tag:blogger.com,1999:blog-994848077988084852023-10-21T07:06:06.528-07:00Modern MastersModern Masters: A mediation on stalwarts of modern cultural landscape. It will cover Modern Art, Music, Movies, Television.Abstract paintings to modernart; rock n roll to classical music . So onto Picasso, Matisse, Warhol, Jimi Hendrix, Jim Morrison, Janis Joplin, Yes Minister, BBC mysteries, Modernartists etcDhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.comBlogger67125tag:blogger.com,1999:blog-99484807798808485.post-89779881182968416112021-11-01T03:08:00.002-07:002023-03-07T22:02:55.495-08:00Federico Fellini: Dazzlingly Suffocating Spectacle of Soul<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vAscfRt56ik/YX-6rmH_J2I/AAAAAAAAFHk/RzSCukyAtaEBHWUZ4zW5r9RzPh8oabJpwCLcBGAsYHQ/s750/1.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="400" data-original-width="750" height="213" src="https://1.bp.blogspot.com/-vAscfRt56ik/YX-6rmH_J2I/AAAAAAAAFHk/RzSCukyAtaEBHWUZ4zW5r9RzPh8oabJpwCLcBGAsYHQ/w400-h213/1.png" width="400" /></a><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span>Any art form is, first and foremost, about communication. It needs to communicate its appeal and its emotions. It is not always a simple process as the appeal of any art form in itself is not a very tangible or linear phenomenon. A work of art can appeal for its structural congruity – the way internal consistency of the pieces weaves a magic or the allure may emerge from the force of its argument, story, emotions or simply by audacious use of the instruments of the art form such as paint, celluloid, images or anything to realize unforeseen possibilities of communicating joy or an idea. Communication, once again, is not only in the hands of originator of the art. In ultimate analysis, it is an alchemy of the sender and receptor and everything in between. Audience is also co-creator of the art. How can it be otherwise in something as symbiotic as the artist and her audience? Communication, to take the point further, need not be easy or very clear in the first instance itself. In fact, keeping the art somewhat opaque and allowing the audiences to add layer of meaning has been a time-honored trope of artistic world. Significant part of meaning formation takes place on the side of the receiver – a la Rashomon. Much of the mystique and allure of ‘artistic’ film makers lies in the scope they give to audience to exercise their interpretation of their art. Still, it is about communicating the message, brilliance, emotions and joy.</p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">There is,
from all available experience, some undefinable, nebulous boundary for all the
mass consumed arts, beyond which the degeneration of art form into something
less joyful (joy does not always accrue from happiness, beauty or decency. Agony
and pain can also be redemptive enough to be a source of artistic joy) starts.
Extravagance of spectacle is a value in itself but not beyond a point where it
loses the beating heart of communicating joy.<span style="mso-spacerun: yes;">
</span>A provocative over-emphasis on grotesque, spectacular and excessive is
needed to make an artistic statement forcefully. Sex, violence, ugliness or
sheer breath-taking beauty have been used to jolt the audience form inertia of
habitual numb unaroused state and prep them up to imbibe the joy being
presented. These tropes, these moments become the signpost or thumbnail for the
work of art. “Felliniesque” became a well-established adjective not because of
its timidness but because of its almost obscene bravado.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"><br /> </span></span>Federico Fellini the Italian Maestro, created
a style unique to him and created a repertoire of pure magic in his realized
works like La Strada (1954), Nights of Cabiria (1957), "La Dolce
Vita" (1960), "8 1/2" (1963), "Juliet of the Spirits"
(1965) and to a certain extent, "Amarcord" (1974). He won multiple Oscars
for his films. These supreme masterpieces bear testimony to Fellini’s raw
talent, his mastery over the medium of cinema. He could create, and more
importantly, communicate the most esoteric and opaque recesses of human soul
visually. He brought alive, guilt, ennui, lust, ugly darkness of human
existence very vividly and viscerally on screen. Communication, the key
ingredient of artistic appeal was intact and Fellini, like an orchestra
conductor, took his audience to the depths and peaks of joy and sorrow and gave
them not only a peek but a front row seat to the dark abyss of despair and
boredom in the most enthrallingly vivacious manner. His provocative use of
imagery was serving its purpose by accentuating the joy, message and purpose of
the great movies. It was establishing a brand too. Not for nothing Marcello
Mastroianni and Anita Ekberg frolicking in Trevi Fountain in Rome is such an
iconic image from La Dolce Vita. Excess creates personality and brand. Art
itself is defines as ‘sweet excesses.’ Qualification of excess as ‘sweet’ is telling.</p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-o2N0gUf2XEc/YX-7DOJh6nI/AAAAAAAAFII/w-nreJkDWvkBNaqA5aHmSa8RMEn9UKt2wCLcBGAsYHQ/s1600/2.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1256" data-original-width="1600" height="314" src="https://1.bp.blogspot.com/-o2N0gUf2XEc/YX-7DOJh6nI/AAAAAAAAFII/w-nreJkDWvkBNaqA5aHmSa8RMEn9UKt2wCLcBGAsYHQ/w400-h314/2.jpg" width="400" /></a></div><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">Communication
need not be confused with just ‘idea’ which Pauline Kael debunked in her review
of 8 ½. Idea, Kael wrote, is a word used as a substitute for much wider
ensemble of attribute to be an artist. Just having an idea is no guarantee of
being inspired or skilled enough to create a realized product of art. Another
great critic, Ebert, has found idea as a poor yardstick for testing a movie. He
says “a filmmaker who prefers ideas to images will never advance above the
