2011 Was a Damn Good Year!

I don't usually do the end of year lists (not because I have anything against them, but mostly because if I like something I will blog about it right there and then), but this year seemed to deserve a special pat on the back for giving us so much good stuff. So even if I have talked at length about most of these movies, this is the end of year wrap-up and my top 5 (or 6?) most awesome movies of the year.

Dhobi Ghat



This is technically a 2010 movie for me since that's when I saw it, so I debated whether to include it or not, but heck, it's always a good idea to give it another shout-out. It didn't do too well at the box office, and there are a couple of things that upon rewatch bothered me about it (the main one being Monica Dogra's acting skills or lack thereof), but I still consider Dhobi Ghat one of the most touching Indian films I've ever seen (yes, emotion works best for me when it's subtle and tender). Maybe because I was following it so closely pre-release, or maybe because I saw Kiran Rao on stage at TIFF talking about it, but this is one of those rare films where I can feel the love of the director for everything to do with filmmaking in every frame. It's a movie I would not hesitate to recommend to anyone who wants to give Bollywood a shot, because yes, I do consider it Bollywood (the new Bollywood that I am loving more and more) even if right now it seems like it's ahead of its time.

7 Khoon Maaf



Vishal Bhardwaj's sometimes humorous, sometimes unbearably dark drama about a woman and her 7 husbands who all end up dead. Another movie that didn't do very well with the audiences, and in a way it's easy to see why. Not only does it have a woman as the central character, but it's a very complex, wicked and confounding woman who makes it very hard to read her fragile heart through the layers of the film. Give it to Bhardwaj to attempt something as bold as this film and to almost get away with it. Priyanka Chopra's performance was the highlight of the year for me and that alone makes the movie worth while. But when we add to that the fabulous soundtrack, the Vishal trademarked camera-work and the story itself with its million interpretations, it's more than enough to shoot a movie to the very top of my favourites. Frankly I did not think another one would surpass it this year. And only one did, but more on that later since this list is in chronological order.

Shor in the City



This was one of the surprises of the year for me because while I was expecting it to be fun (based on how much I loved "99" from the same director duo), I didn't expect it to be so good. It's sometimes tongue-in-cheek and other times dead serious (emphasis on dead), and sometimes you're not even sure which one it is, but it's a damn good watch, that's for certain. Setting up a business in Mumbai, working the traffic lights and a peek into the lives of small time crooks, innocence lost and found again, all these themes get explored through the 3 story-lines of the movie and most come to a very satisfying end, even if not all believable. This is a movie I can't recommend enough.

Saheb Biwi aur Gangster and Delhi Belly





I cannot for the life of me decide between these two. I went to see Delhi Belly in the theatres 3 times and laughed my head off every single tine, while I only watched SBAG once but that was enough to know I was in love with it. What makes it even harder to choose is that SBAG is not a comedy by any stretch of the imagination, while Delhi Belly will only work if you find it funny, otherwise it will bomb. Delhi Belly is not very heavy on story-line, and yet somehow it kept me engaged every time. SBAG on the other hand has quite the plot and quite the surprising finale, so if story is what you're after, this is definitely the one to see. Delhi Belly then wins on the soundtrack side while SBAG wins on the visuals side.

Tell me this image alone doesn't steal your heart!

Both films have excellent performances and both have strong characters that make an impact. So you see... I can't choose. I'll have to leave this one to you.

Rockstar



I'm sure by now everyone knows this was THE movie of the year for me, so I'll keep it nice and short. Not many movies (and only a handful of Bollywood ones) grab me emotionally. I care for the characters, sure, sometimes they piss me off, sometimes I feel bad for them, but I'm never living every second of the film with them. So when a movie manages to remove me from reality and soak me into the story to the point where I forget myself completely, it's shocking. And wonderful at the same time. Rockstar did exactly that to me. Not once, not twice, but all three times when I watched it in the theatres. There is something so powerful about Imtiaz Ali's storytelling mixed with AR Rahman's music, that I simply lose myself in it every time.

