REBIRTH DEFECTS
A wholly unnecessary remake of a reincarnation saga is strictly for Himesh Reshammiya devotees. Plus, a disappointingly tepid exploration of being Muslim in a post-9/11 world.
OCT 19, 2008 – THOSE WHO BELIEVE IN REINCARNATION hold that what you do in this life defines what you are in the next – if you’re not careful, that karma thing could come bite you in the posterior and result in your rebirth as a porcupine or a duck-billed platypus. So can you imagine the heinousness that Dino Morea has unleashed in his time on this planet that he is reborn as… Himesh Reshammiya? All right, I know that’s a cheap shot – but what is it about The Man Who Nose Too Much that invites such sniggering? He’s hardly the worst actor to have graced our screens, and though I find myself completely immune to his vocalising charms, several singers before him have inflicted with their noses far fouler terrors. Why, then, this itch to pick on this particular not-so-great actor with this particular not-so-great voice? Could it be the air of entitlement he wears so nonchalantly like the baseball caps he used to – as if he’s practically daring you to deny his right to be up there on screen? Could it be that earlier mediocre celebrities had their fifteen minutes and moved on to, say, a judge’s spot on Nach Baliye – thus making the theatres a safe place for us again – while this one shows no signs of slowing down?
Or could it just be that we like to put him down because – as is the case in Satish Kaushik’s Karzzzz – Reshammiya insists on carpet-bombing us with never-ending solos, every ten minutes? The songs keep coming at us in alarming succession, and if they’d at least been memorable, I wouldn’t have half minded. The trouble is that they all sound like one another, a bland mishmash of an album of elevator muzak piped through a deviated septum – and through the duration of an entire film, that’s awfully hard to take. The earlier Karz, the Subhash Ghai version, was certainly no classic, but a number of factors pulled it through – an exuberant Rishi Kapoor (possibly our only star who looked like he belonged on the musical stage), Tina Munim at her porcelain-doll prettiest, and a rambunctious Laxmikant-Pyarelal score that worked well on screen. (It’s another matter that it’s completely dated today, as an audio-only experience.) Here, we’re asked to buy the wan chemistry between rock star Monty (Reshammiya) and Tina (Shweta Kumar) – together, they couldn’t heat up a cup of coffee – along with a mute villain whose preferred mode of communication is tapping out notes of music on a computer pad fitted on a steel forearm. And who can keep a straight face through that?
As the story goes, Ravi (Dino Morea) falls for the scheming Kamini (Urmila Matondkar), who reciprocates his affections by bailing out of a two-seater aircraft with the sole parachute on board. (This plane, by the way, gives the best performance in the film. It achieves smooth takeoff, stays airborne for a brief while, and goes down in a fiery plume of smoke – there, with remarkable economy of expression, is the summation of Morea’s Bollywood career.) Ravi is reborn as Monty, and the rest of Karzzzz stays fairly true to its predecessor – right down to its Hamlet-ish climactic reenactment of Kamini’s misdeeds. (Is there a future quiz trivia question here, by the way? Who’s the only actress to have appeared in a film named after a popular song – namely, Ek Hasina Thi – and in the remake of the film that featured that song in the first place?) Karzzzz is not altogether unwatchable – if that’s any consolation – but about the only thing I’ll be happy about if it succeeds is that Reshammiya made it on his own, unlike the star kids who are routinely paraded before us with nothing to show but daddy’s clout. You’ve got to give the man that much. Now if he’d only parlay that success into a judge’s spot on Nach Baliye and make the theatres safe for us again.
THE COLD WAR GAVE US RUSSIAN VILLAINS, The Troubles recast the bad guys as IRA patriots, and, now, 9/11 has redefined, yet again, the face of the movie miscreant. As a British police officer offers in his defense, when accused of wrongfully gunning down a Muslim youth, the point is not if all Muslims are terrorists but whether all terrorists are Muslims. That’s a terrific peg to hang a topical story on, but Jag Mundhra’s Shoot on Sight is a pallid connect-the-dots exercise that seeks to showcase nothing less than what it means to be Muslim in today’s world and ends up just another will-they-catch-the-bad-guy-before-he-blows-things-up thriller. Despite nods to rabblerousing Muslim clerics and misled youths, racism and reverse-racism (the film is set in England), good Muslims and bad Muslims, there’s little that roots this story in any palpable sense of the present-day – or if there is, we’ve seen (and heard) it all before in films like Mission: Kashmir and The Devil’s Own. A fine cast (Naseeruddin Shah, Greta Scacchi, Brian Cox, Om Puri) sleepwalks through sketchy parts that are uniformly shaped towards instant categorisation. Save for a moment that highlights the personal life of a cop thought to be racist, there’s not a single scene that allows these characters to breathe and reveal themselves to us in any interesting way. Is it a crime to be a Muslim, the film’s poster asks. No – but it is a crime to reduce complex truths to dully liberal-minded message movies.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without
Huzefa
October 18, 2008
The plane…
Brutal!
