- If you are that movie geek who compares every movie to a Tarantino or Kubrick flick and tries to nitpick and find similarities and then acts smug about it. You Sir, can http://bit.ly/keqCpF

5- If you love deep meaningful cinema only (like MNIK or Tees Maar Khan)

6- If you are going to see the movie just because you find the ‘D.K. Bose’ song funny and you giggle at the lyrics whenever it plays on the radio.

6- If you are Salman Khan (simply for the fact that you won’t get the jokes)

Delhi-belly-no-fucks-given

But you will enjoy Delhi Belly –

1- If you have had enough of the Readys, Double Dhamaals and other such shit masquerading in the name of entertainment.

2- If you have ever said ‘Chutiya/Gandu/Motherfucker’ to someone with the deepest feelings of your heart.

3- If you are prepared to see scenes that you could never ever imagine seeing in a commercial Bollywood movie.

4- If you can take a bit of non-acting, gimmickry and minor script defects as long as you are getting a fuckin’ good laugh out of the rest.

5- If you love movies that take you by the gut and shake you all over, have a lot of subtle jokes and then not so very subtle jokes.

6- If you wish to get entertained like no other Bollywood movie has done in a very long time.

And finally,

7- If you are Aamir Khan (because you Sir have produced a movie that doesn’t give a fuck about taboos and is straight, pure entertainment. You have had an awesome time making this movie and it shows on the screen. And just for that Sir, You, writer Akshat Verma and director Abhinay Deo deserve a bow.)

BOTTOMLINE – Simply put, Delhi Belly is a guilty pleasure. And a bloody awesome one at that.

RATING – * * * *

 

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Transformers 3 – The Tale of the CGI

Transformers 3 blows your mind and how.

Make no mistake, there is no pathbreaking story to look forward to here. But you can very well look forward to some CGI effects of the ultimate mind-numbing awesomeness and larger than life sequences involving falling buildings, blasting autobots and decepticons, chase sequences, flying commandoes, super-slo-mo shots of tonnes of machinery maneuvering and transforming into all imaginable shapes, planets appearing, and a landing on the moon and what not. Phew! Michael Bay pulls all stops in this third and final installation of the Transformers franchise.

There is a method to the madness, the story is there to setup the action. I wouldn’t want to reveal any spoilers (though there is not much to reveal storywise). We have a recreation of the Apollo moon mission and events like Chernobyl disaster and cold war have been weaved into the storyline to setup the fight between autobots and decepticons with the Earth playing the battlefield and humans as the collateral.

The first half of the movie with a struggling Sam Witwicky (Shia Labeouf), with his job search, relationship problems and family issues forms the weakest part of the movie since there is hardly much time given to any of the sections to develop. The director seems to be in so much of a hurry to get to the second half and all the epic CGI sequences that all the rest of the story has symbolic scenes and gimmicks used to maximise the effect in the shortest time. The first half in that sense falls pretty flat.

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But the second half more than makes up for it. If you thought you had seen it all in the 1st or 2nd part, this second half alone packs more punch than both the previous movies put together. What unleashes between Optimus Prime and Co versus Megatron and Co is quite spectacular. There are never before seen CGI effects and the scale on which Bay uses them makes you wonder at times as to what exactly are the humans doing in the movie because frankly they are the weakest link of the story. The last hour or so is a riot of epic battle scenes and carnage and mind-numbing CGI effects. The 3D only helps to enhance the effect.

The performances are not much to speak of. Shia LaBeouf continues his Sam Witwicky in the same fashion as the previous two installations. Rosie-Huntington Whiteley though is no Megan Fox when it comes to oomph factor but is definitely a better actress than her. The versatile John Turturro is in his element. Patrick Dempsey is impressive. Frances McDormand and John Malkovich don’t have much to do frankly and are wasted, considering their acting prowess.

The real hero of the movie is the CGI effects and Michael Bay. He has a grand vision as he has shown and this is as commercial as it gets. I only wish if the first half could have been better and had he concentrated a bit more on the characters, this movie might have gone to another level. And due to this, it remains as a spectacular orgy of special effects. Also at 154 minutes long, it does get you a bit weary by the end.

Bottomline – Here is how you make a summer blockbuster.

