New Trailers for Allu Arjun, Dhanush and Rana!

For Bollyfools, I watched a few of the new Regional trailers, which unfortunately have no subtitles!  Super frustrating.

 

I have only seen Allu Arjun in Rudhramadevi and he was amazing in that, even though he was not the lead.  I watched both the Rom Com feeling teaser, and then the full trailer, neither of which have subs.  Anyone that speaks Telugu, help me out as to what’s going on.  Is it a double role?  The action looks cool, and even though I’m not a Pooja Hegde  (ugh, Mohenjo Daro) fan, the rom com aspect looks adorable.

 

Dhanush has VIP 2 which will also have KAJOL!!  So excited to see her in a new film.  I don’t speak Tamil, and I’ve not seen VIP 1, so I have no idea what’s going on in this trailer.  That ending flying kick looks super cool.   Any translation help would be most appreciated!

 

Kartik from Bollyfools translated Rana’s new teaser for me.  The title means I am the King and I am the Minister.  Rana will be opposite Kajal for the first time, and I’m really excited to see that.  When he’s on the scaffolding with the noose, Rana says, “I will decide when I die, and I will decide when you die!”  I love that shot with him as the prisoner about a foot taller than all the guards behind him.

Podcast with Margaret of Don’t Call It Bollywood!

 

How we met through her masters thesis project, and how we both started watching Indian films!

Kaatru Veliyidai – Mani Ratnam’s latest romantic film with complex characters

Screen-Shot-2017-03-15-at-4.04.28-PMA new Mani Ratnam film is an Event with a capital “E”.  He is one of the top Indian film directors and an auteur.  He makes the films he wants to make, and doesn’t just try to chase commercial success.  I’m lucky in that there is a theater five minutes from my house that shows Tamil and Telugu films.  I was able to catch a matinee of Ratnam’s latest film, Kaatru Veliyidai today – the title translates to something like “Breezy Expanse.”  I haven’t seen tons of Tamil films, but the ones I’ve sought out are mostly Mani Ratnam films, Roja to OK Kanmani.  He is the master.

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Kaatru Veliyidai is a romantic drama set around the Kargil War.  Karthi plays Varun or “VC”, a cocky fighter pilot, and Aditi Rao Hydari is Dr. Leela Abraham.  I have never seen Karthi in a film before, but I could tell he is a STAR and quite a good actor.

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I looked him up when I got home, and he’s the younger brother of Tamil Superstar Surya, who I really enjoyed in 24.

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Aditi I did not realize I’d seen before in a small role in the Hindi film Khoobsurat.  She is just luminously beautiful in this film, especially the way Ratnam films her.  She’s quite a good actress as well.

The film opens with VC flying his jet in a mission somewhere in Kashmir.  His plane is hit and he is forced to parachute, leading to his capture by the Pakistanis.  The film is a series of flashbacks from his time in prison to how he meets Leela and falls in love.  He gets in a car accident, and she tends to his injuries on her first day as a doctor in the general hospital in Kashmir.  There are some amazing feats of cinematography in these hospital sequences as VC goes in and out of consciousness and we see Dr. Leela reflected in his dilated eye.  He sneaks out of the hospital once he awakes, and Leela doesn’t meet him again until the Air Force ball, which is gorgeous tango dance sequence.  VC is so cocky in his attitude — his whole demeanor made me think of the film Top Gun.  He’s shocked when Leela stands him up to his invitation for a flight over the Himalayas.

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At first their relationship seems to follow a familiar path, but VC’s cockiness is also an arrogance and self absorption.  The relationship has some dark tones to it.  VC can be cruel and thoughtless.  Leela wonders why she keeps going back to VC again and again.  One scene struck me particularly when he gets her back and proclaims to his buddies in front of her, “I told you I’d bring her back.  She’s MY girl!  You owe me a whisky!”  Was it all for a bet?  Or can he really not live without her?  They have such a volatile passionate relationship, it’s really an open question if they should be together.  It reminded me in some ways of Rani and Abishek in Yuva.

Just at the moment that I was worried that Leela was turning into a dishrag at a critical juncture, she takes her life in her own hands.  And while there is one of those key “confrontation with the girl’s parents” scenes, it’s key that while they are NOT pleased with Mr. Varun Chakrapani, they don’t scream and yell.  It’s Leela who asks him to leave.  She is an adult, and she makes her own decision as to the direction of her life.  Mani Ratnam writes such great roles for women.  Both of these characters in this romance are wonderfully complex, but especially Kartihi’s VC character.

