Margaret of DontCallItBollywood and I have been friends for a couple of years, and I was the one that got her to start watching Malayalam films. There’s only one theater in Chicago that plays them, and we meet in the middle there to watch them together when we can. It’s a 45 minute drive for both us — but for Dulquer, it’s worth it! I’ve started doing regular reviews on the Bollyfools Youtube channel, and this is my first joint video review with Margaret. We filmed it quickly in the lobby of the theater, so I apologize in advance for all the background noise.
CIA didn’t blow us away, but it was an enjoyable one time watch. Margaret’s more extensive review of CIA is posted here.
Lijo Jose Pellissery’s 2013 Malayalam film Amen has all the elements that should make it a tailor made movie for me. It’s a quirky comedy about a band competition and the lead actor even plays the clarinet, the very instrument I played as a child. The film reminded me very much of the comedies of Michel Gondry or Wes Anderson. We have a cast of odd characters in this Kerala village. Pellissery seems to have a troupe of actors he likes to reuse — like Wes Anderson does in his films. The film has a magical realism element to it, like the film Amelie. There’s an inherent sweetness to the story, and a nostalgia for life in this little village with it’s troubled church.
The film opens with a story about a prank delivery of a packet of faeces causing a fued between two families in the village. This has nothing to do with the main story of the film, but sets the scene of a village where everyone gets in each other’s business.
The opening credit animated song was perhaps my favorite song sequence of the whole movie:
The cinematography of the film is stunning, set in the scenic Kuttanadan area of Kerala, where the most common mode of travel is by canoe or ferry boat. The ferry brings a new priest to this village, Vincent Vattoli (Indrajith) but at first he’s not recognized as a priest because he wears secular clothes and dances with a young French tourist on the ferry boat. He arrives at the church under the iron grip of the stern head priest Father Abraham (Joy Matthew) and the corrupt sacristan. Father Abraham is ready to tear down the church and abolish the church’s band.
Fahahd Faisal (Solomon) plays clarinet only in secret to his love Shoshanna (Swathi Reddy). He’s the son of the most famous clarinet master player of the area who died in a boat accident. Solomon can’t overcome his fears to play with the band, and in their yearly competition, until Vincent Vattoli comes to town.
There are some gorgeous set pieces when Solomon plays his clarinet in the dark to Shoshanna, and on a boat in the moonlight. But his character is such a nebbish that I had trouble sympathizing with his plight. Shoshanna’s family locks her away after she almost elopes with Solomon. Swathi Reddy does a decent job and has some spunk to her, but she doesn’t have a lot to do in the film.
There’s another one of Pellissery’s long tracking shots for a song set during a “toddy” shop fight between the two rival bands, with the cameramam ending the scene floating away in a boat.
This film should be my catnip, as I love Wes Anderson films, but this Amen film just did not resonate with me. The romance between Solomon and Shoshanna is sweet, but I really didn’t like Fahahd’s nebbishy wishy washy character. I did like Indrajith’s priest character, and he even gets his own song as the French tourist fantasizes about him!
The music was interesting because it’s entirely Western musical instruments. In fact, with songs like When The Saints Go Marching In, it had a sort of New Orleans Jazz sound to the band combos.
This is my third of Lijo Jose Pellissery’s films, and so far my least favorite. I love, love, love Angamaly Diaries, and I really enjoyed City of God. Evidently, before Angamaly Diaries, I think Amen is the director’s most crowd pleasing film. It must evoke strong emotions for the Kerala audience that just didn’t translate to me. I admire the technical brilliance of the film making, and Margaret of Don’t Call It Bollywood does a great job expanding on that aspect. But, Amen for me is a film I admire, but doesn’t make me love it.
After seeing the fantastic Malayalam film Angamaly Diaries last week, I couldn’t wait to seek out director Lijo Jose Pellissery’s other films. City of God was the one recommended to seek out first, and glory be, it’s on Google Play for rental and purchase. At $4.99 to buy, I snatched it right up.
