KHAN VS. KHAN
Shah Rukh Khan shines in a tailor-made role, but wasn’t this barely engaging drama supposed to be Irrfan Khan’s story?
FEB 15, 2009 – PRIYADARSHAN’S BILLU IS AN UPDATE OF THE LEGEND of Krishna and the self-effacing Sudama. It reshapes the story of God and His long-ago friend into one about a movie god and his long-ago friend. I just wished that, along the way, it had taken a few pointers from that story about a movie goddess and her long-ago friend from the same village. I refer to Anil Mehta’s inexplicably underrated Aaja Nachle, where the dazzling Madhuri Dixit returned to her hometown after years, and the timorous local played by Ranvir Shorey stayed away from her because they no longer had anything in common. This was simply a subplot, but it was so poignant, so resonant, that it cast a shadow over the rest of the film, like a drop of dye that insistently percolated through to the rest of the fabric.
I admit that poignancy and resonance aren’t characteristics you’d usually look for in a Priyadarshan film. The utterly unexpected riches of Kanchivaram notwithstanding, this is a director whose default mode, at least in Hindi cinema, is to play his stories at a pitch that can be heard on the far side of the moon. (I haven’t seen his Malayalam movies, where I’ve heard he can be quite different. And while in confession mode, I haven’t watched either Kadha Parayumbol or Kuselan, the Malayalam original and the Tamil remake of this story. Billu, therefore, comes to me with no previous memories or associations.) But everything in this film is so aggressively in-your-face, I found myself missing the sensibilities of someone more sensitive – someone like Anil Mehta, or going back further, Hrishikesh Mukherjee or Basu Chatterji.
Those older masters of middle-of-the-road cinema would have teased characters out of the stiff caricatures we have here. Those directors would have trained a keen, empathetic eye on the milieu that’s mere art decoration here. (Only once does the set acquire some semblance of lived-in personality, in the opening credits, when we see Wilkinson stainless steel blades neatly snapped in half at a barber shop.) And even if they recognised the necessity, in the present day, for star-studded item numbers, they would have put a finer spin on the emotional aspects involving the non-stars – for instance, the effects on Billu (Irrfan Khan) of the clannishness of small-town folks when they first ignore this barber, then put him on a pedestal because of his assumed proximity to megastar Sahir Khan (Shah Rukh Khan), and finally vilify him when they suspect he’s no closer to the star than they are.
All of this should be ripe material for heartrending drama, but there’s very little in Billu that makes you feel anything. All Priyadarshan uses his (typically overflowing) cast for is to set up the most obvious situations this story demands. Billu lives in the sort of heartland where phrases like “apne munh miya mithoo” are freely flung about – when was the last time you heard this in a Hindi film? – and the name of his competitor’s establishment (“Modern Madan saloon”) is the very definition of small-town hucksterism. So when a film unit arrives to shoot a Sahir Khan starrer, and a flunkey marches up to the local grocer and asks if he stocks asparagus and jalapenos and red peppers, the stage seems set for charming culture-clash shenanigans, revolving around Bollywood and the parts of India that no longer find representation in Bollywood films.
But Priyadarshan isn’t interested in any of this – and this wouldn’t be such a problem if what he’s interested in was interesting to us, or if he’d at least made us invest in the characters. Lara Dutta, who plays Billu’s wife, is so glamorously presented, it’s hard to feel sorry for what is supposedly her advanced state of deprivation. (Can’t we find better use for this vibrantly sexy actress than these parts where, draped in dull saris, she enquires of her husband, “Gehun nahin laye?”) There are a few amusing stretches, like the one where an untalented local is presented a role in the film that’s being shot, but the generally dull Billu is primarily an opportunity to observe, up close, two vastly different styles of performers and performances.
On one side, there’s the quietly spectacular Irrfan Khan, who internalises everything. When the local school board insists that he fetch his buddy, Sahir Khan, for a jubilee celebration, he doesn’t say a word; the beads of sweat trickling down his forehead tell us all we need to know. And later, when even his wife questions his affiliation with Sahir Khan, his understated reaction is a beauty to behold. He recedes so far into his reticent character, he all but disappears in front of the camera – unlike the charismatic Shah Rukh, who inhabits the space in front of the camera with the casual entitlement of royalty. He appears to be playing himself, and he’s so effectively larger-than-life, especially towards the closing portions, you forget you’re watching a drama about the travails of a bashful barber. As you exit the theatre, you feel you’ve witnessed an exposé on what it entails to be a smashing superstar.
