Monthly Archives: April 2011

Shakti

Posted on by

Here is a list of things we know the film makers didn’t spend the reputedly huge budget on:

  • A hairdresser for Ileana
  • Good quality CGI
  • Historical research
  • Decent wigs
  • A good story

Here is a list of things they did invest in:

  • Scarves
  • Stars
  • Helicopters
  • Excessive editing
  • Guns and rocket launchers
  • Cars (to be blown up)
  • Locations
  • Oversized glowing props
  • A slide announcing that no matter when or where people lived, for the purposes of this film everyone speaks Telugu.

The story opens at the pyramids with lots of Ancient Egyptian-ish folk speaking Hindi. We also catch our first glimpse of topless Sonu Sood, although not topless in our preferred sense. He first appears as a severed head in a bag. So of course, his grieving lover’s first reaction is to gouge his eyeballs out and preserve them in a jar of something orange and smoking.

Skip forward to rich girl Aishwarya (Ileana) slipping away from her father’s security detail to go touring with her gang of friends which includes Ali as Tommy, a character at least 20 years too young for him. While in Jaipur they cross paths with Shakti (Tarak) and he appoints himself their groups’ highly paid guide and protector. How to resist a man who arrives on elephant back, kicks assorted bad guy arse and can get tickets to first day first show of Wanted?

To summarise: Aishwarya accidentally took a very large mystical jewel from her family safe and doesn’t notice she is carrying it in her bag. The Faux-gyptians want it to destroy the world or something. And there are the good guys seeking to protect the jewel and ensure it is used in the ritual required to keep several holy cities in India, or maybe the world, safe.  And Shakti is the son of the man killed performing the last saving the world ritual (either several hundred or maybe thirty years ago).

The first half of the film is a blend of road trip, romance and action in some lovely Indian locations as Shakti has to constantly rescue Aishwarya from her own stupidity as well as from the villains who are tracking her. The second half of the film is a less successful blend of exploding cars and storms of bullets with the mythology underpinning the story of the jewel and the elaborate ritual. We were slightly surprised to learn that the Ancient Egyptians, or a cult, who lived outside the pyramids at Giza had tried to invade Andhra Pradesh on horseback either a couple of thousand or twenty years ago. But compared to all the other nonsensical stuff going on (not a tourist in sight at the pyramids, roads in Hyderabad with no traffic at all), we were only very slightly surprised.

The special effects were cheap looking considering the budget. A sacred sword was made of red plastic, and the significant trishul was yellow plastic with little light bulbs inside it. There was clearly a vision, but it was translated in a very clumsy way. Even in the fight and dance sequences, where we expect Tarak to absolutely shine, the overly jumpy editing and poor effects were a distraction and really diminished his impact. We are well accustomed to seeing action footage sped up or slowed down for impact, but in Shakti the slow bits were often so slow they highlighted the CGI and wires, and the fast bits were jerky and cartoonish. A couple of the songs had huge sets and lots of costume changes but lacked the ‘Wow factor’ we expect from this style of film. The opening Rajasthani song was a great example of what didn’t work – the dancing and choreography were great, the costumes and sets were stunning, and the editing made it look bland and disjointed. We were very hopeful once the rocket launchers appeared, but sadly once the director had blown up umpteen cars and people, it was time for more ‘creativity’ and the film deteriorated. The climax set in an underground temple full of more glowing props was too repetitive as it mimicked a long preceding flashback and the visual effects were not great.

Every film comedian except Sunil made an appearance and it was just too much. We have no idea at all why Jackie Shroff was in this film. His role could have been played by anyone in a brocade jacket and every time we saw him poolside we just prayed he would keep his clothes on. From the look on their faces, so did the gori extras paid to cavort around him! Sonu Sood did his usual villain thing and made an appearance (head attached) in a flashback in the second half. The angrier he got the less he wore, so as you can imagine we were very interested in his scenes. The whole subplot with his lover and her supernatural vengeance was a confused mess, and not helped by the wig department. But there was lots of eye stuff happening, mostly anatomically correct too, which pleased Heather! The orc-like baddie sent to destroy Shakti was blind at first, but after years of punching and headbutting Egyptian columns into shards (think Juggernaut from X-Men), he was apparently given Sonu’s eyes although disappointingly we never saw the actual installation procedure.