City of God is part of the New Generation of Malayalam films with a hyperlink non-linear narrative of four interlocking stories. It came out within months of Traffic, the first of the new wave Malayalam cinema, but City of God was pulled within a week of release. It may have been a bit ahead of its time. It felt much grittier and more violent than Traffic, and isn’t really suited to a broad family audience. I felt Traffic relied a bit too much on the audience’s familiarity of all the actors in that multi-starrer, and I didn’t really get to know any character that well. I liked City of God much more.
A signature of Malayalam New Wave films is an accident, and coincidences that bring people together and set off the events of the film. City of God starts with a horrific car crash. Prithviraj is driving a car that crashes into a street light pole, after hitting a motorscooter with a young couple. There’s also a van full of toughs that pile out to confront Prithviraj after the crash, and then we flash back. We see the events of the film from several perspectives, replaying various key scenes from the point of view of different characters. This is a movie where you have to pay attention a bit to catch on to what is going on.
Prithviraj is sort of a capo or enforcer for his rich friend Sony (Rajeev Pillai). He gets lots of very cool fight scenes, mostly just kicking and punching his way out of various jams, but in the photo above wielding a firehose like a urumi sword! Prithviraj looked pretty bulked up, and this film was around the time of the filming of Aiyyaa. Hubba hubba. It was super fun to see Prithviraj be a sort of gangster tough guy, smacking people down first, and asking questions later.
Sony is obssessed with a young actress, Surya (Rima Kallingal). He had a romance with her in the past, but his parents made him abandon her, and he’s trying to get her back, even though she’s married to an abusive husband. Surya is a big actress, and one of the big musical numbers is cleverly one she’s doing for a film within the film. The director was very clever about the songs. There was this one during a film shoot, one big one at a wedding, and then a couple more playing on a radio and so on.
There’s a complicated land deal going on between some corrupt business types, Sony, and some mafia. Prithviraj is sent out to “deal” with one guy, and his wife then vows revenge.
My favorite story line involved the migrant Tamil laborers who were working on the building project for Sony. My reader Mohzin let me know that half this film is in Tamil, including half the songs! He said that the Malayalam audience didn’t need subtitles for the Tamil speaking parts. The love story of Swarnavel (Indrajith) and Marathakam (Pavarthy) is just so wonderful. It’s the heart of the whole film. Marathakam has fled Tamil Nadu and her abusive husband. Swarnavel obviously loves her, but holds back as she is already married. Marathakam’s friend Lakshmi (Rohini from Baahubali!) urges her to marry again, but Rohini has other ideas than poor Swarnavel. She tells both the other thinks of them as either brother or sister, and so Marathakam, heart broken, agrees to marry a supposedly wealthy man. Then comes my all time favorite scene of the whole film. The cops come and arrest her husband, and then she finds the drunk Swarnavel to chastise him for letting her marry this thief. Then the sparks just FLY once they realize they don’t view each other as siblings AT ALL! When he breaks off her mangalsutra — so hot! Another favorite thing is that she won’t kiss him as he’s drunk, and sobers him up with a bucket full of water over his head!
This is the couple from the opening scene accident who were on the motor scooter. Why they were so frantically racing on that bike gradually is revealed.
Prithviraj doesn’t get a full on romance in the film, but he does rescue a damsel in distress and gives her very swoony longing looks through the rearview mirror. Mostly, in this film, he just gets to kick ass in very cool fights, and he seems much more savvy and smart than anyone around him. But then Prithviraj usually does seem like the smartest one in the room.
The tone of the film can change dramatically from scene to scene,as we’re going from one character’s point of view to the next. There are several side characters who have comedic moments — quite a few sort of comedy uncle characters. The main actors were all pretty good, but the guy playing Sony didn’t make much of an impression on me. Prithviraj, Pavarthy and Indrajith were the standouts. Indrajith stole the whole movie, in my opinion. I don’t really remember him from Classmates, but he’s in Amen, which I’m going to try to watch next. Pavarthy looks so completely different from any other character I’ve seen her play, that I honestly did not recognize her until I saw her name in the end credits. Once I went back and rewatched that HOT love scene song, I could tell it was her, maybe with darker makeup? Quite the different look than in Bangalore Days or Charlie!