As we flash back to the prison scenes, his goal is to escape and to get back to Leela to prove he is a better man.  That leads to some gripping action scenes in the second half of the film.

I don’t think this is Mani Ratnam’s greatest film, but he truly excels at complex relationship films.  I left thinking about Roja, and Dil Se.  This is not a film about terrorism, but it does return to the theme of Kashmir.

The score is by A. R. Rahman and has some stand out songs — Rahman saves his best for Tamil cinema, and his very best for Mani Ratnam.  Ratnam has a really clever way to include the most commercial song, Azhagiye.

 

VC sends Leela a videotape (VHS! It’s 1999!) with a Marry Me song filmed with his air force buddies.  It’s sounds like the a cappella groups like Penn Masala.   It reminded me of all those amateur Youtube videos of  soldiers or sailors lip syncing and dancing.  Brilliant!

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There’s a family wedding setting for another great song, Saarattu Vandiyila.  That shot with the red powder!  Breathtakingly beautiful!

The ending left me satisfied, but yet wishing there’d been a little more.  I do like to see my rogue heroes grovel quite a bit to earn their HEA.  I’ll definitely be seeking out more films with both of the stars, especially Karthi.  Dear Reader, if you have any to recommend I watch first, let me know in the comments.

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Kabali – There’s more depth to this Rajnikanth gangster flick than I first thought

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Kabali is my second Rajnikanth Tamil film.  I previously watched Enthiran (Robot) which I really enjoyed.  You can tell right away that Rajnikanth is a Star with a capital ‘S’.  My South Indian neighbor told me that Rajnikanth modeled himself on Clint Eastwood.  He wants that kind of “Make My Day” iconic style.  It has been two years since the last Rajnikanth film, and since 1994’s Baasha that he has played a Don role.  If you have any doubt what an event a Rajnikanth film is, they marketed Kabali by painting a plane!

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I saw Kabali twice this week.  The first time was a late night show that didn’t get out until 1:30 a.m.  I was tired going in and bleary which wasn’t good.  And I didn’t have the raucous whistling crowd that I hear is more typical for a Rajnikanth film experience.  I thought it was a decent gangster don comeback story, and appreciated Rajnikanth’s style and flair.  But I didn’t really get what the movie was trying to show me until I read Margaret Redlich’s analysis and review on Don’t Call It Bollywood.

I knew zero about the Tamil community in Malayasia, the setting for the film and their history of oppression.  What Margaret pointed out is that this film is telling you a story of an oppressed people between the lines, skirting the censors (in Malayasia they were required to add a crime doesn’t pay disclaimer.)

On the surface, this is a story like many we’ve seen before.  A gangster Don is released from prison after 25 years, and takes revenge on the rival gang that killed his pregnant wife and his mentor, and who framed him for fomenting a massacre.  The Tamil speaking policeman warns him to mend his ways when he gets out, and not to disgrace the Tamil people.

His loyal aide Ameer picks him up from prison, and shows him how Kuala Lumpur has changed and how the opposing gang 43 has taken over.  Kabali directs Ameer to take him to the secret hangout of the gang, in the back of a pet shop.  And this starts the Kabali Rajnikanth signature moves.  Kabali is always dressed well in a suit jacket.  And when he confronts one of the leaders of the rival gang he makes a point to sit in front of them in a relaxed manner with crossed legs.  It’s show of nonchalance, and that he demands respect.

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Kabali fights with swift moves and hidden pipes in his sleeves and objects he picks up around him.  He strategizes  and is a step ahead of his rivals.  The action fight scenes are fun and inventive.  Pretty bloody at times.

Ameer then shows Kabali the school that he and Kabali’s followers have created to save kids from gangs and other charitable foundations.  Kabali finds he feels connection to a young drug addict girl student named Meena.  “She’s about the age that my son or daughter would have been.”  I’m not sure I’ve ever seen the dark side of youth drug use as presented like this in an Indian film before.  It’s also really interesting that Meena is shown as a redeemable character, and that our hero wants to adopt a drug addict.

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There are two really great strong women characters in this film.  As Kabali addresses the graduating class of the school, we flashback to his backstory with his wife, played by Radhika Apte, who I had only previously seen in Badlapur.  I absolutely loved their relationship of equals.  They meet as field workers, and she encourages him as he rises from labor organizer to the protege of the TamilNesan leader played by Nasser.  And then, there’s Kabali’s daughter:

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Dhansika was all kinds of kick-ass awesome as the assassin for hire Yogi.  I’m looking forward to seeing more of her work.

