Look who's talking...

{Of all lies, art is the least untrue - Flaubert}



Thursday, May 17, 2012

Today's Top 20

In no particular order...
  1. Tokyo Story
  2. Nights of Cabiria
  3. Ran
  4. Dairy of a Country Priest
  5. 3 Women
  6. In a Lonely Place
  7. The Cloud-Capped Star
  8. In the Mood for Love
  9. Ten
  10. Winter Light
  11. Bad Education
  12. Mamma Roma
  13. Days and Nights in the Forest
  14. Beau Travail
  15. Hi Mom!
  16. Ali: Fear Eats the Soul
  17. Distant Voices, Still Lives
  18. Beloved
  19. A Short Film about Killing
  20. Ordet

Tuesday, May 01, 2012

Acceptance


One of my self-admittedly depressed friend told me that the only way to fight it is to accept it. Later when I saw some people who were really depressed, I realized how my friend was romanticizing depression and wearing it on his sleeves. He also told me often that his feelings are hurt and he is very emotional, which confirmed my theory. But he had a point, the point of accepting. I have always found hope in the idea of accepting. I also associate some sort of grace to this idea, idealizing it. Its heartening to accept that your time has come. Its graceful to succumb and fall without grudge. As crying lightens your heart, acceptance lightens the struggle, things clear up and you see the futility of fighting the wind and the whispers. Grace of a dilapidated tree is just enough to remind that it was accepted the fate. It has accepted the rain and the sunshine. It may have even realized that they nourish it too, while withering it in the process. The wrinkles on tree trunks are sign of grace, not resignation. Its not the acceptance of the wrong or the right, it’s the acceptance of cycles of life. If a big tree can talk to a smaller one, it will say, stay there.

Back in the day, when the ideas were ideas, thinking was clear and fun. Now things are muddled up. Experience changes the simplest of ideas, either dulling or dazing them. Being a father now and watching my 9 month old daughter’s reaction when we eat together, I realized what an old song means when it says “aap khaye thali mein, munne ko de pyali mein” (you eat in a big plate, and give me a small cup!). I love the way she can communicate her displeasure, sometimes subtly, other time not so. She totally assumes that we will get it, and most of the times, we don’t. Babies always cry, don’t they. I love the bubble in which that experience exists, these ideas change daily when a new language, a new life enters yours. You listen and realize how stupid you were, and you are. Accepting that your pillar of understanding are so weak and fluid is a difficult thing. What can you say, if things change with every experience and so does your understanding of them. The trick is to follow it, not try to get it. It’s not about defining truth, but chasing it, and staring it in eyes, for fraction of a second. Kafka says meaning of life is that it stops. Bunuel says that he sides people who seek truth, but part ways with them as soon as they say they have found it. Either it is a continuous search or a full stop. I think Kafka knows the truth, but does not know how to live with it. But Bunuel can manage life. The acceptance that life has meaning only till you keep looking is again a difficult thing to digest.

One of my old roommate’s girlfriend, threw a birthday party for me, she wrote cards, bought cake and flowers and but the whole time she could not hide that she is uneasy with something. These moments clouded her often, which she tried to wash with odd smiles. One evening she bought those ready-made kits to make paper dolls, and sat near garage door fixing it. I chatted with her a little and asked about the doll, she told me that she used make similar dolls as a child. She kept adding something to the doll and saw it again and fixed it little more, all the while seemed disinterested in it. She was just distracting herself from something. She was visibly sad. She was trying, but cannot move ahead. She was smiling, but her smile was like bad makeup, it highlighted what it should conceal. I left the city and later learned from my ex-roommate they are not together anymore. He said explaining she had lots of her own problems to sort. Her image with the doll rolled past my eyes. She tried, celebrated other people birthdays, baked cakes, and fixed paper dolls. In the mornings, I saw her so many times resigned and angry, and as if to cheer herself she would take us out for breakfast. She was trying her best, but it is very difficult to accept your own sadness.

If I meet my friend now, I will ask him, does he think the same about some of his old theories. I will tell him more details about my ex-roommate’s girlfriend and few more poor souls. I will tell him about myself. I will tell him about my borrowed ideas of meaning of life and the truth. I will let him talk and give me some more half-baked ideas, if he still have any. I will discuss them. I will have a good time.