The cinematography was quite interesting. Some cool different angles to many shots, and great editing. The fights didn’t feel quite as intimate as the recent Angamaly Diaries. There was a steadicam being shook up, I guess to imitate the Bourne films, but it just made me dizzy. It worked in Angamaly Diaries, and didn’t work for me here in the same way.
As I said earlier, I didn’t really enjoy the hyperlink in Traffic, as there were too many shallow stories that weren’t developed. Here, there were four key stories that interconnected, and the characters were more fleshed out. This film can be gritty and violent like Kammatti Paadamor Angamaly Diaries. Maybe the audience 6 years ago wasn’t quite ready for an innovative film like this. Angamaly Diaries is still the better film, but it was really fascinating to see this director developing his signature style.
Margaret of Don’t Call It Bollywood has started a podcast, and she invited me to discuss Angamaly Diaries, which we saw together. We’ve both written reviews of the film – here’s mine, and she discusses it here and here. But we can’t stop talking about it! I hope Margaret and I can make this a regular thing. Enjoy!
I saw a Malayalam film tonight that absolutely blew me away. Margaret of Don’t Call It Bollywood emailed me that she’d heard great things about Angamaly Diaries — did I want to join her tonight? So, I went in knowing pretty much nothing about it, other than that @Mozhin123 raved about it to me on twitter, too. Every single face in the film is new except one cameo by the debut screenwriter, actor Chemban Vinod Jose (Charlie, Kali, and Oppam). I had director Lijo Jose Pellissery‘s film City of God recommended to me, but this is my first film of his. Oh. My. God. Pellissery is the rock star of this film! The direction and editing knocked my socks off!
From the very first moments of the opening credit sequence I could tell this was going to be a very different kind of Malayalam film. There were lots of street shots, and close ups of real people, intercut with food, glorious street food, being made. The food in this film is a whole character in itself! From the first, I got a strong sense of this place, Angalamy, that pretty much the entire movie takes place in. I looked it up when I wiki’d the movie when I got home tonight, and it’s a town of about 33,000 people. The name means batttleground, an ancient battleground, which is so fitting for the script!
The quick editing is a hallmark of the film, as well as steadycam shots that took me right inside each and every scene. To get a sense, here’s a behind the scenes making of video, showing how the camera men ran along with the actors in chase scenes and got right into each fight. I felt like I was right there in the middle amongst the characters in the action.
Another key aspect of what made this film so great was the soundtrack and the Foley sounds! They added such tension and rhythm, with screeching metallic sounds in key action sequences that evoked pigs squealing — and pigs are key to the drama. I have often complained that the soundtracks of Malayalam films just aren’t scary enough when they need to be – Ezra, I’m looking at you! This soundtrack is a standout.
As I was driving home, I reflected that the story of Pepe (newcomer Antony Varghese) is not that original in the crime drama Angamaly Diaries. We have the familiar flashback to childhood, and the formation of the key male friendships that form the “team” or gang. We have the innocent teen romance, and more serious relationships as he’s older. We have a rivalry with other toughs in town. But it all still felt fresh because of the way it was filmed, and the fast paced editing. This is not the sleepy paced drama that I’m used to in Malayalam film. The bones of the crime and gang story and the set up feels familiar, but how it’s presented is new and original. It just felt so gritty, so real and visceral!
There is a dramatic turn in Pepe’s life that happens just before the interval. I was holding my hands over my mouth, stunned. I needed that few minutes of the intermission to process it. After the interval, the plot turned in some surprising ways. Sarath Kumar as Ravi and Tito Wilson as Rajan are Pepe’s rivals throughout the film. They kill Pepe’s mentor Babuji in the first half, and then have a competing pork business to Pepe’s gang. Things come to a head and fisticuffs, and then turn deadly. If this was a Telugu movie, these seeming arch villains and rivals would be killed off by the end of the film by our hero, but that’s not what happens here. Things are more complex, and I loved that, and how it surprised me.