Copyright ©2009 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Aditya Pant
February 14, 2009
Was the one line summary a consious decision to avoid the ire of SRK fans who don’t like to see the words “not so s…” for his films? Reading your detailed review makes me feel that you desperately wanted to all it “not so satisfying”, but held yourself back….just kidding.:)
I have a major problem with Priyadarshan’s villages. Whether it was Virasat or Malamaal Weekly the language/dialect people speak and the geography/backdrop/costume don’t gel well. I haven’t seen Billoo yet, but I strongly suspect it might be the same.
You’re so right. This subject needs someone like Hrishikesh Mukherji. And yes, I too consider Aaja Nachle as “inexplicably underrated”
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anantha
February 14, 2009
I was disappointed with Kuselan, because in a way watching Kathaparayumbol the day before, made me more eager to see how Thalaivar would look in something like that. I was disappointed, to say the least. And sounds like Billu is a scene by scene remake. To be honest, Billu/Kuselan needed an Amitabh Bachchan, not SRK/Thalaivar.
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Shankar
February 14, 2009
The problem I have with these remakes is that the transalation from the original just doesn’t play out too well. I had a similar problem with Chandramukhi as well.
These malayalam stories and screenplays are designed to naturally fit the milieu and they do that quite wonderfully. Even for the comedy sequences, it helps if you have lived in Kerala, to understand the nuances and subtlities. In regards to Chandramukhi, occult and voodoo are quite identifiable themes in Kerala and so dual personalities seem like a mere extension (the way it is presented in the movie) of such themes. I’m not sure these fit as well in other languages.
Similarly, Kadhaparayumbol is a simple story of a barber and his friend which, to people familiar with malayalam movies, will seem like the typical Sreenivasan story (his Vadukkunokki Yanthram got remade as Dindugal Sarathy). Even though P(ee) Vasu didn’t commit any cardinal sins in the tamil transalation, I’m not sure how Priyan has handled it in the Hindi version and how well the screenplay fits the milieu.
BTW, Srinivasan is in the Hrishikesh Mukherjee/ Basu Chatterjee category. His stories are about simple people often enriched by strong characterizations.
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Hari
February 14, 2009
Was ‘aaja nachley’ really that under-rated? I feel Jaideep Sahni’s screenplay got completely ‘Yashrajed’-the testing moments were not bad enough to evoke empathy which would have led to the audience applauding when the ‘moments of achievement’ finally arrived: everything that happened happened so easily(was so ‘feel nice’) and one felt indifferent towards whether the theatre got saved finally or not.
One point I would agree with you on is the Ranvir-Madhuri sub-plot-that was superb but that had got more to do with these two magnificent actors that the script or the movie per se-also, the music by Salim-Suleiman and the lyrics were too ordinary for Madhuri-that Vaibhavi Merchant was no Saroj Khan did not help the cause of the movie any.
Coming to Billu, I have not seen any Priyadarshan movie released in the last year-and-a-half, it is quite unlikely that I would watch it.
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madhu
February 14, 2009
You know you could just make a post script with your little “I havent watched any of priyadarshan’s malayalam movies” disclaimer and cut and paste it whenever you review another one his hindi movies.. Isnt it wierd that you with all your foreign film reviews and appreciation of world cinema never got curious to watch one of the malayalam movies to get a feel for them?
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B.H.Harsh
February 14, 2009
@Rangan sir
I agree quite a lot, sir. The Subject had a lot of scope but Priyadarshan chose to stick to his now-patent slapstick and loud comedy rather than delve into Billu’s character and give the movie a more simple & poignant touch.
And yea, I was really disappointed with the fake look of the village. It should have been more realistic, life affected.
By the way, Sir..Do you think SRK was good in the climax, the function scene ?? Don’t you think he could have done away with the usual lip quivering and works ??
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Mithun
February 14, 2009
Srinivasan rocks as an actor and a writer and I completely second what madhu says. BR, you put in all this time and effort to review foreign movies but rarely (if ever) bother with movies made right next door.