Monday, April 30, 2012

Easy


Lets me start with an easy thing. Before I start, I should say that things are easy because they are not thought through properly. Easy and lazy rhyme too. Before I get into this mess again and not write for years, let me start with easy things. Easy things are sometimes just easy, and sometimes even directly from heart . ahh, here you go, you sentimental fool. Can easy is just plain easy, without interpretation, without shame or sigh. Plain like green of leaves, smell of flowers, easy to see, easy to touch. Ahh , again…. Lets start again, My easy idea was how memories are cruel, and how they change themselves to patronize you. Easy. Childhood memories are a bully. My adult life is often burdened by the goodness of my childhood. When I am perfectly happy, a harmless memory of a childhood lane with two porches and a tree during dusk come running, fitting itself as a Van Gogh in an All state art competition gallery. How can I ever match that goodness, it breaks my heart several times over. Poetically, I even thought to saying if my heart did not break a million time in that moment, it’s a god-damn stone. While driving in perfectly beautiful New Hampshire, I am haunted by the goodness that is my childhood in Muzaffarnagar. I remember that day when I wasted the whole day with nothing, and it seems so good in retrospect that I can be sure that memories trick. As an Indian, I have never understood what coming of age means, I am more used to cutting chords and corners. In college, one of my friends told me that life around me has outgrown me, though he said much more eloquently in Hindi like a film punch line where it cuts to the birds in sky or flowing river. As he said, I was intelligent enough to instantly realize that it will be a constant part of the soundtrack of my life. Seeing my melancholy reaction, he added, I feel the same. A good friend can lie for you.

It happens anytime, mostly during driving, sometimes while listening to music or talking to people. In fact, no time is safe. My life have burdened me with a perfect childhood that nothing can top. It has taken its own life. Sometimes I remember similar events differently intermittently blurred and focused to hit the right note, causing occasional lumps in emotional fool throat. The other time, a present feeling of happiness, is inadvertently compared to a similar thing in infantile past and is declared faded in comparison. My present is sepia and past Technicolor. The imperfections of past are like an odd-shaped stone, all the more collectible. The sun was better, and don’t even get me started on cheap ice and soda. Those are the mascots of simpler time, the alpha and omega of pure bliss. June sun and those cheap icecreams. Ahh. Well, I should not curse them, or blame them so heartlessly. They might leave me if I bad mouth them, I fear that . They are what a funny face or a loving kiss are to a sulking child. An instant nudge to some sort of elation – a shortcut to ecstasy, a trick nonetheless, but a sweet one. Those are like pennies for that big hole in my heart. All are lucky pennies, but the heart is out of luck.

Call it the emptiness of our better worlds or the a hearts tendency to flip-flop, it all is so warped with my daily life that calling it names here seems like a slight perversion. I love train journey’s – sleeper class – but who does not love them. Even the smell from toilet in the morning from your berth just seems special (a similar proximity on an airplane irritates you). The best are the times, when other people talk about their pennies and their faces glow as the hole in their hearts fill with bliss of perfect and imperfect pasts. As they tell tales. As they tiptoe on past like sunshine on tree leaves. A pattern emerges, we are all doomed, more or less. The life always hangs on a slice of life – real, imagined, reconstructed and re-evaluated. The images shutter past. The train cuts through a green pasture, and stops at a deserted station where you step down to get a quick sip of water, all the while keeping an eye on the train. As the you finish and see the train moving, time stops for a moment before you run and catch the train. I am talking about that moment. Easy.

Saturday, January 16, 2010

Film 2009: The List

What is point of doing year end lists? Vanity for one, or may be a logical demarcation of time and effort, a scale to weigh in goodness and greatness over days and dates, and may be an excuse to name what you think should be seen by all and even more importantly to reveal false gods and fake idols (by omission or admission), and if you are lucky, get a discussion started by someone somewhere about movies - their heart and health.

This year was particularly eventful for me. I met Himani in June and married her in Oct. Moved to a small town in New Hampshire, with limited access to films. There are few good theatres nearby, which show good films, if you are willing to drive a little. These developments made watching movies little more difficult and a lesser priority in the sundry list of things to do.

In Dec, I managed to catch most of the movies, locked myself and saw movies back to back, and was very glad to find some great films. As last year, my emphasis still is silly, weak, futile, hysterical heart rather than boggling mind and more importantly the therapeutic power of films. Not a brilliant jig-saw puzzle and its oh-so-brilliant final solution, but a flow of many rivers, their turns, the trees nearby and a delta of fertile silt and soil, and the Man who still is human and its handling by an artist infused with humbling power of spirit, moral inquiry and quiet rapture.



