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Reviews
A Cold Night's Death (1973)
Great little atmospheric chiller
There were some interesting Made-for-Television feature length films in the early 1970s and A COLD NIGHT'S DEATH is among the best of the lot. The remote Arctic setting, the feeling of isolation and gradually mounting nervous tension between the two main characters are all superbly handled. The quiet loner Robert Culp and the nervously edgy Eli Wallach are perfect foils for each other and their byplay heightens the creepy 'something lurking nearby' feeling prevalent for most of the film. Maybe, just maybe, some viewers will guess what's really going on midway into the film but even so it is a brilliantly chilling movie worthy of any collection.
Dangerous Crossing (1953)
Great plot let down by lacklustre script, direction and acting
Although the story where a person seems to disappear without trace and no one believes he or she existed except their companion has been repeated often, I had high hopes for DANGEROUS CROSSING. But the movie was ultimately disappointing because of uninspired handling of a good plot. No one involved seemed to be very interested in what was going on and the sequence of events looked horribly contrived. Jeanne Crain's hysterical overacting gets on one's nerves 10 minutes into the film and never lets go. Dull direction and wooden performances by rest of the cast do not help much and even the normally reliable Michael Rennie looks like he wants to be somewhere else. Overall a forgettable little film.
Fourteen Hours (1951)
Superb but oddly underrated little thriller.
1951 seemed to be a year for films depicting rescue of an individual in peril; there were three such films - ACE IN THE HOLE, THE WELL and of course, FOURTEEN HOURS. All three were very good films but I like the last mentioned best. The camera-work from several different perspectives is superb, the involvement of the onlookers just right and the rescue efforts looked quite realistic. I disagree with comments that some situations and characters were clichéd; many major cities did have beefy Irish-American beat cops in the early 50s and so Paul Douglas' character is perfectly acceptable. Likewise, the 'good ending' is not necessarily traditional; after all, the rescue attempt would have been in progress for hours and the police were pulling out all stops. The odd thing is that although the film is available on DVD, it remains relatively unknown even among connoisseurs of Film Noir.
The Killing Fields (1984)
A shatteringly superb film
It was hard for me to understand my own emotions after watching The Killing Fields. It was more like watching a documentary with actual events and people than a feature film. I was not able to say or even think anything straight, such was the impact that the film made. Hiang N'gor as Dith Pran lives rather than acts the role; I have never seen any on-screen or on-stage performance to match where the actor put his/her heart and soul into the role that he/she was playing. Before watching the film for the first time over 20 years ago, I had only a disjointed view of the horrors perpetuated by Pol Pot and his Khmer Rouge regime in Cambodia. But since then, I have visited the country, spoken to the people and can form a far better picture of what happened to it during those terrible years. The film depicts the atmosphere with stunning clarity, complemented by superbly imaginative camera-work and sound effects. Anyone with a but of conscience is going to remember this film for life.
Crisis (1950)
Poor relation to STATE SECRET
I saw this film again last night after a very long time and could not help comparing it to the similarly themed British film 'State Secret', which was also released in 1950. Whereas State Secret was a fast moving classic full of snappy dialogue and dark wit, CRISIS let itself down by a plodding script, wooden acting and heavy moralising. Grant is unconvincing as the American surgeon caught up in political intrigue while vacationing with his wife in a South American country. The cinematography is poor, making the sequence of events hard to follow and the ending extremely melodramatic. Overall, it is a missed opportunity with such a good storyline to start with and I'd describe it as a badly made rather than a bad film.
So Long at the Fair (1950)
Good, but could have been MUCH better
Not many people know that the basic plot of this film is based on a real life event that took place during the 1889 Great Exhibition in Paris. There are major differences of course; for a start, the young woman arrived with her mother and not brother as depicted in the film. Secondly, they arrived directly from India and not Italy. Ironically, the 1955 TV Episode 'Into Thin Air' - part of Alfred Hitchcock presents - is far closer to the truth than the 1950 feature film.
But I agree to the change of plot because casting the missing person as the brother gives the story more flexibility. That said, the script should have been far more exciting than the rather bland fare that the director had to cope with. There was plenty of scope for a brilliant thriller with plenty of red herrings, something which Hitchcock would have exploited with glee - as he already had done in his 'The Lady Vanishes' and would do so again in the aforementioned TV episode.