I loved this movie so much that every person who did not feel the way I did about it made me sad. Not for the movie (which did well enough) but sad for them, because I felt like they were missing out on something powerful, magical and out-of-this-world special. But... then again, maybe other movies give them the same feeling, maybe movies that will never even gain my benevolence let alone my love, so I can't weep for them for too long.


Now let me tell you this was not an easy list to make. I left out the gorgeous Zindagi Na Milego Dobara, the hilarious Bbudda Hoga Tera Baap, the tragic Bol (this one would have been in my top 5 but it's not technically Bollywood, so it got disqualified), the adorable FALTU, and the quirky Dil Toh Baccha Hai Ji, all movies that I really enjoyed this year. And I also left out the two glittery fluff-balls of the year, but that's because they're coming in a separate post.

So all in all... damn, it's been a great year for the Bollywood lover!

Namak Went to See Dhobi Ghat at TIFF

It's hard to explain why I went to the Toronto Film Festival to see Aamir Khan not as a fangirl but as a movie lover, so I won't get into that in this post. But it must be said that even for a non-fangirl it was quite the fan experience to be there.

I'll get to the movie in a bit, but first the stars' entrances. People were waiting for at least an hour across the street from the venue, ready to mob the stars when they came in. Funnily enough I didn't even see Kiran when she jumped out of the SUV and squirreled into the theatre, and it's not because she's so tiny, but because I was too fascinated by the wave of people descending upon Aamir Khan like a tsunami. To give you an idea of what it looked like:

Haha! Fun times! By the way, Aamir is the wee little thing in the maroon suit (which I was impressed that he wore for us, AND with dress shoes FTW!). He was very gracious and walked the line of screaming fans twice.

Then we were shoveled inside and Cameron Bailey (can I just do a big w00t for this guy who manages to rock my world every year by bringing the most exquisite Indian films to the festival? w00t! w00t!) introduced the director (Kiran Rao) and the cast (Aamir Khan, Prateik - he dropped the last name by the way, Monica Dogra & Kriti Malhotra). They all came on stage, Aamir last, of course, and Kiran and Aamir said a few words.

Among the things that amused me (and also made me a bit sad) was Aamir mentioning (twice!, the second time just as he was getting off the stage) that "Guys, this is not a Ghajini". Ahem... Aamir, darling, I love you, but don't you think you're underestimating us? Maybe I am projecting a little much here, but does any festival goer expect to see a Ghajini? Or do they all, like me, expect to see beautifully crafted movies that were selected because they carry the film industry forward? A tough one, and I will admit I could be way off since this is the same festival that held the premieres of Dil Bole Hadippa and What's Your Rashee last year. But still, we could have done without the warning...

Anyways, on to the film. I don't usually tell the story of a film in my reviews, because it's available everywhere online and plus I like to think that my reviews give people reasons to watch a movie that are independent from the story. But since this one was such a secret until now, I will make an exception.

Dhobi Ghat is the story of 4 characters: Arun, the famous lonely painter (Aamir), Munna, the dhobi who wants to be a star (Prateik), Shai, the banker on a sabbatical in India (Monica) and Yasmin, the recently married Muslim girl who records her life in Mumbai for her brother back home (Kriti). They say that Mumbai is the fifth character in the movie, and if so, I found it to be a silent character, an immovable witness to the harmony and turmoil in which the characters function simultaneously. Much like the aunty in Arun's neighbouring apartment: always there, always seeing everything, but always silent. Not sure if that was a parallel that Kiran had in mind, but it seemed relevant to me.

The movie is a piece of their lives, and the narrative juggles a recent past and the present time beautifully. Among the daily routine of the characters, which is really what the story is about, we see a love story unfolding and it's not a love triangle but a love square. With a missing fourth connecting line. I swear I'm not trying to sound cryptic, but it's so charming to watch this play out that I don't want to spoil it for anyone.

So maybe I won't tell the story after all...

But I will highlight the three superstars of this movie, and neither of their names start with two Aa's.

First of all KIRAN RAO. 

