Thursday, October 16, 2008

Familia Tortuga (Tortuga Family )




A remarkable directorial debut & one of the most pleasant surprises of contemporary Mexican cinema.

First-time Mexican writer/director Ruben Imaz Castro skillfully teases out the selfishness, vulnerability and ultimately quiet self-discovery, of the various members of a family on the eve of a special family day in this multi-award winning drama.
Uncle Manuel is determined to help his adolescent niece and nephew and support his brother-in-law, an unemployed union member. On the eve of the first anniversary of the death of their sister/mother/wife, the family home is now a place where the family, amid lost dreams, is in danger of disintegration.
....After the mother has died from a Mexican middle-class family, an uncle, a brother-in-law and two children have to find a new balance together. With his dynamically designed film debut, Castro allows the silences to reverberate. Ruben Imaz, gives a brilliant and sensitive impression of an unknown future when a loved one ഗോഎസ്...
Awards
Best Film, 3 Festival Int. de Cine, Santiago
Best 1st Work, Festival Int. de Cine Mexico 2007
Best Film, Toulouse Latin American Film Fest

Wednesday, October 15, 2008

NEELAKKUYIL



NEELAKKUYIL was a turning point in Malayalam cinema. Released on October 22, 1954, the film was based on legendary Malayalam writer Uroob's (late P.C. Kuttikrishnan) story. Uroob himself penned the script. It revolutionized the Malayalam movie scene, when it was blindly following trends in Tamil and Hindi cinema.

It introduced new talents like Ramu Kariat and P. Bhaskaran as directors and A. Vincent as cinematographer. Vincent, hardly 22, broke the then prevailing concept in framing visuals and treatment of lights. T. K. Preekutty produced the film under Chandrathara productions. He was a well-known businessman who ventured into filmmaking.


കായലരികത്ത് വലയെറിഞ്ഞപ്പോള്‍ വള കിലുക്കിയ സുന്ദരീ.... - നീലകുയില്‍ (1954)

The songs of "Neelakkuyil" were an instant hit and rank among all time favourites today. Music director K. Raghavan and singers like Kozhikode Abdul Kader and Janamma David became very popular. Director P. Bhaskaran, also an acclaimed poet and actor, wrote the lyrics for the film.
Neelakkuyil was the first Malayalam film to get a national recognition. It had won the President's silver medal for the second best film in the country.

Forrest Gump



Robert Zemeckis (of Back to the Future fame) has collected another feather for his cap with his direction of this movie starring Tom Hanks as this childishly naive idiot savant. Though that description of Forrest Gump might be inadequate.
Gump, gifted with a low IQ which lets him be adorably childlike even as he grows up, leads a very charmed life: a mother who loves him immensely and who sleeps with the school principal in order to make sure her child has the best education, a miraculous incident that eliminates the need for him to have braces for his legs, a childhood girlfriend who remains faithful to him till the end, surviving Vietnam with a medal, and, in general, a propensity for turning everything that happens to him into good.

I wonder what the movie is trying to say. From one perspective, it implies that intelligence (as measured by IQs and the general idea of what "smart" is) is a very unnecessary trait. But I think one can look beyond that and say that childlike innocence, which can be considered stupid, has its rewards. Throughout the movie, Gump is in situations where he is harassed by other people but he never takes offense (except, of course, when his girl Jenny is being abused) at any of the insults thrown at him. He is indeed not completely stupid, even though he is portrayed as such, since he can re-assemble guns at high speed, run like crazy, play ping-pong like a maniac, and so on.
The fact that Gump doesn't take offense, I think, is what keeps him content. He becomes a millionaire, but gives most of the money away. He is honest and open and this, along with his Alabama accent, endears him to the audience. But this gets tiresome after a while (especially after 2 hours). I thought the movie was overly long, but that's the only negative thing I have to say.

