Films to Watch Out for in 2009

Source: PFC

Rendezvous with Rama

Director: David Fincher
*ing: Morgan Freeman

Rendezvous with Rama is a novel by Arthur C. Clarke published in 1972. Set in the 22nd century, the story involves a thirty-mile-long cylindrical alien starship that passes through Earth’s solar system.The story is told from the point of view of a group of human explorers, who intercept the ship in an attempt to unlock its
mysteries. Because all extant names for Roman and Greek gods have been used on other newly-discovered celestial objects at this point, the Hindu god Rama is invoked in naming the object.

Freeman says “It’s a very intellectual science fiction film, a very difficult book to translate cinematically. [At least] we have found it very difficult to translate, to get ready for film”.

About the problems he was having with studios, he says “These things, they always want to make it into an action film, You can’t do it with this. And we’ve been having trouble getting someone to see the science
aspect of this, the exploratory aspects of it, rather than the blood and guts and stuff”.

This should be an absolute treat to the fincher fans.

Shantaram

Dir: Mira Nair
*ing: Jhonny Depp

Fact file of Gregory David Roberts after he escapes from Australia and enters India.

FROM 1982 to 1991
* Six months in remote Maharashtrian village, learn to speak Marathi language
* Live in Bombay slum, establish and operate free clinic for slum dwellers
* Imprisoned in India for 4 months
* Recruited by Bombay mafia, training in currency crime, gold smuggling, passports
* Gunrunning operation to unit of mujaheddin fighters in Afghanistan
* Wounded in action, evacuated to Pakistan, recover and return to Bombay
* Appointed controller mafia forgery unit, write short stories, published in popular series
* Passport smuggler to Nigeria, Zaire, Iraq, Iran, Mauritius, SriLanka
* Establish casting agency for foreign extras in Bollywood movies, act in movies
* Arrive in Germany, work as singer, establish rock band, receive recording contract
* Manhunt by European police, escape custody in Italy & Switzerland,escape to India
* Act in Bollywood movies & TV dramas, establish travel agency in Bombay
* Passport smuggling to Switzerland, Belgium, Holland, Nigeria, Zaire,Mauritius, etc.
* Break with Bombay mafia council, freelance drug smuggling missions to Europe
*Captured Frankfurt, 1990, imprisoned in Preungesheim prison with terrorists, 1990-91
* Extradited to Australia, end 1991

If you wont make a movie on him, then who else?

Inglorious Bastards

Dir: Quentin Tarantino

Quentin Tarantino has supposedly worked on this script for almost a decade , a decade …ok,this must be something special.

And the reviews for the script that are coming out are encouraging:
“If you took the bad guy swagger of RESOVOIR DOGS, the uber coolness and structure of PULP FICTION, throw in the revenge angle of KILL BILL, set it in World War II – you get INGLORIOUS BASTERDS.”

The plot goes as something like this:

A band of US soldiers facing death by firing squad for their misdeeds are given a chance to save themselves - by heading into the perilous no-man’s lands of Nazi-occupied France on a suicide mission for the Allies.
The lead character is named Lieutenant Aldo Raine .Raine leads a blood thirsty squadron of soldiers called the “Bastards” for a final mission that involves ruining Nazi party plans to premiere a propaganda film in Paris.

InterStellar

Dir: Steven Spielberg

Inter stellar is a science fiction movie directed by Steven Spielberg (and screenplay by Jonathan Nolan) based on Kip Thorne’s theories of gravity fields, wormholes and several hypotheses. This movie is basically about “a group of explorers who travel through a worm hole and into another dimension”.

Kip Stephen Thorne is an American theoretical physicist, known for his prolific contributions in gravitation physics and astrophysics. Kip Thorne is one most of the top most theoretical physicist of the second
half of the 20th century along with Richard Feynman and Stephen Hawking.

