THE BORED AND THE BEAUTIFUL
A rich brat finds love in a coming-of-age story that’s pleasant but tiresomely predictable. Plus, a mind-bogglingly unfunny “comedy.”
OCT 4, 2009 – IT APPEARS, SOMETIMES, THAT FARHAN AKHTAR’S legacy consists solely of the characters and contrivances in his zeitgeist-defining Dil Chahta Hai – the privileged single children harangued by parents about their lack of lakshya, the casually improvised friendships that preclude drama but not depth, the lackadaisical attitudes towards (and the last-minute embrace of) love, the pompous stud who comes between the hero and heroine (and who fools no one), the older woman-neighbour who threatens to evolve into a romantic (or sexual) dalliance, and above all, the fetishistic worship of Mumbai as some sort of oriental Manhattan. Each of these (including the name of Akshaye Khanna’s character) is replicated in Ayan Mukerji’s Wake Up Sid, whose title is surely one the most self-explanatory of all time. (The eponymous slacker, played by Ranbir Kapoor, is asleep; he needs to open his eyes to life and love.)
But there’s one other aspect that’s come to instantly identify Akhtar’s cinema (and which also defines the films of his acolytes) – and that’s the vibe. He didn’t just do away with the generic tropes and props of Hindi cinema – he supplanted them with extraordinarily specific equivalents that were almost anthropological in detail. You simply had to tune your antennae towards the general direction of the screen, and you’d find yourself submerged in the universe the film was set in. And Wake Up Sid is nothing if not a celebration of vibe – from the artfully placed exclamation point in the title-lettering to the tasteful-to-a-fault production design, from the ultra-casual wardrobe of Sid (consisting almost entirely of T-shirts emblazoned with artifacts of American pop culture) to the carefully calibrated Shankar-Ehsaan-Loy soundtrack (which delineates the mood of this film the way the haunting ballads of Nico underline a Wes Anderson movie).
On the surface, therefore, this is as close to a Farhan Akhtar film as another director could make – and that’s a huge problem. Mukerji appears so focused on channelling Akhtar that he forgets to make his own movie. Wake Up Sid is perfectly shot, perfectly put together and perfectly enacted – it’s perfectly enjoyable in a general, generic sense – but it’s also perfectly anonymous. It has all the weight of a television commercial showing sad people transforming into happy people in the course of thirty seconds, which is to say that nothing ever seems to be at stake. (Everything is frustratingly preordained.) When Sid chooses to leave his opulent home – he lives with his parents (the disapproving Anupam Kher and the doting Supriya Pathak) – he instantly moves into Aisha’s (Konkona Sen Sharma) digs. (She’s new to the city, and they’ve just met-cute at a party.) Where’s the struggle in this?
At least, if she’d been a struggler herself – as she was in the unfortunately unsuccessful Luck By Chance – we would have had the drama of two youngsters pulling themselves up by the bootstraps in big, bad Mumbai. But she’s the kind of extremely resourceful person who can afford to redecorate her house before she lands a job (and let’s not forget that the job is that of a personal assistant to the editor of a small-time magazine, which, after living expenses, would barely pay enough for a can of paint). So when Sid moves in, the existential crises are on the level of his learning to fry an egg all by himself. (Do they give out self-improvement medals for this sort of thing?) And when it comes to finding employment, a few clicks with his digital camera are all it takes for him to discover he’s a terrific photographer.
He’s instantly appointed an intern in the same magazine Aisha works at, and he’s soon offered a regular job. I repeat: Where’s the slap-in-the-face, “wake up” struggle in this? Is it any wonder, then, that compared to the supposed travails of Sid, the predicaments of his friends offer more opportunity for empathy? When the amply upholstered Laxmi (a completely endearing Shikha Talsania) accuses Sid of being a self-absorbed jerk because he cannot see that others have problems that are equally important – her ever-ballooning weight, for example – you feel like cheering. And when Rishi (Namit Das), who completes the trio, gets estranged from Sid and when he rues that he misses his friend, you feel for his loss in a way you never feel for Sid. (This is a small moment that could have carried a big emotional charge, but the director inexplicably cuts away to Sid and Aisha fooling around in one of their many lovey-dovey money shots.)
There just aren’t enough small moments in Wake Up Sid, the sort of enchanting writing excursions that elevated similarly predictable rom-coms like Jaane Tu Ya Jaane Na. (There too, we saw the ending as soon as the film began, but did anyone foresee how this end would come about, and how the shiver-inducing airport-climax would be so delightfully subverted?) The predictability factor, here, clouds the cheerful proceedings. It’s only in the occasional romantic stretch that we sense a spark – when Aisha screams at Sid for being such a perfect housemate (the way this scene comes to a close is wonderful; it evokes the casual reference to monsoon in the early stages of their relationship as well as the rain-soaked epiphany that marks the culmination), or when she returns to find her home a mess but her anger melts when she realises he hasn’t had a bite to eat all day.
To make matters worse, we are force-fed the illusion that Kabir, Aisha’s boss, could become serious competition for Sid. The very fact that this character is played by Rahul Khanna, Bollywood’s eternal romantic loser, tips us off that this is just a bluff. But when he essayed a similar role in Love Aaj Kal, he at least had the decency to mess up our expectations by actually getting married to the heroine. (Imtiaz Ali, unlike Ayan Mukerji, doesn’t mind muddying his perfect scenarios with complicated, life-sized emotion.) Here, Khanna plays a jazz lover (the serious kind, whose office has a Kind of Blue poster), who claims that that’s “real music,” not the silly, old Hindi film songs Aisha keeps listening to. Is anyone really surprised when, a little later, Aisha walks home to the comforting sight of Sid with his headphones on, listening to Yeh raat yeh chandni phir kahaan?
There’s one terrific instance of character development, the fact that Sid constantly sees himself through the (often-deprecating) eyes of others. During an examination, he imagines his classmates turning to him and telling exactly what they think of him. Even his relationship with Aisha is defined by the truth that she sees him as a child, like almost everyone else. (His mother walks into his room to fold his shirts; he gets his cheek pinched by family friends at parties.) So when Sid takes to reading Murakami (from Aisha’s bookshelf, naturally), it’s a huge step forward from the comic books that populated his library. But these bits of growing up are tucked away into inconsequential corners of the film, in song montages and the like, so we’re mainly left with the incessantly happy-cheery story of a boy and a girl getting together after a series of extremely minor hiccups. That’s not a bad way to spend a couple of hours, sure, but how you wish a few dashes of reality had been allowed to temper this unrelentingly feel-good fantasy.
A RICH WIFE (SUSHMITA SEN) SUSPECTS that her husband (Govinda) is doing it with another woman (Lara Dutta). To divert the wife’s attention, the husband (who really is doing it with the other woman) hires an amiable loser (Ritesh Deshmukh) to pretend to be doing it with his mistress. The latter’s angry ex (Sohail Khan), meanwhile, thinks that the loser and his former girlfriend are really doing it, and his suspicions are shared by the detective (Ranvir Shorey, who thinks that by getting the husband out of the picture, he can begin to do it with the wife) hired by the wife to spy on her husband, who himself begins to think that his mistress is doing it with the loser. Somewhere through all this, Manoj Pahwa shows up as the only one who cannot do it – he sits on a porcelain throne and pleads with his constipated bowels, “Aaja!” And you wonder if this visual isn’t the perfect metaphor for the comic ideas in David Dhawan’s Do Knot Disturb, which never quite find satisfying release.
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
October 3, 2009
It is strange that I liked this film for exactly what bothered you. The lack of real struggle (and maybe the ‘drama’ that would have followed) actually made me more engaged with the film. To each his own I guess. Perhaps I was looking for a movie to enjoy in a “general, generic way”
But yes, the ‘flaws’ you point out are bang on. Just that they didn’t bother me, except for the whole decorating the home bit (she chose the most expensive wall paints available in the market, most of which didn’t even end-up in the final look!!)
About the soundtrack – while I like SEL’s compositions in the movie, my vote goes for Amit Trivedi’s Iktara.
BTW, I found that small dialogue about stress and dessert quite good!