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Sujith
October 18, 2008
“Is there a future quiz trivia question here, by the way? Who’s the only actress to have appeared in a film named after a popular song – namely, Ek Hasina Thi – and in the remake of the film that featured that song in the first place?)”
[Scribbling in notepad for rainy day]
“along with a mute villain whose preferred mode of communication is tapping out notes of music”
Please, he has a name, Sir Judah. Subhash Ghai had something going on with Villain names..in Ram Lakhan , Raza Murad was ..Sir John
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ELE
October 19, 2008
“a bland mishmash of an album of elevator muzak piped through a deviated septum” – ROTFL!!!
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raj
October 19, 2008
“if you’re not careful, that karma thing could come bite you in the posterior and result in your rebirth as a porcupine or a duck-billed platypus. ”
That applies to Karz, the movie no. If it wasnt heinous enough to deserve to be remade like this, I dont know that. Yes, Rishi Kapoor’s role for Reshmaiyya – excellent choice. The director of this remake correctly surmised that the role is a piece of trash anyway and any Piyush, Dinesh or Himesh can do it so can we please stop throwing undeserved encomimums on “Mr. Chubby Cheeks, ‘Dimple’ chin”
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Amrita
October 19, 2008
So can you imagine the heinousness that Dino Morea has unleashed in his time on this planet that he is reborn as… Himesh Reshammiya?
GODDDAMMIT!!!!! You completely stole my opening line. Outta my head!
#$%#@%@#^%!!!!!
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Ramesh
October 19, 2008
Should Shoot on Sight should be Shot on Sight 🙂
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Vivek
October 19, 2008
Evil!
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brangan
October 19, 2008
ELE: Actually, there’s a possible tautology in the line, as George has pointed out – muzak is already elevator music, so “elevator muzak” is kinda redundant. Though I suppose, I *could* have been talking about the piped music in, erm, offices, so this is possibly a reference to the muzak in an… elevator? 😉
Amrita: What can I say? Great minds, perhaps? 🙂
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Raj Balakrishnan
October 19, 2008
Baradwaj,
That was hilarious!!! I think Himesh R is a bit like our own Ramarajan or Vijaykant – riciculed by the classes but reasonably popular with the masses. HR is in fact (i’ve noticed from his interviews), it seems, quite proud of the fact that he is ordinary looking and is a bad actor! But HR is definitely better than Dino Morea. IMO, it is Dino Morea’s good karma that he was re-born as HR.
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Raj Balakrishnan
October 19, 2008
Baradwaj,
If you think you’ve seen the worst, just wait for Deshdrohi starring Kamal Khan aka KRK. I’ve seen the promos, absolutely unbeatable! Waiting for your review of Deshdrohi.
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raj
October 19, 2008
Raj B appo Rishi Kappoor enna – Vada nattu Sivakumar dhaane. Adhu enna Ramarajan matrum vijayakanth are held as beacon boys for ordinary acting. I hold no candle for them but isnt Rishi Kapoor nothing more than a Sivakumar-in-Hindi? Avanai ennamo scren presence adhu idhunnu olarareenga ellorum?
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Pradyumna M
October 19, 2008
I totally agree with Raj balakrishna! The promos of Deshdrohi are so totally hilarious,unintentionally!!!
[b]Here, we’re asked to buy the wan chemistry between rock star Monty (Reshammiya) and Tina (Shweta Kumar) – together, they couldn’t heat up a cup of coffee [/b]
LMAO!!
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Priti
October 19, 2008
“He’s hardly the worst actor to have graced our screens, and though I find myself completely immune to his vocalising charms, several singers before him have inflicted with their noses far fouler terrors.” – hilarious, and very wodehouse 😀
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oops
October 20, 2008
ahahahah how come himesh have better hairs than the heroine ? 🙂
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Raj Balakrishnan
October 20, 2008
Raj,
IMHO Sivakumar is a decent actor – what I meant there was Ramarajan and Vijaykant, to name just two were ridiculed by the classes but they had great following in the villages – not questioning their acting skills – HR toohas great following in the small towns
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Vikas Bhargava
October 20, 2008
Laugh a riot!
I see that Rangan’s sarcastic knife is getting sharper as days pass 🙂
Great piece of scathing witty commentary. keep it (?) up.
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vikram
October 20, 2008
Hi BR, looks like Indian Express publishs your reviews every fortnight..I was disappointed to see your Karzzzzzzzz…review missing from yesterday’s papers.
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brangan
October 20, 2008
vikram: Which edition is this? Because the Chennai edition carries my reviews every Sunday. Thanks.
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Sumo
October 20, 2008
Hey – great review. Just checking on the trivia bit – I think Urmila Matondkar has acted / appeared in one other movie song / remake combination – Om Shanti Om / Karz / Karzzzzzz. She appears in a brief cameo during the Deewangi song. Thanks to my friend Mensa for this who pointed this out.