Wiki explains worm hole as a hypothetical topological feature of spacetime that is basically a ’shortcut’ through space and time. A wormhole has at least two mouths which are connected to a single throat or tube. If the wormhole is traversable, matter can ‘travel’ from one mouth to the other by passing through the throat. While there is no observational evidence for wormholes, spacetimes-containing wormholes are known to be valid solutions in general relativity.

Che

Dir: Steven Sodenberg
*ing: Benicio del Toro

Steven Sodenberg has been one of my fav. Directors. Always loved his movies be it Sex,Lies and videotape, Erin Brockovich, Traffic or Oceans Eleven.

His next release is a movie about Ernesto Che Guevara. Che is a two-part(Guerilla and the Argentine), four-and-a-half-hour bio-pic on one of the 20th century’s greatest revolutionary figures.

Steven Sodenberg has himself said that this can be considered as a part of the trilogy , the first being The Motorcycle Diaries directed by Walter Salles.

Benicio del Toro( a superb actor) won the best actor award at cannes this year for the portrayal as Che .
Any movie on such a controversial figure is something to look forward to.

Tree Of Life

Dir: Terrence Mallick
*ing: Sean Penn, Brad Pitt

He made only 4 movies in his life – Badlands, Days of Heaven, The Thin Red Line and The New World.
All of them except the last are a classic, especially The Thin Red Line.

I was blown away by The Thin Red Line and it is easily one of the best war movies I have seen.
His last movie the new world might not have lived up to the expectations but the cinematography and music was outstanding.

He is back with his latest offering called Tree of Life . Imdb says explains the plot as : In a mystical world of folklore, several individuals embrace in a race to find the Tree of Life, said to give immortality, fertility, and other supernatural powers.

Other movies that are interesting are The fighter by Darren Aronofsky, Burn after reading by the Coen brothers , The curious case of Benjamin Button by Fincher again and The human factor - a biopic on Nelson
Mandela by Clint Eastwood.

Jaane Tu... Ya Jaane Na -- Mp3, Lyrics, Videos

Music: A.R.Rahman
Lyrics: Abbas Tyrewala

1. Kabhi Kabhi Aditi Zindagi

Kabhi Kabhi Aditi Zindagi Me Yun Hi Koi Apna Lagta Hai
Kabhi Kabhi Aditi Woh Bichad Jaaye Toh Ek Sapna Lagta Hai

Aise Me Koi Kaise Apne Aansuon Ko Behnay Se Roke
Aur Kaise Koi Sochle Ki Everything'S Gonna Be Okay

Kabhi Kabhi Toh Lage Zindagi Me Rahi Na Khushi Aur Na Maza
Kabhi Kabhi Toh Lage Har Din Mushkil Aur Har Pal Ek Saza

Aise Me Koi Kaise Muskuraaye, Kaise Has De Khush Hoke
Aur Kaise Koi Sochle Ki Everything'S Gonna Be Okay

Soch Zara Jan-E-Jaan Tujh Ko Hum Kitna Chahte Hain
Rotay Hain Hum Bhi Agar Tere Aankhon Me Aansun Aate Hain

Gaana Toh Aata Nahi Hai Magar Phir Bhi Hum Gaate Hain
Hey Aditi Maan Kabhi--Kabhi Saare Jahan Me Andhera Hota Hai

Lekin Raat Ke Baad Hi Toh Savera Hota Hai

Kabhi Kabhi Aditi Zindagi Me Yun Hi Koi Apna Lagta Hai
Kabhi Kabhi Aditi Woh Bichar Jaye Toh Ek Sapna Lagta Hai

Hey Aditi Has De Has De Has De Has De Has De Has De Tu Zara
Nahi Toh Bas Thoda Thoda Thoda Thoda Thoda Thoda Muskura

Tu Khush Hai Toh Lage Kay Jahan Main Chaiyi Hai Khushi
Sooraj Nikle Baadalon Se Aur Bantay Zindagi