I enjoyed the personal journey of Kabali, as he tries to find his lost family more than the action gangster portions.

The reason I went to see the movie again was because I really didn’t get the underlying political message that the filmmaker was showing us, trying to slide it past the censors.  After I read Margaret’s great analysis of the film, I went back to see it again and all the song lyrics about oppression and slavery lept out at me.  I saw that the Tamil cop who had warned Kabali to be good in the jail collaborated with Kabali to bring down the Chinese gangster Tony Lee, but after that plotted Kabali’s downfall.  It seems if you rise too high, you will be chopped down again.

Kabali’s wife has a key speech where she tells him he needs to always dress well to garner respect.  She gives up her family to marry our lower caste hero.  He always dresses in a suit coat.  And his lounging cross-legged before each villain in his suit is a political message in itself.  I belong to sit here with you.  I am not your supplicant and my caste shouldn’t matter.

There’s also a message in how Kabali’s wife is a domestic servant who is shuttled from family to family and country to country with no say in where she can live.  And that Kabali returns to Chennai, the first in his family since his grandfather left for Malayalsia.   The villain is Tony Lee, and the fact that he is of Chinese heritage has a meaning. too.  I read that Prakash Raj was originally supposed to be the villain and that would have given a completely different meaning.

I think the recent Malayalam film Kammattipaadam did a better job conveying the injustice done to an oppressed people (the Dalit) through a gangster narrative.  Until I read Margaret’s piece, I didn’t fully understand what the director was trying to convey.  But then, Pa. Ranjith was working at trying to convey a message past the censors in Malaysia.    Kudos to Rajnikanth for making this film for his fans in Malaysia.  It’s enjoyable just for the surface action story alone, but look deeper.  There’s more there than first meets the eye.

Three and a half stars out of five.  (Kabali was released in Tamil and Telugu.  I saw the Tamil version.)

I wasn’t a huge fan of the rock/rap thrumming electric guitar songs that make up most of the soundtrack, but I did really like this love song:

24 – A Tamil Sci-Fi Time Travel Movie with a Great Triple Role

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Sci-fi films are not that common in Indian Cinema at all.  (I still haven’t seen Rajnikanth’s Robot which is sitting in my DVD pile.)  24 was a really interesting film, because it used some of the conventions of sci-fi films I’m used to from the West, but added in the family and mythic elements of Indian cinema.  The film stars Suriya in a triple role.  This is my first Suriya film.  Looking him up later, he is famous for originating the role of the cop in Singam (which Ajay Devgn remade into the Hindi Singham).

In the picture above Suriya plays the inventor dad who makes an almost steam punkesque time machine watch.  It can only go backwards a maximum of 24 hours, thus the movie title.  The middle character is the evil brother of the inventor — very Indian!

Then the left is the 26 year old son of the inventor, present day 2016 Mani.  Nithya Menon of OK Kanmani has a brief role as Priya, wife of inventor, mother of Mani.  Samantha Prabhu played the love interest for Mani and was just okay.

Suriya was impressive.  He is a talented actor because he really, really pulled off three separate characters with the three roles.  And there are scenes of him being one character and pretending to be another which is hard to do, and he totally nailed it.

There’s a whole plot with baby Mani being entrusted to a young girl who raises him on her own as a single mother.  I’m thinking there’s a whole Mahabharata story I’m missing that it ties to that would be obvious to the Tamil audience.   (Asked a friend and the foster mother is supposed to be Yashoda who raised Krishna.)  There’s also elements of karma and fate as the time travel machine watch and a key find their way to Mani.

What was great about the film is that when Mani gets the time travel machine watch to work (he’s a watch repair man, fortuitously!), he first uses it to romance the girl.  He’s almost like a young superhero geeking out over his new found super powers.  Those scenes were really fun.  He can also freeze time, and uses that to take a selfie with Dhoni in the middle of a cricket match.  Watching him explore the powers of the time travel machine, explains what it can do, and how the time travel is going to work (and its limits) to the audience in a clever way.

I really love time travel movies, especially when they are used in romantic films.  Outlander is hot right now, but who can forget Christopher Reeve in Somewhere In Time?  He had no time machine, just hypnosis and the power of his love!

