Bollywood

As an exhaustive euphoria informs the concluding days of the festival, contemplating the vastness of the visual, emotional indulgences, one must recognize and applaud those who selected the filmic fare: Michael Kutza, President and Founder; Mimi Plauche, Programming Director; Anthony Kaufman, Programmer; Camille Lugan, Programmer; Sam Flancher, Programmer. Countless viewing hours, resulted in a festival worthy of a disparate, multi-faceted …

“Motley’s Law” (Denmark). Kimberly Motley is a contemporary, tough, captivating symbol of a woman who earns her badge of courage every waking moment, as the solitary American permitted to practice law in Afghanistan. Director Nicole Horanyi follows Kimberly through her courageous, terrifying days, gifting audiences a penetrating, inspirational portrait of an individual whose mission knows no fears, no bounds. “Tag” …

Seeing three or four films a day, bouncing from one country to another is thrilling, entertaining and challenging; after four days here is a “taste” of the places I’ve savored so far: “Mia Madre” (Italy, France); Nanni Moretti (director/actor) semi- autobiographical scenario revolving around the  vicissitudes of balancing one’s daily life/profession while dealing with the imminent passing of a beloved …

After a gluttonous, film- frenzied week at the Cannes Film Festival (May 2015) I posted a mini synopsis of those movies I experienced; repeating again, hoping to inspire those umbilically attached to their couches, to valiantly severe the relationship and venture forth to the darkened, silent anonymity of AMC 21 Theatres. This year’s selection is especially stunning, with over 200 …

The only thing heroic about this formulaic, Bollywood romantic extravaganza is the time spent waiting for the conclusion; two newcomers, Sooraj Pancholi and Athiya Shetty play star-crossed lovers in a remake of Subhash Ghai’s 1983 version of the same title; once was sufficient, but Salman Khan  (producer) feels “imitation” is the highest form of flattery and commerce; seasoned audiences will …

August 2010, I was at the inauguration of the renovated Taj Mahal Place Hotel in Mumbai, India (originally opened in 1903); it was not my first stay in this iconic, historical bastion of beauty, civility,  unfathomed wealth, facing the Gateway of India; wide, silent halls, decked with Eastern antiquities and splendor, lend an aura of magnificence, reflecting the depth of …

Salman Khan puts his financial largesse, talent and a major portion of his soul into this Bollywood extravaganza; a unique, subtle, spirited view of Hindu/Muslim relationships. Lacking bludgeoning, blatant, self-serving proselytizing, the film beautifully addresses religious, cultural differences by using as “tools” a simple, righteous man “Pavan” (Khan) and a mute, lost Pakistani girl, “Munni/Shahida” (the heart of the film; …

This is the best film generated from the Bollywood genre in years; not a false or silly character; legitimate, recognizable individuals, regardless of ethnicity; it is generational, contemporary and sensationally acted by actors at the pinnacle of their careers. Anil Kapoor and Shefazi Shah depict “Kamal and Neelam Mehra”, married for thirty years; sparks have long fizzled; replaced by faked, …

“Mumbai Mirror’s” film critic Rahul Desai, quit after his Two & 1/2 Star rating of romcom  “Tanu Weds Manu Returns” (a sequel to an average movie)  was increased to a Three & 1/2 Star billing; egregious behavior on the part of the editors; actually, Desai’s rating was too high for this placid, dull, redundant script. “Manu” (R. Madhavan) is a …

How could Bollywood icon, the answer to the first trivia question in the  “Slumdog Millionaire” contest;  barrier- breaker between Eastern and Western films, stoop to accepting the role of a curmudgeonly,  constipated hypochondriac? Amitabh Bachchan, left viewers squeamishly embarrassed at his portrayal of “Bhashkor Banerji”, squawking, lamenting his inherited “curse”; scatological discussions, disgustingly inform the narrative and was the focus …