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
Friendships are not merely severed, but built over scuffles. And just about anything can stir things up -- a long-standing feud, a pointless stare, a disrupted moral stance, a fist that ricochets off a face and smacks another face in the near vicinity, observes Sreehari Nair.
'I believe it's not the success of RRR or KGF that we must actually investigate but what makes these two films our marquee events,' argues Sreehari Nair.
I cannot think of another Hindi movie that has, without so much as a hint of cynicism or speechifying, brought out that fundamental fact of Muslims being an integral part of the Indian culture while being at the same time a subculture with its own polite niceties, observes Sreehari Nair.
Dear Friend is for those who idealised Dil Chahta Hai all out of proportion, and then warmed up to the premise that friendship could be a lot more complicated, and transient, observes Sreehari Nair.
Pellissery's women continue to express the beauty in our common humanity. And often, these women go so far into expressing our hopes, desires, absurdities and follies that they end up acting at variance with the ethical prescriptions of our age. And this, I believe, is precisely why they remain "invisible" to a whole bunch of viewers, says Sreehari Nair.
RRR isn't the "spectacle" it is made out to be, argues Sreehari Nair.
If Irrfan could have been our finest professor of empirical philosophy, and Nawaz is our foremost poet of that space halfway between the gutter and the stars, then Jaideep Ahlawat has to be our greatest artist-scientist, asserts Sreehari Nair.
Badhaai Do carries its audience on the wave of those little farces that come with being queer in India, a land where masculinity still has some say, observes Sreehari Nair.
Pinch your nerves, and trust the ghoul -- blood will be spilled; women, children, and grouchy old men will be dismembered! observes Sreehari Nair.
'The response to savagery and mass injustice is never a persistent howl.' 'There will be, among the victims, those who choose to forget the scars, those who go on living, those who challenge the overall environment of sentimentality.' 'And the more effort you put into including these other voices, into assimilating these spoilsports, the more balanced your depiction of the tragedy in question will be,' observes Sreehari Nair.
Despite the Oscars, the box office glory, and the universal acclaim, Francis Ford Coppola, I am sure, remembers The Godfather with as much frustration as pride. Like Michael Corleone, he got into it with the best of intentions, and got out of it on top but lost in the heights. Sreehari Nair revisits the film as it turns 50 this month.
Bloody Brothers is watchable, especially in the scenes of its two lead actors trying to work out something from the puny material given to them. Jaideep Ahlawat, who suggests roiling energy and intelligence even when he is completely motionless, has to be India's finest actor on current form, observes Sreehari Nair.
'Once Mohanlal's ever-swelling entourage grasped his enormous worth, once it realized that the innate Mohanlal appeal could be profited from, it set about to exploit, to make uproars, to create the Mohanlal brand.' 'And he wasn't meant to be a brand. He was meant to be an artist, a tireless explorer of the unique seas inside him,' asserts Sreehari Nair.
KPAC Lalitha's specialty was evoking on screen people that the audience felt they knew intimately, and evoking them through telling details that tore down the boundary between the audience and the performer, observes Sreehari Nair.
A Nedumudi Venu character was happiest when moving his head to a piece of music with his eyes closed; or, when inventing off of a note that a co-actor had left unfinished; or, when reciting a poem by Kavalam Narayana Panicker where a hymn about nature descends into a musing about cheating, depression and death, feels Sreehari Nair.
There's the excitement of watching minor people commit major crimes and watching how that becomes their second nature, almost. Just when you think the show is extending outwards, it implodes. And with the ethical hinges off totally, you, the viewer, wouldn't know quite how to react, observes Sreehari Nair.
Every film that Sriram Raghavan makes is a compendium of ideas and sensations that tickle him. Trying to remake a Sriram Raghavan film is like getting excited by somebody else's goosebumps, observes Sreehari Nair.
In Maqbool, Vishal Bhardwaj did a Godfather; in that he took something that was pulpy and fast and gripping, and made out of it something timeless and grand, feels Sreehari Nair.
I am yet to encounter an anthology of films (made in this country or elsewhere) in which every feature has adhered to a minimum level of quality, asserts Sreehari Nair.
The second season of City Of Dreams has more pulp, hardly any juice, feels Sreehari Nair.
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