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Nirmal
February 14, 2009
@madhu: I think BR has already stated reason for that- he cant get hold of subtitled malayalam films. And considering the difficulty i have faced in getting dvds of some mal films i wanted to watch even here in kerala, one cant blame him; though i would definitely love to know his take on some mal films.
and priyan Is certainly something of a case study. I totally agree with shankar that some films like kadha parayumbol may not work as well with a change in milieu. But one consistent difference between his mal films and hindi ones is – scene by scene most of his films have so much energy in the former,they are so much fun;while his hindi movies are so …bland. He has access to better technicians , bigger budgets , a wider market and he is yet to make a single better film than he did malayalam(not that they are classics or something, but they were much better) .
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Kiruba
February 15, 2009
Nirmal: Priyadarshan actually thinks he’s been making better movies in Bollywood out of previously done Malayalam scripts (which he thinks were not fully justified on screen in their originals), due to the bigger budgets. If only we could second this audacious opinion!! And to think this man gave us such thoroughly enjoyable small films like Akkare Akkare (why hasn’t this been remade in Hindi yet?), Kilukkam or Thenmaavin Kombath just makes me feel sad for him. Even Gopura Vaasalile was far better than his Hindi products.
Shankar:It’s well known that most remakers do not bother abt adapting for the cultural milieu. They just expand the canvas, add more pomp and colour to the scenes and hope vainly it would be better than the original simply because it’s bigger.
I’m awaiting ‘Ninaithaale Inikkum’ with a sense of foreboding now. The stills released have only strengthened my apprehension that this is going to be another mindless remake. We’ve not had an active students movement here in TN in the past two decades (even the ones that’ve existed seldom had any ideological stand) and it would be difficult to relate to the movie in Tamil.
BR: I’ve no issues with you not being able to watch movies being made next door, but really is malayalam so difficult you’ll need subtitles? (the other 2 languages may not be so) I’ve learnt it mostly by watching films.
Also OFF TOPIC, what do you think of this craze in Kollywood for remakes. 2008 was particularly bad and it seems this will continue even longer. To top it all are the rumors abt Kamal’s wednesday.
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Rahul
February 15, 2009
Madhu/Mithun, I don’t know if Rangan understand Malayalam. If he doesn’t, I can clearly see why he hasn’t got to see a lot of Malayalam movies. It is much easier to find a subtitle-containing DVD of a foreign language movie as compared to movies in Malayalam (and a lot of other regional languages in India). It really is a pity. I, myself, have probably seen a hundred movies from non-indian languages but the only indian non-hindi/english movies that I have been able to find (with subtitles) are some tamil/telugu/bengali movies. In malayalam, one can probably only find subtitled versions of movies of Adoor, Shaji Karun etc.
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Lakshmi
February 15, 2009
Kadha Parayumbol is spectacular. Srinivasan plays the barber, Meena plays his wife and the superstar is played by Mammooty. The film is hugely reminescent of the tale of Krishna and Sudama, and yet it has this huge R K Narayanesque quality to the cast, the characters, the names, etc.
I watched the film on YouTube.
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kaos
February 15, 2009
More head-nodding for what Shankar and Mithun said – Srinivasan’s genius at portraying “everyday” people and their emotions has few parallels in Indian cinema.
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chhote saab
February 15, 2009
I would take this 2 hr ‘billu barber’ over the 3 hr ‘ghajini’ any day but it seems I might be in the minority. With all its cinematic drawbacks I enjoyed this clean, feel-good movie a lot. Just to clarify I do like action/intense movies a lot too but ‘Ghajini’ just did not work for me.
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brangan
February 15, 2009
Aditya Pant: I think the phrase was “not entirely successful” 🙂 And I don’t have a problem with the geography as such, but the dialect does put me off. That way, for all my problems with Sajjanpur, at least it “sounded” right.
Shankar: There may be something in what you say. Because even in the old AVM days, the remake triangle was always Tamil->Telugu->Hindi or Telugu->Tamil->Hindi, or any permutation of this. Malayalam movies were rarely transposed to remakes. I wonder if this is because the industry is relatively smaller and therefore not many kneew about the films here (except the biggies like Chemmeen), or is it because the stories travelled easier between the big three film industries? Hmmm…
Kiruba: I have issues watching movies in “general,” just lying back and getting a sense of just the basic story. Without a good grasp of the language, you miss out on colour and subtext. And what’s the point of that? ‘Welcome to Sajjanpur’ is a good parallel example. You need to really *know* Hindi to get this film, because it’s all in the phrasing, the emphasis on words, the lilt of the dialect and so on. As for remakes, I don’t have a problem with the idea per se, but in the name of making things “youthful” and “entertaining” they kill all the good things in the earlier film and that’s annoying.
chhote: Yeh to hona hi tha 🙂
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karrvakarela
February 15, 2009
“But everything in this film is so aggressively in-your-face, I found myself missing the sensibilities of someone more sensitive – someone like Anil Mehta, or going back further, Hrishikesh Mukherjee or Basu Chatterji.
