Sound of Heaven: The Story of Balgandharva (2011) (6/10)

The film is somewhere between a documentary and a movie. Upto the interval it moves connectedly, building a picture, and then the director is in a hurry to show all the remaining important bits in the life of the great singer 'Balgandharva' mostly through the actions of others, especially in the later part of his life.

The story of the inseparableness of males roles of females in the plays is brought out, but many other aspects are inexplicable. While Balgandharva's sticking to his guns (lavishness on the stage, not accepting gift money) may seem principled on the one hand, his manner of throwing away the money is again strange. I am not sure which part of it is the directorial license. Same is true with his scene with his wife. It has to have bene imagined by the director since there is no way it could have been communicated to anyone, or through anyone.

Most of the songs are good as are many of the performances, but the jumpy nature of the story ensures that you will not remember many of the performers.

haapus (2010) (6/10)

In haapus (Alphonso) they have tried to deal with a pertinent problem of the money not reaching the people who go produce as well as trying to dismantle, if only a little, the hold that astrology has on people. However its been mixed with comedy partly based on twins and with too fantastic a transition that comes about towards the end. Add to it the trauma of a past accident, a mother on the deathbed and so on. So, while it is not a masala movie in the usual sense, there is a lot of its own masala in it. To black and white in some sense.

haapus (2010) (6/10)

Vihir (2009) (8/10)

This is the story of two teen-aged cousins. The first half is of the slightly older one (Nachiket) who is starting to ask himself some abstract questions about being as he sees around him relations that are not completely healthy, but are shown to be that way so that minds don't get hurt. He hopes to go away from all this. He is the idol of his younger cousin (Samir) who is visiting. Samir does not understand what Nachiket is talking about - and thinks Nachiket is going to run away, and shortly thereafter his own journey starts.

It is an extremely well made, well acted movie which deals with the unanswerable question of death and what it means and how it should be handled. Music, photography, repetitions (the well, swimming, dripping water, biking, bus rides) are used effectively to create an atmosphere that keeps you bound to the theme. The relations between the large family and their nuances are brought out very well and provide a nice skeleton to the story.

Somewhat philosophical in nature if you look at it the right way. Half way through it may seem to proceed rather slowly, but it is necessary to create the atmosphere, and it picks speed in the second half. Overall, no complaints. Well worth taking a dip in the vihir.

Vihir (2009) (8/10)

Dhyasparva (2001) (8/10)

A biographic film from the turn of the 19th-20th century extending to a little past India's independence. The character being portrayed is Raghunath Karve, the son of another illustrious person viz. Dhondo Karve. Obviously the society then was more under the yolk of misconceptions, both religious and social. The resistance that ra dho meets to his very well intentioned but equally direct and blunt approach is imaginable (though not understandable). After seeing the strange opposition that Dadasaheb Phalke met to his filmmaking it wasn't surprising to see the tempers rise when family planning was being advocated by ra dho when even remarrying by women was not allowed. What is worrisome is that the issues have changed, but the views, the opposition to other (now current) issues has not. The dogma continues, and it springs mainly from blindly believing what is ancient and what the masses say. In fact now it is worse in terms of groups physically attacking someone (rather than bahishkar which could sometimes be a boon) because they think (I should say feel since normally they don't think at all) does not agree with their views (which are really someone elses views - as for instance, Gandhi's followers not having read his book, and attackers of Bhandarkar institute not having read James Laine's book). It is also interesting how the politicians have not changed either. I mean even the earlier ones had some strange mindsets.

The exchanges between ra dho and Shakuntala Paranjpye, Mama Varerkar and Babasaheb Ambedkar added a good flavour to the movie.

Dhyasparva (2001) (8/10)

Dombivli fast (2005) (7/10)

Saga of an honest man whose rage gets turned on by events in a way beyond his control. Since he has not planned on being enraged, he does not have a plan to vent his rage. But there is a pattern that develops. As always the public does not understand what is happening. Or rather, a fraction thinks he is a hero, another thinks he is a threat and a good fraction are indifferent. The media tries to use it both ways, and then there are the political gimmicks, and the police are of course in the picture. The movie tries to appeal to a higher conscience which is difficult to bring into play unless one can pause for a moment to think. Who will change the society? Will you? How? Will you help someone who is trying to?