second rank because he is fighting the nature of his art. The printed word is
ideal for ideas; film is made for images, and images are best when they are
free to evoke many associations and are not linked to narrowly defined
purposes.” Both the great critics are bang on. Ebert while freeing movie images
from the burden of ‘narrowly defined purposes’ has not freed the medium from
‘evoking many associations’. Communication of joy remains important howsoever
exalted a place is granted to the visual grandeur of a movie. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><a href="https://1.bp.blogspot.com/-sykMWTK38M4/YX-7EBQ1DmI/AAAAAAAAFIM/Tj-i34p6fu4HG79vPyA_aQjHW4cwT10sQCLcBGAsYHQ/s1200/4.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="864" height="320" src="https://1.bp.blogspot.com/-sykMWTK38M4/YX-7EBQ1DmI/AAAAAAAAFIM/Tj-i34p6fu4HG79vPyA_aQjHW4cwT10sQCLcBGAsYHQ/s320/4.JPG" width="230" /></a><span lang="EN-US" style="mso-ansi-language: EN-US;">Late works
of Fellini are true examples of deterioration of monumental talent. His
admirers turned into a waiting bunch of expectant connoisseurs erupting into
celebration just by the glimpse and whiff of greatness in the works which were
quickly losing their joyous heart. This yearning to detect greatness out of
nostalgia can be seen even in one of the most clear-eyed film journalist of our
times, A. O Scott of The New York Times when he wrote about ‘Fellini Satyricon’,
a lush, bravura and for most of its length an excessively dehumanizing movie
which stays in the note of joyless grotesque for too long. <span style="mso-spacerun: yes;"> </span>“Once you've shaken off expectations of
coherence or relevance” Scott wrote, “you can marvel at the scale of Fellini's
folly. Using the most advanced technology at his disposal, he attempted nothing
less than the abolition of nearly two millenniums of Western civilization --
Christianity, sexual morality, domestic order, aesthetic modesty. By the
movie's end, intoxicated by poetry, color and the episodic rhythms of his
endless, pointless story, you may find yourself wishing he had succeeded.” In
many other cases even this scope of “marveling at the scale of folly” was not
possible. The sweet spot of extravagance of imagery and communication of joy
dissipated. Visual flourish was serving a hardened heart deprived of sympathy
for humanity.<span style="mso-spacerun: yes;"> </span>Grotesque, in many cases,
turned into value in itself, instead of serving as compassionate vehicle to
portray the pathos of everyday living. Craft and flourish stopped being
subservient to art. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">I stand
somewhere in the middle ground as an admirer of Fellini. Apart from the Six
masterpieces, I am willing to say that ‘Amarcord’ and ‘Fellini Satyricon’ ‘Fellini
Roma’ are replete with great images and Fellini’s forceful film-making shines
through. I don’t understand Kael’s coldness towards La Dolce Vita and 8 ½ . I
could easily be mesmerized by the visual excesses, witty phantasmagoria, and
extravagant imagery of these two films. To me, the sympathy, pathos and joy of
these films was very clear. These two films standing on the cusp of his early
neo realistic training (brilliantly realized in La Strada) and later full
blossoming of ‘Felliniesque’ are his most accessible movies, that conveyed
their agonies and joys in the most exquisite manner. La Strada (1954), says Ebert,
perhaps the most accessible interpreter of Fellini, and, for that matter, any
thing cinema, wrote “The movie is the bridge between the postwar Italian
neorealism which shaped Fellini, and the fanciful autobiographical
extravaganzas which followed. It is fashionable to call it his best work - to
see the rest of his career as a long slide into self-indulgence. I don't see it
that way. I think "La Strada" is part of a process of discovery that
led to the masterpieces "La Dolce Vita" (1960), "8 1/2"
(1963) and "Amarcord" (1974), and to the bewitching films he made in
between, like "Juliet of the Spirits" (1965) and "Fellini's
Roma" (1972). "La Strada" is the first film that can be called
entirely "Felliniesque."” <span style="mso-spacerun: yes;"> </span>The
Film features many devices that became his trade mark, Circus, man hanging
between sky and earth, community feasts and religious and feminine motifs. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p><p class="MsoNormal">My favorites
are "La Dolce Vita" (1960), "8 1/2" (1963) movies that satisfy so many urges ranging from
euro-trash indulgences, pop philosophical sturdiness, lyrical extravaganza of
life which clearly can be taken at its face value as carnival or as a curtain
for boredom, ennui and purposelessness. Literary and sexual impotency in the
movies are intriguing and exhilarating without becoming a drag. Writer’s or
director’s block was never so seductive. That passive but redolent receptacle of
sensuality – <a href="http://modernartists.blogspot.com/2012/03/marcello-mastroianni-seductive-look-at.html">Marcello
Mastroianni</a> making the indignity and pointlessness of lust and longing so
sexy. Pauline Kael was repulsed by that, perhaps she saw the seeds of future debasement
of this lush talent. Still, to me, these are pure masterpieces. I am a sucker
for <a href="http://modernartists.blogspot.com/2015/11/milan-kundera-remains-pleasure-to-read.html">Kunderasque
European sensibilities</a>. These Films along with Nights of Cabiria (1957),
Most of them got him Oscar for best Foreign Movie, are sufficient to cement his
name somewhere near the very top of auteur pantheon. </p>
<p class="MsoNormal"><br /></p><p class="MsoNormal">The path is
very common. When basic craft and talent for creating a unique imprimatur
remains intact in these great talents while discipline and feel for emotions or
some such key ingredient get evaporated. A genius of Fellini’s caliber or for
that matter, Hitchcock can create a basic piece of art even in their sleep.