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brangan
October 20, 2008
Sumo: Ah. But OSO is not *quite* a remake, right? Splitting hairs, I’ll admit, but still…
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OrangeJammies
October 20, 2008
Oh it was a complete giggle-fest! But what was with the “Princess” Kamini bit? Who made her royalty???
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anu warrier
October 21, 2008
Br,
You have been sharpening your knife 🙂 I agree that with the recent crop of movies, it wasn’t hard. But, oh, how I love your choice of words! Anyway, what’s the verdict? Shall we give the airplane the Best Actor award?
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Magesh
October 21, 2008
Any obituary/impressions possible on Director sridhar, who just passed away?
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Jabberwock
October 21, 2008
Baradwaj: just nitpicking about your reply to Sumo’s comment. I think your trivia question can be reworded as “Who’s the only actress to have appeared in two films named after popular songs – namely, Ek Hasina Thi and Om Shanti Om – and in the remake of the film that featured both those songs in the first place?”
The fact that Om Shanti Om is not a remake of Karz would then be beside the point.
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Jabberwock
October 21, 2008
Of course, if you want it to be a successful quiz question, you wouldn’t provide the names of the two songs.
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Pradyumna M
October 21, 2008
Br,The Bangalore edition didn’t have the Karzzzz review. The supplement carried your article,”Performance Appraisal”.I had actually forgotten that Karzzzz had released until I saw it here.
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brangan
October 21, 2008
Magesh: Missed the deadline for this week’s column, but possibly for the next one. Want to help me with an angle?
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Pradyumna M
October 21, 2008
Link to your review of The departed please..
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raj
October 21, 2008
BR, why doesnt the Mumbai edition have your review? Erkanave kettane -let’s say I am the IE entertainment national editor: I bloody have the natl award winning critic in my stables. Why the f*ck would I publish a review by some clueless rookie in Mumbai, which is where Hindi films are mostly produced? I have such a nuanced critic who sometimes dresses mediocre hindi films with nuances unimagined by the director possibly. And by denying him space in the mumbai edition, am I not restricting his name and fame? Am I not denying him the opportunity to see how his review is received by the creators involved? I mean I suppsoe they (the ‘creators’, though that term will apply very loosely to most of them) still read the review through some web-based portal or the other but it is not the same as the print edition.
Well, you wont agree but this is where your madrasi roots possibly cost you – some rookie gupta or verma or pandit is still preferred to the halo-ed Rangan, because, well, stupid, he is Rangan, aiyyayyo a Madrasi rascala.(would they know anything more than aiyyayo and rascala in ‘tamil’)
On the flip side, you dont earn the wrath of some film-makers, though. But then I guess you never cared for that so net-net, I think your work is being denied the limelight it deserves. And how ironic that Bollywood’s insular, look-down-upon-south should be the reason for that!
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brangan
October 21, 2008
raj: I think your angst over my career is sometimes greater than my own 🙂 The very simple explanation is that The Indian Express and The New Indian Express are two different papers, and I work for the latter. I’m sorry there’s no conspiracy theory — I really am.
My current boss is a “North Indian” and he doesn’t seem to have any problems about my being, uh, “Madrasi” (do we still use that term? just asking.) Neither do my non-Chennai friends, none of whom, to this day, have nothing but respect for what I do and where I’m from. And I seriously don’t think Bollywood has a “look-down-upon-south” attitude either. Well, maybe the idiots do — but anyone with sense or intelligence is not going to say he won’t hire a talented person because he’s a “Madrasi.”
So let me ask you a question in reverse: just where is all this angst about people looking down upon the South coming from? Seriously, in this day and age, you can’t have met that many people who sneer at people from other states and cultures (well, unless you’re visiting the rediff message boards, to which I have no reply). Or maybe I’m just very lucky in never having faced any “discrimnation” so far — if you notice, not everyone who comments here is a, well, “Madrasi.”
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brangan
October 21, 2008
Pradyumna M: I didn’t do a review, but some thoughts on the film are in this piece
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raj
October 22, 2008
“And I seriously don’t think Bollywood has a “look-down-upon-south” attitude eith”
What is that enna rascala thingie which your favourite Farah Khan isnerted in OSO – surely you agree that it is a remnant of the attitude towards south indians – you cant hide behind “it was all good humour”. It is as sick and stupid as the “settu” in tamil films going nambalki nimbalki. We are talking of the self-proclaimed #1 Superstar , the badshah of bollywood here. Not to mention the super-intelligent-genius-director-in-your-own-words.
I dont see any nambalki nimbalki settus in tamil movies anymore. To paraphrase a famous dialogue “Chennai-la karai erittanga. Mumba-la eppo era poranga”?