Rating – * * * 3/4

 

 

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Movie Review Mashup – Green Lantern, Bheja Fry 2 and a Mistake

I saw three movies today. Back to back. In a theater. (1 – It should be understood that I am a lonely, single man who thinks of himself as a movie geek). Here’s what I thought of them. (2 – I am NOT a ‘movie-critic’, just a regular guy who watches a lot of movies. Also – lonely, single) –

GREEN LANTERN –

Firstly, a superhero that moves around carrying a lantern is hardly the best bet to deliver a summer blockbuster. This is not as bad as you might expect it to be. It just falls between ‘bad’ and ‘ok’ somewhere. Here’s what you will miss if you don’t watch it though –

1- A very sad looking Mark Strong in pink makeup (remove that ‘talwar-cut’ moustache and we have a drag queen)

2- A more buxom than usual Blake Lively who pouts at least 4 times before completing any dialogue.

3- A very shoddy script full of cliches and dialogues that make you squirm in your seat.

Yep, that’s all. Ryan Reynolds is in his element though even that is not enough from making this movie less of a disaster. Martin Campbell (Edge of Darkness, Casino Royale) has delivered a dud. Fanboys will be disappointed.

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Bottomline – The only way to enjoy this movie would be to watch it in Hindi. ‘Hari Lalten’ would be funny if nothing else.

 

BHEJA FRY 2 –

Now, this one had been long expected. The first being a surprise hit, the expectations were high from this one. And it just about delivers.

This may not be a laugh-riot as the first one but it has it’s moments. The script though faltering here and there does include punches and Vinay Pathak as the bumbling but endearing idiot makes it hard to not like his act, once again.

The strength of the movie is the performances. Kay Kay and Pathak who share most of the screen space, carry the movie through and cameos by Suresh Menon (he should get better roles) and Amole Gupte (though a bit unnecessary in the script but entertaining nonetheless) are enough to make you sit back and wait for this adventure to unfold.

Minissha Lamba doesn’t have much to do here except for looking freakishly shiny in every scene (what does she wear for make-up – Brasso?) and the rest of the cast is just about ok.

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Bottomline – Do not go in expecting a great laugh-riot and you just might be satisfied.

 

MISTAKE (ALWAYS KABHI KABHI) –

I know, I know..here is what happened –

1- I had two hours to spend between Green Lantern and Bheja Fry 2. So I thought why not watch this instead of just sitting in the mall staring at irritating cuddling couples (lonely, single – remember?)

2- Turns out sitting and staring at irritating couples would have been a much much better bet.

Roshan Abbas, I have nothing against you but – Please, Do not make movies. Ever. At least not like this.

Looking at the past investment ventures of SRK (Kolkata Knight Riders) this one is hardly a surprise. But, since it was an assault on my senses, I am deeply hurt.

Sample dialogue from the movie (verbatim) – “Sam, Please Undi the Condi of my heart.”

Yes, ‘Undi’ and ‘Condi’, you read it right. I can’t say more now.

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Bottomline – Staring at a glass of water for two hours would be better than this.

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An open letter to Mr. Raja Sen

(Note : This is in reply to a post by Mr.Raja Sen regarding the fallacies of ‘The Dark Knight’. The Reader is requested to kindly read the original post and then this reply. You can read the post by Mr. Raja Sen here)

Dear Sir,

I would like to know when you sit down to watch a film, do you sit with a pen and paper with rules written down on it?

Like for Dark Knight, did you sit with a ‘Super-Hero-Movie-Cliches Rule Book’ and ticked off the things that were not in the movie?

Watching a movie for what it is, and not for what it should be (either according to some genre-rules or self-made ones) is more important I believe.

Going through your article anybody would be able to gauge how you watched this movie. What that is, I’d let the readers decide.

X-Men: First Class is a brilliant and very enjoyable Superhero movie, so much so that it has actually all the genre-cliches present and plays to all the rules as to how a  superhero movie should be.

And herein Sir, lies the difference.

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The Dark Knight is not a superhero movie in the sense of the term that you want or expect it to be.

The Dark Knight is made by a man who would be the last person to play by any genre-cliches ever, much less by any expectations (I find it amusing if you expect him to either)

I can dissect X-Men: First Class scene by scene and point out the cliches present (which would mean writing a lengthier blog post in turn).

The Dark Knight, on the other hand, would be remembered for genre-defining moments and unforgettable characterization of The Joker. (If X-Men would be remembered for anything, well I’m at a loss to think of what that would be)

TDK does not need me to point out it’s moments of brilliance and sheer awe.

Instead, I would just want you to start seeing a movie for what it is, rather than what you want it to be.

Great movies do not play by any genres, they define them.

Peace.

A very insignificant movie lover.

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