Basic film making is almost like muscular memory for such people and they keep
on using that for a long time beyond the expiry date of their exhilarating superlative apogee. Blurring of boundaries between extravagant beauty of
first-rate imagination and mania has been played out too often in the history
of cinema. “A grandiosity of intention amounting to hubris” as one critic had
pointed out once.</p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-2m2wjWybaus/YX-8G1sVa-I/AAAAAAAAFIc/RFm25nFsY8IVBvaonU89Jj5rEAWEYxFlACLcBGAsYHQ/3.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="1748" data-original-width="1288" height="320" src="https://lh3.googleusercontent.com/-2m2wjWybaus/YX-8G1sVa-I/AAAAAAAAFIc/RFm25nFsY8IVBvaonU89Jj5rEAWEYxFlACLcBGAsYHQ/w236-h320/3.JPG" width="236" /></a></div>Grand scale
of his film or extravagance of production values are still minor manifestations
of what has sometimes been called putrefaction of Fellini’s talent. More
concerning was hardening of his heart towards humanity. His chief source of preparing
his audience for whatever dense message he wanted to convey, became
increasingly reliant on human ugliness. This went beyond satirizing humanity to
make a point. This, increasingly became too instrumental, too cold-hearted and
too useless for any cinematic communication. Even in Amarcord, one of the
‘better’ offering and feted attempts from the master, the humor mostly bordered
on ugly grotesque with abundance of s<o:p></o:p>catological and largely obscene. Gorging
of large amount of food in a community setting has been a leitmotif of Fellini
movies. La Strada or even the patrician dining of La Dolce Vita had these
banquets serving the mood and message of the story. Gradually, this community
dining with vociferous conversation kept on appearing in films, devoid of their
idyllic intimacy and filmic utility, increasingly unfunny and dirty just to
heighten the atmosphere of disgust to no real purpose. Lyrical core of such
devices was lost to the cacophony of hyperbolic ugliness. You can transcend all
purposes in the quest for art for art’s sake but purpose of cinematic
communication needs to remain.<p></p>
<p class="MsoNormal"><br /></p><p class="MsoNormal">Pauline
Kael has attributed the tendency to his international success. <a href="https://scrapsfromtheloft.com/movies/8%c2%bd-confessions-of-a-movie-director-review-by-pauline-kael/">She
saw this in 8 ½ something</a> with which it is difficult to agree as 8 ½ is so
well structured and its ingredients so well utilized. However, she did prove prescient, this has to be given
to the pugnacious and perceptive critic, even if we may not agree with her
assessment of the great Fellini films of early years. She wrote “8½ suggests
some of Fellini’s problems as a director, but they are not so fantastic nor so
psychoanalytic as the ones he parades. A major one is the grubby, disheartening
economic problem that probably affects Fellini in an intensified form precisely
because of the commercial success of La Dolce Vita and the business hopes it
raised. A movie director has two “worst” enemies: commercial failure and
commercial success. After a failure, he has a difficult time raising money for
his next film; after a success, his next must be bigger and “better.” She
continues “8½ does indeed make a spectacle of the spirit: what else can you do
with spirit when you’re expected to turn out masterpieces?” Avoiding this slippery slope required a
serious courage to play beyond the tropes of formula success and continuous
reinvention by the master. Fellini chose to double down on his strength of
flourish to the point that they became liabilities.</p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p><p class="MsoNormal">As Fellini
is too important a film maker to be approached from wrong direction as missing
his true genius will be too great a loss for anyone interested in Cinema, I
would like to conclude with the brilliant summation of the NewYorker’ Anthony Lane,
who wrote on 100 years of Fellini in January 2020 “No wonder these late movies
feel so hermetic. We may be charmed and dazzled, but often we can’t breathe.