And what’s your take on Ranbir in this film? Don’t worry, I won’t ask you his pet cat’s name 🙂
LikeLike
brangan
October 3, 2009
Aditya: You said the same for “Rock On” too, didn’t you — that you agreed with my issues, but liked the film nonetheless? See, I didn’t dislike “Rock On” and I don’t *hate* “Wake Up Sid” either. (Though I preferred the former.) But there just seemed no point to the film after a while. “Drama” needn’t always mean “melodrama” — just that there’s a dramatic hook to hold on to, something to be invested in. Here, I cared neither about Sid’s supposed “redemption arc” nor about his love angle. It was very blah that way. I guess movies are more disappointing when they show promise (of becoming something good) and then hold back for whatever reason.
About Ranbir, I did write the bit about “perfectly enacted” — I thought the entire cast was good, though I thought the sidekicks came off better than the leads (more because of how they were written). But I didn’t like the mother’s role — all that “iskool” business… Either Supriya wasn’t able to pull it off or the part was too forced. Something bothered me about that character. I loved Anupam Kher though.
LikeLike
Ankur
October 3, 2009
On a side note, Amit Trivedi is doing pretty well for himself these days, isn’t he. After Dev D, I was raving about him and worried if he would be noticed and given more work. Clearly, there is some eye for good talent in the industry :). I believe he has a couple of movies lined up, waiting to hear more from him.
LikeLike
Pradyumna M
October 3, 2009
Inglorius Basterds?
LikeLike
brangan
October 3, 2009
Pradyumna M: Dude, how many movies do you expect me to see on one day? 🙂 Seriously though, IB not yet released in Chennai. I think next week.
LikeLike
Aditya Pant
October 3, 2009
Yes, I said the same thing about Rock On, but that film was more personal because I had first-hand experience of some of the things I saw in that film. In that respect, there was nothing personal about this one. As I said, today I was just in the mood for watching a light, pleasant film which Wake Up Sid was. And, thankfully, I hadn’t built up any expectations from it.
I didn’t like the mother’s role as well, and I think it was more because of the way the character was written than Supriya Pathak’s inability to pull it off.
LikeLike
manuel
October 3, 2009
nice story 🙂
LikeLike
Vishal
October 3, 2009
>> Where’s the slap-in-the-face, “wake up” struggle in this?
Why does there has to be one? If there was one, then that would have made it “tiresomely predictable”, no?
I mean, I am glad this movie didn’t take the route of, uh, I don’t know — Maine Pyar Kiya – Prem, his forehead brimming with sweat, mining stones in front of his rich dad, who’s helpless after his son rejected his race-challenge…
LikeLike
Adithya
October 3, 2009
When I heard that Inglourious Basterds was releasing this week in India, I was elated. And then realized Chennai is not part of the “India release” when it comes to a Hollywood film. You say next week? I really hope it does!
LikeLike
Amit Goyal
October 4, 2009
GOD Mr brangan. Its just like u are a mind reader and you and i had the same issues with the movie. Still it was a nice watch bcoz I wasn’t expecting much and Ranbir Kapoor is sure worth all the hype.
On another note I’m very very happy for Amit Trivedi and the fact that Mr KJo signed him. Loved the other vesions of Ek Tara song and the background music.
LikeLike
RR
October 4, 2009
OMG! Reading your summary of Do Knot Disturb, the movie looks like it’s ripped off from Francis Verber’s “Le Valet”. Now that was a fun film!
LikeLike
Sharon
October 4, 2009
Hi,
I’ve been reading your reviews for a while, never got around to commenting, though I’ve always appreciated your insight as well as your careful use of language.
“Amply upholstered” has to be the cutest synonym I’ve ever heard used for chubby! It’s details like that that make your reviews such a pleasure to read.
Write long and prosper, Mr Rangan!
LikeLike
Rakesh
October 4, 2009
Any idea if Shikha Talsania is releated to that cherubic actor Tiku Talsania ?
LikeLike
Shankar
October 4, 2009
I haven’t seen the film yet…but reading the review and your points about the closeness of this film to a Farhan Akhtar film, it got me wondering (you also had a throwaway line referencing it!)…didn’t “Lakshya” have a similar storyline (in the broadest sense)? Most parts of “Lakshya” did work for me.
It seems this film is a pot-pourri of other films…
Digression…I sometimes listen to ATN radio (ch.159) on XM satellite service…the hosts have me cracking up most times. Recently she went on and on about how Harman Baweja was a charming actor! I realized how mistaken I was…I’ve always thought of him as the second coming of Sunil “dead-wood” Shetty!! 🙂
LikeLike
Jawahar
October 4, 2009
I liked the movie the way it was. There was not a moment of boredom. Though I agree it was predictable. The house decoration was not digested by me. But as regards “struggle” – may be it may not be a struggle for us BUT look from Sid’s perspective – for a spoilt brat like that even this may be a real struggle. The meaning of struggle will have different perspective for different people.
I aslo believe that you have to give some liberty to the film-maker. If everything were realistic, we may seriously miss entertainment!
LikeLike
brangan
October 4, 2009
Vishal / Jawahar: My problem with the lack of struggle isn’t that he didn’t go the MPK route 🙂 (Seriously, what a thought!) My problem was more with the lack of a dramatic hook. Even if its isn’t all real-and-depressing like, say, “Luck By Chance,” there’s got to be some reason to invest in the outcome, no? For me, that wasn’t there — mainly because of the tone of the film, which is so happy-cheery that everything is airbrushed. But that, I suspect, may be why this will do very well (as opposed to “Luck By Chance”). It offers the chance of seeing a “struggle” without the downer elements that such a struggle would *really* entail.
LikeLike
Vivek Mohan
October 4, 2009
This is interesting. I actually had the pretty same issue with Love Aaj Kal, because there was no dramatic high of any sort and the romance if anything was even more low key than in this one.
But you did find a lot of things to like about in LAK. To quote you
““Would be nice to see an intricate, understated drama” – see, but you’re looking at the film from the wrong end. This *is* (somewhat) intricate and understated, but it’s not a “drama.” It’s a rom-com (which is why I think many people are saying it’s so lightweight, and that Imtiaz Ali has lost his touch). So you have to look at it with *those* genre elements/sensibilities in mind, and if it still doesn’t work for you, then fine. But this is certainly not a drama.
The other issue, I feel, is that romcoms are typically more frothy, while this is not. There’s a delicate air of melancholia, which is also very unusual. (I called it “low-key” and Amrita was more on-the-ball when she said, “this is not an exuberant movie.”) That appears to be another problem, the lack of “high” moments.”
Wake up Sid IMO is much closer to LAK than to DCH. It is a coming of age movie alright, but I somehow felt the romance b/w spolit rich kid and gritty mature gal was the point, his coming of age was just a consequence of this love story.
Also as a PS3 fanboy I found it insulting that the Xbox was all over the ads, but the bum was actually buying PS3 games and PSP games.
LikeLike
vijay
October 4, 2009
BR, regarding these “coming of age” films, why is this topic/theme such a big deal that it is viewed as some kind of a sub-genre all by itself in Hollywood(and maybe other World cinema)? We have only Romance, Family Drama and action masalas as broad genres:-) if at all we need to classify our films under genres like Hollywood does.
Do you think that in desi films this theme hasn’t attracted much attention or it has, but just that it hasn’t been accorded a genre status ?
I can perhaps only remember azhiyaadha kolangaL(and maybe Thulluvadho ILamai?) in this category as far as Tamil films go. To me, it seems like we simply don’t share the fascination they have for this theme. Maybe it doesn’t make business sense for our producers.
LikeLike
brangan
October 4, 2009
Vivek Mohan: But the difference is that I don’t see this as a rom-com (or even a romance). This is very much intended to be a coming-of-age story — how he wakes up to life, love and so on. And even if I were to take your suggestion and see this as some sort of romance (with the coming-of-age part as just a by-product of this romance, as you say), there just wasn’t a “hold.”
I don’t know why people think that when I say there’s no drama, I’m referring to “dramatic” or “high” moments. I’m perfectly okay with very low-key (i.e. non-dramatic) handling of potentially loud /melodaramatic/ whatever moments, which is how LAK was. ( I mean, when you look at it, the scene where she says, “Mere dil mein woh jagah khali chahiye jisme koi aur aa sake,” *could* have been handled in a melodramatic fashion. It’s certainly not a “normal” line, the kind we speak casually. But the scene, as staged, is not melodramatic, because Saif refuses to let the tension build because of his fooling around. So this is low-key staging, but the “drama” is very much there.)