Gump rubs elbows with many famous personalities over the last half of the century including Elvis Presley and Nixon, thanks to computer technology (General Dan doesn't really lose his legs either---they are just erased and the background is then touched up by using computer graphics programs). The account of how Gump is responsible for the gyrations that is so characteristic of Presley is very telling of the motives of this movie. Gump is contrasted to the famous males, who are idols (in some cases) in today's society, and it appears as though he is better off in comparison: Gump's choices in life seem to determine his niceness (he goes to Vietnam, keeps his promises ("a promise is a promise"), harbours no ill-feelings or grudges, and is not greedy with fame or money) and successes. Contrast this to the choices his lifetime girl friend Jenny makes: she wants to be famous and rich, but ends up being a druggie. The people she is surrounded by are all of a dubious nature: a sexually-abusive father, a show audience more interested in her naked body than her folk-music playing, and an abusive hippie-boyfriend.

The traditional male heroes that we have had are all dysfunctional in some respect or another and we are lost without heroes, as Bloom points out. Gump is a new kind of a role-model; he's A Nice Boy and everyone knows they're hard to find. As one reviewer said: "Today the last American hero is a Tom Hanks character with a small IQ".
Forrest Gump is the runaway hit movie of this summer. Many people claim it gets them in touch with their "inner child". Some reviewers attack it for the view that low IQ is a necessity for maintaining the child-like attitude Gump has. Gump never grows up or matures in the movie. He never becomes a man and remains a boy throughout. It is implied, at least, that his "stupidity" is what allows him to do this. This may or may not be true, but it is just a movie in the end. Most people in his position would not be so fortunate as he. And what about the converse: if you are intelligent, does this mean you cannot be child-like forever? That's not true, and I think Zemeckis did a good job in showing that anyone can retain their inner child as long they never grow up or become mature.
There's room for much analysis here, but the plot isn't new. Peter Sellers did this a long time ago.

"I'm tired now. I think I'm going home." --Forrest Gump

"Life is like a box of chocolates; you never know what you're going to get." --Forrest Gump

"Stupid is as stupid does." --Forrest Gump

"I guess sometimes there just aren't enough rocks." --Forrest Gump

Tuesday, October 14, 2008

Run Lola Run (Lola Rennt)



Director: Tom Tykwer
Screenplay: Tom Tykwer
Cinematography: Frank Griebe
In German

First thing: it's fast. Even on second viewing, there is not a dull moment in the movie. From the heartpounding start and the lightning-speed exposition to the quirky final credits, this movie grabs you by the throat and, well, runs with it.

The conceit is simple: Lola (played by the wonderful Franka Potente) is in trouble. If she can't come up with 100,000 marks, her boyfriend Manni (Moritz Bleibtreu) will die. The catch: she has only twenty minutes to come up with the money. Lola's race to save her lover is repeated three times with minor variations that lead to widely different endings. It's Groundhog Day on ecstasy.

Lola succeeds on all counts: it is a thrill ride that out-runs every other contender playing right now; it is a stylish visual feast that succeeds artistically by employing its tricks and gimmicks in ways that heighten the impact of the story; and it succeeds emotionally because we believe Lola's fear and love: a runner can't lie.

"Run Lola Run" is set in a brightly-colored fairy-tale world in which the elements of the story can be rearranged and connected at will. To see director Tom Tykwer play with nuns, bums, guns, crooks, bankers, ambulances, and policemen is pure delight - it's as if we were granted a glance at the creative process itself, three different drafts of the same story, revised and rearranged until the final version satisfies.





There is a study of chance, time, and fate hidden somewhere beneath the techno soundtrack. A pet turtle, a set of falling dominoes: there are details in this film that carry meaning you won't catch until a second viewing, but the mixture is nothing short of perfect: the deeper levels of German ponderousness, for those who enjoy this kind of thing, are buried deep enough to allow those of us who are just into it for the sheer exhilaration of watching Franka Potente run to not worry about any of it.