Pepe has two main romances in the film, one with Sakhi played by Binny Rinky Benjamin, but my favorite was Lichi, above, played by newcomer Reshma Rajan, the older sister of one of Pepe’s pals. I just adored how she literally pounced on Pepe to let him know she was interested! I also loved how Pepe’s main friend in the gang, ‘Pork’ Varkey (Kichu Tellus) has troubles because he’s dating a police woman! Their wedding is one of the highlights of the film.
The climax of the film is an incredible 11 minute tracking shot with no editing cuts. We are immersed in a festival in the town and the procession, and follow the characters in and out of houses and encounters, and finally in a big fight and chase sequence. That sequence is stunning filmmaking. I was gobsmacked by it.
I was fascinated by just about everything in this film. The food. The depiction of Christianity in the town, as most characters are Christian, and the festivals. Even the pork business the gang was in was fascinating, with the open butcher stalls and all. This film reminded me in some ways of the gritty Kammatti Paadam, but that film and its Dalit characters are all viewed through the perspective of the middle class Dulquer Salmaan. This film was all about working class people and their lives in a way that I don’t really think I’ve seen in Malayalam films. Most of the films I’ve seen, the recent ones at least, have been about middle class people.
I was really impressed that all these newcomers to film acted so well, even the child actors. Antony Varghese is quite the looker, and I thought he did a great job. Reshma Rajan as Lichi had sass and spunk, and I’d love to see her in another bigger role. Going in, I kind of dreaded that I wouldn’t know a single actor in the film, but it served the story better that all the faces were fresh. It made the drama more real feeling and visceral. I am so excited that director Lijo Jose Pelissery has some older films for me to watch. I will be seeking them out pronto. Pelissery is such a talent. He is one of the greats already. This film is groundbreaking, and is garnering praise from everyone. Anurag Kushyap tweeted that this is this is his film of the year so far.
I need to see this film again. I’ll likely buy the DVD, because I have to see that ending tracking shot again, at the very least. It was amazing. I am so glad Margaret invited me to see this film! Here’s her rave review.
Fukri is an amusing timepass family comedy directed by veteran Siddique who also acts as the Fukri family patriarch in the film. Jayasurya stars as Lucky. Lucky is a wannabe engineer who with his band of friends tries different get rich quick schemes. They accept a job for two young women caught skipping school for a Salman Khan film. They girls want Lucky to pretend to be their cousin to meet the school principal. Of course Lucky falls for the beautiful Nafsi (in the red scarf below) played by Prayaga Martin.
The girls say he is the son of their long lost uncle who left after a violent argument with their grandfather over his interfaith marriage. The girls saying that Lucky is their cousin sets everything in motion. Both his Brahmin “grandmother” and his Muslim grandfather (Fukri) then want to meet Lucky and welcome him back into the family fold. To complicate matters, the real child (Anu Sithara) of that long lost son reveals herself to Lucky.
At first Lucky and his friends are enjoying staying in the wealthy homes of his “family”, but Lucky’s good nature lends him to try to mend the rift between the two families. I’m sure you’ve suspected that the long lost son makes a dramatic appearance, and it’s Lal, so it’s quite the entrance.
Family farce comedies like this are a staple in Indian film. Mistaken identities, family feuds, arranged marriages to the wrong partner, all with happy ending wrapped in a bow.
I’ve only seen Jayasurya as a supporting player in films like Mumbai Police and Classmates, and he has impressed me in those roles. He is charming here as the mischievous scamp with a heart of gold. I don’t know if he quite though has the magnetic star power to carry a film like this however. Lal has a powerful impact as the estranged son of patriarch Fukri (Siddique). None of the actresses in the film blew me away. They were fine, but not exceptional.
I’m not sure I’ve seen another of Siddique’s Malayalam directed films, but I did enjoy the light Hindi film Bodyguard (remake of his Malayalam hit) starring Kareena Kapoor and Salman Khan.