Tarak and Ileana were good considering what they had been given by writer/director Meher Ramesh. They had no chemistry as a couple but Ileana did what she could with an under developed character and the nonsensical behaviour required of her. Tarak delivered his usual robust physical performance and rousing speeches. Shakti (the character) had only two facial expressions for most of the film – surly and surlier. We would be peeved too if we got landed with The Wig. The flashback exposition was inexplicable in style and chronology. If this was 20 odd years ago, why was Shakti in a pageboy wig? We were a little bemused by the decision to try to create flowing warrior locks with the use of a wind machine. Sadly, the breeze lacked sufficient oomph to stir the clumpy and hideous wig so it was all for naught. And that inability to make a concept work sums up the whole film.

There were some positives. The audience were laughing a lot at some of the comedic dialogues and they appreciated Tarak’s big speeches. Some things were really fun – Shakti’s dramatic reveal as super agent A1 of the NSA, the rocket launchers, CGI snakes (especially when carried as a concealed weapon), Brahmi and Tarak’s scenes together and the backing dancers who really did give it their all. The Ladakh and Haridwar scenes were beautiful even with all the gimmicky camera work.

This is a film solely for the hardcore fans.

Madrasapattinam

Posted on by

I picked up Madrasapattinam with a little trepidation; after all Indian historical films featuring a cast heavy on English actors don’t usually bode well. But I was pleasantly surprised as, although there are tinges of Lagaan and a few cringe-worthy moments, overall Madrasapattinam fares somewhat better than expected. There is still the issue of almost uniformly ‘evil English’ and ‘good Indian’ characters, meaning most of the supporting cast are very one-dimensional. However the leads give good enough performances that apart from one notable exception, I could ignore the clichés and just enjoy how beautiful the film looks.

The film begins with the elderly Amy Wilkinson determined to return to India and find a man she last saw some 60 years previously. Ostensibly she wants to return a Thali necklace given to her as she feels it does not belong to her. As she is also quite seriously ill she travels with her increasingly whiney and irritatingly useless granddaughter Catherine who is supposed to be looking after her. To aid her search Amy has a photograph she took in 1945 but little else other than a name.

When they arrive in Chennai Amy starts to relive her time in India, when she was the young daughter of the Governor, and this is when the film really comes alive.  The young Amy is picked up at the station by the Commissioner of Police, Robert Ellis (Alexx O’Nell), and straight away he’s my biggest problem with this film. Why does every English bad guy have to be the most evil and despicable person on screen? It’s very obvious from the first time we meet him that this is a man with absolutely no redeeming features whatsoever and it’s difficult to keep watching and not just skip his scenes. In my opinion he could have been made much more interesting if he was just thoughtless and greedy rather than consistently evil, but sadly he’s just vile and repulsive and it’s very obvious from the very beginning how he is going to behave throughout the film.

On the trip to the Governor’s residence Amy meets Parithi (Arya) in classic ‘meet the hero’ style since she sees him running to save a donkey from the path of her runaway car. Parithi works as a dhobi and in his spare time he wrestles with local trainer Ayyakanu; a man with an impressive moustache who isn’t afraid to get down and dirty in the ring himself. Added to Partithi’s ability to run, wrestle and save animals is his most perfect feature – he can iron. Naturally Amy falls in love with her ‘brave man’ as he fights against the English plans to build a golf course on the area where the villagers work and live. It becomes a personal vendetta between evil Robert and Parithi as they are both also competing for Amy’s attention and since they are playing by different rules you know that it’s not going to end well.

Amy and Parithi meet each other in secret, and there are some lovely scenes as they struggle to overcome their language barrier. They have an ingenious if somewhat laborious method of communication, as Amy draws pictures on her clothes of where and when they will meet which Parithi then has to launder off. Amy spends much of her time in the village with her camera, and the villagers seem to love her just as much as she loves them. However when Indian Independence finally arrives it means the end of her romance unless she can escape with Parithi. Their plans are naturally foiled by evil Robert who chases them through the Independence celebrations determined that if he can’t marry Amy then no-one will.

The romance between Amy and Parithi is the best part of the film. Amy Jackson is stunningly beautiful and is convincing as a young English girl in the post-war period. She is nicely restrained in her scenes with Parithi, but charmingly natural with Parithi’s sister Selvi and the village children. Arya is excellent as the strong and mostly silent Parithi who is determined not to back down in the face of the English oppression.