Tiny little thing, with such a big heart! And this picture captures everything that is adorable about her! But I won't ramble about that now. I had no doubt that she would make a good movie, I knew it would be a well thought out story. What I didn't know was that she would wow me with the little touches like a bunch of fake grapes hanging from the rear view mirror in a car during the monsoon, which is the opening shot of the film. Or the chance encounter between Shai and Arun in the street when Shai is on her way to literally stalk Arun in his apartment which is so subtle and funny in so many ways. Or the painting that Arun makes towards the end of the film (who made that? I want it!). Or the old neighbour sitting in her chair with a vacant look - the most powerful image in the whole movie in my opinion. Or Munna leaning over Shai when she's asleep. Or the women on the train that Yasmin is filming. I could go on... but then I'd just be telling the whole movie. Suffice to say that every single shot in this movie tells a story, every image counts, and that is no small feat for a first time director.

When I heard that Dhobi Ghat was being filmed guerrilla style, with handheld cameras and moving shots, I was a bit terrified, because there's a right way to do this, but mostly I've seen it done the wrong way. Kiran, thankfully, got it right and I cannot praise her enough for this!

Secondly PRATEIK (BABBAR).

At the end of the screening when Aamir gave the mic to each of the actors to say a few words, before Prateik even touched the mic he got a long, loud, standing ovation from the audience. He was so shocked and overwhelmed that he literally was speechless. He tried to mumble a thank you to Kiran and I bet he would have had some very heartfelt words to say, but he was so choked up that he didn't manage to put two words together. It was beyond charming!!

Well, he stole the show, it's no secret. He had the audience's emotions in the palm of his hand: when he wanted us to laugh at his shyness, we did; when he wanted us to bite our fingers for his next move, we did; when he wanted us to be in love with him, we were; when he wanted us to pine with him, we did. An outstanding performance if I've ever seen one! Between Kiran's deeply intelligent script and Prateik's immensely intuitive acting, there was not much room for it to get better. 

And still it did, because then there's...


THE STORY.

It's been said enough times by now that this is not a Bollywood story. But I don't think that stops it from being an Indian story, and if Bollywood continues to do stories like this, then I am on board with this new wave of what Cameron Bailey reluctantly jokingly calls "hindie movies". In a way I can't help but compare Dhobi Ghat to Slumdog Millionaire because they both show various aspects of poverty in Mumbai. But Dhobi Ghat succeeds for me where Slumdog somewhat failed because it shows me the little things that make one happy despite the poverty, unlike Slumdog which was always focused on wanting more. Munna has his own world with its ups and downs, with things that make him sad and things that make him smile, but his life does not revolve around poverty, his life revolves around his feelings, as it should.

And I know I tend to talk more about Munna than about everyone else because he was the star of the show for me, followed closely by Yasmin's story, but make no mistake, this movie is about all four of them in equal measure. More importantly, this is a story about people. It's not about lessons learned or growing up, it's not about relationships created or maintained, it's not about finding yourself, it's not about careers or hobbies. It's just a series of snapshots of 4 people... living. And while that can sound boring, it's really not, because the film is so well crafted that much like in real life when someone is telling a good story, you keep asking: "and then what?"

And lastly AAMIR KHAN.

Without presuming to know what's really in this man's head, I will say that I think I know why Aamir so badly wanted to be in this movie instead of letting Kiran pick another fresh face. In a world where Om Shanti Om, Ghajini and 3 Idiots are blockbusters, a soulful movie like Kiran's would have probably gone unnoticed had it not been for the presence of her superstar husband. Sad, but true... At the same time, I appreciated that Aamir played the part in such a subtle way that, much like in Taare Zameen Par, Aamir The Actor was rightfully overshadowed by his costar and by the director. I know he could have made this his movie, but there's a reason why he didn't, there's a reason why he played the part that many other actors could have played without making it an Aamir exclusive role, and I like to think that generosity and love are that reason.

I won't give a rating to this movie because as I said, Dolce was left at home (actually I suspect she was one of the people who mobbed Aamir on the street there and then she probably snuck into the theatre and saw the movie anyway), but I will say: don't miss this when it comes out in theatres!