And that film had a “dramatic” journey, so to speak. The hero and heroine “struggled” to get to one another. They chose the wrong people, they battled distance, they didn’t say the right things at the right time, and there was some downright icky stuff (like the scene at her wedding and her consequent breaking it off, or their casual flirting while engaged to other people which was not casual at all).
There was a lot of heavy-duty stuff in LAK, which only *felt* light because of the handling. That’s why, to me, LAK is very much like DCH in tone and temperament. DCH was also very dry and low-key but it didn’t forget to have “icky stuff,” like the breaking of the friendship over Dimple’s character or the “struggle” that Aamir must undergo to understand (a) what love is all about and (b) that Preity is the one for him.
“Struggle” is just another way of saying what in screenwriting terms is called “conflict.” It’s not a literal physical struggle, like “Maine Pyar Kiya” (as suggested above) — but it’s a metaphorical mountain (big or small, whether handled in a dramatic or a low-key fashion) that must be climbed in order to get to the other side (attain happiness or closure or redemption or whatever the movie demands). That’s all it means. And here, there was just no “struggle.” Everything was airbrushed. Everything happened too easily (which was hardly the case with LAK). I enjoyed the film on a superficial level — it was, as I said, “pleasant.” But I couldn’t bring myself to care about anything or anybody.
LikeLike
brangan
October 4, 2009
vijay: See, it’s also only now that our films are becoming focused. In the sense that even if a film had handled a coming-of-age theme earlier, it would have been buried under the other “masala” elements that would have been mandatory. (Except for, say, 1980s art films like “Vijeta,” which BTW is a superb coming-of-age story.) I mean, you can think of a score of films in which the hero learns to “apni zimmedariyon ko nibhana,” after being irresponsible — but that wouldn’t have been the entire film. That would have been a subplot, say, in the first half.
But now, thanks to the multiplex situation, it is possible to make these coming-of-age films and focus only on that aspect. So I think these labels are being applied to Hindi cinema too now. “Azhiyaadha Kolangal” was very much the remake of one of the 1970s most famous coming-of-age stories, “Summer of 42.” But again, Balu Mahendra was not exactly a mainstream director, he kept his budgets low and so on. Plus, the late-70s, early-80s *was* a genuinely interesting period for non-mainstream Tamil cinema.
LikeLike
Vikas Bhargava
October 4, 2009
I don’t know from where the desire for a “struggle” in the screenplay comes in, in the context of this movie. Nowhere did the promos claim that this was going to be the Nobel Prize Winner for delivering an emotional whallop of a cathartic coming of age story.
Brangan, I feel that you probably saw the movie and thought, “Hey, I expected better. Perhaps if I had the script in my hand, I could have delivered a more intense emotional package and a rousing real/metaphoric struggle! It was too easy!”. This would be similar to the case of the Indian who went to Italy and complained, “your food isn’t spicy enough!”, upon which the Italian said, “Brother, this is our world, this is how it is!”.
Ayan Mukherjee and Sid’s world is similar. It it their world. Yes it’s easy, yes cooking an egg is not a pricewinner in terms of struggle but it is substantial in Sid’s world, even keeping a room clean is an arduous task to learn (considering our thumbs down at these tasks, i wonder how many of us can actually cook, clean dishes and wipe our room and asses clean till date). So the point is this is Sid’s universe whether you like it or not. Easy maybe.
So is there nothing important to feel here? I disagree, for me the characterization was immensely strong, I felt for them. The friends were much more real rather than airbrushed. Lot of things were communicated in the movie in silences and expressions, rather than dialogues which was just beautifully done. Its more earthy, more believable than LAK (thats not a bad quality, we need more believable stories).
I would have rather compared it to the first half of Lakshya rather than DCH. The most often heard critique of Lakshya was “How can a rich spoilt slacker just decide to become a soldier after watching a stupid Movie on TV?? thats soooo easy I mean, nothing Mother India about this decision!”. Well that was Farhan Akthar’s world. This is Ayan Mukherjees.
LikeLike
Adithya
October 4, 2009
@Vikas: So RGV Ki Aag is a good movie because, it’s just RGV’s world and that’s how things are over there?
LikeLike
brangan
October 4, 2009
vikas Bhargava: I don’t even know why we’re discussing this, as I’m not saying this is a *bad* movie or any such thing. But since you brought some things up:
1. There is a difference between the dramatic value inherent in a story and the decision by a director to *treat* the story dramatically. So your point about “emotional whallop of a cathartic coming of age” — I agree. My reservations about the film are NOT based on those considerations.
2. Reg. “Perhaps if I had the script in my hand…” – Isn’t that true of anyone who criticises or appraises any movie, and not just a critic? What are you doing when you say such-and-such thing doesn’t work? You’re saying, indirectly, “I would have done it differently.”
3. “So the point is this is Sid’s universe whether you like it or not.” – There I disagree. The point is not whether the director depicts a particular universe but whether he convinces *you* to enter that universe and feel at home. Because if I begin to think that way, I cannot presume to have any problems with, say, the last quarter of “Delhi-6,” because that’s the Chandni Chowk Rakeysh Mehra grew up in, and so how dare I question his screenplay? It doesn’t work that way. The point is that he wasn’t able to convince *me* about the validity of that universe in those stretches. And if *you* were convinced, then good for you.
4. “The friends were much more real rather than airbrushed.” Here I agree. I have said so in my review too.
LikeLike
Vikas Bhargava
October 4, 2009
True, My only intention was perhaps to convey that the WUS works quite nicely in its universe and setup and is not totally ‘airbrushed’ or frivolous. The movie had some extremely nice touches and moments and yes I agree with whatever has been discussed so far and the review itself. It has been spot on. I didn’t mean “How dare anyone review this” and I apologize, if it came across as such.
I feel that there is a great coming of age story lurking in our country and I wonder when will that be realized by someone.
@Adithya: RGV ki Aag totally fails to survive it’s own universe lol.
LikeLike
Arif Attar
October 4, 2009
Interesting you mention ‘Vijeta’, BR. I have always maintained that ‘Lakshya’ was almost an exact remake of ‘Vijeta’. But this seems to have been lost on our reviewers. You want to join the Air Force after watching Vijeta. You really do.
LikeLike
Vishal
October 4, 2009
Absence of that “metaphorical mountain”, lack of emotional investment — yes, I see your point, and I concur.
LikeLike
Sridhar Ramanathan
October 4, 2009
Hey Baddy:
You were too harsh on Wake Up Sid! Agreed it was no best movie types, but it sure met my expectations. You know what to expect even before you sit down with the popcorn. And it was just that. Paisa Vasool type of movie. Remember Kanthasami!!!
Cheers
Dharu
LikeLike
brangan
October 4, 2009
Dharu: So that’s the criterion now — whether a movie is better than “Kandasami”? 😉
LikeLike
brangan
October 4, 2009
Arif Attar: Forget the “Lakshya”/ “Vijeta” comparison — the general line that’s fashionable to take in the media is that the 80s Hindi cinema sucked. This is such a lazy analysis. The 80s commercial cinema was mostly bad, sure, led by an on-the-decline Amitabh, but there was so much activity on the fringes — parallel cinema, the relatively middle-of-the-road cinema, the early films of JP Dutta and so on. So I’m not surprised “Vijeta” is forgotten with the rest of them.
LikeLike
Arif Attar
October 5, 2009
I know this is a controversial line to take, but wouldn’t the Hindi film industry be different today if Amitabh hadn’t succeeded in some of the escapist cinema he did in the late 70s/early 80s? Wouldn’t actors like Amol Palekar, Farooque Shaikh and the films they were involved in be considered more ‘mainstream’ then?
It especially hurts when someone like Sai Paranjpe and the films she made don’t get the recognition they deserve.
And yes ‘Vijeta’ does belong to that ‘middle-of-the-road’ genre that failed to take-off.
LikeLike
vivek
October 5, 2009
Hey I thought almost all Tam movies of the 70s and 80s and even early 90s were coming of the age movies for the heroines.
