Raman Raghav 2.0

Anurag Kashyap’s Raman Raghav 2.0 takes us into a cat and mouse game between coked up cop Raghavan (Vicky Kaushal) and self-possessed serial killer Ramana. There are no heroes here, in a Mumbai that is more like a jungle peopled by predators and those who so easily become their prey.

Anurag Kashyap has never struck me as a wallflower, and his style is as much a feature of the film as his actors. There is a lot of technique out on display and the stylised effects actually do work pretty well with the action and narrative. When Ramana describes his thinking there are often sound effects like rain, or static, that make it seem like a genuine recollection but also that his imagination is his reality.  Kashyap supposedly employed guerrilla filming tactics to shoot his story out in the city, and very occasionally you see an extra execute a nice double take. The colours, the lighting, the ambient noise, it all says Mumbai and reminded me that every mega-city is a collection of villages. There is a real tension in some of the chase scenes that is as much “will they make it down that street in one piece” as it is about the story. I get why he used the chapter structure to string together disparate scenes and save on explanation, but they are a bit annoying and really don’t add anything other than exposition. I was more invested in following the characters than being hit over the head with the intent of the next section.

Nawazuddin Siddiqui is that terrifying movie bogeyman – a mild mannered, unremarkable, serial killer. His performance gives Ramana a menace and intelligence that helps gloss over some of the less plausible moments. Scenes that appear to be him reacting to something can later be seen as a rehearsal or test for how to get the desired reaction. He has a casual brutality driven by a rigorous inner logic, with a touch of religious mania. He seems to be guided by cats more than is good for a sane man. Ramana’s Mumbai is part forest and little shacks, not many people around him at times, and part concrete jungle. He is matter of fact and almost seems to expect people to agree with him that they must be punished. When he tracks down his sister and finds her recollection of events not to his liking, he cannot let that go by. His scenes with Raghavan are particularly mesmerising as Nawaz the actor and Ramana the character each play with the onlookers emotions and logic. His final scene with Raghavan was sick and creepy and yet held a sweetness that implied redemption had once been possible, perhaps. Kashyap should be thanking his lucky stars he got Siddiqui to star as I can’t imagine another contemporary actor being so prepared to show such unapologetic darkness, and making it look exquisite.

Vicky Kaushal is the coked up cop Raghavan. He disregards Ramana’s hints that they have seen each other before and leaves him as a harmless nut job to be scared off. He is on his own downward spiral, and there is no end in sight. Raghavan doesn’t seem to have a single honest or healthy relationship in his life. Like Ramana he believes he knows best and that whatever he does is somehow sanctioned. Raghavan is a nasty piece of work but I never felt drawn into his inner world the way I was with Ramana. Vicky Kaushal relied more on external expression of his turmoil – the sniffing and irritability that went with his habit – than showing the demons driving him. I rarely felt much connection with Raghavan as a person. I could easily detest him but I couldn’t really invest in his fairly predictable journey.

His sort of girlfriend Simmy (Sobhita Dhulipala) tolerates his behaviour although I really don’t know why. He makes it clear she is there for sex not forever, and he certainly doesn’t care about any consequences of their relationship, but she doesn’t seem to take his aggression and threats seriously. Sobhita is convincing with her party girl ennui and casual acceptance of Raghavan’s violent side. If only Simmy also had better attention to self-preservation. Some of the women in the film exhibit what could be called non-traditional values, and I couldn’t help but notice that none of them comes through unscathed. It’s a high body count film so that is not inconsistent, but I wondered why female sexuality had to be the trigger for punishment so often. I spent a fair amount of my viewing time urging the women in it to RUN.

The rest of the supporting cast play the friends, family, cops and robbers of this world. They’re all good but very much pushed aside by the two lead characters. I particularly liked Amruta Subhash as Ramana’s sister Lakshmi, and Mukesh Chhabra as the wishy washy loan shark.

Raj Sampath’s score is driving and percussive for the most, underpinning the tempo of the city and the chase. The songs are obligatory rather than necessary but do speak to the characters inner state. And there are some nice touches as when the romantic music wells as Ramana explains to Raghavan that he is his soulmate. It’s a twisted but seemingly genuine love at first sight.

Whenever Nawazuddin is on screen I felt a chill. Unfortunately too much directorial faffing around to try and look cool drained the film of tension, and Vicky Kaushal wasn’t able to overcome either a compelling co-star or an underwritten role. 3 stars.

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Bombay Talkies (2013)

Bombay-Talkies-Poster

Apologies – this post is brimful of spoilers. Mind you, no one who edited the trailer or the geeks writing for Wiki or reviewers for some major papers seems to give a toss about giving away details.

Bombay Talkies sounded like an odd but potentially brilliant project. Four directors, four stories with the only connection being an homage to the Indian film industry. And I liked it a lot. Not all the stories are equally strong but they each have something that has stuck with me since seeing the film last week.