I wouldn’t tell you to run out and catch Fukri in the theaters. It’s a decent timepass to watch on a streaming service. It had some amusing moments, but wasn’t consistently laugh out loud.
A new Prithviraj movie is worth a 40 minute drive, and his latest is Ezra which finally came to a few US theaters this weekend (it released in Kerala on Feb. 10). Margaret of Don’t Call It Bollywood and I met to see a matinee, and the movie was playing at a theater that doesn’t usually play Malayalam movies, so there was a sparse crowd.
I didn’t see the 2012 horror film The Possession, but remembered the trailer with the family finding an antique box that turns out to house a dybbuk, an almost demon like spirit that possesses the body of a living person (from Jewish folk lore). The Yiddish word that dybbuk is derived from is “cling”. There was even a handy featurette for the The Possession movie explaining dybbuks:
The Malayalam film Ezra, directed by Jay K, is not a direct copy of The Possession but it is obviously inspired by it. The Possession film, in turn, is inspired by The Exorcist, as the possessed person is a young girl.
In Ezra, the possessed person is Prithviraj’s young wife, played by Priya Anand, who buys the dybbuk box while shopping for their new house in Kerala. The couple have moved to Kerala from Mumbai for Prithviraj’s job with a nuclear facility. Priya has a strained relationship with her parents because she married a Christian. The box has ended up in the antique shop, because the last Jewish person has died in Cochin. One of the most ancient Jewish diaspora communities in the world used to be in Kerala, but as this article says, the numbers are down to the double digits. That last Jew dying releases the curse put on the dybbuk in the box.
I don’t generally seek out horror films. They’re not my thing, but it’s Prithviraj. Horror movies don’t need to have a big budget to be scary. This one relies on the usual dark haunted house kind of jumps and scares. It’s just not tight enough of a movie. There’s a lot of excess time spent establishing that Prithviraj and Priya are a loving couple (song montage!), and then a lengthy back story on how the dybbuk got in the box. Jay K has used a lovers prevented from marriage story which is similar to the one in The Dybbuk Russian/Yiddish play from early in the 20th century, but he makes it interfaith, to mirror our modern couple.
I have several issues with Ezra. I did jump a few times, but it wasn’t scary enough for me, and the narrative should have been tightened up. Horror films shouldn’t be two and a half hours long.
But the biggest thing is that the movie made me laugh, which I don’t think was the intention. I didn’t grow up Jewish, but my husband is, and I’m on the board of our synagogue. The way the rabbis and the Jewish people in this movie dressed made me giggle hysterically.
For someone who only knows Jews from Seinfeld and Woody Allen movies, I guess dressing up rabbis in Catholic bishop vestments seemed perfectly logical. How else are Mayalalis to know that the rabbis characters are clergy if they don’t have white priest collars? And the tallit (the prayer shawls) are worn in the movie like sari scarves wrapped this way and that.
For the record, rabbis in the US generally just wear suits and the small yarmulke skullcap, but Hassidic rabbis, who practice Kabbalah (mystic Jewish faith) would look like the below, and I actually found a Chabbad rabbi in Kerala. Jay K, Google is a wonderful tool.
The exorcism scene made me laugh the hardest, because they had to drag in 10 random Jewish tourists to complete the ritual (yes, many Jewish prayers need a minyan of 10 Jewish men, so that’s real). It was the random tourist thing with their weirdly draped prayer tallit that made me guffaw. That, and the HUGE shofar horn the rabbi had to blow.
Prithviraj, I love you, but your red eyes were much scarier in Stop Violence.
I have another bone to pick. The flashback for the dybbuk’s story goes back to 1941, and Ezra’s father actually says that the Jews want to take over the world. Argh. Let’s think a moment just what was happening to the Jews in 1941. Again, smh. That deserves a double Seth.
I could see how The Possession would have been creepier just because a child was the one possessed. I wouldn’t urge you to race out to the theater to catch Ezra. It’s not Prithviraj’s best, and it’s not the greatest horror film. It’s an okay timepass once it comes on streaming services.