Spoilt rich heroine with ambassador/fiat/maruti and a ridiculous dressing sense is a shy, smiling kudumba ponnu by the end thanks to the hero’s efforts.
Btw am not sure why the karan johar impact isn’t being discussed so much here as it was in Kal ho na ho.
I am fairly certain, that he was responsible for the sid wearing the female kurta scene.
It is not a KJo movie unless you can make atleast one very gay scene.
LikeLike
vijay
October 5, 2009
BR, going by your description, would you consider Rang de basanthi as some sort of a coming of age film?
My thoughts were more along, as to why cinema outside of ours has considered this coming-of-age theme to be compelling enough to make movies exclusively on this and even have a genre or sub-genre where a film could be branded as a coming-of-age film. I mean, we don’t seem to have given it as much importance to as say Romance or Societal issues.Masala elements are there in almost all mainstream movies,but that hasn’t served to relegate romance to a sub-plot status in our movies yet(except for perhaps larger-than-life action masalas). T
LikeLike
chhote saab
October 5, 2009
Interesting – you mentioned early films of JP Dutta as one of the highlights of 80’s. Which films in particular are you referring to – ‘Ghulami’ and ‘Hathyaar’? I had really loved Hathyaar but did not find anybody else who liked it. Also, what do think of of early films of Rahul Rawail (Arjun and Dacait), early films of N Chandra (Ankush, Tezaab and Pratikaar). My memory of 80’s is of masses identifying with Subhash Ghai’s filmmaking, which seems so out of touch with the masses pulse today. Decade of Anil Kapoor’s short superstardom, Jackie-Anil-Sunny movies, LP and Bappi’s music, Pahlaj Nihalani’s films (Paap Ki Duniya – wonder where such brilliant titles have disappeared!), Mithun’s movies (Disco Dancer & Kasam paida karne waale ki – thats another awesome titile for you!) You know Bade, that might be great topic for in-between reviews. Infact you can go thru’ all the decades starting from 40’s or 50’s – that would be awesome.
LikeLike
kamil
October 5, 2009
Rangan….just checked out sudhish kamath’s review on Wahts your rashee and was wondering why you cant be as belligerent as him???
LikeLike
brangan
October 5, 2009
Arif Attar: Okay, that was a very offhand comment. The Bachchan 70s/80s phenomenon is possibly too big to be discussed in a comment. What I meant is that in the 70s, he had a decent mix of classy films (the Hrishikesh Mukherjee types) and even his mass movies had some semblance of style. His 80s mass-movies, meanwhile, have dated relatively badly. (Try watching “Inquilaab” or “Mahaan” or “Shahenshah” today, versus, say, “Suhaag” or “Parvarish,” which still have their moments.) That’s why I talked about his decline.
vivek: Reg. “Hey I thought almost all Tam movies of the 70s and 80s and even early 90s were coming of the age movies for the heroines.” For a second there, I thought you were talking about something else altogether, with “manjal neerattu vizhas” and such 🙂
vijay: RDB is certainly a coming-of-age film. Again, if we didn’t make this the exclusive focus of our films, it’s because it’s too narrow and it had to be diluted with other character considerations. “Romance,” on the other hand, is a very broad genre category. You could have a coming-of-age filmlet inside a Romance, which is probably what they did those days.
chhote saab: I was referring to both “Ghulami” and “Hathyaar.” Also “Arjun” and “Dacait.” Remember “Yateem” too? As well as Bhatt films like “Naam” and “Thikana”? As well as films like “Saath Saath”? Reg. “My memory of 80’s is of masses identifying with Subhash Ghai’s filmmaking, which seems so out of touch with the masses pulse today.” But is it really? I think if Subhash Ghai made the kind of movies he used to make (allowing for updates of certain elements, of course) there’d still be a “mass audience” for it (even if the multiplex audience doesn’t endorse it. See how well “Wanted” is doing.
The problem is that directors like Ghai want to make multiplex films today and they flounder badly because, at heart, they are single-screen filmmakers. So the attempts at class and sophistication come off as laughable. I wrote about this in my review of “Kisna.”
kamil: Difference in personalities, no? Maybe I’m just not a belligerent person 🙂 What you write about and how you write about it is kinda who you are. Reviews are quite autobiographical that way.
LikeLike
Arun
October 5, 2009
awesome discussions! like some education u know
But i want someone to raise the issue of Sid wearing Konakanas kudtha in the climiax..(like Vivek Mohan had pointed out) i was ROTFLing so loud in the theatre u know.. i am sure mr. k jo had something to do with that scene.. lol!
LikeLike
Deepak
October 5, 2009
Im a bit confused bout this whole “coming of age” thing. Does it strictly have to be a young man finding his feet in the big bad world? or does it apply to any person irrespective of age, undergoing a transformation?
If age doesnt matter, then Bergmans “Wild Strawberries” is the best “coming of age” movie ive ever seen 🙂
LikeLike
Rahul
October 5, 2009
I totally get what you mean by the absence of conflict, though i haven’t seen this movie yet.
Could it be that the non conflict nature of the movie is because its written around Ranbir Kapoor’s easy going dude persona?
OTOH I think he carried off the “struggle” quite well in “Bachna Ae Haseeno”, but he is that Jeentedra kind of actor who is difficult to imagine at the time of writing the script to carry off that kind of role.In Bachna I think it was clever direction.
Also, the reason why Ghai doesn’t make the films like he does is because he doesn’t have the kind of “single screen” actors lwho would appeal to the single screen masses. Vivek Oberoi is a good actor but he is no Anil Kapoor.
LikeLike
Rahul
October 5, 2009
Also my theory on why the 80s movies were under appreciated- they were good but they did belong to the much maligned action masala potboiler genre.
Now since QSQT of the late eighties the balance has gone in the other direction,we tend to appreciate them more.
LikeLike
Tejas
October 5, 2009
Now that you mentioned Vijeta, that brings up Shashi Kapoor the producer. There are very few actors who produced a range of movies that were so different from the range of movies they acted in. He remains quite an unsung hero today unlike the great directors he supported!
LikeLike
Arif Attar
October 6, 2009
Agree with Rahul. I think the summer of 1988 was, in many ways, the tilting point for Hindi cinema. Of course, the 1980s had those fresh-face romances every couple of years with Love Story, Ek duje ke liye Betaab, Ek jaan Hain Hum etc. These films existed along with the likes of Mithun’s Disco Dancer and Dance Dance and Amitabh’s Shahenshah and stuff. But with the unexpected success of QSQT (1988), the balance tilted conclusively.The bigger success of Maine Pyar Kiya in late 1989 only confirmed it.
Just my take. Am glad BR provides an opportunity for us to put forth any theory.But I think this particular one might have some merit.
LikeLike
RP
October 6, 2009
brangan, don’t over-analyze the movie. Sid’s struggle in the movie is simple– he just hasn’t grown up, thats all- there’s really nothing more to it. And the movie is a simple reflection of a man-child’s growth. The part I liked was when Aisha comes home from her jazz-bar-date gone wrong, and walks in to find Sid listening to music and reading. At that moment, I felt that if I were her, I would find so much solace in having a friend like Sid, for the very same reasons that seem to be problems- the fact that he’s so uncomplicated, so black and white. And Ranbir was perfect for the role. I don’t know if it came naturally to him, but he brought out the kid in himself really well.
LikeLike
Bhargavi Gopalakrishnan
October 6, 2009
Oh my! I never really a review could get me thinking on a separate plane…. I wasn’t discontented with the movie at all to say the least….
I realy did feel the sidekicks had a better influence on the story actually… But the overall drama was ok to go with… I was more onto the intricacy shown in decorating Aisha’s house than as to how she managed to fit all those into her ‘independent’ scenario w/o earning a penny in a new city. Food for thought there!
U brought up a lot of issues I hadn’t even cared about.
LikeLike
Sharada
October 6, 2009
I love your reviews.
I expected a lot out of this movie. I was disappointed. Though the first half was okay, I came out of the theatre with a sense of incompleteness, some problem with the end I couldn’t express.
YOur review got it right!
But I think Aisha’s character is one of the weak points. The Aisha shown in the first half would be angrier at Sid not telling her about his photo being selected rather than a girl visiting her apartment! And I felt the movie would have been more convincing if he had fallen for Tanya. The music is great though.