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raj
October 22, 2008
Perfectly normal north indians, whom I would give credit for a liberal mind go “enna rascala” with me assuming it would amuse me; assuming it is all in good humour. How can they be so ignorant? Dont you think the OSO’s contribute and nurture such ignorance? The pathetic thing is they cant see how stupid that is. Yes, I am talking of Farah Khan here – how clever she must have thought herself to be. In your own parameters, isnt that lazy writing, stupid writing? Why didnt you mention that in your review? If they wanted to parody the pot-bellied, money-minded, aesthetically-challenged producer from south(who invariably was a telugu in the 80’s), why cant they have done the hard work and written it appropriately. (Mind, I respect my Telugu brethren and I hate all caricatures – as I mentioned, including the nambalki nimbalki settus in tamil movies. Heck, you know what I felt about Balram Naidu caricature. Atleast, Kamal wrote it and performed it near perfectly.)
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raj
October 22, 2008
Also, it is not so much about indulging in racist slurs – it is more about the stupid assumptions and complete lack of intelligence in what they perceive to be humour which invariably recognises only migrated brahmins as tamils, how ignorant can you get – and OSO is supposeed to be as mainstream as it can get. No mainstream movie in tamil these days stoops to that level of caricature of other state guys.
I remember Vivek spouting and telugu in a role that seemed to be one of a Telugu Vaastu expert – I was appalled by the complete lack of telugu nativity in the writing and performance – I thought if they wanted to parody, why cant they get the words and the accent right? Then you know what happened? He reveals that he is a tamil in the movie conning about that he is a telugu vaastu expert. That was such a pleasure of a end to that episode – some thinking has gone in there and a clever attempt to parody the parody of telugu people in tamil movies.( He says “add lu to all words, and nammalangalukku adhu dhaan telugu)
I am sure you agree and I wil agree that Hindi cinema hasnt touched that levels of intelligent humour in recent times. Never mind that the comedy track itself was forcibly inserted in an arbit tamil movie.
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APALA
October 22, 2008
Dear BRangan!
The review was hilarious!! Had great fun reading the review than watching the crap films made in Bolly/Kolly/Holly-woods!!
Thanks!
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Anand
October 22, 2008
BR: I tend to agree with Raj to a certain extent. Having lived in Mumbai for over four years and also having travelled all over North, their ‘perception’ of south is typically ‘enna rasacala’. Not only south, you see that they parody Gujaratis in most films. Their perception about Gujaratis is also typically ‘Kal Ho Na Ho’. The filmmakers use this to create some not-so-funny comedy(to their credit, I think the guys in North find it funny). When our own Mani makes a film about a Gujarati, look at his perception and how different it is from the regular Hindi films. You again see any Punjabi wedding in any Hindi film and see how identical they look. And then see Dil Se’s betrothal scene, and you understand that Hindi filmakers generally resort to cliches only because of laziness.
But when thay use these cliches to make fun of a community, it becomes cheap. Listen to Radio Mirchi in Mumbai, and the way they make fun of our Superstar is downright cheap.
But unlike Raj, I do not take it very seriously – as the charisma our Superstar has is unmatched by the likes of SRK. I watched Kabhi Alvida Na Kehna on the first day at Mumbai..and I was shocked to see that the audience reacted to SRK’s entry with stoned silence! Compare it with Sivaji, again which I saw first day in a upmarket Mumbai multiplex – and you know how it would have been!!
So when they make fun out of south or Gujaratis( who have one of the best business brains in the country)
Sooriyanai parthu Naai Kurakudhunnu ninaichuppen!!
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FR
October 22, 2008
Reg. look-down-upon-south attitude, let’s get back to the pinnacle..”Agneepath”. Mithunda and other south indian roles are f-ing disgraceful. Poor writing, and pathetic performance (incl. the much acclaimed perf by Mithun). In comparison, you might take “Nayakan” which came 3 years before this, and I don’t think there were caricatures. As we know, Mani isn’t judgmental about any of the characters (Though I agree, it could also be his greatest weakness), and they were hardly caricatures. Once again, like Raj, it’s only amusing, and less of “insult”. At least to me.
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Arif Attar
October 22, 2008
There’s something about the name ‘Raj’. 🙂
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Chaitanya
October 22, 2008
BR,
This isn’t related to movies. 🙂
Pardon me Raj, but you sounded like a fanatic.
And I want to ask something – not to Raj alone, but to everyone – is there really something called ‘innocent humor’? Aren’t jokes going to hurt SOMEBODY’s feelings, always? Don’t tell me that you can joke about inanimate objects… if someone cracks a joke about a table, I might take offense – I like tables a lot! 🙂
This is not the only place where I have seen people taking offense, and this is not the first time I have thought about this. Isn’t such behavior is what we are seeing in India, at a macro level? Have our tolerance levels gone so low?
One Jodhaa-Akbar comes out, and there are groups of people protesting… one painter draws some pictures, and there are organizations making his life hell… one song has one reference to a community in ‘Aaja Nachle’, and that film gets banned in multiple states… Not to mention the current idiotic protests against “outsiders” in Maharashtra..
Of course, the butt of the joke is never going to feel good about it – I have taken enough of them myself. But even while one is getting angry because one is being laughed at, can’t he, at some level, recognize the joke and ‘move on’???