Non-Stop New York (1937)
One of those obscure little gems of cinema
I first heard of Non-stop New York while browsing, of all things, the Aurum Encyclopaedia of Science Fiction films. The only reason that this film was included in that book was because it is 'futuristic' by 3 years; it was made in 1937 while the main action takes place in 1940. One interesting point is that the filmmakers did not know that WW2 had started by then and so there is no mention of it.
For some reason, the film is very obscure, only 39 viewers (including me) having voted for it on IMDb at the time of this writing. But is a fast moving little thriller full of incisive British wit. The film is so quintessentially British that one cannot help but notice that even the 'Americans' are local actors wincing with their attempts at transatlantic accents. But for this one minor flaw, the film is thoroughly enjoyable with perfect casting and good, if lightweight performances. An added bonus, certainly from my own perspective, is that most of the action takes place on board a Transatlantic Clipper, one of those seaplanes that were so glamorous in the 1930s. A definite Collector's item and I am the proud owner of a good quality VHS tape.
I diafanoidi vengono da Marte (1966)
Visually impressive Euro B Sci-fi movie.
I have seen this film just once - back in 1969 when it got a second release as a morning show in one of the local cinemas in my hometown, Bangalore. All right, it is blatantly outlandish and extremely B-movie from the Italian stable, but as with many European films of its genre, has its moments. I thought that some of the special effects were very impressive - particularly the HAPPY NEW YEAR formation spacewalk by the astronauts in the beginning of the film. The 'invasion' of humans by the green Martian 'space mist' is decidedly silly from modern standards, but that and several other scenes in the film do raise unintentional laughs. Tony Russell is the obligatory American lead intended for the Western market but it is nice to see a young Franco Nero in one of his early roles. The sets are occasionally creaky but not as bad as some reviews make out. In all, a worthwhile addition to anyones camp-movie collection if it is ever released on DVD.
Anuranan (2006)
A beautiful, thought provoking film
I started to see ANURANAN almost as an afterthought on a Saturday night because I had nothing else to do and it was the first DVD that came to hand. It turned out to be a marvellous and moving experience, beautifully crafted and deeply explored. Although I don't speak a word of Bengali, it seemed more natural to watch it in that language with English subtitles rather than the poor Hindi dubbing.
What made the movie specially interesting is that all four main characters are explored both collectively and individually, mostly though expressions and body language. The interchange between the two women, though limited to a few scenes, is the crux of the entire story and one gets the idea that they are somehow emotionally dependent on each other. Their rather ambiguous and mysterious dialogue leaves some questions unanswered.....perhaps the director deliberately intended it to be so. Rahul's contemplation of his own dreams and desires are also superbly depicted, particularly when he is on his own in the Himalayas.
The ending did come as a shock and while it was completely unexpected, I resisted the knee-jerk reaction to denounce it. On contemplation, I felt that it was so designed not simply to show Preeti's emotional frailty but once again the strange bond that existed between the two women through their men. Rahul's final recording seems to suggest that he had finally understood where his wife Nandita came from due to his relationship with Preeti. That emotional link was why Nandita was finally only able to grieve when she met Preeti at the hospital.
The editing needs special mention for being so crisp and never allowing any scene to drag, something that can easily happen in this kind of film. The musical score is delicate and harmonious, superbly complementing the storyline. But it is the awe-inspiring and unbelievably imaginative camera-work that is really the icing on an already beautiful cake, not just in the Himalayan scenes, but throughout the film.
White Mischief (1987)
Moderate film of a dazzling historical event
Even with the rather unimaginative script and lacklustre direction, WHITE MISCHIEF comes across as a good movie, largely because of the times and the place. But I cannot help feeling that a great opportunity was missed here to make a really memorable period piece considering the plot and setting. The fantastic location of Kenya's 'Happy Valley', the hedonistic lifestyle of the White settlers in the face of the war in Europe, the love triangle that led to Lord Erroll's murder and the subsequent dead-end investigation - all cried out for a more inspirational handling than the rather insipid effort by Michael Radford who both wrote the script and directed the film. Even Roger Deakins' cinematography was nothing to shout about.
Still, the film does manage to make something of a mark, thanks largely to great performances by Joss Ackland, Sara Miles and to some extent, Greta Scacchi. I debated for a while whether or not to buy the DVD and on balance decided that it was a worthwhile investment.