LikeLike
brangan
October 6, 2009
Deepak: Sorry man. You can’t really “come of age” in the twilight of your life 🙂
Rahul: That’s a good point about Ghai and actors. As I mentioned in my review of “Luck,” all we have now are these dude-generation actors, and there’s only a certain “range” we can expect from them.
Tejas: Yeah, right from “36 Chowringhee Lane.” And then he had to go and make “Ajooba” 🙂
Sharada: Yeah, I didn’t buy her anger at him over the fact that he’d let Tanya into the apartment. I didn’t buy the fact that Sid (unlike, say, Imran’s character in JTYJN) would start listening to old Hindi songs. (Here it came across as a screenplay convenience.) I didn’t care for the scene with Aisha and Supriya either, where the latter drops off a box of mangoes. She came across a bit too sophisticated in that scene, whereas I though the point of her character was to show she was some kind of bumpkin-misfit amidst all these rich-society folks. I’ve still not decided what it is, but something really bothered me about that character.
LikeLike
Tejas
October 6, 2009
Ajooba had tacky special effects, and that somehow remains an Achilles heel for Hindi films even today. I have read how Indian technicians provide support to Hollywood studios, lekin phir bhi diye tale andhera hi hai.
For instance, Drona or recent promos of Aladin – leave you somewhat dissatisfied with the graphics when compared with films from the West. While I at least felt Ajooba did not try to be anything else story-wise. And it was enjoyable as a 10 years old in a time when there were no other alternatives targeted to kids.
LikeLike
Shankar
October 6, 2009
“Vozvrashcheniye Bagdadskogo Vora”…that’s the title of the dubbed Russian version of Ajooba!! 🙂
Also, didn’t Amitabh work for free in this film since he was helping Shashi Kapoor out from financial difficulties? Considering the massive flop that it was, I wonder where Shashi landed after this film released? Or did the Russian partners pick the tab on this one?
Shashi Kapoor has always had two distinct sides…the dual hero roles with Amitabh and the non-masala ones with Merchant Ivory. Tejas, I do agree, in general he is overlooked in terms of his contributions…including the long standing management of Prithvi through tough times (primarily by Sanjana).
LikeLike
shamoni8
October 7, 2009
dude, i liked this. even tho you’re right, it was too simple for the lead, i dunno, i didn’t like the end. i tried to get invested in it, and it was shallow, but i felt something missing when i came out of the theater. i guess it was what u said, lack of emotional connect.
LikeLike
Ashish Kumar
October 8, 2009
they have just completely lost their minds…while judging this movie… firstly i pity those reviewers who rated such a nice movie so badly…These so called-experts claim to have mastered everything of cinema and cinematography but by their judgment of Do knot disturb i think they still have a lot of things to learn about cinema and its characteristics before analyzing or criticizing a movie.. Reviewers say this movie does not have any story …. first of all i would like to share with you that this movie is a remake of French comedy film “la doublure” its English version ” the valet” starring Gad Elmaleh Daniel Auteuil
Alice Taglioni directed by one of the most famous director Francis Verber…If you watch this movie you will find many similarity in this movie….in fact Do knot Disturb has alomost same story as ” la doublure” and for your information this french movie was very much appreciated by critics and public….now here the story is same ..so what ‘s gone wrong with our reviewer…that they started giving so bad reviews of Do knot Disturb ….if the same movie had the tag of any western director or actor …would have they criticized the same way they criticized do knot disturb.. no … never because they take it for granted that whatever comes from West is “Best” …ir this movie DKd had any big name involved in it …they *(reviewers) would never dared to do so harm by criticizing it so badlyif you don’t believe go and check you will find the story of both films is interestingly the same .and if you watch the french version …….so when story is the same … considering that this french movie got very good response and was well appreciated among reviewers and public…how our media is targeting this film for not carrying any story…………..should I say that they (Indian reviewers ) are more intelligent than international reviewers…???????????
Mick la salle ,Lisa Nesselson of Variety and Los Angeles Times they all famous critics have appreciated the French version…..now what’s wrong with our reviewers …could they not understand properly the theme and purpose of film or did they lose their sense of humor while judging this film …or did they forget that a comedy movie is for entertainment…. so in my view .. they all who did not like film … they need a rethink….. i found do knot Disturb as much entertaining as “la doublure” in fact some more massalas were added to the film to make more entertaining…in my point of view you will find do knot disturb more hilarious than ” la doublure” ………..the only thing i did not like is that it is a remake and it has been copied but is this our purpose of watching a movie……NO ….the single and only thing is we should be entertained and it does give us satisfying entertainment….so my dear friends stop putting your ideas here and there and criticizing the movie without having any proper knowledge of cinema… Govinda in this film has done a marvelous job , his comic timing is best and he did the same in do KNot disturb as Daniel Auteuil has done in “la doublure” … movie has been adapted to Indian culture..adding some witty and street jokes in movie which make it even much greater…overall do knot disturb is a quite entertaining movie….those who did not like need to give a rethink on it………
LikeLike
Deepak
October 8, 2009
@Ashish Kumar: Words fail me…
LikeLike
Vamshi
October 8, 2009
On a separate note, the Dadasaheb Phalke awards seem to have become a joke. Nowadays, they seem to have completely forgotten that there is a film industry in the South. They would rather give it to a singer or lyricist in the north than recognise a real industry leader. The decline started a decade or so ago when they started handing it out to the likes of Bhupen Hazarika, Asha Bhonsle, Majrooh, Pradeep and now Manna Dey. The Phalke award was supposed to be for some overall contribution to the growth of cinema not for a particular field within that. Even if so, why should a P.Suseela, MS Vishwanathan, Ilayaraja, SPB, Yesudas not be given it. And how can they leave out legends like K Balachander, K Vishwanath, D Ramanaidu, etc. who have done more for cinema in the broader sense than many of these named above. I think the Southern industry should institute an award for themselves rather than have some bureaucrats up north decide on this.
LikeLike
brangan
October 9, 2009
Vamshi: Reg. “the Dadasaheb Phalke awards seem to have become a joke,” I don’t think they’ve become a “joke” as such. (That would be if they gave one to Kumar Sanu, and the awardees so far have all been extremely worthy. ) Manna Dey is certainly a fantastic singer with a superb body of work.
But yes — it’s certainly mystifying that equally fantastic singers/musicians with superb bodies of work from the regional industries do not get their due. I say “regional” and not “south” because I’m sure there’s someone from, say, the Marathi of Bengali film industry who deserves to be recognised thus, but keeps getting sidelined.
One reason for this is certainly that the Hindi film industry is the most visible, it plays all over the country, it’s covered to a fanatical extent by the media and so on. I wonder what the solution could be. Should the regional industries lobby for these honours?
As an aside, the one man I feel most sorry for is MSV. By the time of Ilayaraja, the public veneration (over-veneration, one might say) of film personalities was the norm. You’d find his face on the posters of film and such. And now, in the Rahman era, there’s all the media coverage. But this poor man just had to settle for being “Mellisai Mannar” 😦 His music still sounds so fresh (and touched by genius) today — almost none of his songs sound dated (I’m talking about his peak output) – but even on the radio, “classic songs” has come to mean Ilayaraja, which means we’re just talking about the late-70s onwards.
It would be interesting to hear from watchers of regional cinema (other than the southern industries) about personalities that have gone unrecognised.
PS: I looked up Wiki, and the award is for lifetime contribution, not (as you say) for growth of cinema or some such thing. And some of the people from regional industries that have got it are: Bomireddi Narasimha Reddy, Dhirendranath Ganguly, L. V. Prasad, Satyajit Ray, Bommireddy Nagi Reddy, Akkineni Nageswara Rao, Bhalji Pendharkar , Bhupen Hazarika, , Rajkumar, Sivaji Ganesan, Mrinal Sen, Adoor Gopalakrishnan, Tapan Sinha. That’s actually not such a bad list.