There have been several adaptations of H. G. Wells novel The Time Machine, notably the 2002 The Time Machine directed by Simon Wells, great-grandson of the author and starring Guy Pearce.

In The Time Machine, Wells or his avatar finds love with a primitive girl as civilization has collapsed in the distant future.  Yeah, there’s none of that kind of nonsense in 24, thankfully.  It’s a story of personal revenge in one family.  But while Suriya was great as the villain, hell bent to get the time machine watch to try to cure himself — it was never explained why he hated his inventor twin so much.  I wish a little less time had been spent on the romance plot towards the end, and some time had been given to the back story of the twin brothers.  Of course, the filmmakers have left it open to a prequel or a sequel.

I thought the CGi and special effects were good, and the music was by A.R. Rahman.  Not his best score ever, and I’m not running out to download the songs, but good.  I would hesitate to bring very young children to the film as one character gets his hand cut off.  Overall, an enjoyable action film, especially for the performance of Suriya in the three roles.  Four stars out of five.

24 is out in Tamil, and a dubbed Telugu version.  My theater had both.

Vettai – The Madhavan/Arya Brother Cop Movie I Didn’t Even Know I Wanted

My neighbor brought me back a stack of Tamil DVD’s from her trip to Chennai and I’m slowly making my way through them.  I was looking for a lighter movie and took a chance on Vettai (The Hunt), a 2012  Tamil action comedy.  Arya AND Maddie in a movie together?  I’m in!  This movie just made me smile for so many reasons.

Vettai establishes the dynamic between the brothers with a scene from their childhood.  The older brother is actually timid and scared of everything.  When a bully hits him, the two years younger brother comes to the rescue.  Their father is a policeman, who then beats the younger son for getting in a fight.  He stoically takes the blows silently while the older brother weeps and wails even though not a single blow touches him.

That dynamic continues to the present day.  Madhavan who is physically large and imposing plays a very timid adult.  He’s scared of violence and confrontation.  His younger brother (Arya) is a rowdie, and quick to fight and intimidate anyone who threatens Maddie.  Their policeman father suddenly dies, and by family tradition, Madhavan as the oldest son should take his father’s place.  Arya convinces Madhavan that he should take their father’s job, the same one that their grandfather held.  Maddie tries to get Arya to do it instead, but he has 4 charges against him.

At first Madhavan enjoys the stature his uniform gives him, but he doesn’t know what to do when a young girl is kidnapped by the local goons.  He calls his brother Arya, who comes to the rescue.

  

Never underestimate the powers of disguise in a hoodie or a rain coat!

Madhavan gets the hero accolades, while Arya acts as his secret enforcer behind the scenes.

Interspersed with the action scenes, we have the romantic storyline.  Arya meets a very assertive young woman (Sameera Reddy) when he accidentally knocks over her motor scooter.  She turns out to be the young woman that their uncle wants to arrange a marriage with for Maddie.  It was a nice fake out.  Arya then is attracted to the younger shy sister (Amala Paul).  The romantic scenes give a lot of comedy and sweetness to the movie, and some nice music numbers.  I loved when Sameera’s character forces Arya to change his view of his brother, “Are you the older brother?  You don’t even have a job.  Don’t you think you should address him with respect?”

Things come to a head when Madhavan is badly beaten by the goon gang.  As you can probably guess, Arya teaches him to release his inner lion.  Cue training montage and action scenes.

This isn’t the greatest movie in the world, but it was entertaining and I loved the chemistry of Arya and Madhavan together as brothers.  Madhavan was really, really great in all the scenes where he is the gentle timid sensitive giant.  He has a great comic touch.  In his native Tamil, I think he has an even greater comfort in playing comedy.  I haven’t seen as many Arya movies.  I’ve seen his action film Urumi, and I’ve seen his sweet romantic roles like Raja Rani and Size Zero.   He carries most of the water in the romantic scenes in Vettai, and there’s a funny subplot with an NRI that is supposed to marry the sister Arya loves.

Three and a half stars out of five.   Nice entertaining light action romantic comedy.  Plus Arya and Madhavan dancing together!  Who can ask for more than that?

Pizza – A Seriously Creepy Tamil Horror Film with a Disarming Title

I am not really a horror movie person.  I rented the  Tamil Horror thriller Pizza (2012), which was recommended over and over on the Quora post.  It’s the debut feature film of writer/director Karthik Subbaraj.