American Graffiti (1973)
Brilliant nostalgic period piece
Seeing American Gaffitti now is a curious experience. It was set in 1962 but made in 1973 with several future stars in their early roles. If you look carefully, you can see that many of the boys have struggled to turn their 70s hairstyle to match those over a decade earlier. But overall, AG is a dazzling and memorable nostalgic drama superbly written and directed, falling just short of a masterpiece.
The editing is particularly good, depicting the experiences of all main characters as they go through the last night of celebration before going off to college. I liked the idea of using the local haunt - Mel's Drive-in - as the focal point for the gang's fun even though they actually spend very little time inside it during that night. Also interesting and nostalgic is the all night 'cruising around' by the kids looking for fun and mostly getting it. One possible complaint that I have is that there should have been an attempt at introduction of the characters at the start. Ideally, it could have been by way of a nostalgic voice-over by Curt Henderson (Dreyfuss) looking back at that night and introducing various characters as they arrived at Mel's.
Come September (1961)
Great early 60s fun!
For some reason, this lightweight comedy from 1961 became something of an icon in India, where I come from. We were kids when it was first released but Bobby Darin's theme music became so popular that it was played practically everywhere for the next few years. I think the film was re-released three times between 1961 & 1964 in Bangalore, with the locally edited trailers mistakenly adding footage from other films of the era like Palm Springs Weekend! I first saw the film as an 8-year old in 1963, but had to wait 28 more years before I saw it as an adult - on British TV in 1991. On the whole, I like this film as a period piece of what some people call "Kennedy era entertainment" - lightweight, fluffy comedies that are nice to watch now and then.
Sphere (1998)
An excellent but surprisingly underrated film
Ever since I saw Barry Levinson's 'Sphere' I have been unable to understand why it has received so little critical acclaim, especially with such great start like Dustin Hoffman, Sharon Stone and Samuel Jackson. Sure, the touch of surrealism in the script makes the film unusual but the story, direction and acting are good enough to give it more accolades than it has received so far. I could not help but compare it to Ridley Scott's 'Alien' which has a similar claustrophobic feel but with a clearly defined aggressor in shape of the creature. With 'Sphere' the antagonist is less obvious and there is a touch of Shakespeare's 'Tempest' in the overall ethos of the film. The outcome at the end is left to the imagination of the viewer to some extent and that is probably why many critics were disappointed. But for me, it remains a highly unusual, well made science fiction film.
United 93 (2006)
An unbelievably brilliant piece of film-making.
By the time I actually saw "United 93", I had read quite a few reviews of the film, almost all very positive. And of course, I knew the details of the real life event. But none of these prepared me for the raw intensity and power of Greengrass' script and direction. By choosing to make it in the semi-documentary style using unknown actors, he took a big risk but the end product is beyond reproach. I sat clutching a cushion throughout the film, palms sweating and heart pounding. The carefully edited depiction of the reactions both in the air and on the ground as the tragedy unfolds is a masterpiece of film-making. The last 10 minutes are positively gut-wrenching and are going to remain with me for the rest of my days. I am sure that only minimal artistic licence had to used in guessing the events on board the plane and even that must be very close to actually what happened. If this film does not win Oscars for Best Picture, Direction & Screenplay & Editing, the awards will cease to have any meaning for me.
State Secret (1950)
Brilliant but sadly underrated political thriller.
"State Secret" is one of the best political thrillers that I have ever seen. The storyline, script, acting, photography and direction are all top notch. Considering that the film is over 50 years old, it does not seem dated at all; in fact, the plot could easily be applicable to this day. Douglas Fairbanks manages to convince in his role as the visiting American surgeon, but it is the supporting cast - Glynis Johns, Jack Hawkins and particularly Herbert Lom that runs the show. Lom has one of the best one-liners in Hollywood history when he disdainfully tells Fairbanks "Oh please, don't say that it is the principle of the thing....that usually turns out to be so much more expensive!" Sidney Gillat's direction keeps the pace brisk & eventful. A must buy on DVD, certainly for me.
Escape from Zahrain (1962)
Better than most people give it credit for
This was the third English movie that I saw as a kid, after "Jungle Cat" and "Absent Minded Professor". I thought that it was an excellent action adventure film at the time. Yul Brynner is always good to watch and Sal Mineo's death particularly upset me since he looked so young. Although I could see the holes in the plot line when I saw it again as an adult, I still think that it is better than a lot of other movies of the genre, with some good photography and sound effects. The climactic scenes were particularly well done and the acting overall was quite good. Pity that it is still not available as DVD. I hope that Paramount Pictures take note.