Why aren’t we, the Indians, TOLERANT anymore???
And as for the ‘discrimination’, I am a Maharashtrian, did graduation in Kerala, worked in Chennai, and now I am at Bangalore. I have been discriminated against. It happens. Birds of same feathers DO flock together. always.
[I noticed something in my stint at Chennai.. my tolerance for discrimination was higher than others because of my Kerala years – I was kinda expecting stuff like that!]
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FR
October 22, 2008
Chaitanya,
You completely missed his point. It’s not about tolerance, discrimination, etc. It’s about “poor writing”, or rather lack of refinement in writing. Nothing to do with “racial discrimination” at all.
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raj
October 22, 2008
FR, thanks for filling in- you got the point. The point is ‘intelligent’ humour. Enna Rascala may be genuinely innocent humour from Farah Khan’s POV. But it certainly is not intelligent. Even thats not something that bothers me. What bothers me is such lack of intelligence is praised as intelligence by BR. So if you notice, I am asking BR How can you miss that undertone, tha lack of intelligence, how can you not brand OSO for what it is – a pathetic attempt. He wasnt overwhelmed by it but he didnt say it is pathetic. This is the same guy who harps about bad writing every other day in other movies. OSO IS bad writing. If BR doesnt mention it, it is unfair especially this is a guy who berates the Suneel Darshans (again, I dont know who he is but I know that he must be very bad given my encounters with him which have been limited to this space) and Satish Kaushiks for ‘bad writing’. Usually, BR and others come back saying “But he didnt overwhelmingly praise OSO”. But he didnt bring out the poor writing either which he does for movies with much less expectations and purportedly inferior directors than Farah Khan
Conclusion: Farah Khan is no better than the Darshan boy or the Kaushik boy but try getting her fans to admit it…
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raj
October 22, 2008
I have a clear problem with Bollywood’s poor sense of humour. Even J-A, the Birbal scene(oops, that wasnt in the movie, only UTV showed it in UNCUT), what a lame joke. Arent there much better Birbal episodes? DOnt talk to me about subjectivity of humour. If that is so, quality becomes subjective. Then we can justify every counterfeit product in the world by saying “quality is subjective”.
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raj
October 22, 2008
The protest against Outsiders in Maharashtra is not idiotic – it fetches returns for most of the guys involved – someone gets votes or atleast publicity which can hopefully be turned into votes, someone gets to indulge in general anarchic violence which pleases him, someone gets to boost his local standing etc. It is preposterous but not idiotic.
At the same time, North Indians forming a bloc/party in Maharashtra and trying to politically take on the locals and adamantly refusing to learnt the local language and respect the local customs (I mean, dont learn if you dont want to but why do you have to combatively say I wont learn local langauge, I dont respect local culture etc – and mind you, that is what the political parties for North Indians in Mumbai are doing) is equally preposterous. The fact is some Hindiwallahs come with the presumption that they are special. Wherever they go, others need to bow to them in their language and salute them. Else, the locals are ‘intolerant’, ‘fanatic’ etc.
Ofcourse the same guys will become English in London and Italian in Rome. There, they will bow to the White Man in His language.
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raj
October 22, 2008
“Even thats not something that bothers me. What bothers me is such lack of intelligence is praised as intelligence by BR.”
ADITIONAL NOTES for those who still are going to do a Chaitanya on me:
“”Even thats not something that bothers me. What bothers me is such lack of intelligence is praised as intelligence by BR. Yeah, I can understand if that looks intelligent to someone else, but BR? Et tu?
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raj
October 22, 2008
BR, you do delete of my most painstakingly written comments 🙂
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Shankar
October 23, 2008
raj, BR oru film critic…neer avanukke critic aa? Thirunelvelikke halwangara kadhai achche:-)
As an aside, I read something that caught my eye recently and had me in splits. Disclosure: I have no political affiliations nor do I intend to cause hurt to anyone!! 🙂 My only point would be that there are everyday things that can cause unintentional humor.
This is from an article in “The Hindu”…
[A group of sacked Jet employees met Maharashtra Navnirman Sena leader Raj Thackeray here. An MNS delegation will meet the management on Thursday, said Gajanan Rane, vice-president of the MNS labour wing.
Mr. Thackeray reportedly said the MNS would not allow any Jet plane to fly over Maharashtra if the employees were not taken back.]
How exactly does Thackeray plan to enforce his threat? He seems to forget that planes do fly in the sky!! 🙂
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Ravi K
October 23, 2008
Raj, watch some Quick Gun Murugan and chill out:
🙂
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Tejas
October 23, 2008
My guess at post 32 was correct. 90% of the posts till 45th were from Raj. :p
So..I hope you are all waiting for Russel Peters tour of India, and when he cruelly makes fun of all Indians without any discrimination.. 😉
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Ramya
October 23, 2008
Okay, I’m a South Indian and I found that scene in OSO totally hilarious!