It was SO intense that I had to take a break in the middle of watching it.  I am really impressed the level of scariness and creepiness the director was able to achieve with a guy running around an empty modern house with the lights out and carrying a shaky flashlight.

It’s called Pizza because the main character is a young pizza delivery guy.  Michael (Vijay Sethupathi) and his girlfriend Anu  (Remya Nambeesan) live together.  Anu is writing a ghost story novel, and doing research by watching lots of horror films.  Anu finds out she’s pregnant, and that causes a crisis in their relationship as Michael doesn’t think he’s ready to be married.  He’s not earning enough working at the pizza shop.   Michael and Anu don’t seem to have any family.  They patch things up, and we get a very sweet love song sequence.

Michael makes a pizza delivery to a house, and then gets locked in when the woman who had answered the door goes up to get change.  The lights have gone out, and that’s when things get super creepy and weird.  Pizza was the first Tamil film to use surround sound, and the soundscape of the film is part of what makes it such an effective thriller.  About an hour in, I was so affected that I had to stop the film for a bit.  It’s that good and intense.  Realize that I’m a scaredy cat and I don’t usually watch many horror films at all.

In the last 20 minutes or so of the film there is a great twist, and then a final double twist at the very end.  Part of what makes the film so good is the performance of the lead Michael,  Vijay Sethupathi.  He was great.

Not my usual choice of flick but I’m glad I saw it.  These scrappy low budget filmmakers have to be so inventive.  I’ll be looking forward to seeing Karthik Subbaraj’s other films when he has a bigger budget to work with.

Irudhi Suttru/Salaa Khadoos – I loved Maddhavan in this female boxing movie

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I watched Madhavan’s recent boxing movie, Irudhi Suttru (The Snob) in Tamil.  It was released and filmed at the same time as the Hindi Salaa Khadoos.  I watched it in the original Tamil because that was the version available on Google Play, and I wanted to download it to watch on a flight.

Irudhi Suttru had a woman writer/director, Sudha Kongara, which I don’t think I knew going in.  I learned from Wikipedia that she was an assistant director to Mani Ratman for 7 years.  Maddy was really good, and it’s so great for him to come back with a dramatic role like this.  The newcomer Ritika Singh, the young woman boxer was also great.  It got a bit trite in the dialogue in the second half, but was still quite good.

Madhavan’s character Prabhu had been a talented boxer, but his temper and lack of finesse with the politics of the boxing federation has left him sent to the backwater of Chennai to train women boxers.  Our introduction to Prabhu has him kicking out a married woman he’s having a sexual affair with out of his bed.  We learn that his wife has left him, and he has had a string of these affairs.

After he arrives in Chennai, he watches and assesses the talent of the young women being trained by the local coach (played by Nasser), when he spots the sister of one of the boxers attacking and punching to the ground the boxing judges she feels didn’t give her sister a fair shake.

Prabhu tracks down Madhi at the fish market because he is much more interested in training her, than the sister Luxmi who has been already been training for years.  He offeres her money to come train every day with him, to replace the family income she would lose by giving up her day job.

This causes jealousy with the older sister Luxmi, and at one point Luxmi does something that injures Madhi before an important fight.  We’ve seen the journey, setbacks and comeback fights in boxing movies before, but here we have a young female boxer who gets a huge crush on her coach, who she calls, “Master.”  He shuts that down immediately, not in an unkind way, but a matter of fact, “it happens” kind of way.

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The setup first half of the film was very good, but the dialogue in the second half got a bit predictable and trite.  The songs were okay, but not outstanding.  My favorite was probably this one with the two sisters celebrating having some spending money for once:

 

I don’t know what to think about the ending.  The writer/director left it ambiguous as when the young woman wins her final bout, she runs to her coach and flings herself at him and wraps her arms and legs around him.  Is this still just a coach/student relationship?  You can view it both ways.

When Prabhu gives up his position in the boxing federation so that she can fight, Madhi says to Prabhu, “Is that not love?”

And then when she jumps in his arms at the end, but he doesn’t initially put his arms around her.  I think he awkwardly sort of hugs her back, but it could be left for either interpretation.  If you want to think, since she had gone back to always calling him, “Master” that it was just a student/coach relationship, you can think that.  If you want to think it had gone beyond, you could read that in, too.

And I don’t know what I want it to be.  I guess I lean towards the coach/ student bond.