LikeLike
Divya
October 9, 2009
good
LikeLike
Divya
October 9, 2009
PS: I looked up Wiki, and the award is for lifetime contribution, not (as you say) for growth of cinema or some such thing. And some of the people from regional industries that have got it are: Bomireddi Narasimha Reddy, Dhirendranath Ganguly, L. V. Prasad, Satyajit Ray, Bommireddy Nagi Reddy, Akkineni Nageswara Rao, Bhalji Pendharkar , Bhupen Hazarika, , Rajkumar, Sivaji Ganesan, Mrinal Sen, Adoor Gopalakrishnan, Tapan Sinha. That’s actually not such a bad list.
LikeLike
Venkatesh
October 9, 2009
BR ,
+1 for the MSV comment. It really is quite sad that MSV doesn’t seem to get his due and is all but forgotten. It was quite nice to see him at the audio launch of UPO.
On the same subject KB not getting a Dadasaheb Phalke award till now is inexcusable.Do they wait for people to be on their deathbeds before giving them something ?
@Vamshi: Have you seen the national awards , now they truly are a joke. I stopped giving them any importance when in 1985 Yesudass and/or Sivakumar were not given an award for Sindhu Bhairavi apparently because “lots of awards had been going to Southern Cinema lately ” as mentioned by one of the committee members. Its supposed to be a competition for the best to win , not a by-rights wait for your turn promotion.
LikeLike
Venkatesh
October 9, 2009
BR, you really should have a “preview comment” section , not to mention a wider, bigger textbox for entering comments .. :-).
Get the techy boffins to work on it.
LikeLike
brangan
October 9, 2009
Venkatesh: Anything else? A sonsie secretary to type in your comments, perhaps? 🙂
LikeLike
Arif Attar
October 9, 2009
“but even on the radio, “classic songs” has come to mean Ilayaraja, which means we’re just talking about the late-70s onwards. ”
It’s interesting my sister made a similar observation about Hindi songs on FM radio stations. “Classic songs” have come to mean R.D Burman and his songs with KK and AB. We hardly get to hear Naushad, for example, she said to me.
May be it’s a permanent phenomena. People perhaps would lament about not being able to listen to K.L. Saigal when ‘classical’ meant Rafi songs of the 60s.
LikeLike
Srikanth
October 9, 2009
@Vamsi
Dude,watch your words!
Though your gripe with the regional stalwarts not getting their due is absolutely justified,you just can’t denigrate another stalwart to make your point.
If anything,such is the travesty with our film awards that greats like Manna Dey get recognised after much river has flown from under the bridge or they aren’t at all.
LikeLike
Shankar
October 9, 2009
Why ponder over the Phalke awards? Awards that are supposedly far more prestigious worldwide are being handed away for free!! 🙂
LikeLike
Venkatesh
October 10, 2009
BR , i don’t know what a sonsie secretary is , ( a typo perhaps ) – but i will still take it .. 🙂
LikeLike
raj
October 10, 2009
I used to be bothered about such awards but no more. Within bolly, why manna dey over, say, kishore kumar or mohd rafi or naushad or sd burman? I don’t know.
For my money, the most ill recognised bolly genius is a certain salil chaudhary, a man who straddled several of the regional industries and created timeless rooted classics in those languages. Still, people place a rd burman over him. Shameful. I mean, he doesn’t even come up in the list of *h madan mohan, sdb, naushad blah blah”.
LikeLike
brangan
October 10, 2009
Arif Attar: Actually you’re right. Just like films target the tastes of the demographic that yields most viewers, so too with radio. And that, I suppose, means RDB, because today’s thirty- and fortysomethings have all grown up with him. Also, with all the experimentation with sound and genres being the vogue today, I suppose it’s only natural that youngsters too dig his music, a lot of which still sounds so contemporary.
But even with RD, it’s the “cool” stuff that gets played a lot. The man has done mind-boggling work with ragas and scale changes, but very little of that is trotted out today.
Shankar: Good one!
Venkatesh: No it was not a typo. Here you go — sonsie 🙂
LikeLike
Vijay
October 10, 2009
In the cine musicians felicitation function for Rahman’s OsCAR, when it was IR’s chance to speak he mentioned about MSV not getting any NAs and concluded along the lines of “…composer is bigger than the award” :-)MSV has never lamented about it at any time, although it might sting him inside. For that matter Kannadaasan or TMS never got any.
Vidungappa..at any point of time we have only a 30 or 40-yr memory span, so “classics” in another 20 yrs would include Rahman’s era and then onwards, while IR’s early 80s songs could be pushed to the current MSV songs status. Willing connoisseurs will always seek out those songs and listen to them online or elsewhere even if the FM stations and satellite channels forget those.How else do you think I get my weekly dose of Madan Mohan and CR Ramachandra?
Regarding RDB- I think his songs also got added exposure in recent times due to the remix phenomenon with Asha singing them again and releasing them as a separate album few yrs back. Maybe remixes will do those to MSV’s songs as well, atleast some of them if not all.Arguably the only constructive aspect of a remix.
LikeLike
brangan
October 10, 2009
Vijay: Reg. “Maybe remixes will do those to MSV’s songs as well,” I’m not sure they will. There’s a strong identification factor of Asha and RD, and she publicises the albums as such. Even the directors who worship RD explicitly quote him in their films — for instance in “Jhankaar Beats.”
But when a “Ponmagal vandhaal” is remixed here, I doubt that many of the youngsters know it’s MSV’s (and many of the reviewers don’t point it out either). So it’s just “a song” with a fast beat. I was watching a movie with a friend and the trailer for a Vishal film came on. (I forget the name.) There was a remix of “Ey aatha aathoramaa” and I turned to him and said, “Oh my God.” But he was blank. He had no clue about the song, which was such a chartbuster just some 20 years ago.
I felt like a hundred years old 🙂
LikeLike
Venkatesh
October 10, 2009
BR, sonsie – i like , i very much like. 🙂 you learn something new everyday.
On the aspect of aging , i mentioned to someone that Dev D was the best Devdas after K.L Saigal’s version , his response “who is K.L Saigal, is that Shah Rukh Khan’s real name ?”
LikeLike
Shankar
October 11, 2009
“He had no clue about the song, which was such a chartbuster just some 20 years ago”…is he still your friend? 🙂
My wife often tells me that I waste my brain cells by having little nuggets of info stored away from bygone days…whether it be movies, places, or people. I seem to remember even little incidents involving people as well as scenes/songs from obscure movies. Baddy, what do you think? Is it a generational thing? During our growing years, since India was opening up, were we just absorbing all the information much better? I do think it also helped that the quantity of bombardment was much smaller…case in point, cricket matches. I can still remember the scores from say the drawn test between WI and India at Chepauk in 1983 (when Sunny came in at 0/2, first time down the order and scored 236 no) but can’t seem to remember that many details of matches from the 90s and 2000s.
LikeLike
brangan
October 11, 2009
Shankar: I don’t know. Yes, there was less “bombardment” back then, but I also think we absorb stuff best till we’re about done with the teens (and recall this stuff better) than as adults, when making a living kinda gets in the way of trivia absorption. This is a very unscientific observation, of course, but wonder if there’s some theory behind this.
LikeLike
Shammi
October 11, 2009
i agree with you about the “pleasant but predictable bit” but it’s interesting how you bash WUS for the same sort of stuff that you let go in LAK. what sort of reality was being portrayed there? someone who works for the ASI can have a wedding like that, a chauffeur driven car in England, a honeymoon in the Isle of Skye? A worker for the ASI can get a flat like that – if there is a willing suspension of disbelief in WUS (how did Aisha afford that house, etc), it is there in many multiples for LAK. also a bit of inverted snobbery in what you consider lack of reality – does Sid have to go to a chawl in jogeshwari to get an epiphany? for a pampered brat like him, just having to share a flat that is the size of his bedroom is slumming it. there are a host of small ephiphanies from his tubby friend telling him that she fails all the time, to debbie telling him that his father’s influence had robbed her of her seat.
it’s not a great movie – but parts of it rang more true than LAK and its frescoes in purana qila
LikeLike
brangan
October 11, 2009
Shammi: You’re right in a way. I shouldn’t have used the word “reality” while ending the review, which does make it sound like he needed a “chawl in jogeshwari” to come of age. I should have said something like “needed more heft,” because that’s what bothered me. (The ideal scenario would be to let the movie stew in your head for a couple of days and then write a review; the overnight deadlines means that there’s a lot left to be desired in the way you process your thoughts out in words.)