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I Am

While Bollywood has just started to show kissing scenes and Hollywood is slowly integrating gay storylines into films, director Onir has moved much further ahead with his latest film. I Am is a confronting and thought-provoking collection of 4 stories which deal with subjects commonly not spoken about in public and rarely seen in mainstream film. In addition to its subject matter, the film is novel in that funding was partly achieved through social networking and has over 400 producers. Onir and Sanjay Suri initiated a page on Facebook where people were invited to sign up to help finance the film or volunteer their time. Manish Malhotra for example designed the costumes for free and many of the actors did not receive any remuneration. Also, somewhat unusually, there are three directors who appear as actors in the film; Anurag Kashyap, Anurag Basu and Nandita Das. I Am has won acclaim in a number of film festivals, a number of awards already, and luckily for us premiered in Australia as the closing film for the Indian Film Festival. As an added bonus, Onir and Juhi Chawla were present at the screening I attended in Melbourne to introduce the film and to take part in a Q and A session afterwards. My favourite actress, a director whose previous work I’ve enjoyed and his brand new film all adds up to a perfect way to spend an evening.

The four stories are loosely linked together by friendships, connections and chance meetings between the characters, and this works well as a connecting thread without feeling too contrived. The first story is Afia’s (Nandita Das)and deals with her determination to have a child by herself after her divorce.  Her friend Megha (Juhi Chawla) speaks as the’ voice of society’ condemning Afia for what she perceives as selfishness and the story raises a number of questions around the issues of single parenthood and artificial insemination versus adoption. The debates between Afia and Megha are honest and natural and the conversations Afia has with a number of her male acquaintances as she looks for a sperm donor ring embarrassingly true. Onir described Afia’s story as the most ‘Bollywood’ and it does follow a more traditional story telling path compared to the rest of the film.  I don’t relate to this story personally as Afia’s decisions would not be mine, although I mainly agree with her right to choose.

The second story is Megha’s own and describes a trip she makes back to Srinigar for business, having left the area some twenty years before with her family as part of the Kashmiri Pandit evacuation. She stays with her childhood friend Rubina (Manisha Koirala) and the contrast between the two women; one who was forced to leave and one who had to stay, forms the focus of this section. The suffering on both sides is evident and Rubina envies Megha’s freedom of living in Delhi away from the continual threat of fighting. Megha in turn resents having had to flee the violent attacks on her family.  Srinigar looks very similar to my home town of Belfast in the seventies, with bombed out buildings, soldiers everywhere and the ubiquitous presence of barbed wire.  But behind the rubble there is still beauty in the landscape and Onir manages to capture this equally as well as the devastation. This was a very touching story and I was surprised to read in the statistics at the end of the film just how many people were displaced as this is something I know very little about.

The third story is that of film maker Abhimanyu (Sanjay Suri) and deals with the taboo subject of child abuse. We see that Abhi was abused by his step father as a child and this is his story about finally being able to speak up about his childhood. Abhi has recurrent dreams of his mother and many of the scenes also have a dream like quality as if Abhi can only bear to relive them a step removed. There is a well-defined contrast between Abhi’s party life style and large group of casual friends and the scenes where he confronts his past with his close friend Apama.  Throughout the story Abhi is conflicted about his sexuality and his childhood experiences have had an obvious effect on his ability to form relationships. This is a very difficult subject to film but Onir and Sanjay manage to deal with it sensitively and the story is well told.

 The final story is the most shocking for me in many ways, not because it features men kissing, but because of the events that follow. This is Omar’s story and explains how Section 377 of the Indian Penal Code is used to extort money – and more – from homosexual men. Omar is a hustler picked up in a bar by Jai before they are spotted by a corrupt cop. The confrontation is graphic and detailed, and it’s very disturbing to know that it is based on true accounts.  Onir expressed his amazement during the Q and A session that the film got through the censors without getting any visual cuts (mainly referring to this story) and I am amazed along with him. Some of the dialogue was muted, however the subtitles were abundantly clear as to the viciousness of the scene depicted despite the many ****’s. Rahul Bose as Jai was incredible in this and was able to effectively portray subtle changes in Jai’s mannerisms as a consequence of his experience. I am very impressed with his performance as he really made me believe this story, much as I didn’t want to.

The film starts with an easy to digest story and ends with a truly sickening one. The progression is deliberate and the style of shooting changes along with the dialogue delivery. Afia’s story is shot with open angles and plenty of space, but by the time we reach Omar’s story the style is much more closed in and claustrophobic. The dialogue becomes more graphic in each story as does the action on-screen. I find it hard to describe my feelings about this film – I can’t say that I enjoyed it, because I felt too uncomfortable while watching.  And it’s not a film to be enjoyed as such anyway. It is brilliantly filmed – the actors are outstanding and the stories themselves are very well written and I can appreciate it as a work of art. It would be more accurate to say that I enjoyed the experience and think that the film is excellent, just not one for everyone’s tastes. Thought-provoking and challenging, I Am gets 4½ stars.