What spurs me to drive 40 minutes to the only theater in Chicago that shows Malayalam films? – a new Dulquer Salmaan movie! A woman stopped me as I walked out of the theater, “Do you like Malayalam films?” I told her of course and that I’m a big Dulquer fan. She was incredulous and asked me if I understand Malayalam. Not a word, I replied.
The trailer for Jomonte Suvisheshangal [Jomon’s Gospels], as with many Malayalam films, doesn’t tell you much about the film.
Like me, they probably assume that viewers don’t need to know much more than Dulquer looks good in a film very different in tone from Kaliand Kammatti Paadaam. Jomonte Suvisheshangal, a film you can safely bring the entire family to see, was also probably a refreshing change of pace for Dulquer from the intense acting in 2016’s Kali and Kammatti Paadaam.
With bad news coming at us in America like a fire hose, it was just what I needed to go see a sweet family film starring Dulquer. He’s getting a bit old to play the spoiled young man, it felt like a bit in the first half. Just in looks though. He acted it perfectly. Dulquer was very much a mazik in the first half. That’s a Yiddish word for someone mischievous, especially a young person. He constantly got into trouble, but would just kiss his father after being scolded, “You still love me!”
A perfect example is in the clip below. He badgers his father, Mukesh, for a motorcycle, “Petrol is so expensive!” and his father relents saying that he won’t give him cash, just have the shop send him the bill. Then he rolls up in the most expensive bike possible, costing 18 lakh.
No one in the family feel they can count on the irresponsible spoiled Jomon. He misses his sister’s wedding, can’t seem to pass his MBA exam, and spends his days running errands for the family. His father tries to get Dulquer involved in one family business after another, the most hilarious his stint supervising their bus fleet, enjoying all the female attention he gets.
Not much happens in the first half except a flirtatious romance with a rich girl, played by Anupama Parameswaran of the Premam films fame. That gives us the one non-montage song sequence in the film. The machinations of Dulquer’s family to get him attached to this rich girl I found quite amusing. Innocent plays Dulquer’s uncle who relishes matchmaking to try to unite with this wealthy family.
(On a petty note, I don’t think that super skinny jeans style is flattering on Dulquer!)
And then, right before the interval, everything in the family comes crashing down. Mukesh has taken a bet on a business expansion, putting even the family home and cars in a money lender’s name. While the rest of the family just heaps scorn on the family patriarch, Mukesh, Dulquer is the one to take him in the middle of the night away from it all to safety.
I have not yet seen what Margaret told me is Nivin’s very similar son-coming-of-age film, Jacobinte Swargarajyam. This film is very much a story of the relationship of a son and his father. I don’t think I’ve seen the actor Mukesh in another film yet, and I really thought he was fantastic. He has some very emotional moments as he goes from powerful businessman, to a crushed man who tries to help his son by making him a tiffin lunch. Both Dulquer and Mukesh are terrific actors, and were very believable as loving father and son, each hiding painful truths from the other. In the second half, Dulquer has to really grow up and become the man of the family. He is betrayed by a close friend and learns how to succeed through hard work and moxie.
Unlike the superficial romance in the first half, he gradually comes to get to know a prickly young Tamil woman, Aishwarya Rajesh, from his job selling textiles. She doesn’t have time for his slick ways, but he gradually wins her over, daring her to smile. “God wants us to smile at least once a day.” This is one of his many pronouncements. Her boss puts her in a tight spot keeping a rich French client happy, and she turns to Dulquer in desperation. Like Dulquer, she lives alone with her father. I wish their romance had been fleshed out a bit more, but what was there was very nice to watch. I wasn’t completely happy with the ending to their story, which involved a prank on Dulquer’s father, Mukesh.
Does Dulquer learn the value of hard work and create a company out of nothing with his friends and win the big client? Does he reunite his father with the rest of the family after proving just how responsible he can be? What do you think? While the story can be predictable, I found the journey a welcome time pass, especially with the warm father-son relationship portrayed by Dulquer and Mukesh. I was also fascinated at an inside look at the textile industry in India!