Thank you for saying that. It’s important that film-makers be held to some sort of standard, especially someone like Priyadarshan who is capable of so much more.
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suresh
February 15, 2009
BR, Have you seen this criticism of you? Care to respond?
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Jhangora
February 15, 2009
Looks like a nice movie. Worth a watch.
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raj
February 15, 2009
suresh, that is so laughable.
BR, hold press. That doesnt deserve your response. We thondar padai will take care – stay off 🙂
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Ramesh
February 15, 2009
the above comment was made by a poster who has no connection to me. i woke up and saw about 200 hits from the blogical conclusion site, and suspect that it will be more nuiscence(to both of us) than any use.
this may 2008 piece is not open for internet discussion, although people can email me at rameshramsw@gmail.com if they ave anything to say.
thanks..
Rameshram
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Shiv
February 15, 2009
For a UP village, Budbuda certainly had a lot of coconut trees! I thought Irffan’s becoming a hero in his village when they find out about the ‘connection’ could have led to an interesting exploration of what Fame is really all about (SRK certainly does think about it a lot, going by his interviews). I thought the film did touch that point sometimes, without lapsing into the oh-look-Billooi-is-so-gifted-in-his-own-way moral science story. But that end shot, when Billoo is lifted up again by the villagers when they discover that he’s really Sahir’s friend, killed it for me. I’d have thought Billoo, who’s already seen how fickle fame is, would NOT have that easy joy that he does have. Then again, maybe he’s not that cynical a guy. I don’t know…It would have been more edgy to have that, though.
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KPV Balaji
February 15, 2009
Suresh, i dont think that criticism is worth any response
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brangan
February 16, 2009
feedback to the paper…
Dear Rangan:
I’ve been reading your movie reviews, almost regularly, though I’m not an avid movie-goer or admirer of bollywood movies. I am more keen to understand another point of view, especially from someone, who has been observing the ‘trade’ for long. I like your style though couldn’t seem to be in agreement with your views. Ours are different.
However, I was rather shocked to find half a page being devoted to such a run-of-the-mill trash as ‘Billu’ ( earlier, ‘Billu Barber’. That’s another story in itself. I was reminded of the controversy when a Malayalam movie was forced to change its name by dropping a caste reference. Nonetheless, the movie went on to be a hit with the viewers). I’m unable to digest this. From the movie trailers on the tube, it was very clear that it would as well be a sad caricature of the Malayalam original ‘Katha Parayumbol’, which I have watched more than once. It is surprising that neither Priyan nor Shah Rukh learnt a lesson from the spectacular failure of the Tamil remake ‘Kuselan’. Rajni distorted and strayed so far away the original’s simplicity and straight story-telling, that the movie looked outlandishly Rajni-centric. The original was not Mammootty-centric. It revolved around the simple, unassumed ‘hair-stylist’ and his equally simple, understanding wife.
I think you, as a critic, need to be a little more responsible to the industry and the public. The Hindi version lacks character, depth and most importantly, substance. Two columns could have been adequate. I would say that the responsibility to cleanse Bollywood of its dirt lies with people like you, who hold influence on shaping opinion. The industry has fallen to an abyss of vulgarity, inanity and dullness. Pouring crores of money to make such ‘works’ is colossal wastage of capital. Flop after flop, the industry continues to repeat its mistakes. CCTC is a most recent costly flop, as everyone knows.
There is so much of bias, injustice, inequality, misery, joy and optimism in the Indian milieu, for making good movies. Without high investments. The industry needs to be told to stop portraying women as objects of desire. We have no dirth of wannabe starlets and ageing actresses, who are willing to bare everything for fame and money, for climbing the ladder or to stay on to their ‘ranks’. It is this overdose of sleeze that the the average Bihari or Haryanvi youth devours down. These are images that corrupt the minds of the youth. How else do you explain the brazen attacks on women in Delhi and the NCR?
