‘Goat’. ‘Little Men’. Ghana’s ‘Thevar Magan’. Plus, a great sight gag about Gérard Depardieu’s weight.
The puzzling thing while watching Andrew Neel’s Goat – which is being advertised as a “frightening image of reality on American campuses” (hazing, in other words; or as we call it, ragging) – is that Brad (Ben Schnetzer) gets into college only about 45 minutes into the movie. So what happens earlier? Two men get into Brad’s car as he’s leaving a party – they say they want a ride, but they pound him to a pulp and steal his ATM card. Back home, Brad keeps looking at his face, a collage of purple and red. Gradually, he puts this behind him and begins school – and it begins all over again, when he seeks to join a fraternity. Looking at the hazing rituals – boxing students into cages and peeing on them, asking them to slap each other – we are invited to wonder why Brad willingly puts himself through the same emasculating, humiliating, aggressive, violence-perpetuating experiences that his muggers put him through. At least, they were doing it for money. These guys are doing it for fun.
* * *
Why is it so funny when a waitress takes Jean (Gérard Depardieu) to her room, and proceeds to reveal her anxieties about the national debt? Sometimes, the only thing you need to say about a movie is that it’s… French. That very Gallic je ne sais quoi suffuses Benoît Delépine and Gustave de Kervern’s road movie Saint Amour, which is more than just a broad comedy about farmers (Jean, his son Bruno) who go wine-tasting. It’s a sideways version of Alexander Payne’s classy Sideways, with the protagonists constantly referred to as peasants, hicks, rednecks, hillbillies. But the film doesn’t mock them. It merely puts them in situations that could get icky and then pulls the rug out from under their feet (and ours) – Jean’s sentimental conversation with his dead wife ends when he realises he’s in the ladies’ room. One way to define that je ne sais quoi is “eccentric.” We get an eccentric hotel manager (the writer Michel Houellebecq, who’s hilarious), an eccentric “prophet” who claims God talks to him at night, an eccentric (and very acrobatic) redhead named Venus who wants a child. Plus, the greatest sight gag ever about Depardieu’s weight.
* * *
Not all movies need to be novels, with “and then?” urgency. Ira Sachs’s exquisitely minimalist Little Men is more of a short story, and it gets going when Brian (Greg Kinnear) moves his family from Manhattan to Brooklyn, and his introverted son Jake – who’d rather draw green skies with yellow stars than join his noisy classmates – finds a friend in Tony, whose mother, an immigrant seamstress, works in the shop below. When the parents begin to quarrel, the boys decide they’ll go silent. But that’s a terribly reductive plot summary. This gorgeous film is about broken dreams, the uncomplicated joys of childhood, a grown man needing validation from children, the human cost of development, working mothers and failed fathers, kids encouraging each other (sometimes doing a better job than parents) in a world where adults are too preoccupied. The penultimate scene, with the boys in a museum, is a heartbreaker. And as the Oscars get nearer, bonus points for casting a black actress as Arkadina in Chekhov’s The Seagull, even if the theatrical production is glimpsed for all of a minute.
* * *
Daniela Norris and TW Pittman’s Nakom, the first-ever Ghanaian film to play at the Berlinale, is the story of medical student Iddrisu (Jacob Ayanaba) who returns to his village when his father passes away. After his days in the city, he’s annoyed seeing his mother without a blouse. “People aren’t free like that anymore,” he snaps. “My classmates will laugh.” The villagers find it strange when he talks about going to medical school in Accra. An elder asks mockingly, “And then to America? And then the moon?” At first, Iddrisu thinks he’ll just stay for the funeral and return to the girlfriend who calls him “my village boy.” But slowly, he finds himself asking kids to go to school, investigating the soil, taking care of a pregnant teenaged cousin, falling for a local girl – he discovers he is a village boy after all. The film follows the classic return-of-the-native trajectory employed by the Godfather and its numerous offshoots, especially Thevar Magan, which set its old-versus-new clash in a similarly patriarchal village. The colours and flavours may be specific, but the story is universal.
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Hari
February 21, 2016
When will you return to tamil movie reviews?
Awaiting your write ups on Jil Jung Juk and Miruthan
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olemisstarana
February 21, 2016
I want to see each one of these. There has to be a word in another language for that feeling in your belly when you really want to watch a movie but you can’t because you live in a city where people wear football jerseys to church and subtitles are pretentious. Like schadenfreude is such an economical word for a layered emotion.
Unrelated: I legitimately had these fragmented thoughts last night – “Who keeps giving Katrina Kaif work?” “I can’t unsee Fitoor.” “Why, Tabu? Why?” “Good music, tho.” “This is what happens when BR goes junketing.” “Why BR, why?”
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Ram Murali
February 21, 2016
The colours and flavours may be specific, but the story is universal.
–> Very nice post and an apt line to end it. Don’t you think that the lack of understanding of this very basic concept is what makes a lot of directors who get “inspired” by foreign cinema, fail. I am glad that you mentioned “Thevar Magan.” It might follow the “Godfather” arc quite closely but boy, did Kamal adapt it well or what.
But for instance, when I read the comments on your “Moodar Koodam” post and that it was inspired heavily by a Korean movie, I looked up the latter. While I didn’t watch it fully, I couldn’t help shake the feeling that had the director just taken the premise and fully adapted it to the local milieu, by coming up with quirky things that were a little more Indian, maybe the film may have succeeded. But the director aped quite a bit of the original and crossed the line between mere inspiration and stepping into the zone of blatant plagiarism. I felt this way about Myshkin’s “Nandalala” as well. For someone whose top notch efforts like “Pisaasu” and “Onaayum Aatukuttiyum” do such a masterful job of rooting the characters in a local setting, “Nandalala” was disappointing for how ‘alien’ it felt, esp. those characters like bald guys.