The 27th Day (1957)
Strangely underrated 50s Sci-fi film
This movie might not be a classic like "The Day the Earth Stood Still" or "The Forbidden Planet", but as far as 50s Sci-fi movies go, it is very good - even memorable. The concept is certainly new and very different from the other Sci-fi movies of that era. The fact that it has very few 'special effects' as such gives it an oddly semi-documentary feel and improves the shock effect. The script and direction are quite good and the acting, if nothing special, is certainly not bad. The only letdown is the tame, 'politically correct' ending, but I suppose that could not be helped in a US full of McCarthyique hysteria.
Another point in the film's favour is that the plot easily lends itself to a modern 21st Century remake. Of course, the nationalities and political leanings of the 5 'victims' would have to be different to suit the current climate. But the personalised doomsday devices could be designed to look more convincing.
The Da Vinci Code (2006)
Over-hyped, dull, very boring and completely pointless
Seldom has a movie so eagerly awaited has disappointed so much. I knew that Dan Brown's book was over-hyped and artificially 'best sold' by the various protests, but I was hoping that at least the movie might be interesting. Instead, all we got was a flat & uninspiring script, dull direction and wooden acting. Tom Hanks and Jean Reno looked as though they were late for a funeral and the supporting cast were not far behind. The 'twists' are preposterous and defy common sense and the special effects look as though they have been borrowed from other films. To add to the fiasco, the music and cinematography are also very ordinary, completing a deadbeat film.
Teen Devian (1965)
The story has a deeper meaning than apparent
For all intents and purposes, 'Teen Devian' might seem like just another lightweight Bollywood musical. To some extent, this might even be true, especially because the producers had to be sure that the film succeeded with the masses. But somewhere behind the scenes, either Sadashiv Brahmam (who had the 'idea' for this story) or Amerjeet (who directed the film) decided that there would be a twist to the usual formula, and succeeded perhaps beyond even their own expectations.
This is not simply about a handsome man flirting with 3 women, undecided on whom to choose as his life's partner. Dev Anand's character was really in love with each of the 3 women at various times, and they with him, despite being aware of the other two. Dev Anand's relationship with Simi and Kalpana is particularly interesting - in that each of the women comes to depend on him heavily. There are quite a lot of suggestive teasers in the stars' body language that lend themselves to imagination depending on the viewer's maturity. The theme is surprisingly adult and after all that it was ashame that the ending was tame, obviously designed to please the masses and deflect criticism.
King Kong (2005)
Well made remake, but could have been better
I saw Peter Jackson's King Kong last night with my wife. While I enjoyed the film very much, I could not help getting the feeling that it could have been much better. On the positive side are the excellent script & direction, superbly chosen cast down to the smallest roles, good acting great settings of the 1933 New York and great sound effects. Best of all was the overall ethos of the film; there is none of the sexual undertones in the relationship between Kong and the girl - something that marred the earlier versions. In Jackson's film, Ann Darrow is more like a pet to King Kong, who plays a more fatherly (or big-brotherly) figure to her.
But the thing that disappointed me most was the uneven editing; some scenes were too long drawn out while at other times there was too quick a 'jump' from one scene to another. For example, after all the adventure in reaching Skull Island, there should have been some footage of the crew's attempt to secure the ship and reach land - not just one runaway lifeboat. There are several such small 'jumps' on the island scenes which affected the smooth running of the story. Finally, I was very unhappy with the switch from a passed-out Kong to New York, without any shots of the ape in transit.
My other disappointment was in the rather ordinary Cinematography, given the availability of CGI special effects these days. Of course, King Kong himself was fantastic, as were the Dinosaur shots, but the Island set-up was too artificial looking. Most importantly, King Kong's initial appearance was rather tame and I wish there had been more footage of his first approach though the jungle to encounter the trapped Darrow. (For this one scene, the otherwise justifiably derided Dino de Laurentis' 1978 version did a great job.) Even the New York scenes could have been shot with more imaginative angles.
Overall though, a wonderful film.