Raj, I’m not talking about the general level of writing in OSO, but for this scene in particular, maybe Farah Khan did not intend to create ‘intelligent humour’. Maybe all she wanted to create was a parody based on common stereotypes – and it worked for some. I know it certainly worked for me.
And humour in movies need not be intelligent always. I wouldn’t be able to call slapstick comedy as intelligent humour, but it works for a lot of people. So there are a number of directors and writers who create scenes with a good dollop of slapstick, which people enjoy, and its not intelligent humour.
Yes, I understand your problem lies with people finding it intelligent, whether it was intended to be or not, but I don’t really recall BR praising that particular scene as intelligent.
Also, if you say that North Indians have a ‘look down upon the south’ attitude, then probably South Indians in return have an insular attitude. I mean, how many North Indians do you see in a South Indian movie? While other South Indians are acknowledged in our movies, the North Indian, even a stereotyped North Indian, barely makes an appearance!
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raj
October 23, 2008
thirumba thirumba purinjikkama pesrainga pa.
Look guys, you could call me a fanatic – but that would only be in one respect – that of a Baradwaj Rangan fanatic. As I said, Farah Khana enna vena pudnigikkattum. I dont care. I am discussing with BR. Why you all nose poking?
Tejas, what lack of comprehension you have man. I said I dont mind intelligent sarcasm, humour etc. People can even make fun of my personal traits but if it is done intelligently, I can appreciate. So Russel Petters, mattai – it is all completely irrelevant.
As I said, if you make fun of South Indians or bengalis or north indians or *Raj thackeray*, I dont care. *DO*IT*INTELLIGENTLY*.
I also said I find the Marwari settu caricatures in tamil equally irritating. You guys still lack comprehension? Ha! I f*cking said that even Balram Naidu in Dasavatharam, which even Telugu people are appreciating, wasnt upto the mark.
And you guys come back with “chill dude”, and link to idiotic videos? Seriously, endha school-la pa padicheenga neenga ellorum – thats addressed to you Ravi K. That school deserves to be burned down.
Ms Ramya, understand the difference between SLAPSTICK and poor-writing-masquerading-as-parody. One can laugh for good slapstick but one who finds the latter amusing is, in my words, humour-challenged. Yeah, he/she would be a happy person but humour goes beyond grinning your teeth, you know. Creating good slapstick requires intelligence you know. Heck, PG Wodehouse is wholly verbal slapstick. But why am I even bothering? You will come back with an inane comment.
And as regards BR, my question to him is specific: He wants intelligent writing from Sunil Darshan and Satish Kaushik. Yet Farah Khan, who apparently is leagues above those 2 both in his estimation and overall standing in the Indian film world, can get away with such poor writing? He wont mention a word of it in his review?
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raj
October 23, 2008
Shankar, LOL:-) Both for the halwa and the Thackeray comments :-).
Others, I guess BR can take my comments. I remain a fan(atic) of BR so it’s all in the game. We’ll worry about that between the 2 of us, others can “chillax” or whatever it is tht “dudes” do.
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Ramya
October 23, 2008
You know, I take that back about slapstick not being intelligent humour. I’ve been thinking about it, and there have been enough and more examples of intelligent slapstick, when dealt with in the right hands. I guess what I was basically trying to say was, there is enough of an audience for what can be stupid/non-intelligent humour, and this audience could also include those who appreciate intelligent humour.
Raj, I was just trying to add my opinion (inane or otherwise) to the points you raised. It wasn’t meant to be a butting in on a conversation between you and BR.
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raj
October 23, 2008
Ramya, there sure is an audience for everything – there was a phase last year and beginning of this year where BR literally tore up his hair in despair saying “how many more such idiotic comedy movies I have to see”. But I have always been arguing that OSO should be bracketed with those(Dhamaal, Dhol etc – again it was ‘different’ in that it picked all the idiotic types from these movies and other types of idiotic movies – Karz etc and add to it the insufferable Kirronn Kherrr – the spelling is designed to indicate her style of overacting) but it’s been bracketed in the okay-not-bad-but-could-have-been-better category atleast by BR. Yeah, I hate Farah Khan but then I have no idea who she is except that she made MHN and OSO so there is no other reason for my bias except that her work is crappy.
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raj
October 23, 2008
“I guess what I was basically trying to say was, there is enough of an audience for what can be stupid/non-intelligent humour, and this audience could also include those who appreciate intelligent humour.
”
Fine, then dont bang the Dhol, Dhamaal types, no?
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raj
October 23, 2008
I remember arguing in the Singh is King review that if we are offended enough by that crap, why not get offended by OSO crap? Because BR was highly injured by SiK. You could read through that he had suffered in agony through that movie. Why is OSO better than SiK? What sort of snobbery is this?
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Chaitanya
October 23, 2008
@Ramya,
comments on a blog post are hardly private conversation between two people.
All those who have commented ‘in between’ are, most definitely, NOT butting in.
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Deepauk M
October 23, 2008
(Read like Kovai SaraLa in karagattakkaran) Enna inga Sandai, Enna inga Sandai!!