That is why, if I had to introduce a novice to Fellini, I’d suggest a
big-screen showing of “I Vitelloni” (1953)—an early film, breezy and
inconsequential, about a bunch of aimless pals in a Rimini-like town. Somehow,
the younger Fellini strikes me as sadder and wiser than the all-powerful magus
he would eventually become. (Maybe Ariel knows more than Prospero ever will.)
The movie is sparsely plotted and blessed with fresh air; a typical day finds
the vitelloni down at the misty beach, in coats and scarves, staring out to
sea, like castaways hoping for a ship. And the ship, of course, sails on.”</p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-87730263665245820652021-03-23T07:52:00.004-07:002021-03-23T07:52:53.147-07:00The Brooding Bond<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HdDySEVtJD0/YFn-9N-AOQI/AAAAAAAAEtM/kbanfbhQF78dK7r7hEdgj2XDtZLABLC5gCLcBGAsYHQ/s576/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="576" height="301" src="https://1.bp.blogspot.com/-HdDySEVtJD0/YFn-9N-AOQI/AAAAAAAAEtM/kbanfbhQF78dK7r7hEdgj2XDtZLABLC5gCLcBGAsYHQ/w400-h301/5.jpg" width="400" /></a></div><br /><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US">Till Casino Royale (2006), arguably the best of the Bond repertoire and the epoch defining introduction of Daniel Craig to the iconic franchise, every Bond movie was a conservative exercise in the brand management. Conservative brand management is risk averse and tries to cling to the proven box office ingredients, something we Indians see every few years when a Rajnikant or Salman Khan starer appears. This has a potential of resulting into something that every artist must fear- self parody. Furthermore, audience taste moves and if a brand is too self-absorbed and risk averse, chances are that there will come a time when it will have to fight for the audience instead of just relying on the fan base. With Craig, Bond franchise has taken a clever and now, after four films, a successful turn to infuse new life into a somewhat stagnating franchise. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_up6nOrShys/YFn_GnUQe4I/AAAAAAAAEtQ/9Gw5GT5AC8otLUBOhN_NfgQlOUjlljL3wCLcBGAsYHQ/s1487/MV5BMDI5ZWJhOWItYTlhOC00YWNhLTlkNzctNDU5YTI1M2E1MWZhXkEyXkFqcGdeQXVyNTIzOTk5ODM%2540._V1_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1487" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-_up6nOrShys/YFn_GnUQe4I/AAAAAAAAEtQ/9Gw5GT5AC8otLUBOhN_NfgQlOUjlljL3wCLcBGAsYHQ/w214-h320/MV5BMDI5ZWJhOWItYTlhOC00YWNhLTlkNzctNDU5YTI1M2E1MWZhXkEyXkFqcGdeQXVyNTIzOTk5ODM%2540._V1_.jpg" width="214" /></a></div><p style="text-align: left;">Craig brought a seriousness to the role which is a huge relief from an oddly condescending air of his predecessors towards the character that gave them their most recognizable celluloid moments. They always brought a degree of amused aloofness to the character of James Bond which had already lost much of its Ian Fleming roughness in the hands of the franchise owners. Not that this aloofness was creating something less appetizing, their casual interpretation added a mischievous rakishness to James Bond which landed sheen to his gentleman predator persona. Still, in the new millennium, it was apparent that the character wanted more serious attention than the halfhearted distracted efforts of the great actors who were treating the role as a lucrative but light side assignment. Not all aloofness was condescension, it was interpretation also. Still, this left James Bond craving for a degree of earnestness and Daniel Craig era provided that in ample proportion. </p><o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US">This was a much needed change, However, this is not to take away anything. from a great run of Pierce Bronson as perhaps the most dapper and suave of Bond who rescued the Bond from the comic goofiness and now inappropriate sensibilities with regard to race and gender. Here, again, mischievous take of Roger Moore is not being derided. He brought out the character from its early uncertainties after Connery and kept the franchise flying with panache and twinkle. They did the best given the sensibilities of their time and parameters of cool, high taste and cinematic narrative. By the time Daniel Craig was being considered for the role, auteurs like Tarantino, Nolan and party had changed the DNA of how cinematic hyperbole was to be enjoyed. Silky patrician gentlemanly charms were working but not enough to bring the young audience to the theaters and angst and sadness had trumped the playful banter as the main trope of enticing the contemporary audience. Narrative had shifted away from the 007 formula. Now the brand needed re-invention, not just conservative management. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-we22_q9eysk/YFn_ZMJTdFI/AAAAAAAAEtc/TXtn7990oPwMdi3S0op0XM5N2YIFIW71ACLcBGAsYHQ/s710/james-bond-007-quantum-of-solace-i3416.