Maharaja (1998)

Starring:

Govinda … Kohinoor Karan
Manisha Koirala … Shaili Mathur
Raj Babbar … Ali
Salim Ghouse … Ranvir Singh
Shakti Kapoor … Bhalu Prasad Bihari Orey
Aruna Irani … Ameenabi
Kulbhushan Kharbanda … Hanuman Baba
Ishrat Ali … Devkaran
Aparajita … Kohinoor’s mom
Shyam Bahadur (as Shyam Bamadur)
Bajrangi
Birbal … Train passenger
Prem Chopra … Suryamani
Amit Ghanshyam
Ginni
Goldy
Dinesh Hingoo … Bride broker (as Dinesh Mingoo)
Safiq Khan (as Safi Khan)

Director:

Anil Sharma

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Tagged: 1998

Sivaji The Boss (2010) Online Indian Movie

Starring:

Rajnikanth … Shivaji Arumugam
Shriya … Tamizhselvi
Suman … Adisheshan
Vivek … Arivu Mama
Ala Aljundi … Italian Gangster
Amarasigamani … Amarasigamani
M.S. Bhaskar … Anbanantham’s P.A
Cochin Hanifa … Minister (as V.M.C. Hanifa)
Chinni Jayanth … Himself
Ravi Kumar … Minister Anbanantham
Livingstone … Policeman
Tirlok Malik … Friend of Sivaji
Manivannan … Arumugam Sr.
Mayilsamy … Himself
Nayantara … Special Apearance for song ‘Ballelaka’
Pattimandram Salomon Pappayah
Uma Pathmanaban … Jyothi
Raghuvaran … Dr. Cheziyan
Pattimandram Raja … Shreya Father
Balasubramaniam S.P. … Ballelaka
Lollu Sabha Swaminathan
Thamu … Himself
Vadivukkarasi … Mrs. Arumugam

Director:

S. Shankar

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Tagged: 2010

Vicky Cristina Barcelona [2008]

Vicky Cristina Barcelona is not set in New York and it isn’t loaded with quirkiness or neurosis; that said, it has most other archetypes that Woody Allen films are known by, viz. self-loathing intellectuals, love and heartbreak. And though it never managed to even come close to the sheer brilliance of his masterpieces, it nonetheless garnered far more support vis-à-vis his other recent works. The movie is about two art-loving friends (and, unsurprisingly New Yorkers) who have come to spend their summer vacation at Barcelona, the cultural melting point of Spain. Vicky (Rebecca Hall) is a happily engaged girl who ends up having a one-night-stand with Juan Antonio (Javier Bardem), a self-destructive painter. The more extroverted Cristina (Scarlet Johansson), on the other hand, moves in with the charming and erudite artist, only for her blissful life to be disrupted by the arrival of Maria Elena (Penelope Cruz), Juan Antonio’s suicidal and stunning ex-wife. The film is lovingly shot and has a leisurely (even tranquil) feel to its narrative. And Woody, with his eye for detail where portraying a city goes, managed to capture Barcelona with all its glorious details, while also painting with broad strokes the tragedies of heart therein.





Director: Woody Allen
Genre: Drama/Romantic Drama
Language: English
Country: US/Spain

Code 46 [2004]

Set sometime in the not so distant future, Code 46 tells the cautionary tale of a highly regulated world where every action is closely monitored by the State, especially with respect to who one can or cannot marry. A married American man, who has come to a futuristic Shanghai to investigate a possible counterfeit racket in an organization, ends up getting romantically involved with a mysterious female employee working for it, oblivious of the fact that by doing so he might be violating “Code 46”, a law considered sacrilegious by the powers that be. The film has been expertly shot – the set-pieces, lightings and shades used managed to the its moodiness, and also accentuate the themes of loss, memory and urban alienation. Tim Robbins too, as always, has done a noteworthy job as an actor. Unfortunately, the director didn’t pay as much attention in developing the characters and building the narrative as he did on the atmosphere. Consequently, though the sleekness and the visuals were good to look at, the film felt dehumanized and hollow, and thus failed to involve me, leave alone captivate me. In fact, I would go so far as saying that I found the movie a bit boring even. The two lead actors, too, were highly lacking insofar as a plausible chemistry between the characters goes.