The one scene that bothered me, was when he thought she threw the national finals fight (when her sister broke her hand) and he throws her to the ground, and then kicks her.  I know Prabhu’s supposed to be this volatile character, but the kick really bothered me.  The yelling I could deal with, even though he was really harsh.  He’s supposed to lose it.  A friend told me she viewed it that it showed how he viewed the girl just as he would have a male boxer, and treated her just the same.

I loved that the actress playing Madhi was so athletic.  I learned later that she is a MMA star in India, and had never even acted before.  I think that was smart of the filmmaker to choose someone so believable in the training and fight sequences.  I can’t believe she didn’t know Tamil and learned all those lines phonectically!  She was great!  Now I’m sort of wondering if she was more natural in the Hindi version of the film.   I haven’t seen Mary Kom yet, so I can’t compare this film to Priyanka’s performance.

But Maddy!  Oh my gosh, it was great to see Madhavan be a bad ass bad boy at the beginning especially.  And then I loved how he was this great coach, and just dealt with her crush — hey, it happens, don’t worry about it, now go put on your track suit and let’s get to work.  He is a flawed character.  I contrast it to SRK in Chak De! who seemed more saintly than this.

And he looked AMAZING!  I wasn’t sure about that whole longish hair and beard when I first saw the trailer, but man, did I love it.  He was so big and buff!!

With a plot like this, you can’t help but think a lot about the Clint Eastwood film Million Dollar Baby.  Now obviously, Clint Eastwood is a million years old in that film.  But it’s also a boxing coach relationship with a young woman, and how intimate and close it is, even if it’s not sexual at all.  Maddy wasn’t QUITE old enough to be fatherly.  At least not in an Indian film world.  (And thank god he didn’t have to kill her in the end!)

I give three and a half stars out of five.  Definitely worth a watch.

On a complete side note I feel like I have been seeing the actor Nasser EVERYWHERE recently.  He was the Dad in Jeans which I recently watched.

And then he was a supporting coach in Irudhi Suttru
Then he was the villain in the Telugu movie I just watched!
In looking up his name, I discovered he was in Baahubali!!  Mind BLOWN.

Some recommended films from around India

For my Hindi pick, Paheli is certainly not one of SRK’s biggest films but I love it.  Fantasy films seem to be unusual in Hindi cinema, and in this film Shahrukh Khan plays a number counting merchant husband, and a Ghost or spirit (sort of a genie, really) who takes his place.  Rani Mukerji is the bride who captivates the Ghost, with Amitabh as a wise shepherd in a cameo.  It’s a fable that is also about women’s empowerment, and the scene where SRK tells Rani he’s a ghost is one of my all-time favorites.

And the soundtrack!!

   

My Tamil pick is Mani Ratman’s 2015 film OK Kanmani, with music by A. R. Rahman.  A young couple (the charming Dulquer Salmaan and Nithya Menon) wants to live together because they are cynical about marriage.  They learn about true love from an older married couple.  Prakash Raj (who we’re used to see as a villain in Hindi films) plays a devoted husband to his wife with Alzheimer’s.  If you live in the US, it is on Netflix streaming, and I highly recommend this wonderful film.  I sought out this film after hearing the song Mental Manadhil at an A. R. Rahman concert.  So glad I did!

Dulquer Salmaan from OK Kanmani is usually in Malayalam films, and that’s what brought me to watch the Malayalam film Bangalore Days.  This is my number one pick of Malayalam films I’ve seen so far.  It’s a wonderful coming of age tale about three cousins and has a great ensemble of young Malayalam actors in it.  Ohm Shanti Oshana is also a great woman centered film (with the same lead actress above), but Bangalore Days, Bangalore Days, Bangalore Days!

For Telugu films, there can be only one — Baahubali!  I was so blown away by this film, I watched it four times in the theater!  This film is available dubbed in Hindi, but you can readily rent the Telugu version on Youtube.  Prabhas plays a dual role, Shivuvu and Baahubali.  It is EPIC.  It’s a fantasy with stunning visuals.  S. S. Rajamouli cannot be matched for his imagination in film (have you seen Eega where the hero is a FLY?)   The battle scenes rival films like Gladiator, and there are several kick-ass women characters.  Mirchi is my second favorite Telugu film I’ve seen so far, also starring Prabhas with Sathyaraj (Kattappa in Baahubali).  It’s so long to wait till 2017 for part 2 of Baahubali!!