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="710" data-original-width="474" height="320" src="https://1.bp.blogspot.com/-we22_q9eysk/YFn_ZMJTdFI/AAAAAAAAEtc/TXtn7990oPwMdi3S0op0XM5N2YIFIW71ACLcBGAsYHQ/s320/james-bond-007-quantum-of-solace-i3416.jpg" /></a></div>Case in point is Marvel-DC superheroes, how they changed in the new millennium. It may be argued that James Bond also developed as indestructible superhero sans cape and tights. That apart, superheroes were taken from their adolescent comic world and converted into angst ridden individuals saddled with great sadness of loss and loneliness. New York Times veteran critic wondered “I suppose, the deeper questions bubble up. Is revenge the only possible motive for large-scale movie heroism these days? Does every hero, whether Batman or Jason Bourne, need to be so sad?” <span lang="EN-US">These characters were humanized by sadness, love angle, revenge story, backstory of loss and redemption or simply by upping the darkness quotient. ‘Dark Knight Rises’ is a highly successful and explicit example. Entire Marvel and DC world went into that very lucrative direction. Apart from the darkness and sorrow, this system had developed a system of interlinked stories – a universe. Characters had back stories and fandom was roused into crazed frenzy by the esoteric and geeky nature of knowledge of these universes. This continues with increasingly complex storylines continuing years after years. Bond’s world had some stable marker like ‘M’ ‘Q’ and Moneypenny but the films were discrete entities. This all changed with Casino Royale in Craig era. The films are centered on the 007 James Bond and he has been given every trope to humanize him - by love angle, revenge story, backstory of loss and redemption or simply by upping the darkness quotient. His darkness is clear in his cruelty and violent nature. He is vulnerable to feelings and has a Batmansque backstory. He is orphan, father figure killed in mysterious circumstances, has a tragic love story and is prone to melancholic brooding. All the four Bond Movies, and the fifth also, appear to be a part of series. In fact, most of them started from the point where the previous installment ended. This Harry Potter like serialized peeling of the inner and outer world of James Bond is new and has been accepted over a period of 15 odd years since Casino Royale. </span><o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-D-L8iQNlU_M/YFn_ppJK_cI/AAAAAAAAEtk/cAgRkBvhL9MDaqDKNdfiwq0u2NYrX1zegCLcBGAsYHQ/s741/3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="507" height="320" src="https://1.bp.blogspot.com/-D-L8iQNlU_M/YFn_ppJK_cI/AAAAAAAAEtk/cAgRkBvhL9MDaqDKNdfiwq0u2NYrX1zegCLcBGAsYHQ/s320/3.jpg" /></a></div>Daniel Craig has proven himself to be a perfect vessel for the restructuring of the venerated and money-spinning brand. Peter Travers of Rolling Stones gives a huge thumbs up to Daniel Craig for the reinvention exercise. He writes “Craig reinvigorates a fagged-out franchise that’s been laying on bigger stunts and sillier gadgets to disguise the fact that it’s run out of ideas. And he does it with an actor’s skill, an athlete’s grace and a dangerous glint that puts you on notice that Bond, James Bond, is back in business.” Ebert wrote “Daniel Craig makes a superb Bond: Leaner, more taciturn, less sex-obsessed, able to be hurt in body and soul, not giving a damn if his martini is shaken or stirred. That doesn't make him the "best" Bond, because I've long since given up playing that pointless ranking game; Sean Connery was first to plant the flag, and that's that. But Daniel Craig is bloody damned great as Bond, in a movie that creates a new reality for the character.”<o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;">Villains are very powerful in these recent Bond films but they are not cartoonish megalomaniacs. There aspirations have very human roots. Le Chiffre is running from his dangerous clients, Silva is suffering from what he himself called ‘Mommy issues’ and Blofeld’s chief source of botheration is very personal brotherly angle. So there, we have a very different propulsive tension to these recent stories than the earlier larger than life comic villains. The impact is a darker and rather relatable plot. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VTnuzz6mlSw/YFn_-2JUBhI/AAAAAAAAEts/bvz1DTGKAc0RR_kLnZXFNewH_1O5eDg0ACLcBGAsYHQ/s2048/4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1383" height="258" src="https://1.bp.blogspot.com/-VTnuzz6mlSw/YFn_-2JUBhI/AAAAAAAAEts/bvz1DTGKAc0RR_kLnZXFNewH_1O5eDg0ACLcBGAsYHQ/w174-h258/4.jpg" width="174" /></a></div>It has not always been a smooth ride. Fans and fanatics are usually cut from the same cloth. There was deriding uproar in the initial phase, even a website came up claiming Craig is not Bond. Pierce Bronson, that sexy smooth magnet with easy attraction and capable of pulling loyalty in buckets, was a tough act to follow. Manohla Dargis of New York Times wrote “In time Mr. Connery’s conception of the character softened, as did the series itself, and both Roger Moore and Mr. Brosnan portrayed the spy as something of a gentleman playboy. That probably helps explain why some Bond fanatics have objected so violently to Mr. Craig, who fits Fleming’s description of the character as appearing “ironical, brutal and cold” better than any actor since Mr. Connery. Mr. Craig’s Bond looks as if he has renewed his license to kill.”