DHOBI GHAT-review- A must watch flick,very mature and sensible cinema

The city of Mumbai, still called Bombay by many of its denizens, has sat for any number of memorable literary portraits, from Vikram Chandra’s Sacred Games to David Gregory Russell’s Shantaram. But Kiran Rao’s Mumbai Diaries is easily one of the most dynamic cinematic portraits of that decaying, vibrant, impossible city ever made; it treats the city itself as a character. Diaries is all the more remarkable because it’s a first feature by Rao, who has worked in the Hindi film industry but had never written or directed a film.

OK, so she has an advantage being married to Aamir Khan, one of Bollywood’s biggest stars, who is her star and co-producer here. (American audiences might remember him from the Oscar-nominated Lagaan, which he starred in and produced.) But Diaries is no vanity project; it is a fully realized art film with European sensibilities.

The story begins with a woman pointing her video camera out of a taxi into a gray city pelted with rain — we later learn she is a young Muslim bride, Yasmin (Kriti Malhotra) — and then shifts attention to introduce Hindu artist Arun (Khan), a U.S.-born Indian investment banker, Shai (Monica Dogra), on sabbatical to pursue photography; and Munna (Prateik Babbar), a poor boy with dreams of Bollywood stardom who asks Shai to shoot his head shots.

In the intersection of these four people and one city, Rao locates a host of dreams, desires, fears and tragedies with stories touching on art, photography, poverty, crime and Mumbai’s indelible sense of mystery.

Khan sensibly underplays his role, allowing his noncelebrity cast members to shine: The two female stars, each in her movie debut, are outstanding, delivering nuanced takes on class and worldview. Babbar, with charisma and chiseled looks, is a star in the making.

Cinematographer Tushar Kanti Ray uses formats ranging from Super 16mm to mini DV cam to penetrate Mumbai’s shadows, and Oscar winner Gustavo Santaolalla’s guitar-heavy score is non-Indian but a perfect fit for capturing the sad-happy mood of this tumultuous city.               

rating:4/5
Cast: Aamir Khan, Monica Dogra, Prateik Babbar, Kriti Malhotra
Writer-director: Kiran Rao
Producers: Aamir Khan, Kiran Rao

TOKYO STORY-A beautiful experience to watch

A fantastic film that belies the simplicity of its plot, Tokyo Story is the tale of a vacation gone sadly awry, with an elderly man and woman visiting from the countryside pushed to the sidelines by their busy children in the city. The younger generation (and by extension the "new" Japan) turns its back on the family from which it arose- because of selfishness, because of necessity, or because it's simply the way of the world. The movie provides no easy answers- its melancholy ambiguity is part of its charm. Whatever the case, Ozu delights in portraying the details of everyday life. The emotional resonances of this movie are extraordinary, and some shots (a child picking flowers, an old couple framed by the sea, a woman sitting forlornly at her work desk) are enough to give a sensitive film-goer the shivers. Despite the testimony of some critics, the film is not totally devoid of melodramatic elements (some stock characters and cloying musical motifs spring readily to mind), but the film is founded upon such an obvious love and respect for the importance of real-world interactions that it's hard not to be anything other than enthralled by it.

An appreciation of this movie may demand some understanding of Japanese culture. The Japanese are rather reserved, and were even more reserved back in the early 1950's, when this film is set. No embracing, even of parents, children, siblings; no dramatic histrionics; even a death scene in this movie is much quieter than a Westerner might expect.

Consequently I can't really blame several reviewers here for calling this movie boring and slow-paced. But it is not at all slow-paced from a different cultural perspective. It just depends on what you're used to.

If you do take the time to watch and try to understand it, you'll find an engrossing analysis of the dynamic of a middle-class family, the rift that grows up between generations, and of the many excuses we find ourselves making to justify our neglect for others, even those dearest to us. These themes are universal, but are couched in a postwar Japanese idiom, and so probably less accessible to the average Western viewer.

I have wondered awhile about a speech at the end by Noriko, the widowed daughter-in-law, in which she denies that she's such a good person (though her actions in the movie indicate otherwise). I'm still not sure I understand her motives in saying this. Really everone should watch this beautiful memorizing story.

DHOBI GHAT-let start this year with a great one movie

As i know,my favourite kiron, i love her dressing sense,and now she is here to present a delicate flavour,this movie has been shot in some of very congested places of mumbai,its promos are very magnetic,i m wating to that  date of january when the movie will reveal all its secrets.hope for a good surprise

ELVIS PRESely-its always a relief to listen.

None other than the god himself can sing in such a pure voice as he did,and he is still singing in my heart,some of his songs specially "In the Ghetto", and "suspicious minds "  are my most favourite  songs,when he say"s "baaaaabayy" in his song susp. minds .it gave me a great relief.Please give a great salute to such a gentle personality . When i knew about him,then i got that everything about him specially his singing.his dressing sense and how can i forget his unique hair style.He is such a music god.We love you Mr presely,good bye

Warner Sallman-A GREAT ARTIST

Paintings of Jesus by Warner Sallman

Some of the most famous American paintings of Jesus were done by artist Warner Sallman (1892-1968). If you grew up in a Christian environment (Protestant or Catholic), you’ve seen these pictures in your church and maybe had them in your home. Christianity Today did a write up on Sallman a while back. His two best known paintings are: “The Head of Christ“, and “Christ at Heart’s Door“.