What bugged me about “Wake Up Sid” what exactly what bugged me about “Rock On” — the “ease” with which the kinks are worked out. There are plenty of bright moments, lots of nice bits of writing, but the overall trajectory left me less than satisfied. By no means are these “bad” movies, but having gone this far, you wish they’d gone all the way instead of soft-pedaling for whatever reasons.
About the LAK point you bring up, that’s easy to explain. With LAK or “Bachna Ae Haseeno,” the films slot themselves broadly as rom-coms (with dramatic shades to various degrees), so I process these films as I would something like “Notting Hill.” Reality doesn’t enter the picture at all. Plus, the focus being on the romance, I’m more interested in knowing about their journey towards each other. Thus the stuff that you bring up (“worker for the ASI can get a flat like that”) didn’t even register in my mind (or even if it had, I’d have rolled my eyes and brushed it aside; it’s not important enough to bring up in a review, IMO).
But with films like “Rock On” and “Wake Up Sid” the romance is secondary (non-existent in the former, and quite flat in the case of the latter), and what I care about is how this pampered brat learns to live on his own, that sort of thing. And when every step is so neatly programmed out (he instantly finds accommodation, he instantly discovers a latent talent, he instantly has someone to recommend him to a magazine, she instantly discovers that the jazz-loving guy is not the man for her), I’m left annoyed at the lack of “heft” (as opposed to what I hurriedly termed “reality”).
Now if you want to haul me over coals for even wanting (or expecting) a bit of heft in the first place, I suppose there’s nothing I could say. But that’s what makes movie-watching interesting — figuring out stuff like why the very things that bother you in one film do not bother you in another, or why your mind insists on different “rules” for different films.
Also, one thing that I should look into more is balancing the slant of the review. I still stand by the fact that this is a pleasant film and it’s also a predictable film, but if I say “pleasant but predictable,” it comes off sounding like a negative review (which was not the intention). But if I’d said, “predictable, but nonetheless very pleasant,” it comes off like a positive evaluation. (My TZP review was perceived as “negative” for this very reason.)
When I wrote my review, I thought the parts like “perfectly shot, perfectly put together and perfectly enacted — it’s perfectly enjoyable in a general, generic sense” and “That’s not a bad way to spend a couple of hours” were enough to suggest that I certainly wasn’t opposed to the idea of this film. But maybe I should have, as I said above, balanced the slant better.
Finally, this is one film where there’s been some very stimulating discussion. I see the comments section as an extension of my review, where I’m able to say (or clarify) things — to readers, but also to myself — that I forgot to mention or didn’t think of at the time of writing the review. It doesn’t always work out that way, but that’s certainly been the case here.
LikeLike
shammi
October 11, 2009
Baradwaj, thanks for your detailed response. Yes, I get your points better this time. I think my problem with your review is not so much with your views about this movie, but how much it contrasts with LAK. It seemed to me that you gave that one a very long rope of tolerance, while you expected more of Mukherjee – I confess, it was the reverse for me.
I saw his easy obtaining of a flat as a kind of karma – he had, afterall, invested a lot in helping a friend out – and it seemed natural for someone like him to rely more on relationships to bail him out rather than his own abilities. And this was substantiated in the end, when, having got a job offer, his instinct is to go back home, not to say, see, I can survive on my own. Despite his own protests, he is very much a kid. I guess, it was also easier for me to “get” Sid, because I have seen at close quarters kids just like him, so pampered and insular that they havent a clue about life on the other side of the Porsche (like when he tells Aisha that she should get an AC, or that monsoons in Bombay are great – not true for those without a vehicle).
Did you feel he “instantly discovered a latent talent”? I saw him fooling around, as usual with a camera – it took Aisha’s perspicacity to find this (driven, no doubt, from a desperation to find some marketable skill in him. I also felt he came across as a lonely kid – who couldn’t talk to his parents who pretty much abdicated their own responsibilities – they don’t even know what he is interested in, when his results are out and stuff like that. I would have liked him to touch more on this, shades of TZP perhaps – or even Bobby? To explain what makes a kid like him so spaced out.
What I found interesting was that this one of the first movies with a distinctly older heroine – acknowledged as such. And that fit with his lack of connect with his parents – he still needs validation from an older figure.
Sorry rambling on with my own thoughts on the movie.
LikeLike
brangan
October 12, 2009
shammi: Reg. “I saw his easy obtaining of a flat as a kind of karma” – that’s a very nice way of looking at it. See, when we like a film, we all have our own ways of explaining away (or interpreting, or reconciling with) the niggling bits 🙂
But the older heroine/love interest was done way back in DCH, no? Whether or not he makes another film — and his films, IMO, have gone downhill sine DCH — Farhan Akhtar will be one of the seminal names in Hindi cinema. With that one film, he just blew apart the existing narrative models. DCH isn’t a “perfect” film, but it’s just been so influential in so many ways.
LikeLike
Vamshi
October 12, 2009
BR – i did see the “lifetime achivement” bit. But as someone else said – why a Manna Dey over a someone else Kishore Kumar. And if quality is key and not quantity (like Manna Dey who has sung only a couple of thousand songs), there should be quite a few who are deserving of that accolade. And i am not dismissing Manna Dey at all. I admire his songs but lifetime achievement, it is not. Same is case for Bhupen Hazarika or Pradeep. They were all niche singers or lyricist.
And in the same list, you would have seen that there is only one Tamilian who got the Phalke award till date. Even the Telugu awardees are of a generation ago. Why not a TMS, Kannadasan, Veturi, Prem Nazir etc.
LikeLike
raj
October 12, 2009
Vamshi, there is only one award per year. How do you get everyone in? But manna dey is kind of weird. Even if yoy say bengal, there is a salil chaudhary towering above him. But then, bolly old time music enthusists don’t even remember him – its all lata, rfi, sdb, naushad, rdb. And to think that this is the only bolly musicin to do his own orchestration…
LikeLike
shammi
October 12, 2009
>>See, when we like a film, we all have our own ways of explaining away (or interpreting, or reconciling with) the niggling bits
Heh, oh, i am not rationalizing – i found other holes in the plot, like where did he get the moolah to down tequila shots with that nubile young thing, when he was clearly broke and hadn’t even got his first pay cheque. but the flat bit didn’t bother me because i figure if he hadn’t got it, he was unlikely to stick it out in a chawl. it was like dev-anand, in asli-naqli – finding a friend and then peacefully trading on his charm to sponge of him and then landing a white collar job on the basis of his appearance. could you see dev.anand breaking rocks in a quarry? nyah!!
but in DCH it wasn’t really requited love, was it? it was more like a crush which the Dimple accepted in a world-weary, melancholic air. this one has konkona positively lusting after him which is different. also the whole point in DCH was the “haaw, how can you love an older woman” bit – while here, that protest is not raised by his friends. of course Dimple was not just older, but practically in a mezannine generation for Sid. so to the extent that young hero and older heroine fall into each other’s arms, that’s a bit new. unless you count rakhee and rishi in that old movie, whatitsname – doosra aadmi, was it?
LikeLike
Pradyumna M
October 13, 2009
“I didn’t care for the scene with Aisha and Supriya either, where the latter drops off a box of mangoes. She came across a bit too sophisticated in that scene, whereas I though the point of her character was to show she was some kind of bumpkin-misfit amidst all these rich-society folks.”
I think it was kinda explained in an earlier scene when Sid goes home to meet his mother and sees her reading a book on having conversations..
Btw,I agree with you though.. I did not really feel for the Sid.At the end of the day it was just a feel-good movie,never felt Sid had really grown up,even though he got a job and learnt to clean up AND learnt to make eggs 😀
LikeLike
usha
October 15, 2009
Hi, let me start by saying I am 59 and saw this movie yesterday with my sister. We both felt there were so many ‘been there’ moments for us in this movie when our boys were growing up..so we thoroughly enjoyed it..
Now seriously,many of the points that you have taken exception to in the film were the ones that we could relate to..the dialogue writing was impressive, we had heard (several of) those lines before 🙂 (we also said to each other, so urban kids are the same everywhere!) and it is pretty perceptive of these young people to see that..
some counter points:
‘where is the struggle in this?’
perhaps none in his finding physical places to live in, but the struggle of a situation where the son so takes his parental home for granted and reacts to having it pointed out..at the same time, the natural touch of caring for his parents enough to come back to speak to his mom..guess, i am not able to put it across, but (modern urban) life is so..