<o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;">That apart, it wasn’t easy to temper with James Bond, who had become more of an attitude than a character, marked by smooth mischief, indestructible charisma and total control over the surroundings. One of the most perceptive critics, Roger Ebert welcomed Casino Royale with open arms as did most of the key critics of the time. However, he was not so convinced with poorly realized ‘Quantum of Solace’, Craig’s second outing as Bond. A disappointed Ebert (one of the most generous critic) lamented “Daniel Craig can play suave and he can be funny and Brits are born doing double entendre. Craig is a fine actor. Here they lock him down. I repeat: James Bond is not an action hero! Leave the action to your Jason Bournes. This is a swampy old world. The deeper we sink in, the more we need James Bond to stand above it.” After “Quantum of Solace,” Critic A O Scott was very clear when he said “I prefer mine with a dash of mischief.” Me? I liked Quantum a lot. The best representative quote of apprehensions of admirers is by Mick LaSalle of San Francisco Chronicle, he writes “<i>Skyfall</i> is a different kind of Bond movie, one that works just fine on its own terms, but a steady diet of this might kill the franchise. One "Skyfall" is enough.” This difficult initial phase is over now. There is no better way to express that relief than using Ebert once again when he said “Just as Christopher Nolan gave rebirth to the Batman movies in "The Dark Knight," here is James Bond lifted up, dusted off, set back on his feet and ready for another 50 years.”<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9ByT9ZZReW8/YFoAiYjf8YI/AAAAAAAAEt0/Jww7qkcWPyoP71IPecfwjcE4laNWJmYZACLcBGAsYHQ/s2048/SKYFALL-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="2048" height="290" src="https://1.bp.blogspot.com/-9ByT9ZZReW8/YFoAiYjf8YI/AAAAAAAAEt0/Jww7qkcWPyoP71IPecfwjcE4laNWJmYZACLcBGAsYHQ/w400-h290/SKYFALL-superJumbo.jpg" width="400" /></a></div><br /><o:p><br /></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;">All said and done, despite all the hosanna over the realigning of the sensibilities of the brand with the changing mores, charm of the series is in its history and the emotional investment of the fans in the franchise. These recent movies are good films -intense and entertaining. However, without the banner of James Bond, without the dance of shadows of great previous Bonds with all their excesses, condescension, absence of cultural and political correctness, glamour, gadget and glitz and, above all, thin realism, they are just that – some good movies and they are dime a dozen. James Bond is a pop culture milestone. All great Bonds are mainly recognized by their Bond persona despite their huge and rich repertoire outside the Bondverse. Therefore, it is a happy thing that the experiment of reinventing of the brand is an out and out success. Cheers to that with some down to earth drink. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;">-Dhiraj Singh</p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: justify;"><o:p> </o:p></p>Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com3tag:blogger.com,1999:blog-99484807798808485.post-16045723333159252262019-12-02T03:01:00.000-08:002020-02-12T17:08:03.164-08:00Quentin Tarantino's Once Upon A Time In Hollywood: A Brat Grows Up<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><b><a href="https://1.bp.blogspot.com/-pjc_iCw5PWs/XeTtthrseqI/AAAAAAAAEAg/MlHoiomnZ5IJg5zOeYsX2-s1qkLauf43ACLcBGAsYHQ/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="620" height="240" src="https://1.bp.blogspot.com/-pjc_iCw5PWs/XeTtthrseqI/AAAAAAAAEAg/MlHoiomnZ5IJg5zOeYsX2-s1qkLauf43ACLcBGAsYHQ/s400/6.jpg" width="400" /></a></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "verdana" , sans-serif;">Narrative moves, parameters of
crackling youthful iconoclastic cinema change and yesterday’s revolutionaries
become today’s establishment. In short, the world changes. This is, perhaps,
the greatest fear of any enfant terrible of an art form, as his stock in trade
is shock of novelty. He has berated the ‘brats’ of yesteryears for selling out,
losing the spark or for simply getting old. The enfant terrible reaches a point
in his creative journey where he starts seeing progression as getting old and
prefers to cling to his initial bravura and blazing rebellious streak. Trying
out emerging or even existing, somewhat, mature themes feels like
a betrayal to the initial creative eruption that froze into highly appreciated and
lucrative stylistic and thematic patterns. There are many who are able to make
the transition and keep on contributing to the medium over a long fruitful career.