Director: Michael Winterbottom
Genre: Sci-Fi/Psychological Drama/Romance
Language: English
Country: UK

Charulata (The Lonely Wife) [1964]

Satyajit Ray once mentioned, “… the one film that I would make the same way, if I had to do it again, is Charulata”. Adapted from a semi autobiographical novella by the great Rabindranath Tagore, this complex and haunting love triangle is set at the backdrop of the Bengal Renaissance – a movement that led to the formation of “modern” India. Bhupati (Sailen Mukherjee) is an upper class Bengali intellectual who is forever engrossed in the political newspaper he edits and prints; consequently Charulata (Madhabi Mukherjee), his beautiful and educated wife, has immersed herself into Bengali literature to alleviate her ennui. The arrival of Bhupati’s young cousin brother Amal (Soumitra Chatterjee), a sensitive poetry-loving vagabond-at-heart, breaks her stupor, and before long, the emotionally fragile Charu finds herself falling for the bohemian Amal. The exquisitely paced film boasts of stirring performances by the three leads, with Madhabi and Soumitra’s being truly astounding. The film comprises of a slew of unforgettable moments, right from the opening where Charu is whiling her time with her opera-glasses, and the one with Charu riding on her swing in complete abandon (perhaps an homage to Kurosawa’s Ikiru), to the terrific freeze-framed finale (reminiscent of Truffaut’s The 400 Blows). The scene where Amal slowly looks towards Charu, who’s standing at a distance, while Bhupati is mournfully speaking on trust, oblivious to Charu’s growing feelings for Amal – well, that was devastating! And Kishore Kumar’s rendition of the classic Tagore song Ami Chini Go Chini was cinema at its purest. The film boasts of great set designs, marvelous usage of light and shadows, and a lovely score (the latter by Ray himself).

p.s. This is my 500th movie review at Cinemascope, and what better way to reach this milestone than via a movie by my favourite filmmaker. So here's a hop, skip and jump from me!





Director: Satyajit Ray
Genre: Drama/Romantic Drama/Psychological Drama/Political Drama
Language: Bengali
Country: India

Berlin Alexanderplatz [1980]

Berlin Alexanderplatz, based on Alfred Doblin’s novel, is R. W. Fassbinder’s magnum opus. Consequently, it has been a gratifying experience for me to complete this staggeringly ambitious 15 ½ hour epic, albeit over a number of sittings. Evocatively shot and leisurely paced, the movie, made in 13-parts and with an epilogue that delves into the surreal and grotesque recesses of a mad man’s mind, has the power to enthrall you and test your patience in equal measures. It chronicles the turbulent life and times, and the various loves and acquaintances of Franz Bieberkoff, its gullible, good-natured protagonist. Ex-convict Franz (played with incredible passion and power by Gunter Lamprecht), who was incarcerated for 4 years for killing his girlfriend in a fit of rage, decides to lead a straight life upon being released from jail; but life has other plans for him, and it comes a full circle for him when his sweetheart Mieze is killed by the man who he considers a friend – the serpentine and womanizing Reinhold, incidentally the same man who had once pushed him out of a car with tragic consequences. The film comprises of a slew of memorable, well-defined characters (brought through courtesy excellent performances, with my favourites being the melancholic Meck, and the vivacious Eva. However, all said, this does remain a flawed film. The rambling storytelling and the overt philosophizing aside, a lot of the actions of and interactions among the characters defy reason and/or explanation. Nevertheless they are mere footnotes vis-a-vis the grand and sweeping nature of this mammoth, tragic and operatic film.





Director: Rainer Werner Fassbinder
Genre: Drama/Psychological Drama/Political Drama/Romantic Drama
Language: German
Country: Germany