I’ve known Bhargav (Saikia), the producer of Kaafiron Ki Namaaz (KKN), for a few years now. I have curiously followed him and his team at Lorien Motion Pictures at every stage of the making of their pet project – from the updates of their soundtrack recording with Javed Ali and Usha Uthup, to photos from the on-location shoot in Kashmir. I suppose with social media, it gets a bit easy to do so. I suppose, that is why it feels like I have known KKN for quite some time now. When I got the opportunity to watch the finished piece in Bhargav’s personal screening room – an iMac plugged into Sony speakers, I simply jumped on it. This post on KKN has been sitting in the draft stage for a few months. And apart from my own lazyness, there is one more reason why it has been so. KKN left me with several unanswered questions and a blank stare. That makes it a difficult one to write about. Nevertheless, here’s my attempt.
2013 brought with it the blockbusters, epic fails, and a stream of average movies. Then there were the ones that outshone the others, and others which rose above the mediocrity. On the end of the year review podcast, me and Beth (@bethlovesbolly | bethlovesbollywood) dissect the things that worked, the things that didn’t, and the things that gave us mental diarrhoea.
Hit the player below and give us a listen. Hope you enjoy it.
Bollywood in 2013, End of the Year Bollywood podcast.
You can also DOWNLOAD IT HERE.
Hit the jump below, for the comprehensive list of the movies we watched in 2013.
My long hibernation from my blog is still on. But I am back to post this guest post by my good friend Arnab. He writes about Vickramaditya Motwane’s latest feature – Lootera. And beware, plenty of spoilers.
Whether you like it or not, you will go in to watch Lootera with O. Henry’s ‘The Last Leaf’ performing background operations in your mind, an unsolicited .exe file you wish weren’t there. Almost everyone has read Henry’s classic short story where Behrman paints ‘his masterpiece’, a leaf to replace the last leaf on a tree that fell one cold, winter night in quaint old Greenwich village. The simplicity of the story almost makes you wonder how its adaptation set in rural Bengal and Dalhousie in the years following decolonisation would work. But as the first reel rolls on, you are transported into a world that is very different from what Henry scripted, a canvas which not only delights your senses but also unconsciously nudges you into a state of temporary amnesia where ‘The Last Leaf’ ceases to matter. The background operations in your mind stop.
Many other reviewers have already written at length about the bromance, the backdrop of Gujarat, and the two mammoth events that surround Abhishek Kapoor’s sophomore act – Kai Po Che . But it would be completely unfair if we were to sum up Kai Po Che with just that outline. Based on Chetan Bhagat’s Three Mistakes Of My Life, Kai Po Che offers so much more that even on my best attempt, I feel the inadequacy of my embrace. I have already attempted to write this review, and then had to re-write it a few more times. I found myself at loss of words when I tried to sum up my thoughts on a movie so rich, and profound, that it only led me to a never-ending sea of ideas that I kept rediscovering.