Woody Allen, Polanski, Coppola, Sidney Lumet and Clint Eastwood come to mind
very easily. However, Quentin Tarantino finds growing up dicey and has been
very vocal about the dangers of getting old in his creative thinking. This,
combined with his well publicized retirement plans, has given rise to fears of
an untimely truncation of a promising second innings by a hugely talented
artist. In his latest offering ‘Once Upon a Time in Hollywood’, to a great relief
of many, Quentin Tarantino has shown signs of accepting his “transition from
youthful and celebrated provocateur to elder auteur.” Encouragingly and revealingly,
this movie has been called his most autobiographical and intimate. </span></b></span></h4>
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<span style="font-size: small;"><b><span style="font-family: "verdana" , sans-serif;">This acceptance can’t be easy for
a highly, vocal and articulate person like Quentin Tarantino, who likes to
convey his passions very publicly and very forcefully. A big part of his appeal
are his youthful arrogance and a noisily professed nerdy enthusiasm for cinema
trivia along with a general intensely passionate stance towards cinema as an
art form. He is very aggressive about his ardour for cinema. He revels in his
self perception as the ultimate fanboy of cinema. As happens with the card
carrying, chest thumping enthusiast, he championed and went bonkers over a very
narrow type of cinema which shaped him from his childhood and got concretized
during his days a video library employee. As what he was championing was not
counted among the more posh pleasures of cinema, he developed a sort of
militant fervour of an ideologue of the low brow cinema. An aggressive stance developed
which was made tolerable only by his unquestionable talent. Quentin Tarantino
has been a force of nature, a truly epoch defining director. He came with a
template that totally defied traditional thought patterns with its astonishing
originality. He embarked on the mission of delivering “popular films with real artistic
ambition”. In one of my <a href="http://modernartists.blogspot.com/2013/01/quentin-tarantino-unchained-in-django.html">earlier write ups</a>, it was mentioned that he gets his directorial
rush by messing with his beloved genres. His creativity takes its initial
impulse from the set points of certainties that any genre provides. However,
this creativity gains its momentum from making an intervention into these
rigidities and redefining them to tell a story where genre props are, in a big
part, used to showcase director’s visual, creative and chromatic panache. His
use of underlying structures and conventions of genres is intelligent foraging
of a very sleek director who enjoys telling a good story. His edgy style was a
new delight for cinema lovers. His crisp profane but profound dialogues, movie
trivia references were all product of an unprecedentedly fecund mind that
thrived on the thrill of the new that was steeped in the history and clichés. This
pristine and primal cry of raw talent became a value in itself. Tarantino can
be excused from thinking any shift from this initial unapologetic and urgent
celebration of panache and wit as a slide into something ‘geriatric’. </span></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "verdana" , sans-serif;">In one of those youthful affirmations of centrality of
freshness of the creative spark, Quentin Tarantino spoke at length about virile,
edgy and compelling film-making. Keith Phillip in Slate magazine has presented
this very clearly . “A lot of the [’70s] movie brats have gotten old and it
shows in their work, and I don’t want that.</span><span style="font-family: "verdana" , sans-serif;">..And I’m not picking on them because you go back 100 years
and directors don’t get better as they get older,” he told Entertainment Weekly
in a 2004 interview. “As you get older your interests change, you have older
interests. Not everything has to be so visceral or kinetic. If I say Martin
Scorsese’s movies are getting kind of geriatric and everything, he can say, F—
you, man! I’m doing what I want to do, I’m following my muse, and he’s 100
percent right.” Speaking to the
Telegraph in 2010, he further elaborated “I don’t want to make old geriatric colostomy
bag movies. I want to make hard-d–k movies and I want them all to come from the
same place as Reservoir Dogs; from the same artist, from the same man.” When
one watches ‘Once Upon a Time in Hollywood’, one realizes that Quentin
Tarantino is wiser and has overcome many of his hang ups in his craft if not in
his uttering. The film sees many resolutions that experience and age bring
as many strand fall in place with the inexorable march of time. </span></b></span>
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<a href="https://1.bp.blogspot.com/-AZ8YW1XjkMI/XeTtspsOtJI/AAAAAAAAEAQ/Tg-_WfeM10Y1pkQtkQB66PVXqTGSvfvdwCEwYBhgL/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1300" height="223" src="https://1.bp.blogspot.com/-AZ8YW1XjkMI/XeTtspsOtJI/AAAAAAAAEAQ/Tg-_WfeM10Y1pkQtkQB66PVXqTGSvfvdwCEwYBhgL/s400/4.jpg" width="400" /></a></div>
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<span style="font-size: small;"><b><span style="font-family: "verdana" , sans-serif;">Tarantino has said “most of us don’t
talk about the plot in our lives whereas in movies, people talk a lot about
plot, in real lives we talk all around the things, we talk bullshit”. This
insight, and the belief that the genres have tremendous opportunity to mess
around, have created many magical moments in his films such as supremely articulate
and talkative henchmen and drug peddlers, long monologues, entertaining
repartee leading to jolting graphic violence. He can be relied upon to take a
period movie and using it as a vehicle of subversion and a tale of ending of eras
as he did in ‘Hollywood’. What was new in the latest Tarantino movie was that
the characters were talking a lot about the plot. And the director was not
averse to the interiority of the characters and the film. There is much external
dazzle in ‘Hollywood’. Youtube has many a great compilations of the <a href="https://youtu.be/bEbPy5k4DfA">beautiful moments of the film.</a> The movie is
replete with references, and takes place in the tinsel town, a territory where someone
like Quentin Tarantino would go berserk, and he did. The period details are
lovingly elaborate, name dropping, trivia love and other fetishes (foot fetish
included) are indulged into with impunity. Kill Bill, Inglourious
Basterds, Hateful Eight or any of his
previous film, is not shy of lingering on the inner world of its characters.