Sun Toh Zara Madhosh Hawa--Tujhse Kehne Lagi
Ki Aditi Woh Jo Bichadte Hain Ik Na Ik Din Phir Mil Jate

Yeh Aditi Jaane Tu Ya Jaane Na Phool Phir Khil Jate Hain
Kabhi Kabhi Aditi Zindagi Me Yun Hi Koi Apna Lagta Hai

Kabhi Kabhi Aditi Who Bichad Jaye Toh Ek Sapna Lagta Hai
Hey Aditi Has De Has De Has De Has De Has De Has De Tu Zara -- 5X

Nahi Toh Bas Thoda Thoda Thoda Thoda Thoda Thoda Muskura -- 5X

2. Nazrein Milana Nazrein Churana

Dil Kabhi Gandha, Kabhi Hai Nek Bandha
Dil Ka Bharosa Kaise Koi Karen
Dil Kabhi Tanda Kabhi Hai Atom Bomb Sa
Yeh Dhamaka Kaise Koi Sahe

Dil Ki Yahin Khatha Hai, Dil Ko Nahin Patha Hai
Dil Ki Yahin Khatha Hai, Dil Ko Nahin Patha Hai

Ki Woh Chaahtha Hai Kya
Nazrein Milana, Nazrein Chua Na,
Kahi Pe Nigaahen, Kahi Pe Nishaana
Nazrein Milana, Nazrein Chua Na,
Kahi Pe Nigaahen, Kahi Pe Nishaana

Niyyath To Dil Ki Hamesha Hi Sahi Thi
Dil Ka Iradha Bhi Samjo Nek Tha
Kudrath Awaara To Kya Kare Bechaara
Uska Ho Jaaye Dil Jisko Dekhtha

Din Mein To Woh Sathaayein,
Raathon Mein Gul Jagaayein
Din Mein To Woh Sathaayein,
Raathon Mein Gul Jagaayein
Are Chaahtha Hai Kya

Nazrein Milana, Nazrein Chua Na,
Kahi Pe Nigaahen, Kahi Pe Nishaana
Nazrein Milana, Nazrein Chua Na,
Kahi Pe Nigaahen, Kahi Pe Nishaana

Aankhon Mein Koi Hai Basa Jaane Kyun Lage Yeh Dil Khaali
Jaan Lo Yeh Dil Bajaa Raha Kyun Ek Haath Se Taali
Hoton Se Jaane Kya Kaha Phir Bhi Dil Ki Baathein Hai Dil Mein
Yeh Raha Tera Humsafar Kis Ko Doonde Dil Ke Mehfhil Mein
Jaan Hai Phasi Ke Bina Hasin Aaye Hal Dil Pe

Nazrein Milana, Nazrein Chua Na, Kahi Pe Nigaahen, Kahi Pe Nishaana
Nazrein Milana, Nazrein Chua Na, Kahi Pe Nigaahen, Kahi Pe Nishaana

3. Tu Bole Mein Boloon

Tu Bole Glass Adha Khaali,
Mein Boloon Adha Bhara

Mein Boloon Kithna Saara,
Tu Bole Zara Zara

Mein Boloon Din Hai To,
Tu Bole Raath Nahin

Baath To Wahin Hai Na,
Bas Wahin Baath Nahin

Baath To Hai Bas Yahin Hai,
Meri Baath Hai Bas

Jaane Tu Jaane Tu Yeh Jaane Na
Maane Tu Maane Tu Yeh Maane Na

Jaane Tu Jaane Tu Yeh Jaane Na
Maane Tu Maane Tu Yeh Maane Na

Tu Soche Yeh Zindagi Yeh Na Badlegi Kabhi
Mein Sochoon Sab Badaltha Hai, Yeh Na Badle Kabhi
Mein Socho Sirf Tu, Mera Koi Aur Nahin
Tu Soche Mein Hoon Tera, Bas Tera Koi Aur Nahin
Koi Aur Ho Ya Na Ho, Tu Hai Bas Mein Hoon