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Gradwolf
February 22, 2016
Yabba one whole week of high brow stuff. Hope you are returning, watching Sethupathi and writing how it is this decade’s Saamy.
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sanjana
February 22, 2016
Hope you wont miss Neerja.
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Ram Murali
February 22, 2016
Gradwolf – That was hilarious! I found myself thinking of Kamal in MMKR (ulaga adhisayam for those that know me! LOL!) when I read BR’s BR (Berlin Roundup!).
“He has misappropriated 25 lacs of my money you know”
“Ai sabaas…nallavaru-ngara!”
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drunken monkey
February 22, 2016
@gradwolf saamy-a? really tht good or sarcasm?
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Anu Warrier
February 22, 2016
I’m saturated just reading about these. I don’t even know how many of them I’ll get to watch, unless Netflix brings them out in the next year or so.
Now I need to cleanse my palate – and read about Neerja, Aligarh, Fitoor, and all the other Indian films you missed while you were out gallivanting in phoren climes. (And that last part of the sentence is my envy seeping through.)
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Sutheesh Kumar. P. S.
February 23, 2016
Drunken Monkey: As mentioned by Gradwolf, there are some parallels with Saamy.
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Gradwolf
February 23, 2016
@drunken monkey – really that good. I mean Saamy is still gold standard but yeah this comes pretty close.
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drunken monkey
February 23, 2016
@gradwolf/sutheesh – paara! So I was in durban last week and they still have this beautiful culture of local cable tv playing movies. Watched saamy there(with ayngaran logo). whattay proper masala film tht is! I don’t think there is anything tht matched up to it no? I can only think of polladhavan & pandiyanaadu but they r also lighta dark/classy masala.
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Sutheesh Kumar. P. S.
February 24, 2016
Iron monkey, I watched it back in the day it released and came away thinking that here was a new kind of cop movie hitherto unseen, every subsequent viewing (which was in a span of week, may be 3 times) only re-iterated that. I loved every aspect of the movie except the for that diluted denouement. But what came before that amply compensates for it.
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olemisstarana
February 24, 2016
Baradwaj: Do you have any insight on this?
http://saveourcinema.in/
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olemisstarana
February 24, 2016
@Anu: Regarding Fitoor
Sagarmatha crumbles
Chinab runs dry, Katrina
remains impassive.
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olemisstarana
February 24, 2016
Actually the last line should read
Munches scenery.
An impassive performance would have been miles better.
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Rahini David
February 24, 2016
Suggestion: Why don’t you create posts that go, “I am galavanting in Berlin, but you are not. So this is where you discuss the movie <<Insert Movie Name>>?
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MANK
February 24, 2016
olemisstarana,the fault lies not in.Katrina , but in us – that we expect a good performance from her 😀
Actually, i thought her acting (or non acting ) – in the earlier portions- was perfect for the character of Estella- impenetrable , mysterious – but alas then she talks and then she starts blinking her eyes rapidly in every scene – which i believe is her idea of conveying emotion-. after that its all downhill
Rahini, i wonder about that myself. May be Brangan has realised in recent times that Handing over the blog to the commenters is not exactly a good idea 😀
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Ram Murali
February 24, 2016
Rahini David – LOL! BR could title his post “Berlin NaatkaL” while we are all frantically discussing Malayalam actors in the “Bangalore NaatkaL” post :))
BR – This is dedicated to the “cool Kamal” fan in you (Reference: https://baradwajrangan.wordpress.com/2009/08/22/between-reviews-rebirth-of-the-cool/)
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MANK
February 24, 2016
Ram Murali, MMKR had some of the best classic Crazy Mohan dialogues, just a sample
Kamal to Nagesh : Vishwas ennaruvarthakku arthamenna theriyuma ungalkku
Nagesh : sumaara theriyuthu
Kamal:appo sathyama theriyatha
Kamal to Urvashi :naanum palakkad than.proper palakkadalla, palakadinadathu oru kugramam
Urvashi: graamum cooka neengalum cook
🙂
Satheeshkumar,Gradwolf,drunken monkey, Agree with you all about saami. now that was a terrific masala film. Vikram was just what the doctor ordered for a true blue masala hero. oru saami,randu saami ,man that was one of the best masala hero introduction scenes. No wonder even Rajni anointed vikram as his successor at that time that was Vikram at his peak.- those 2 or 3 years – dhil,gemini,dhool, saamy. whatever happened to that vikram .
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Shalini
February 24, 2016
Poor BR, can’t decompress in peace. Have to feed the blog monster. #Suzi’s hungry again.
😀
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Dhanda Soru
February 24, 2016
“whatever happened to that vikram .”
I guess he started focusing on how to become a star to such an extent that he forgot about the fact that it was his acting that helped pave the way for him to become a star in the first place. Even his efforts to establish himself as a bonafide star haven’t exactly set Kollywood on fire. Hell, his box-office record since “Anniyan” makes me wonder as to how he’s still considered to be a star. When I heard that Dhanush had bagged the lead role in “The Fakir”, I kept thinking:”If only Vikram hadn’t been so hell-bent on mass acceptance, he too could’ve landed an international project or two”. The other one that comes to mind when talking about wasted potential is Surya, albeit to a lesser extent.
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Yossarian
February 25, 2016
Am I the only one waiting for BR to write “All about Berlinale – part 2”? 🙂
@BR – what did you think of this year’s set of movies compared to last year’s?
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brangan
February 25, 2016
Yossarian: That was a post written by a hick visiting a new city for the first time. You can’t expect something like that now, given that this is my (cough, cough) second trip 😀
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