I was hoping that they may show a way out for people who want to raise at least a miniscule voice. But I guess it IS non-trivial. One has to fight ones own fight and be prepared for the consequences. Life was never promised to be a bed of roses. But that is what makes it enticing.

Dombivli fast (2005) (7/10)

tingyaa (2008) (7/10)

A moving film based on a real story and closely related to the suicides by farmers as they can not support themselves. The acting especially by Tingya is great. His love towards their ox has been brought out very well. As the child is the hero, justice has not been meted to showing the extent of frustrations farmers face. That comes out as somewhat of a linear phenomenon

tingyaa (2008) (7/10)

Valu AKA The Wild Bull (2008) (8/10)

Another delightful movie starring Atul Kulkarni. It hits the bulls eye in capturing the peripheral village atmosphere replete with its politics and pettiness as also purity and plain pleasures. There are no complications and everyone can be hopelessly selfish as that is the only way that exists. Dealing with the job at hand. Long term plans normally do not feature. Take the bull by the horns.

The sprinkling of innocuous humour is what makes the movie stand out. It fits in very naturally. Forest the brother of documentary? Perhaps only when a girl can dance like a bull.

Valu AKA The Wild Bull (2008) (8/10)

chakva (2004) (4/10)

A Marathi movie from 2004 which does not have an IMDB page in 2008. May be that sums much of it. The storyline could have been developed as there were two parallel mysteries to be solved which are strangely interconnected. The recourse to the supernatural is okay if (1) it is done well, or (2) it indroduces some new techniques. The sentence at the end (after the movie) that says that the actors do not believe in the supernatural seemed to suggest that (1) but it is true anyway, or (2) they have to work in such movies for their daily bread. I wish they could at least have show more of the Konkan beauty.

chakva (2004) (4/10)

Limited Manuski (1995) (4/10)

Horrible dialogue delivery (perhaps trying to imitate common people who are not trying to deliver dialogues) and sorry theme that neither goes anywhere nor takes you anywhere. At some point it seems they may be tackling socially relevant issues. But that seems to be only a guise in the end. Not even laughable.

Limited Manuski (1995) (4/10)

Avaghachi Sansar (1960) (8/10)

Though a rather old movie, does not seem dated at all. If at all, some of its thoughts are worth enfranchising by the folks today. Keeps you smiling if not laughing through sterling performance and excellent lyrics and even a wonderful classical dance sequence. But it is the plight of a husband-to-be of finding more in a not-too-complicated series of alomst unfortunate events that the movie delights you. Knowing Pune is an asset, but by no means necessary.

Avaghachi Sansar (1960) (8/10)

Lakhachi Gosht (1952) (5/10)

One of the oldies showing the struggle between surviving for the sake of ones art and for ones love, the later needing one to earn a lot of money. Or times spending even more. The bons between the two artists friends is a bit strange. I guess that kind of separate-us-not was sort-of assumed between any pair being depicted in movies around that time. The songs are good, but the movie shows a bit of age overall.

Lakhachi Gosht (1952) (5/10)

Kay Dyache Bola (2005) (6/10)

A fairly good comedy, marred by two facts that its a remake of an English movie (my cousin Vinny) and that some of the cross-questioning which reveals flaws in the original accounts could in no way have been thought of by the viewers. Otherwise the marathi touch and the humor is worth a watch (though slow at times). The fire alarm episode seemed rather out of place, and the bookies also seemed to be an add-on that did not gel too well. The anandibai bit was excellent, and the last argument was impressive.

Kay Dyache Bola (2005) (6/10)

Yanda Kartavya Aahe (2006) (6/10)

A non-farcical non-serious, non-moralizing, but with-a-moral comedy. Slow at times, but mostly acted out very naturally. Perhaps not worth spending a lot of money to go watch it in a movie hall where you can not chat in order to let others enjoy it. A newly wed pair finds itself honeymooning in rather strange environs. Getting to know each other as well as trying to mix in the culture surrounding them makes for some interesting if at times a little far-fetched scenarios. Use is nicely made of ignorance and a private urge to keep private things private. Marathi.

Yanda Kartavya Aahe (2006) (6/10)