Jaane Tu Jaane Tu Yeh Jaane Na
Maane Tu Maane Tu Yeh Maane Na

Jaane Tu Jaane Tu Yeh Jaane Na
Maane Tu Maane Tu Yeh Maane Na

4. Jaane Tu Mera Kya Hai

Jaane Tu Mera Kya Hai, Jaane Tu Mera Kya Tha
Tu Hi Mera Har Pal, Tu Hi Har Lamha Tha
Jaane Kaisi Kashish Hai, Jaane Kaisi Khalish Hai
Kyun Yeh Saans Thami Hai, Aankhon Mein Kyun Nami Hai
Hai Dosthi Humko Yakeen Tha, Hai Yeh Dosti Aur Kuch Bhi Nahin Tha
Hai Kaisa Dard Naya Sa Kyun Dil Lagtha Toota Toota Sa
Jaana Dil Jaana Kaise To Meine Na Jaana
Yeh Pyar Yahin Hai, Yeh Jaane Tu Ya Jaane Na
Jaana Dil Jaana Kaise To Meine Na Jaana
Yeh Pyar Yahin Hai, Yeh Jaane Tu Ya Jaane Na

Jaane Tu Mera Kya Hai, Jaane Tu Mera Kya Tha
Tu Hi Mera Har Pal, Tu Hi Har Lamha Tha

Oooo Hothi Thi Tujh Se Saka Har Din Ki
Teri Dopehar Se Shyam Ki Dhun Thi
Hothi Thi Raathein Teri Baathon Mein Khoye
Tere Khayalon Mein Jaage Aur Soye
Tu Jo Nahin To Kya Raha

Jaane Tu Mera Kya Hai, Jaane Tu Mera Kya Tha
Tu Hi Mera Har Pal, Tu Hi Har Lamha Tha
Jaane Kaisi Kashish Hai, Jaane Kaisi Khalish Hai
Kyun Yeh Saans Thami Hai, Aankhon Mein Kyun Nami Hai
Jaana Dil Jaana Kaise To Meine Na Jaana
Yeh Pyar Yahin Hai, Yeh Jaane Tu Ya Jaane Na
Jaana Dil Jaana Kaise To Meine Na Jaana
Yeh Pyar Yahin Hai, Yeh Jaane Tu Ya Jaane Na

Mithya

Source: PassionForCinema

1. Mithya – Myth Buster? If only Half-Way

In one of his introductions to the film, Rajat Kapoor discussed his inspiration behind Mithya: his film was a take on the mythological story on how Vishnu lets Narad muni change his identity into a common householder and the latter starts believing in it. The experience was to teach him (and us) the difference between illusion and reality.

In Mithya, an out of work actor VK (Ranvir Shorey) is offered to play the role of a real life Mumbai gangster with a promise of one crore rupees as remuneration. The proposition coming from mobsters, VK can’t refuse the offer. Their plan is to bump off the dangerous don Raje Bhai (Ranvir Shorey) and VK to take his place. In the course of the film, VK ends up believing he actually is the don and head of Raje Bhai’s extended family, only to be hit hard by reality.

Kapoor’s story idea had great potential. In fusing the ol’ Indian philosophy as its theme with the most celebrated elements on Indian screen – Bollywood and Underworld – as its context, Kapoor surely had a winner in his hands. Although the film at its basic story is original and made with taste, there are notable problems with the screenplay and its execution.

If the idea was to explore the mithya (lie or illusion) of the glitter of bollywood and underworld, the screenplay fails to bring it out and create the narrative strength it needs. The half-comic first part, where the actor VK unwittingly gets dragged into the rivalry of two gangs, goes well with some credible work put in by the actors. However, there is a certain lack of movement in the narrative once VK gets into the Don’s den. But the real problem comes with the narrative twist when the actor loses his memory and starts believing he is actually the Don. This twist just fails to click.

