Monday, September 16, 2013

Horror Story- Review




About the movie:
seven friends land up in a haunted hotel on a night out. With an itch to find out if the urban legend about the property is true, they decide to go to a certain room number 3046 which has seen several suicide cases in the past. What about that room makes people jump off the building is what they want to know. The resident spirit is a tortured girl who stayed in the mental asylum that was part of the hotel before. Who survives and who doesn't and how the spirit is tamed is what the film is all about.

Things must be appreciated:
Lighting and camera work in the second half effectively raises the spooky quotient in the film. Also Ayush creates the right amount of suspense and build up that leads to our first encounter with the evil spirit. Passages, stairways, nooks and corners of the hotel are used with efficiency to bring up the right scares. Make up is on point. Karan Kundra and Nishant have better written characters than the rest, while Radhika stands out among the girls. For those who like over the top loud back ground music loaded with shrieks and screams, Horror Story will be an experience. Thankfully there are no songs keeping a strict check on the length.

My views:
Horror story is one of the bluntest most direct tales of terror to be unleashed in recent times. The feeling of being trapped with a group of youngsters, who would want to be anywhere except the place that the spooky script selects for them, stays with us till the end.
The youngsters, after downing one too many shots, overhear the news of the mysterious death/suicide of a businessman from the now-abandoned (and rumored to be haunted) Hotel Grandiose.

They ignore the warnings of a Mr. Miyagi lookalike about the existence of said ghosts, and decide to go to Hotel Grandiose to "check it out".
No, really, that's the most logical thing to do because no one ever heard of thugs and drug addicts inhabiting abandoned buildings. Also, who cares if amounts to trespassing? It’s just a little, lonely, abandoned hotel after all.

As the youngsters venture further into the hotel, strange things begin to happen. While noise from the TV has a whisper hidden underneath its sound; one of the characters receives a phone call and lights keep going out.

When chased by the spirit, the characters spend a good five minutes running around, waving their torches like happy little campers before realizing that it is all futile, and embarking on every young person's favorite sport -- the search for network.

I mean, sure, our generation isn't the brightest one ever but I'm pretty sure that a couple of guys trying to make their way out of a haunted hotel won't follow an unknown woman in a dark hotel corridor when she calls out to them.

It is difficult to understand why a single character always embarks on a heroic journey to find the way out, leaving the group behind with the simple instruction to "stay right here", knowing that the previous ones who did the same ended up in a not-so-nice place.

At one-and-a-half odd hours, the film is unusually long. The first half of the film drags as much as it possibly can, until you're afraid that you're trapped in a haunted theatre which just won't let you leave while the film goes on and on and on...

The second half offers some respite because the director has been kind enough to explain why the ghost refuses to leave the poor kids alone: aside from the fact that they're trespassing the ghosts' land, they touch things, move things, turn switches on and off and act in all kinds of disrespectful ways.

The ghost and its back story seem to be lifted from films like The Exorcist, the Uninvited and The Ring. 

Meanwhile, thanks to the one-dimensional characters, not much sympathy is felt when the ghost keeps bumping them off one by one -- and if that's what it takes for the film to finally come to an end, I for one won't complain.

The background music consists of a child-like voice whispering Ring-A-Ring Of Roses, which is just about the scariest part of the film, and an assortment of sounds that were 'borrowed' from Vikram Bhatt-directed 1920.
Engaging in fleeting moments, Horror Story might appeal to those who get scared easily.

Saturday, September 14, 2013

MADRAS CAFE



Madras Cafe comes as a great relief to someone who dreads Hindi movies because of the songs (that all sound the same) and the million wailing violins that wash over the tragic hero hamming his
way through a moment of pathos. Why, the new movie directed by Shoojit Sircar doesn't even have a romance between the two hunkiest people in the movie, nor - praise the Lord- between the glamorous journalist and he subject, the rebel leader. First the actors. Beefy John Abraham does himself
a favor by making no attempt to act. Instead, he sticks to what he's best at - looking fit, tanned and leaping around with guns - and ends up both credible and likeable.
Though I have yet to figure out why a 'British' journalist has an American accent, that's an insignificant piece of trivia to hold against the young and lovely Ms Nargis Fakhri, who does a fairly good job of what she is required to do.
And yes, yes, I confess I know these gentlemen but they really are the best: Siddhartha Basu and Avijit Dutt who play South Block to perfection. Dibang, the excellent TV anchor gets in a neat cameo too.
Now come the parts that were hard, at least for me. The hardest was squinting my eyes and trying to train myself to accept Kerala as the Jaffna peninsula and the Wanni. Shoojit Sircar’s Madras Cafe starring John Abraham and Nargis Fakhri is not just another typical Bollywood masala flick but is a thought provoking, heart touching political drama. It’s a film that will keep you and your eyes glued to the seat and the screen, effortlessly. Sircar has given meaty roles to all his characters and not just the leads. The opening scene of Madras Cafe showcases khoon kharaba and merciless killing of innocent people. The scene then effectively
moves on to the present where we see John in despair trying to overcome his sorrows with
alcohol. Our hunkalicious drunken John Abraham (Vikram Singh) then visits a church
where he recalls the blood-curdling tales of the Lankan wars and then the flashback begins.
From here, the film takes us back to the 1980’s and is set against the backdrop of Sri
Lankan wars.

However we also have Nargis Fakhri in an ill-defined role of a war journalist, who grimly tells
Vikram: “They know your first move before you even implement it”. Throughout the film, she
speaks in English and he replies in Hindi, which makes for clumsy conversation. And yet, Madras Café works as an effective portrait of the futility of war. Shoojit and his
writers, Shubhendu Bhattacharya and Somnath Dey, ably illustrate why there are no winners
here. Ideologies are marred by corruption and brutality. Death is inevitable and victories,
pyrrhic. A special mention here of John Abraham, who stretches himself as both actor
and producer. He does a commendable job. As does Prakash Belawadi, who plays Vikram’s
hard-drinking superior. And cinematographer Kamaljeet Negi, whose camera gives the film
scale and heft. Shantanu Moitra’s unobtrusive music underlines the tragedy.
Madras Café is flawed but ambitious and brave. I recommend you make time for it.