Margaret and I saw this film together, and her review has a very interesting take on Dulquer’s character’s expressions of love contrasting with the rest of the family’s obsession with commerce and money.
It’s still January, if barely, right? This is a list of my favorite films in Indian Cinema released in 2016. I have not seen every film released, by a long shot, but I’ve seen quite a few of the top releases in Hindi and Malayalam cinema in theaters. I still haven’t seen Pink, although that is definitely on my list, and it’s now on Netflix streaming.
1. Kapoor and Sons (Since 1921)
Kapoor and Sons was hands down my favorite Indian film of the year. I just love the way the cast interacts. It feels like you’re a voyeur in a real family and their drama. I will admit that Sidharth is the weak link, but Alia and Fawad are so great in this. Fawad Khan especially just blew me away. And the soundtrack! Kar Gayi Chull is my phone ringtone for a reason, because I never tire of hearing that hook.
2. Kammatti Paadam
Dulquer Salmaan had an amazing year, but Kammatti Paadam is just a masterpiece. I’m so glad I saw this Malayalam gangster epic in a theater. I was nearly shell shocked by the experience of seeing this Rajeev Ravi film. Dulquer is our eyes into this world of gangsters, and dalit toughs. He is very, very good, but the two actors, Vinayakan and Manikandan steal the show.
3. Udta Punjab
Alia Bhatt also had a great year. I’m still thinking about how fantastic she was in Udta Punjab, a film filled with great performances. This is the film that introduced me to Diljit Dosanjth. And how great was Shahid Kapoor as the comic relief? This was an entertaining film, but also one with an important message about how the drug trade affects everyone– a message the censor board tried to suppress, and thank goodness they did not prevail. Udta Punjab is currently streaming on Netflix.
Oh my goodness, Kaliis such a tense thriller. Kali means rage. I admire the script and how the director kept me on the edge of my seat. I did not know what would happen next at any given moment. I felt that anything could happen. And I loved that about this Malayalam movie! The first half is a personal story of a marriage with young man with anger issues. Then the second half grips you by the throat. Dulquer Salmaan gives another stellar performance in a great year, matched by Sai Pallavi.
5. Dear Zindagi
I adored Shahrukh Khan and Alia Bhatt in Dear Zindagi. We were afraid when the film was announced it was going to be a romantic relationship, but SRK is her mentor and therapist in this fantastic film. This is my first Gauri Shinde film, and she is a wonderful director. This was a nice crossover film that I took some Bollywood virgins to see, and they loved it.
Although not a perfect film, I submit Fanmay be the one of the best performances of Shahrukh Khan’s career in the double role of Guarav and Aryan.
This really felt like a year for women in Hindi cinema. Sonam Kapoor was perfect casting for Neerja. This film reminded me very much of United 93 – you know what’s going to happen, but you’re still on the edge of your seat watching it unfold, filled with tension. Neerja is currently streaming on Netflix.
I love that Aamir Khan made this movie about girl empowerment. He let the young women at the center of this true story take the lead, and he was brave enough to play a father with a paunch, no less. Dangalwas one of the biggest family films of the year.
9. Ae Dil Hai Mushkil
I’m still not happy with the ending of Ae Dil Hai Mushkil, but man it has some glorious moments. It’s full on lush Karan Johar film making – actually my first Karan film on the big screen. I’m reading his autobiography now, An Unsuitable Boy, and he says that Ae Dil Hai Mushkil is about his own unrequited love story. It’s a very personal film. I wish there hadn’t been all the controversy about Pakistani actors, and Fawad Khan had a bigger part. That soundtrack!! I listened to the title track on constant repeat.
I really enjoyed Sultan, and Salman made a great pairing with Anushka Sharma. It was another Hindi film with a message of female empowerment, even if the majority of the film was about Salman’s character. Great soundtrack, too!
Special mention for Brahman Naman which I saw the premiere of at Sundance back in January. I’m not sure if it’s a purely Indian produced film, but it’s a quirky and wonderful teen sex comedy. It’s currently streaming on Netflix.