Some say that these the pictures have outlived their usefulness – that they are a bit of a “Velvit Elvis” (something unique to the older generation, that younger people don’t find helpful). They have also been criticized for making Jesus look too soft and too European. I appreciate the criticisms, but like the pictures anyway. My favorite is “Christ at Heart’s Door“. It is based on a passage from Revelation 3:20: Behold, I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me.

When I was growing up, Dad had “Christ at Heart’s Door” hung in his study. I remember asking Dad why Jesus was knocking on the door. He explained that the door represented my heart. If I asked Jesus to come in, he would. These sorts of conversations with Dad bring back fond memories.

It’s interesting to note some of the Arminian aspects of the painting, First, Christ is knocking on the door, not kicking it in. Second, there is no handle to the door, the person inside needs to open it.

Lastly, it’s interesting how these pictures have represented a sort of “icon” for American Protestants. While icons are common to some other Christian traditions, American Protestants have generally avoided them. 

Guzaarish++++MOST beautiful movie of "WORLD CINEMA"

 Guzaarish is an unusual film in many respects. Firstly, because it follows a film craft that is akin to pure art. Film maker, Sanjay Leela Bhansali and his cinematographer (Sudeep Chatterjee) have created a collage of riveting paintings on screen, where both the interiors of a crumbling mansion and the outsides of an incandescent Goa landscape literally transport you to an art gallery. The exquisite detailing of Aishwarya's daily chores as she brushes her patient's teeth, shampoos his hair, scratches his nose, cleans his bed sores or simply draws the blinds to keep the sunlight out is mesmerising to watch, even as their rare outdoor soirees blind you with their exuberance. Catch Hrithik and Aishwarya enjoying a drive down the uninhibited Goan countryside and you can actually feel the breeze rustle through your hair.... 

But more unusual is the spirit of the film which supposedly articulates a plea for death but ends up serenading life and love with tenderness and restraint. Ethan may be plagued by his immobility and languishing body, but his eyes dance like a dervish. Despite his desire to die with dignity, there is a liveliness that surrounds him as he interacts with the few people around him: his student, the wanabe magician Omar (Aditya Roy Kapur), his lawyer friend, Devyani (Shernaz Patel), his die hard doctor (Suhel Seth), his mother (Nafisa Ali) and most importantly, his nurse, Sophie (Aishwarya Rai). Even the few flashbacks that the film features showcase him as an ardent lover and an adorable kid, who performs his first magic trick before his mother. Yes, death does hang around like a shroud, but life bristles and bursts through every frame of Guzaarish. 

Then again, the film is one of the most unusual love stories of recent times. The relationship between Ethan and Sophie is much more than a patient-nurse bond and brims over with a passion that threatens to burst any moment. So what if almost everything is left unsaid between the two. The eyes -- and expressions -- say it all. Kudos to Hrithik and Aishwarya to create some of the most romantic moments on screen without resorting to cliche and stereotype. 

The performances are uniformly good, with the ensemble cast, specially Shernaz Patel, providing great support to the lead actors. But in the end, it is Hrithik Roshan and Aishwarya Rai who leave an indelible impression with their interpretation of two extremely difficult and unconventional characters who do not have the usual props to express grief, joy, pain and passion. If Hrithik uses his eyes as his be-all and end-all, then Aishwarya is a stunning picture of fire and grace, walking away with certain scenes by her sheer vitality. Catch her outburst in the courtroom and her impromptu jig in the restaurant to understand how underutilised she has been in run-of-the-mill cinema. Equally noteworthy is the music score where Sanjay Leela Bhansali debuts as a music director. 

sanjay again with his magic-guzarish

Guzaarish (English: Request) is an upcoming romantic film being directed by Sanjay Leela Bhansali and starring Hrithik Roshan and Aishwarya Rai in leading roles. The film is scheduled for release on November 19, 2010. The first look of Guzaarish released on September 23, 2010.

Aishwarya Rai has previously worked with Sanjay Leela Bhansali in two films, Hum Dil De Chuke Sanam (1999) and Devdas (2002). Hrithik Roshan and Aishwarya Rai have earlier worked together in two movies together: Dhoom 2 (2006) and Jodhaa Akbar (2008).

Hrithik Roshan as Ethan MascarenhasCast

• Aishwarya Rai as Sophie D'souza
• Aditya Roy Kapoor
• Monikangana Dutta
• Rajit Kapoor
• Shernaz Patel
• Sanjay Lafont as Father Samuel
• Nafisa Ali

Plot

Magician Ethan Mascarenhas (Hrithik Roshan) is injured when a magical trick goes wrong. He becomes a paraplegic and his only solace is his radio show and his beautiful nurse Sofia (Aishwarya Rai). However, after 14 years as a paraplegic Ethan decides that he wants to die and petitions the court for the right to commit suicide. As he struggles through the legal red tape, he decides to pass on his magical knowledge to Omar Siddiqui (Aditya Roy Kapoor).

Soundtrack

The soundtrack and the musical score have been written by Sanjay Leela Bhansali himself who makes his debut as a music director with this movie. the soundtrack which comprises of 10 tracks will be out on 15 October 2010 on T-Series.The track listing for the movie is as below: