Jibon niye onek lekha holo
ebar kichhu nijekey niye lekho
agami niye onek kotha holo
ebar kichhu chayer cup-ey eso.
Sob i sudhu 'hole kemon hoto'
sobai sudhu 'thakley boro bhalo'
ektu borong ajke bechey thako
ektu borong aspaas ta dekho.
Somosto din sukher majhey theke
kon osukhey dub merechho jeno
ebar kichhu batash bhoro bukey
ajkey barong ajkey niye bancho.
Barano haat firiye dilo keu
basi thalay sukiye jawa bhat
chena otripti periye eso aj
onno taray bhorey uthuk raat.
Friday, July 15, 2011
Monday, July 4, 2011
Delhi Belly!
Watched Delhi Belly last Friday on the first day of its release. The movie has made more sensation in indian box-office for its use of cuss words and vulgar situations than its story or other artistic aspects. So, I thought of contemplating on these less talked-about aspects.
First and foremost, this is a great film, completely entertaining with a coherent plot and fair acting. The cinematography is world-class, camerawork perfect. A very interesting aspect of the movie is that it is almost entirely shot in real locations, there are very few sequences inside studio - apart from the song-sequences.
Delhi comes as a dazzling backdrop in Delhi Belly. The narrow streets of old Delhi, with an abundance of hawkers and cows make the movie stand in a solid ground. We, the citizens of another similarly old and dilapidated city can readily identify with these locations. Also the way the city has been used as a part of the story is important, much of the humor is directly drawn from the shabby rent-houses, red-lighted areas and its filthy surroundings. The story in its perversion, its confusion and jeopardy mingles with this convoluted backdrop. There were no effort to beautify these elements from the fear of famous Indian make-it-glitter-and-glow mentality discarding it. This is a rare attitude for Indian mainstream cinema.
This attitude of keep-it-as-it-is has mingled in the characters of the movie as well. They just do not care about their filthy surroundings, their broken cars, their cursed fate. They are probably the coolest people on earth, beaten by gangsters, ditched by girlfriends and aided by bad-luck in every single aspect of their life, but they can still continue playing carom when the ceiling on top of their heads are about to fall off - thanks to the Kaththak teacher up-floor. They can still check-into a washroom when there is a gang-war going on in the same hotel-room.
Life had a few surprises in store for our protagonists and when they start coming, they cease to stop. The story runs, sprints, jumps and we giggle and laugh our hearts out at the outcome. At times, the story is similar to the famous British movie "Lock, stock and Two Smoking Barrels", but the interpretation is so deeply Indian that I would refrain from calling it a copy and consider the work immensely creative.
The movie ends with a sweet note - fitting to the setup. Surprisingly, the couple do not reach the clouds in white costumes, they merely lose themselves in a car going backwards and end up hitting a scooter.
There was an item number by one famous Indian actor during the end credit, which was as loud and foolish as it could be. I initially felt that it did not go well with the movie. But then, I realized that probably like the rest of the movie which was mocking its characters and surroundings, the item number was also a mockery of itself, a mockery of the very popular item-number-culture!
First and foremost, this is a great film, completely entertaining with a coherent plot and fair acting. The cinematography is world-class, camerawork perfect. A very interesting aspect of the movie is that it is almost entirely shot in real locations, there are very few sequences inside studio - apart from the song-sequences.
Delhi comes as a dazzling backdrop in Delhi Belly. The narrow streets of old Delhi, with an abundance of hawkers and cows make the movie stand in a solid ground. We, the citizens of another similarly old and dilapidated city can readily identify with these locations. Also the way the city has been used as a part of the story is important, much of the humor is directly drawn from the shabby rent-houses, red-lighted areas and its filthy surroundings. The story in its perversion, its confusion and jeopardy mingles with this convoluted backdrop. There were no effort to beautify these elements from the fear of famous Indian make-it-glitter-and-glow mentality discarding it. This is a rare attitude for Indian mainstream cinema.
This attitude of keep-it-as-it-is has mingled in the characters of the movie as well. They just do not care about their filthy surroundings, their broken cars, their cursed fate. They are probably the coolest people on earth, beaten by gangsters, ditched by girlfriends and aided by bad-luck in every single aspect of their life, but they can still continue playing carom when the ceiling on top of their heads are about to fall off - thanks to the Kaththak teacher up-floor. They can still check-into a washroom when there is a gang-war going on in the same hotel-room.
Life had a few surprises in store for our protagonists and when they start coming, they cease to stop. The story runs, sprints, jumps and we giggle and laugh our hearts out at the outcome. At times, the story is similar to the famous British movie "Lock, stock and Two Smoking Barrels", but the interpretation is so deeply Indian that I would refrain from calling it a copy and consider the work immensely creative.
The movie ends with a sweet note - fitting to the setup. Surprisingly, the couple do not reach the clouds in white costumes, they merely lose themselves in a car going backwards and end up hitting a scooter.
There was an item number by one famous Indian actor during the end credit, which was as loud and foolish as it could be. I initially felt that it did not go well with the movie. But then, I realized that probably like the rest of the movie which was mocking its characters and surroundings, the item number was also a mockery of itself, a mockery of the very popular item-number-culture!
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