Did I sound like Muttalik? I’m sorry. I’m not a safronista. But, I’m pained by the rubbishing of such a powerful creative medium as movies. I am upset with the way people like you have allowed the rot to continue, by becoming one among ‘them’.
Could we expect more sincere and responsible reviews from you? You should be daring enough to say that a movie is not even worth a review, than awarding it one or two stars.
Thank you!
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Aditya Pant
February 16, 2009
Maybe it’s just me, but i didn’t get the point of this feedback to the paper.
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brangan
February 16, 2009
Aditya Pant: In the paper, a half-page is allotted to Sunday reviews. I think he’s saying that an average film like this doesn’t deserve a big review, spanning that entire space (though about half of it was filled with pictures).
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Anand
February 16, 2009
Rameshram: I have no intention of sending a mail to you. But I am willing to debate on this site. Don’t be afraid of ‘thondarpadai’! It’ll be constuctive criticism of your criticism 9though I dont think yours was constructive). If you are ready, I’ll shoot my arguments!
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Magesh
February 16, 2009
yesterday in NDTV imagine, SRK was saying that the whole “Billu” village was shot in pollachi (in TamilNadu).
I know that a lot of tamil film shooting takes place in Pollachi, but to know that even Hindi films also got shot there is a news.
Dont they have a proper village in the whole of North India which is suitable for this film.
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brangan
February 16, 2009
Anand: Er, um… That was his opinion. And it’s his blog, after all. It’s not as if he came here and dumped me with invective. Can we just let this go? Thanks 🙂
Magesh: That’s because things work out cheaper. Almost all of Priyadarshan’s films are shot in the south.
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Ramesh
February 16, 2009
brangan,
yes, exactly, thanks.
and thanks for all the hits.
bye.
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Nirmal
February 16, 2009
Kiruba: i came across that interview where had claimed he was making those films better in hindi. But i think, more than anything it was an attempt to convince himself that he has not sold his soul. I cant see how he can have such misconceived notions about his own films can go on to make something as good as kancheevaram.
Also …er.. Akkare akkare? I thought that was a film much closer to the brand of comedy that he does in hindi. I like the the first two films of the dasan vijayan series by Satyan anthikad much more. Also priyadarshan is remaking more movies by other filmmakers than his own, i think. If i would like to see a remake of one of his movies , it would be vandanam. I think its one movie that could make a very good bollywood entertainer, and i loved the climax when it was released.
And to a certain extent, his films may have affected by a difference in quality of actors. But with irffan khan in billu., that would definitely not be an excuse.
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Hari
February 16, 2009
When one considers Priyadarshan, one point that cannot be ignored is unlike many other elitist film-makers from the south, he enjoys an almost impeccable box-office track record(even the worst of his movies like ‘dhol’ don’t flop), so, I think he gets a bit carried-away(may be ‘kanchivaram’ was an exception, yet to see that one)
A few common features in all the Priyadarshan comedies-glaring errors with respect to the milieu-the characters are shown to be in some part of UP or Rajastan or some other place but it is quite obvious that they are in some rural area of TN or nearby part(like in ‘malaamal weekly’-the flora shown is not found in the north)-the characters speak shudh hindi(this is quite deceiving as you are made to believe something else and the characters’ lingo confuses you).
Also, after the super-success of ‘hera-pheri’ and ‘hungama’, he ended-up being populist in terms of the climax, he ended-up adopting the ‘sky is falling run, run…..’ type of climax where all the characters become a victim of a ‘comedy of errors’-upto a point, I enjoyed that but later it became redundant.
I have not seen his malayalam movies, have seen some of his tamizh ones but feel his earlier movies like muskurahat, gardish and doli sajaa ke rakhna(the last one being an unfortunate flop) were much more unadulterated than his later ones, may be, him not earning success then made him change his approach.
Coming to ‘Billu’, I had issues with the way the movie was promoted in the first place-just to woo the audience, the trailers unfairly showed only SRK while the main protagonist here is supposed to be Billu-initially, I thought this was a gimmick and the audience would feel deceived on seeing their favorite actor in just a special appearance(perhaps this is what happened with ‘kuselan’, Rajni’s role being of a few minutes might have had a role to play in its’ floppoing(, but going by your review and the other reviews, I come to know that this was another populist move by Priyadarshan and who knows, this might work as well!!!