Raj: Did the stereotyping begin because of Ek Duje ke Liye? Personally I did not like the “Ennada Rascala” set for a couple of reasons.
1. Om Makhija is a sub-par actor (It is rather poetic and only fitting that he is also played by one). Farah Khan insinuates that even sub-par actors can garner leading roles in South Indian cinema because they make films that do things like fighting a stuffed tiger.
2. I was genuinely more offended than tickled at that scene. Not an ounce of intelligence, because the stereotype was just presented, no effort to even do anything derivative from it. It smacks of superiority because Farah seemed to think “Hey let us throw this S.Indian cinema joke in there for 5-7 minutes. Its easy laughs and minimum effort”.
Karan Johar never misses an opportunity to blame remakes of south indian cinema for the general malaise of Hindi cinema in the 90’s and somehow I think his coterie in the industry believes it too. No one seems to think that the creative bankruptcy that lead them to borrow movies not suited to their milieu needs to be looked at at all.
The issue is that Bollywood writes South Indians using other Bollywood movies as a reference, so they are limited in their exposure. In general the average person does not discriminate consciously. The nature of the superiority complex is a little more insidious and of a collective nature.
I think its funny when they go completely the other direction and become all “bhai-bhai” just because they like some Delhi-born Mumbai party girl with a name like Anoushka Sivaramakrishnan(OK I totally made that name up I hope someone doesnt read this and get offended). Its funnier still when they get s*it from their friends for trying to learn tamil/malayalam and defend S.P.B/Jesudas singing in Hindi. If Hindi cinema had something like that in it, there is a chance I would find it funny inspite of it being somewhat condescending.
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Shankar
October 23, 2008
Deepauk, I’m not sure the stereotyping began because of EDKL…it’s been there for a long time…ever watched Padosan for instance?
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raj
October 23, 2008
“The issue is that Bollywood writes South Indians using other Bollywood movies as a reference, so they are limited in their exposure. In general the average person does not discriminate consciously. The nature of the superiority complex is a little more insidious and of a collective nature.
”
Adhu. eppadiya oru paragraph-la nachunu solreenga? Namakkellam oru 5500 words ezhudhatta explain pannave mudiyala?
Idhaiye thaan naanum sonnaen. Ennatha solli – solradhukku oru ‘knack’ venumla.
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Deepauk M
October 23, 2008
Ah yes! That Aduththa veettu peN movie. Yes, I remember at once hating and laughing thoroughly through Mannadey’s singing.
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raj
October 23, 2008
Deepak, Karan Johar is partly right. Bollywood picked up awful south indian movies in the 80s’ and tortured the public. The thing is Karan Johar does the same. Only he doesnt pick up awful south indian movies. He has the talent to produce torture all by himself.
The 80’s were turmoil everywhere. Bollywood, despite the bad phase, made some significant ‘other’ movies. Tamil, Telugu and Kananda(as ever) were way behind. Mahendran was on a wane, Bharatiraja had lost his magic(except for the honourable Mudhal Mariyadhai), Tamil was in awful state until Kamalhassan finally gave up the box-office ghost for good with Apoorva Sagodharargal. (I mean, Per kedutha Pillai?Thaangadhe thambi thaangadhe?Karuppu sattai?thaazhndha ullam? Kaadhal dhandaai? He did it all)Malayalam ofcourse is an exception.
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Tambi Dude
October 24, 2008
Here is an example of very intelligent south indian mockery. This is a song from the movie Coolie. Rishi Kapoor is mocking Telugu superstars like NTR, Krishna etc. His dress, mannerism etc makes it a laugh riot. IMO this was one of the south indian mockeries I loved. Look at the way Rishi Kapoor does “he ha ha” at 1.26. LOL. That is the way gult heros use to do back in 1970s.
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Anon
October 24, 2008
Shame on your Rangan for not writing a tribute piece to Sridhar!
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Zero
October 24, 2008
Raj and others,
Just in case you’ve not read this piece by Sadanand Menon. Compelling deconstruction of the “insinuation” that Deepauk has referring to in his comment.
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Zero
October 24, 2008
A jaw-dropping passage from that piece is the one about NTR making a public appearance standing at the balcony of his home every Friday. How can one possibly even attempt to mask one’s “anxiety at being unable to fathom” *this*?
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Deepauk M
October 24, 2008
Raj:My issue was that those guys were so creatively bankrupt that they didn’t even know which scripts to choose from the south. Athukku thaan “borrow movies not suited to their milieu”-nu ezhuthinein. Bhagyaraj movies that worked in the small towns and villages here are obviously bound to be regressive in the eyes of Karan Johar. The only decent movie they chose to remake “they completely missed the point” (Nayagan/Dayavan).
And Mani-ya maranthutteLe! He was the best thing about Tamil cinema in the 80’s outside of Mahendran in the early part and Balu Mahendra & Raja.