There are many genuinely funny scenes which are well integrated into the narrative, and these help the film from getting too bogged down in all the drama of the fight for the village and the seemingly doomed romance. Tension is well build up in the chase scenes although these could have been cut a little without losing too much of the suspense. Cochin Hanifa as the translator Nambi and Nassar as Ayyakanu are the best of the supporting actors but the story revolves around Amy and Partithi and no-one else has an awful lot to do.

The film does look beautiful with well constructed sets which seem to be representative of 1940’s Madras, particularly to someone like me who’s only ever seen the modern version from 1990 onwards. There are one or two instances of rather dodgy CGI but these are fleeting and don’t really disrupt the story so they are ignorable. The end credits feature old pictures of Madras landmarks followed by their current appearance which really was fascinating. One anachronism for me was one of the actors had an apparent artificial eye. While this was possible from the time period, I don’t really think it’s all that likely that a dhobi would have had access to this especially post WWII where prosthesis were a luxury. But that’s just my obsession and I’ll just see how many people spot him.

The modern day scenes are somewhat hampered by an incredibly wooden performance from Lisa Lazarus as Amy’s granddaughter although Carole Trungmar is rather better as the elderly Amy and her periods of abstraction fit her character well. The story is compelling and the final scenes in the present day give a satisfying conclusion. While the soundtrack by G. V. Prakash Kumar is perfectly adequate it doesn’t stand out as particularly memorable. The first song is set in the dhobi village by the river and I’m sure intentionally, is very reminiscent of Ghanana Ghanana Ghir from Lagaan, although in this case they are asking the rain not to come. The rest of the songs have less dancing than I would have preferred but we do get the opportunity to see Arya in an outfit that looks as if he has just escaped from a totally different period film as consolation.

While evil Robert and the standard ‘English opression’ storyline did annoy me in this film, the romance is quite charming and I think the two leads manage to carry the story well. The parts of this film that I like, I really do like very much but the parts that I don’t like, I really do dislike very much. Which means a lot of fast forwarding when rewatching. As far as historical romances go it’s certainly not the worst I’ve seen and I give it 3 stars, although one of those is for a hero who can iron!

Temple says: I don’t have the same issue with evil Robert that Heather does. He shouts, snarls, twitches, bullies his underlings, has a pit full of decomposing bodies in his backyard and constructs overly elaborate revenge plans. In short, he’s like almost every other filmi villain. I do have an issue with the atrocious acting by the guy who plays Amy’s father. Distractingly bad. Given to long….pauses. For no reason. And delivered other lines. Like this. Staccato. Caroline Trungmar was not impressive as the older Amy as she seemed catatonic for most of the film but her Titanic inspired role was mostly to sit and look like she was remembering so I may be a bit harsh in my judgement. The tradition of really bad acting by white extras seems to be alive and well and was embraced by many in this cast.  As they were mostly caricatures rather than fully developed characters I don’t know that a more nuanced performance would have been much help. The Indian supporting cast were all pretty good, and Cochin Hanifa is lots of fun as are Parithi’s friends.

I was more distracted by the indeterminate historical period of the costumes and dialogues. As the film starts in 1945, the European costumes are often very wrong indeed and the dialogue sounds as though some of it was lifted from Dickens rather than a comparatively modern family. And the Europeans’ manners at the dance…well.

But the film is really about Parithi and Amy and if you can enjoy their developing love story, then it is a pleasant enough timepass. Arya is excellent as the strong silent type, prone to flexing and ironing. Who could ask for more? Ok well, if you want more, he also wrestles.  Amy Jackson looked more like a footballer’s girlfriend than a 1940s heroine but I think she is one of the least embarrassing gori love interests in an Indian historical film that I have seen. Their interactions are simple and often Amy follows Parithi about as he works, allowing us to observe the villagers life and see the diverse supporting characters in play. They have a nice rapport, and the scenes with Selvi (Parithi’s sister) are genuinely touching.

The look of old Madrasapattinam is very picturesque and the olden days scenes are pretty and dominated by sepia tones that help keep the mood of past times. The modern city of Chennai is a contrast in grey and blue, cold and confusing. This feels very much like a pastiche of Lagaan and Titanic with a dash of Kisna and it is entertaining rather than informative.

I give this 3 stars – for a good looking film, with good looking stars and a positive message that men who iron are heroes.