The character of the Don, Raje Bhai is never analyzed. Except for one short video, one doesn’t see him much. So when VK prepares to play Raje Bhai, he is mostly working on his muscles or his moustache and perhaps a certain tone of voice. One is not surprised he loses confidence within days of entering Raje’s household. This lack of characterization also means that one doesn’t see the dramatic change in VK’s behaviour once he loses his original identity. For dramatic purposes and also for the irony of the situation to work, it was imperative that the audience see the contrast between the earlier VK and the new one. This failure of irony (of the actor now living the part he was supposed to play) also affects the unfolding tragedy of his being discovered.

And it certainly doesn’t help that the protagonist dies. After all, the whole idea of illusion versus reality was to be played through his conscience. It is then aesthetically and narratively jarring to see the protagonist die and the director take over to show what happened to other characters.

It is curious that Rajat Kapoor does not discuss his original idea in his more recent interviews and instead calls his film ‘an ode to the old Hollywood gangster films – like Little Caesar and Scarface.’ Now if one were to see Mithya as a gangster film it would do the film even less credit. Rajat could have been referring to the Hollywood classics in matters of story and setting (in fact, Mithya has a greater semblance, if only in passing, with the Indian film, ‘Don’, directed by Chandra Barot), but situating his film in the above category – threatens to completely take away its original & novel conception.

Ranvir Shorey does well as the half-comic struggling actor but falls short of creating the pathos necessary for the tragic end. Neha Dhupia has more screen time than spoken lines, which is just as well. As mentioned earlier the supporting cast does a great job (notably, Vinay Pathak and Naseeruddin Shah). The dialogues are not extraordinary but serve the purpose and are occasionally funny. More work was needed if they were to carry the black humour that Rajat seems to be attempting in many of the scenes. Some of the locations used in the film work well in creating the realistic framework.

Mithya is not a bad film, but knowing the director, it could have been better.
- Padmaja Thakore

2. Mithya: A Quasi Tragic Thriller

“Mithya” is the one that appears to be Sat (the existent – the past, present, and future) at first sight, but is really Asat (the non-existent). Yeh main nahin keh raha hoon; yeh Bhagvad Gita main likha hain.

“Mithya” is the third offering of Rajat Kapoor whose previous ventures were the unconventional, but laudable “Raghu Romeo” and “Mixed Doubles”. Here he teams up with Saurabh Shukla for the Screenplay.

There have been plenty of Hindi movies which have been focusing on the heady rise and fall of Dons, their lives, their molls, their pet peeves and their eccentricities. But there have been very few movies that have been focusing on the fate of small fry who are used as pawns by the kingpins. Mithya is one movie that attempts to weave a story around one such pawn.

The movie traces the life of VK (Ranvir Shorey), a wannabe actor, who struggles even to get a decent role as an extra. He goes through the grind by begging for work on a daily basis, sucking up role coordinators, bargaining with the friendly wine shop owner and losing temper in midst of all this. But he’s never disheartened and is always full of hope that his talent will be noticed someday and he’ll gain fame. As fate would have it, he does get noticed finally. Only it’s not a producer who notices, but it’s a gang that’s headed by Shetty (Saurabh Shukla) and Gawde (Naseruddin Shah). Instead of gaining fame, his life turns upside down forever and ever after that.

The first half has its share of gags and laughs which range from witty to hilarious. The presence of cronies Ram (Vinay Pathak) and Sham only elevates the hilarious situation that VK finds himself in. The story is built up very nicely and the ending of the first half does leave you gasping for more. The second half of the film in contrast is more somber and a tad serious. As VK’s life seems to spiral more and more out of control you can’t help but feel sorry for the sad situation that he unwittingly and unknowingly finds himself in.