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Kiruba
February 17, 2009
Nirmal: Nadodkatru was definitely far superior to AA, that I’ll accept readily, but I like thir whole series. Heard Refi Mecartin (Hallo) is scripting a fourth now.
And Kilukkam was shown yesterday on asianet, it was shocking – as if I was watching another film completely. If not for the nostalgia and the actors, I should have turned it off. Almost the same thing happened with Vandanam a few months back. And to think I had liked these both very much during their first watch – except probably Vandanam’s ending (not the whole climax, but the contrived separation at last). Probably, I’ll have to watch Chithram and Thenmmavin again to renounce them!
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brangan
February 17, 2009
letter to the paper…
hello mr. rangan, reading indian express since yrs. i wait eagerly for ur sunday reviews. good job u do. ur review on billu barber was fair. i recommend u see the malayalam version of the same. if u had seen that u would ve avoided watching billu (i know it s ur job). but ur review on ghajni was not un biased, u compared with tamil movie.. we saw both versions and we liked both. by the way u diodnt write in dev d. why?
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Anand
February 18, 2009
BR: “Er, um… That was his opinion. And it’s his blog, after all. It’s not as if he came here and dumped me with invective. Can we just let this go? Thanks” – Sure, got your point loud and clear! 🙂
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Anand
February 18, 2009
BR: About Pollachi, I dont think it is the cost; it is the infrastructure (Stars’ accommodation etc) that plays a major role in location selection!
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Deepak
February 18, 2009
Hi Rangan
Naan Kadavul for some reason reminds me of One Flew Over the Cuckoo’s Nest…What do you say??
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Rishi
February 19, 2009
I can’t be the only one who liked this, can I? I did not see the original, but Billu (Barber) on its own was a wonderful experience. Dragged on a little towards the end, especially SRK’s overdone speech, but I really appreciated this film, especially for Irrfan’s acting and Santosh Sivan’s beautiful cinematography.
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brangan
February 20, 2009
Deepak: Cuckoo’s Nest? Now that you mention it, I see the “salvation of misfits” arc coming through here too. Nice observation. Thanks 🙂
Rishi: Was it Santosh Sivan? I remember seeing Manikandan’s name in the credits.
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KPV Balaji
February 20, 2009
The cinematogrpahy was done by Mani kandan. The SRK intro sequence alone was shot by Santhosh Sivan
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Monika
February 22, 2009
Dear Rangan:
I very much look forward to reading your reviews While I do not necessarily always agree with you, I do appreciate your attention to detail as well as the ability to contextualize the film in a larger ‘cinemascape’. This time I was somewhat disappointed to find both missing. I found the film to be quite moving. For me it is the contrast between Billu and Sahir (played effectively by both Khans), and two different modes of melodrama that results in a moving film.
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kannan
February 22, 2009
Hi mr.rangan,i have been getting to read ur reviews now for a long time and its interestig to read them.
I get to know you have hardly seen any malayalam movies and this came as a surprise to me since i have heard even film lovers from north have seen a few popular malayalam movies and they generally were full of appreciation.
I dont think its too hard for you to see and understand a malayalam cinema.I living in kerala do sometimes see tamil movies and i know some of my tamil friends who sees mal movies.Also its said that tamil is the closest other language to malayalam (i think reverse wouldn’t be false as well).
I ask you to watch some movies from here is simply because you as a cine lover shouldn’t ignore what’s present on just your neighbourhood.You may probably know mal cinema was considered by many movie lovers across india as the best in india for a period from mid seventies to early 90s and was at par with world standards although now its largely a mere shadow of its glorius past which peaked in the 80s.
Also it is a wonder you havent even seen movies of such legends like bharathan and padmarajan (i assume u haven’t seen their films too…sorry if wrong).Even a director like priyadarshan who produces such crap movies up north these days had filmed some fine & delightful movies in those days which one would always remember fondly.
I just say this as a cine lover myself and its entirely your wish to consider it or not.But i can promise you this would atleast be a truly new exprience.Any help from me in selecting movies could be kindly adressed although it wouldn’t be required.
Afterall you have seen movies from much around the globe and i don’t think it would be too hard for u to understand a movie made your next door (even without subtitls) than watching a movie coming from lands that are sometimes two oceans away.
My post here is a little late but i hope you see this post and considers……
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