Malayalam cinema was of course the torch bearer for middle of the road south indian cinema between ’75 and ’95, as far as I know. And then it all went to hell in a handbasket!
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Tejas
October 24, 2008
So, we have lack of comprehension? And we are making stupid, inane comments? Man, your judgment is just as poor as your conclusion that BR is being discriminated for being a ‘Madrasi’. It must be hard to be you.
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Anand
October 24, 2008
Raj: I beg to disagree with you. In the 80’S when compared to Hindi, Tamil gave us more variety and quality. Mahendran made Johnny and Kai Kodukkum Kai. Bharathiraja also gave us Kaidhiyin Diary apart from Mudhal Mariyadhai. Fazil gave us four gems in the 80’s – Poove Poochooda Vaa, Poo Vizhi Vaasalile, En Bommukutty Ammavukku and Varusham 16. The Tamil audience discovered a phenomenon called Mani Sir – Pagal Nilavu, Mouna Ragam, Nayagan, Agni Natchathiram, Gitanjali(Telugu). KB gave us the immortal Sindhu Bhairavi, the okey-dokey Punnagai Mannan and the hard hitting Thanneer / Achamillai duo. Though Bhagayaraj ruled the 80’s, in my opinion, three movies of his were really good – Mouna Geethangal, Darling and Vidiyum Varai Kathiru. The ending of Samsaram Adhu Minsaram made a good film a great film. And Film Students created a stir with Oomai Vizhigal. More than anything else, 80’s was Raja’s rajangam – Film after film, whatever he touched turned gold. I saw Varusham 16 more than 4 times just for his BGM. Hindi Mainstream was poor in variety and quality. So there.
It is only recently that Hindi has overtaken us in terms of content and execution. I think it is because of the Multiplex Market they have and also because of Directors who have more exposure.
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raj
October 24, 2008
tejas, you lack comprehension, I lack judgement. daanikki deenikki sari poyindi, if you see what I mean. Vidu ma. I dont lose sleep over this.
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Deepauk M
October 24, 2008
Zero: Am I right in assuming you agree with the piece ? Also are you saying that the lead actors in south Indian cinema ARE sub-par (with the obvious exceptions) because of the quotes around insinuation?
The piece is a good deconstruction but very unilateral. It looks at the Tamil audience independent of the Bollywood audience. Just by nature of the movies being made in Hindi large parts of the country automatically have no linguistic connections to the movie. And that is a pretty big connection.
But the tamil audience is not the sole proprietor of excess adulation. Were there not similar demonstrations of solidarity to the Bachchan family when he was injured on the sets of Coolie?
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Deepauk M
October 24, 2008
But yes that NTR story is just appalling. In general I do not condone fanaticism, I just think it is one sided to claim that it does not happen in the vast expanse that lays above the Vindhyas.
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Tambi Dude
October 24, 2008
Anand – you are right. I also think that 80s hindi movies were worse than tamil and only in the last 10-15 yrs hindi movie have overtaken tamil movies.
Tamil movies were quite inferior in the 2000-2006 period. Of late I am seeing some good movies and overall improvement in quality.
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raj
October 25, 2008
Anand, I guess we are both discussing exceptions. We can agree that the landscape was pretty bare on both sides. Which is greener depends on what you are seeing and what you are missing.
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raj
October 25, 2008
Deepauk, that’s a pretty superficial article. Edho ezhudhanumenu ezhduhina maadhiri iruku.
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Zero
October 25, 2008
Deepauk,
I didn’t refer to the article to say that I “agree with the piece” in its entirety per se, but the deconstruction of caricaturing was, I thought, well argued. One only has to see that the most of this sort of caricaturing is directly related to the actual intensity of the popularity of the local star. Like for example, Rajini hasn’t acted in that many “Curry Westerns” at all. Someone like Jaishankar has. But that caricature is modelled on Rajini because he’s the most identifiable icon. I guess you see the point. I thought this deconstruction was spot-on. Apart from this, it’s been quite a while since I read the piece (I read it when that issue was out), so blame it on my memory if I’m missing something with respect to that piece.
And, to answer your second question: no, no, not at all. I put it in quotes just because I was referring to a point you made and the actual context is in your comment (for anyone who’s reading it) — who insinuates what about who/what, etc. 🙂
By the way, I don’t think the article argued that the south Indian actors are indeed sub-par or condemned the “excess adulation” for them at all. Obviously, Hindi film audience is no stranger to excess adulation. As for me, I don’t even think of the NTR story as appalling. Again, Sadanand talks about the NTR story to highlight how the onscreen persona and the offscreen persona are often so intertwined. (It’s not about NTR showing up every Friday, it’s about his showing up actually made up like Krishna/Vishnu.) In Hindi cinema, it’s not as pronounced at all. This difference in the intensity of bonding between the audience and the star is what the author was getting at, isn’t it?
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B
November 27, 2008
“there, with remarkable economy of expression, is the summation of Morea’s Bollywood career”
That was super duper funny..ROFWL
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