I have intentionally waited for few weeks to post this, so that the newly watched films are digested properly, but there will always be second thoughts and re-evaluations. Here you go, as vanities toss and turn.

Top 12 (in rough order)
Revanche (Götz Spielmann)
You, the Living (Roy Andersson)
Two Lovers (James Gray)
A Serious Man (Ethan Coen, Joel Coen)
Treeless Mountain (So Yong Kim)
Moon (Duncan Jones)
Bright Star (Jane Campion)
Lorna's Silence (Jean-Pierre Dardenne, Luc Dardenne)
24 City (Jia Zhangke)
35 Shots of Rum (Claire Denis)
The Hurt Locker (Kathryn Bigelow)
Inglourious Basterds (Quentin Tarantino)

Honorable Mention
Tokyo Sonata (Kiyoshi Kurosowa)
Coraline (Henry Selick)
Julia (Erick Zonca)
The Cove (Louie Psihoyos)
Still Walking (Hirokazu Kore-eda)
Where the Wild Things are (Spike Jonze)
Fantastic Mr. Fox (Wes Anderson)
Sita Sings the Blues (Nina Paley)
Summer Hours (Olivier Assayas)
Of Time and the City (Terence Davies)

Disappointments (of various degrees)
Tetro (Francis Ford Coppola)
The White Ribbon (Michael Haneke)
Police, Adjective (Corneliu Porumboiu)
The Headless Woman (Lucrecia Martel)
The Limits of Control (Jim Jarmusch)
In the Loop (Armando Iannucci)

Worst Film
(500) Days of Summer (I haven't seen Up in the Air yet)

Notable Performances
Jeremy Renner - The Hurt Locker
Abbie Cornish - Bright Star
Juliette Binoche - Summer Hours
Diane Krüger, Christoph Waltz and Mélanie Laurent - Inglourious Basterds
Michael Stuhlbarg - A Serious Man
Johannes Krisch - Revanche
Tilda Swinton and Kate de Castillo - Julia
Joaquin Phoenix, Vinessa Shaw - Two Lovers
Sam Rockwell - Moon
Arta Dobroshi, Jérémie Renier - Lorna's Silence
Gina Pareño - Serbis
Hee-yeon Kim - Treeless Mountain
Kyôko Koizumi - Tokyo Sonata

Blind Spots
The Imaginarium of Doctor Parnassus
Anvil!: The Story of Anvil
The Beaches of Agnès
Sherlock Holmes
Adventureland
Tulpan
The Bad Lieutenant: Port of Call - New Orleans
Broken Embraces
Antichrist

See last year's list here.

Film 2009: Treeless Mountain

A lesser film would have used its time and space to build a feel-sorry deposit box for our precocious young heroines (Jin and Bin) who are abandoned (left with their drunkard aunt) by their mother, but Treeless Mountain (like brilliant Nobody Knows)is more concerned to evoke a world that Jin and Bin inhibits from their POV, often giving this realistic film a dreamlike quality with simple observant close-ups in natural light, laced with brief shots of panoramic scenery showing passage of time, as they come in terms with loss and abandonment. The best thing about Treeless Mountain is two young precocious performers (a case can be made if they are actually performing), and something special always comes out when the camera stays on them observing their face as they observe the surroundings around them, these are the scenes where cinema comes close to a clear-slighted reading of a young, enduring mind and soul.

Film 2009: 24 City


24 City chronicles 9 first-person recollections (out of which 4 done with professional actors) of their lives and times in a state-run military factory complex in Chengdu, China that is being demolished to erect luxury futuristic apartments (eponymous 24 City). Jia Zhangke, a master of composition, records passage of time by juxtaposing the old and the new - a lady retelling an old story as the new constructions overlooks in the background, a modern young girl in designer clothes chokes while telling about her parents, getting a breath and strength by saying "I am the daughter of workers". Also Jia Zhangke takes notice of how fast landscape of China is changing. One thing which cinema is good at doing is preserving past. It should be noted that where as in Still Life Jia Zhangke was trying to preserve a collapsing landscape though camera, here in 24 City, it is mostly memories (untold and soon to be forgotten) attached to the factory complex. And when you deal with memories there is always a re-creation of past, and which involves imagination. So it is no wonder that 4 of the 9 interview are fictional accounts. It is not a post-modern approach to make it a pseudo-documentary but its like connecting unfinished story segments (Jia Zhangke took numerous interviews) and use fiction and imagination to fully comprehend and convey the feelings of the people involved. It also connects with the Jia Zhangke's use of pop culture to evoke collective memory of their times. Also, Jia Zhangke does something which I coined as "moving portraits". Moving portrait is a shot created when a subject stands for a still portrait but the portrait is captured as a moving image. The worst thing about photography is its lack of depth in terms of time, usually I am more interested in the space and time before and after the pose. Jia Zhangke does exactly that in his "Moving Portraits". It captures the sublime - the uneasiness, the pre and post-pose person, and by definition if camera lingers, it invariably captures some truth. The pose in the moving portrait is a hint of unreal but it helps reveal something real. Jia Zhangke’s 24 City too reveals more than it shows.

