Sreehari Nair wishes to write about that which is in the cultural air but absent from trending lists. You can e-mail the author at sreeharin@rediff-inc.com
While Satya's pleasures are palpable -- among them the poetry of the coarse language, the mercifully rough-hewn texture, the oh-so-familiar underdog story -- these pleasures hit you at a completely different speed. The movie is charged with a sense of discovery, and every shot is a cornucopia of details existing independent of the main story. It's touching, notes Sreehari Nair.
We do not whistle for Hathiram Chaudhary. And yet the bond we feel towards him is spontaneous, almost effortless. This is because he shares something of our too-ideal dreams, our wry acceptance of our limitations, our useful frustrations, and our pointless sprints, explains Sreehari Nair.
'Did anyone else get the feeling that AWIAL -- despite being ostensibly based in the Mumbai of today -- is actually set in a Neverland of Solemnity?' asks Sreehari Nair.
Munjya is the most wildly entertaining ghost I have encountered at the movies recently. But he has the added advantage of being a Maharashtrian ghost, of possessing rhythms of speech and behaviour that are distinctly Maharashtrian, of being blessed with that beautiful brand of Maharashtrian irritability
'Garm Hava understands that the scorching, hate-filled, doubt-filled affair between Hindus and Muslims is our national love affair.' Sreehari Nair revisits M S Sathyu's classic film, featuring the incomparable Balraj Sahni at his finest in his final role.
Ulajh strikes you as an attempt at statement-making gone horribly wrong, a punchline that doesn't land, a roar that never reaches the ear, observes Sreehari Nair.
159 dismissals in 36 Tests, 149 dismissals in 89 ODIs, and 89 dismissals in 70 T20s are very good by any standards. And yet they don't speak to Bumrah's true value and his special appeal, notes Sreehari Nair.
People turn a corner and overhear secrets, men change stripes so as to acquire shades of villainy most convenient to advancing the plot, secondary characters confess to past sins just so that the leading women are absolved of all responsibility, notes Sreehari Nair.
Watching Aavesham is like sprinting through the whole history of our mass-masala movies and seeing it in a new light, notes Sreehari Nair. And this, incidentally, is the story of Fahadh Faasil's career too.
The reasons are too private to be discussed at a round table, listed out during a seminar, or uncovered in an academic course. A proud but insomniac connoisseur murmuring in his sleep may do a better job of explaining the phenomenon than an expert on a podium. Sreehari Nair airs his thoughts.
What follows is essentially a long scene set in a single location, and you watch in amazement as the scene grows into one of Indian cinema's funniest and most spectacular pieces of sustained craftsmanship, accumulating emotional power and subtext, growing wings and claws, becoming its own beast, applauds Sreehari Nair.
You will appreciate the Mammootty of this movie better if you do not take the servile reviews to heart, for this is a grand, broad, almost proudly comic performance, assures Sreehari Nair.
Girish AD doesn't make romantic comedies so much as he elevates the genre, observes Sreehari Nair.
Since nothing irritates Lijo Jose Pellissery more than a throwaway critical judgment, Sreehari Nair carefully presents his opinions about Malaikottai Vaaliban, a good two weeks after he first saw the movie.
Siddharth Anand's artistry bespeaks an upbringing filled with GI Joes, plastic combat boots and plastic bayonets, fake punching noises and fake sounds of gunshots, rudely interrupted by an adult voice saying, 'Beta, all this is good, but try bringing in some feelings too', observes Sreehari Nair.
If you have never seen Sriram Raghavan fly, you would hardly realise that this time, he is happy in his cage, this time he isn't reaching for the skies, notes Sreehari Nair.
This isn't a hatchet job, and my excuse for the exercise is my feeling that when you invert some of the clichés mentioned here, you might just arrive at the portals of genuine movie-making energy, says Sreehari Nair.
'As I watched Mammootty 'try out' Mathew Devassy, I could hear from my theatre seat the ready-made appreciation of the liberal press, their applause for the great actor having flirted with queerness on screen.' 'But it is a flirtation and nothing more, for I could not detect in Devassy any hint of love, not for his homosexual lover, not for his wife,,' observes Sreehari Nair.
It was a year of so many contradictions and contrasts that it became dangerous to talk about movies, people lost their heads discussing Friday releases, psychiatrists began dabbling in film criticism, and film critics turned into psychiatrists, says Sreehari Nair.
It's not uncommon for performers to become bigger than the stories they are placed in and Sreehari Nair would happily pay to watch Isha Talwar and Paramvir Singh Cheema riffing on love, bad life choices, psychology, rhythm, and oven-baked Kulchas in Chamak.
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