Eyes Wide Shut (1999)
Grossly underestimated and typically Kubrikian masterpiece
Just after we watched "Eyes Wide Shut" a few years ago, I told my wife that it was very much a "man's movie". This is not intended to be a sexist comment, but I believe that in order to appreciate the several typically Kubrikian nuances in the film, one has to watch it through Tom Cruise's eyes and one can only do this effectively if one is a man....like Cruise. With Kubrick, the sum of the parts does not always make an effective whole, but it somehow does so in this film. The direction is very much "in the face" as it always is with Kubrick and the various supporting characters - like the shopowner's nubile Lolita-like daughter - somehow convey a hidden message that is for receptive ears only. But to my mind, the best scene in the film is the early morning street sequence after the party where Cruise realises that he is being followed by the bald man. There is a hidden menace in the air that can only be appreciated if you put yourself in Cruise's shoes. For this and several other sequences, this is a very unusual film that needs to be seen and enjoyed in the right mood, preferably on one's own.
Raaste Kaa Patthar (1972)
Amitabh Bachchan's best ever performance
This is one of Amitabh's very early films, released when he was not even a familiar star, let alone a superstar that he is today. It did not exactly fit in with the 'masala' films of 70s Bollywood and flopped at the box-office. Yet, despite being an almost unknown piece, the film has a strong central storyline and features by far the best acting performance form Amitabh Bachchan to date. In fact, I doubt very much if he will ever be able to match his role as Jaishankar Rai in this film.
Basically, it is based on the Shirley MacLaine-Jack Lemmon masterpiece, "The Apartment". While "Raaste ka Patthar" does not match its Hollywood inspiration, it is a very good movie in its own right. Amitabh's atypical role as a shy and timid clerk regularly manipulated and exploited by everyone around him is heartrendingly brilliant, as is his fantasy 'revenge' against his tormentors as the gun-slinging cowboy in his dreams. His co-stars also give better-than-average performances, notably Prem Chopra as Amitabh's manipulative boss and the almost unknown Nita Kahani as the heroine. I hope that I can get a DVD of this film someday.
Red Eye (2005)
Rather oversimplified, but good enough
"Red Eye" is a sort of movie that one can watch and enjoy on DVD at home on a lazy winter evening with nothing else to do. The plot is simplicity itself, but the acting is adequate and there is enough action to keep one interested throughout. It will not strain anyone's grey cells, but neither do several other movies of the genre.
Some of the scenes on the plane are far-fetched. It is highly unlikely that in this post 9/11 ear none of the other passengers (except the little girl, of course) or crew notice the heroine's predicament - even when the nasty guy physically assaults her. By the same token, hardly anyone understands what happened when she manages to turn tables on him by stabbing him with a biro(!) and hurries off the plane. But despite these glitches, it is an OK film and worth watching once.
Eye of the Cat (1969)
Very good and very underrated thriller.
I saw this film back in India in the early 70s during its second run. I enjoyed it very much at the time and even now, looking back after over 30 years, I am amazed that this movie gets so little publicity. Other films that are less than half as good have long got a DVD release, but very few people seem to know of this one's existence.
All right, it is not a classic but is certainly good for Saturday evening. The plot of a sick, reclusive elderly woman living in a mansion with lots of money is nothing new; nor is the arrival of 'caring' young relatives hoping to find a place in her will. But the presence of some twenty sinister looking CATS seemingly guarding their mistresses' interests certainly adds a diabolical angle. Michael Sarrazin's unnatural phobia of the cats adds to the drama, as does Gayle Hunnicut's murderous nurse. There are some superb scenes like the aforementioned runaway wheelchair and the outstanding Oxygen Tent sequence. I hope someone has the sense to bring this film out on DVD in its original theatrical release format.
Mr. and Mrs. Iyer (2002)
Superb, realistic film with a mixed message
I disagree with the reviewer who says that this is a film made just to win awards in the West. On the contrary, one would have to be an Indian to understand the nuances throughout the film and I don't think the average Western viewer can appreciate the cultural connotations within the story. I was brought up as a South Indian Brahmin for the first 30 years of my life in an area of intense religious tension that frequently boiled over in violence. Therefore, I do not need a Yale researcher to tell me the meaning of religious intolerance or the background of Meenakshi Iyer's character. I don't think the film gives a biased view of the religious or cultural divide in India. Apart from the scene in the bus, the faith of the fanatics is kept deliberately vague so that we are not quite sure of the identities potential killers or their victims. This is sadly true in today's India where a slight misunderstanding can easily flash out of control. Until all concerned learn to tolerate and respect one another's beliefs while keeping to the appropriate boundaries, the situation is unlikely to change. And Aparna Sen makes a superb job of getting this rather ambiguous message across.