The movie’s hero without any doubt is definitely the screenplay of the movie. The narrative’s pretty smooth and there’s hardly any loose end in the entire movie. The screenplay has quite a few twists that you won’t be able predict but none of the twists seems to be convoluted or forced. The editing and cinematography is top-notch. The movie is quite well paced and picks up pace big time in the second half. The background music is above par and does a wonderful job in setting up
the mood of the scenes. Some of the music strangely reminded me of Requiem for a Dream. Co-incidentally even in that movie the protagonists find themselves in a situation which has no outlet what so ever.

Ranvir Shorey as VK turns up with a first class performance as a struggling actor who effortlessly spews out “To Be or Not To Be” in Hindi. The role seemed to be tailor made for him and he does full justice to the character. He carries the film in his shoulders quite well. Hope to see him in more lead roles. Neha Dhupia as his love interest does a decent job. Naseruddin Shah, Vinay Pathak, Saurabh Shukla, Harsh Chaya – all turn up in important character roles and deliver commendable performances.

The director Rajat Kapoor does a fine job in expounding a tad intricate screenplay which has been co-authored by him. The scale and canvass of this movie is much larger than his earlier movies but he pulls it off quite well. All the actors admirably support him to make the movie all the more believable. The movie is replete with his quirky sense of humour which ensures that there’s hardly any dull moment in the narrative. A special mention must be made of Planman Motion Pictures who have produced the movie. Here’s wishing that more such movies will come out of their stable. (NB: Please don’t give us more “Rok Sako Toh Rok Loh”)

A must watch movie for its unconventional treatment; the casting of proper actors in all the roles; and above all watch it for finally seeing a movie that does not succumb to the so called market-diktats.
- Sudhir Nair, Mumbai

Room 999

Source: PassionForCinema

How does arthouse or independent film relate to growing commercialism?

Interviews:

Check this out: http://www.room999.nl/index.php

Partho Sen Gupta -- "I don't make products I make films!"

Backgrounds:

We've invited filmprofessionals from around the world to answer this question in our contemporary, but nonetheless equally urgent, spin off: Room 999.

Nowadays, cinema has a central position as a source of imagery, supplying our encompassing audiovisual culture. Still, as an artform, cinema is under fierce pressure. Development of thought and language has been narrowed down to elite arthouse cinema, which has troubles in reaching it's audience. The loss which Wenders was fearing, has appeared to be the alienation between cinema and the public.

PAf (Pressure group Arthouse film) strives to keep the debate alive about the positioning of filmart in our society. Not because we don't have a clue, but rather to sharpen our ideas, and to get them known. Our films contain these ideas too, but they need to be backed up by a contemporary discussion. Room666 was dominated by a postmodern frenzy, but it's central concern seems actual as never before.

Interviews
We've invited a selection of international directors, producers, distributors and sales agents - all IFFR guests - to reflect on our central thesis: How does arthouse or independent film relate to growing commercialism? Cinema is an expensive artform and every fim is a challenge to finance. We ask ourselves if pure artfilm is possible to maintain itself in these circumstances. Isn't a director forced to bend to the wishes of financers, funds, televisionstations, private parties, or the bigger audience? What we call arthouse today seems to be subjected to market mechanisms. It seems that artistic freedom is only reserved to the few big directors like Almodovar, Ozon, von Trier and Wong Kar Wai - and still just possible with the coöperation of celebrities, respectively Penelope Cruz, Catherine Deneuve, Nicole Kidman and Norah Jones.

Others wil have to submit to smaller budgets and the consequential lesser public appeal.

We've asked a reaction to the following statements:

• Arthouse cinema nowadays is subject to market-mechanisms.


• The director's artistic freedom is a fairytale.


• A film involves many financing partners. This limits the director's artistic freedom.


• What do you choose: an author's signature, or box office success?

Room999 is intended as a survey. After the IFFR 2008 we will research our material and publish our learnings in Dutch national filmmagazine De Filmkrant