Film 2009: The Silence of Lorna


Lorna (Arta Dobroshi), a young Albanian woman living in Belgium, is a part of a immigration scam - a sham marriage with a Belgian junkie Claudy (Jérémie Renier) with a plot to get rid of him to marry a Russian mafia-boss to get him Belgium citizenship and her lots of money so that she can marry her boyfriend and start her own business (a snack bar). The plan goes almost alright but our heroine gets all weak and human. Here the director duo follows the cracks of humanity in an otherwise perfect scheme, which as the title suggests, opens as Lorna's moral and human silence breaks away slowly. More suited for my taste, Lorna's silence is more static than handheld (unlike Dardenne Brother other films), helping us to understand our heroine's psyche and her slow inner change, and her final (almost dreamlike) act of revolt and redemption. There is something painfully true yet consoling in the Lorna's journey of humanity and liberation showing a slight hint of madness.

Wednesday, December 30, 2009

Film 2009: You, the Living


You, the Living is the big mama of A Serious Man. While A Serious Man opens with a zoom in, it ends with a massive zoom out. Like Roy Andersson's last masterpiece Songs from the Second Floor, You, the Living is a collection fifty absurdist, loosely connected long shots of Swedish life. What emerges is, to use a cliche, bigger than sum of its parts - a sincerely-sad, bleakly-funny and enlightening human concoction. Something here to be said about how bleakness of vision not translated into screen dullness like last year's Synecdoche, New York which totally failed to do so. This year both You, the Living and A Serious Man showed us how vital emotions like sorrow and humor are connected with a dotted line.

Film 2009: Bright Star


Bright Star is about Keats (Ben Whishaw) love affair with Fanny Browne (an excellent Abbie Cornish) during his last 3 years (Keats died at 25 of tuberculosis). Bright Star is an oddity, old-fashioned, apologetically romantic - about dreamers and their heartfelt love. Any sniff of wits is of no use here. The brightest moments in the film are where the lovers are together and feel the bliss, sometimes reading poetry and sometimes doing nothing, these quite moments of romantic ecstasy are deeply felt and treasured by lovers. Jane Campion creates elaborate period details without fanfare and her use of nature (all four seasons, bees, butterflies, flowers, fruits, lush trees, lakes, snow, rain, countryside, sounds of the nature) and poetry as a backdrop gives it a distinctive contemplative mood, a whiff of immortality (Fanny walks and disappears in woods as Whishaw read Keats' poetry in the last reels) to this unusually passionate and brutally short love affair.

Film 2009: Moon


Although a good sci-fi is about a sci-fi concept, but it usually tells about the human experience in the wake of it. Its like changing a parameter in the equation of human existence and then dipping a human fish into those waters. It sinks, it swims, it flaps or it survives because it evolves. But as we know them, human needs and emotions are much more complex and the human equation is unimaginably elaborate. And wait, what about dreams and memories - the signposts of being. A good sci-fi movie can tell us the privilege of a deceptively simple human experience by altering these variables. Moon takes place in future when earth power sources have run out and a company (appropriately named Lunar Industries) sets up a base on Moon to extract Helium-3 there and bring it back to the earth. Sam (Sam Rockwell in an great solo(?) performance) is on 3 year contract to look after the base leaving behind his wife and daughter on earth. The good news is that his contract is ending in few days and he will be back to earth, but there is more he should know before it should get happy about it. Sam experiences a new reality, and acts in its wake. Moon is not a bleeding style sci-fi. With all the moon stations and gadgets, it does not look much different present reality, Is it saying that future is same, but just little more out of our control.