“existential crises are on the level of his learning to fry an egg all by himself”
that is so true too..we are going through that right now with a favourite nephew who has just moved out of his parental home 🙂
aisha’s screaming .. a reaction to how her day went..or even of how we react irrationally to small things at home..very naturally done..it happens in real life, you know..
you didn’t really (comment on) sense the mother’s and father’s struggle, did you? in the way the father said ‘i stopped taking pictures when you got too busy to pose for them’ or the mother trying vainly to involve herself in her growing up son’s activities..coming to his room, asking him to stay home for dinner..i thought it was extremely insightful of the dialogue writer and director to bring these out so sensitively though they are so young themselves..i would never have understood it at their age..
and seriously, waking up sid to be convincing had to be a book length story, developing the theme gradually, a movie doesn’t really give enough time for slow character development..(which is the way we felt with the film namesake vs the book)
i can go on, but it is getting too long, stop by saying agree with you that it is finally just a feel good movie and i guess that is what made it enjoyable in the final assessment 🙂
LikeLike
Anonymous
October 22, 2009
“I too liked the movie….Rather I quite agree with the review posted here.
Wake Up Sid – growing up is not all that bad“
LikeLike
Coessepof
October 25, 2009
Hei Disappointed klooper regardless of my english jer, buti danged keen re say .
LikeLike
phantom
November 2, 2009
Brangan >>> I liked your review….a tad over-analytical for a bollywood movie imho, but better that way than frivolous I suppose.
I “got” the point of him finding a place to crash…its what good friends are for, and in his spoilt, insular, myopic, self-revolving world….its almost like he subconsciously fails to see any other option but for Aisha to take him in. There’s some innocence at play here, for, if one assumes Sid to be a genuinely well meaning/caring chap deep down (as evidenced by his selfless engagement with Aisha to begin with) and as opposed to a genuinely self-centred chap (as lots of spolit brats do tend to be)…then its fair to see his inherent expectations hat Aisha would take him in….as after all, he’d do the same were the positions reversed.
What troubled me was the ease with which Aisha took him in…there’s none of the emotional conflict that one would expect in an Indian gal….when a guy lands up at her doorstep looking to crash. I’d have preferred to see some tug of emotions…..with the morality of Indian upbringing hacing it out against the simple unconditional care of a true friend.
Would also have liked to see some more engagement between the parents and Sid from the time he moved out…no parents are gonna just leave their son live with someone else, and just not communicate. There should have been some more emotionally stimulating points of dialogue between the parents (more so the dad) and Sid….to truly convince the audience that Sid has well and truly decided to go out on his own….and that he IS indeed well on his own, financially and emotionally.
The progress of friendly affection >> genuine care >> respect >> romantic feelings >> love….. between Aisha and Sid…now this definitely needs a lot more work….there was just not much insight shown into the actual progress of feelings from each’s side, and the ending moments were simply not good enough, a huge let down for me.
LikeLike
Sameer
January 9, 2010
Mr. Rangan, I (finally) got to see Wake Up Sid today and agree with you about the lack of struggle; the way Sid so easily finds a job and his identity, etc. Wouldn’t you say the same thing about Farhan Akhtar’s movies though? DCH’s protagonists (esp. Akash) and Lakshya’s Karan do not face “real” struggles – Karan’s army trials notwithstanding. Their struggles are almost entirely that of the mind, mostly the resolution of internal conflicts and journeys of self-discovery. The predictability of Wake Up Sid is certainly a bit of a put off though.
LikeLike
cynduja (@cynduja)
August 24, 2011
Hey BR. I loved the movie when I watched it and then read your review which made me uncomfortable and got me thinking. I wondered why I loved the movie. And I realised that I was looking for dreams. We probably need ideas and hopes today. So that we can start dreaming. We haven’t yet asked for details. Haven’t popped the question ‘But How’. So I am fine with all going well for the protagonists in the story. Which makes me feel struggle aint such a bad thing. This film didnt seem out of place to me at all.So if a movie can sell an illusion convincingly to a set of people that it intends to, it isn’t a bad film even it ain’t real. Isn’t it?
LikeLike
Akhila
November 15, 2012
I’m diving into this discussion 2 years after the original post. But I’d put on this movie to cheer me up in gloomy, rainy England and realised I hadn’t yet read your take on it, so came over to check it out!
There’s been loads of discussion re. the lack of ‘hard-upness’ etc. so I’ll just put in my twopence worth on something nobody’s mentioned : Supriya Pathak! I thought she was one of the most endearing characters in the movie and my favourite scene in the movie was where Sid peers through the window to see her trying to teach herself English.
She and Anupam Kher are among the most genuine and placeable people in the film – strange that they haven’t got a single mention! (Apologies if I’ve missed something up there!)
LikeLike
Diskeyn
January 2, 2020
The soundtrack has music composed by Shankar-Ehsaan-Loy with lyrics by Javed Akhtar. The music was released on 21 August 2009. One song in the film has been composed by Amit Trivedi who scored the background music for the film.
LikeLike
krishikari
January 2, 2020
Mumbai is so much more deserving of fetishistic worship than Manhattan.
LikeLike
rsylviana
January 2, 2020
Stumbled onto this piece thanks to Diskeyn… Wake up Sid was one of those “Should not be missed Hindi movies” when we were in college and I still remember how much of a hoopla had ensued in our hostel when one of us had finally received the movie “in good print” in our pendrives.
Also this movie brings back one of my pet peeves about tamil cinema – that we have very few coming-of-age movies where its about the heroine’s journey and not the hero. And no, I’m not talking about biopics or about those 80’s melodramatic films where the naive heroine suffers a great personal loss and has to take care of her entire family after that. Just a simple and lightweight film like Wake Up Sid here. Do we have any tamil movie like that ?
LikeLike
Madan
January 2, 2020
krishikari: As a Mumbaiite, the problem with how Farhan fetishes Mumbai isn’t in the fetish itself but that he reimagines Mumbai as Upper Manhattan (like Upper Worli) so that Farhan the wannabe Hollywood auteur can make Hinglish films on this canvas. Even as somebody who worked quite a few years in Nariman Point, I have to say Farhan’s films depict a Mumbai unfamiliar to us Mumbaiites, an imaginary utopia rather than the one we love warts and all.
LikeLiked by 1 person
krishikari
January 4, 2020
@madan I really shouldn’t comment on films I haven’t seen, and now I don’t even want to. 😊 Thanks for explaining.
LikeLiked by 1 person
Madan
January 4, 2020
krishikari: No problem, and by the by, DCH is not a bad film at all. Pretty far from it. With whatever were its weaknesses, it was still a bold departure from the then established norms of Hindi cinema then. I still love the post modern self referencing of Woh Ladki Hai Kahan. Prior to Farhan, only the underrated Rajkumar Santoshi attempted self referencing (the OST of Andaz Apna Apna) in a humorous light (ok also portions of Mr India, but they were more like contemporary people singing antaksharis of old songs similar to HAHK). In many ways, I find Farhan’s Hinglish films set in an uber beautified SoBo (which is already the posh part of Mumbai) more honest and refreshing than KJ’s weepie anthems. Or…I shouldn’t say films because he never really captured the combination of daring innovation and light footed humour and irreverence of DCH again. That’s also why a Wake Up Sid, while good in its own ways, cannot approach the modern classic status of DCH because it only has the ‘ambience’ and not the energy or the emotions. DCH was, simply put, something else and I will always be a fan of that film.
LikeLike
hari prasad
January 18, 2023
In your review for Vaaranam Aayiram , you said the lack of dramatic tension , the hero easily overcoming his issues were a positive and added that they aren’t necessary to make a movie an engrossing watch.
But here , you said the exact same thing as a negative for this movie.
Is it because of the plethora of the similar type of coming of age Bollywood movies that hit us on our faces back then ,
or you didn’t wanna go ballistic over Vaaranam because it was made in Tamil and movies like these are made rarely here?
Would you please elaborate on this?
LikeLike