Film 2009: 35 Shots of Rum

Claire Denis' tone poem observes a father-daughter duo, with the knowledge that she has grown up and will leave. Denis films the routine of their lives so precisely that this upcoming transition is almost a new world order for both. Characters talk about trifle but images talk otherwise. In the films finest scene, in a rainy night four main characters end up in an Afro-bar and start to swirl to the tune of music. Dance, like alcohol is a cinematic equivalent of x-ray in the hands of able artist. So not only we get little under skin of each of them, but also the insight of ethnic-urban tensions of the scene. An excellent visualist, Denis works her way though daily life short sketches up to a roadtrip (before her going out, they both should go together) and earns the emotional power of the their bond. The final shot of two rice cookers might be the most economical image of the whole year (Ozu did the same with the ending image of old man peeling a fruit by himself in Late Spring, inspiration for 35 Shots).

Film 2009: Julia

Well, its easy to say that Julia excels because of Tilda Swinton titular performance, but if we feel that our flawed heroine eventual loss after several failed attempt to gain a fortune in a kid-snatching scheme is not a compromise but a genuine transformation, it is as much for Swinton's brave performance as it is a nod to film's engaging narrative structure and its emotional power. Erick Zonca's Julia is both a mediation on Greed in this post-moral world and a search for something admirable in heart of a incorrigible person.

Film 2009: Two Lovers

James Gray is called old-fashioned for a good reason. His films are endlessly compassionate and understanding of people's foibles. In a world loaded with ironies and tropes, it not just the otherness of his films to the rest that draws us to them, but its their closeness to the lives we live. Gray's Two Lovers absorbs its hero's trauma, rage, love and life into its big heart. It understands that human weaknesses, and human compromises cannot be shrugged with one shoulder and empathized with other. Gray's complexity is not in the method or technique, but in the characters he draws. There is no specific vision (can there be an intentional vision for an artist?), no terrific shot or a bleeding style, but an undeniable sense of human handling of characters and their quotidian yet valued lives and loves.

Film 2009: The Hurt Locker


I loved The Hurt Locker a lot when I watched it for the first time, second time around I was not too sure about two things - The opening quote "War is a drug" and was slightly disappointed by little too explanatory ending. Only one of them was sufficient for a movie which invests itself so brillianly against easy categorization into ideas. That said, the most brilliant thing that The Hurt Locker does to fuse two genres - war film and action movie, without any misplaced guilt or fanboyish indulgence into violence, and the result is something which makes us think about all the bravery and gore and fury that goes into a war. With multiple tense conflict scenes, The Hurt Locker respects the bravery of the men in uniform and their actions but does not disrespect life at any point, on either side.

Film 2009: A Serious Man


A Serious Man starts with a quote - "Receive with simplicity everything that happens to you", but our luckless hero (Larry Gopnik - Michael Stuhlbarg in an absolutely brilliant performance) dares to ask what if he does and still be miserable, and yes, our poor hero is text book miserable kind - with his student black mailing him, his son is smoking weed, his daughter stealing his money for a nose job, his jobless brother living with him and getting in trouble and to give an extra kick, his wife having an affair with his best friend and asking for a divorce because its the "reasonable" thing to do. Given this unusually downbeat plot, its a wonder how Coen brothers keep it up so strongly that there is not a dull moment. A Serious Man can be easily mistaken for a smart guy making fun of somebody in utter despair, but for the Coens undeniable empathy for Larry and their sincere quest to find an answer to his misery gives this film both its soul and its humor. Although there are no answers to our hero's plight, but Coen's lends a hand of understanding and reflection to their bleakest comedy (their beautiful vision of God expectorating on us). After Larry's search, is he wiser now or is he more hopeless (because he is wiser) is Larry's new dilemma. He should, as a rabbi advised him, "Accept the Mystery".

Film 2009: Revanche


Revanche alters the noir-trappings of a failed heist plot into a meditation on love, guilt, revenge and family, elevating itself to a Greek tragedy but ultimately distills various tensions of existential struggle and relaxes them. Our hero's attempt to save his girl from a brothel owner and to gain himself a fortune goes bad. He gets the money but loses something more dear, or so he realizes later. He sets out for revenge. Director uses this simple context to beautifully examine human motivation, fate and purpose, but also to find understanding between his few acutely detailed characters, and what I may call, a tranquil redemption, not a zero-sum game. At the end, we know nothing is solved but we also know, without fanfare, that there are some nobler human traits which make this world possible.