Insecurities, pathologies or simple inner joy of the characters is accorded a
clear and sympathetic gaze. Gimmickry or technical bravura is abundant and endearing
but it is subservient to the inner turmoil. He, throughout his career, has
relentlessly found a way of making the inner emotions secondary to the external
chutzpah. Issues, emotions and inner dialogue often got diluted in the dazzling
array of technical virtuosity, blood splatters, feverish devotion to the genre
references or to simply clever dialogues. In ‘Hollywood’ Quentin Tarantino
determinedly guides our attention to the inner world of the characters. In a scene,
Where actor Rick Dalton (Leonardo DiCaprio) who is struggling with fading fame
and inevitable faltering and self pity, manages to deliver a great scene and
feels redeemed. The scene is full of external panache of dialogues and set
design topped by ostentatious acting. However, Tarantino manages to cut through
all that and what we take from the scene is the redeemed actor and his tear
filled grateful eyes fully conveying his inner satisfaction. In the same
sequence (most of the movie revolves on four days leading to the day of Manson
Murders) Sharon Tate, played sublimely by Margot Robbie, goes for an outing and
watches her own movie in a cinema hall. A lot of cinema references and pretentious demonstration
of trivia enthusiasm went into the scene. Still, what we remember is giggling
Tate enjoying people’s appreciation conveying, with heart breaking directness,
her happy and joyful soul. Again, every scene of Cliff Booth (Brad Pitt, never
more magnetic) is a celebration of his gorgeous presence and charms. However,
every scene is equally dedicated to establishing him as a man of code, loyal
friend and above all an unencumbered life force devoid of ego and too much
planning. When his nonchalant violence comes to fore, his inner credentials as
capable warrior are established fully beforehand. Here his external beauty is
never a distraction from his role and core. There is a scene where he goes
shirtless while fixing the antenna. The scene exists for a very long time just to capture the charisma of Brad Pitt and insouciant earthy charms of Tate. The
scene establishes the essence of the idyllic world soon to be shattered and, as
on cue, enters Charles Manson, upping the dread quotient many times. </span></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "verdana" , sans-serif;">While in films like Reservoir
Dogs, pulp fiction, Hateful Eight or Django
Unchained, one would enjoy long excursions into philosophy laced with
incongruently sophisticated language (remember the master class in menace by Christoph
Waltz’s Hans Landa in the opening scene where he comes looking to hunt Jews
given shelter by a farmer in Inglorius Basterds). In ‘Once Upon a Time in
Hollywood’ we see much less of those meandering detours. There are lengthy
dialogues for sure, but they don’t really wander too far off from the theme. A
book talks to the fading star about the chimera of fame, Penthouse Mansion
party is used to establish the era and also for explaining the web of relationship by someone no less than Steve
McQueen (Damian Lewis). Sequence on Italian Westerns is not allowed to shift
focus from the happenings of Hollywood in 1969. In short, ‘Once Upon a Time in
Hollywood’ despite being a quintessential Tarantino movie is a very different
creature. It is invested in itself, willing to slow down, ready to look deeper
inward and above all not afraid to be a bit of traditionally solid movie. </span></b></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Z4Jmhro4eho/XeTtszKErpI/AAAAAAAAEAk/BOCXiY85KqUyN1OBPq7bqv8aIO2gCmBKACEwYBhgL/s1600/2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="266" src="https://1.bp.blogspot.com/-Z4Jmhro4eho/XeTtszKErpI/AAAAAAAAEAk/BOCXiY85KqUyN1OBPq7bqv8aIO2gCmBKACEwYBhgL/s400/2.jpeg" width="400" /></a></div>
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<span style="font-size: small;"><b><span style="font-family: "verdana" , sans-serif;">Despite, Quentin Tarantino’s insistence
for not going beyond 10<sup>th</sup> movie (no clarity on whether this is his
last) and his insecurities about protecting his filmography from going
geriatric, one feels assured by his trajectory of growth in ‘Once Upon a Time
in Hollywood’. His too public pronouncements and bravado may keep him in a
defiantly obstinate posture of an adolescent rebel but hopefully, he realizes
the difference between ‘growth’ and ‘geriatric’. If ‘Once Upon a Time in
Hollywood’ is any indication, we are in for a very long and rich cinematic
journey from this immensely talented film maker. </span></b></span></div>
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Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-35348702004992693852019-06-29T09:48:00.001-07:002019-12-02T02:42:16.421-08:00Fleabag: Heartbreakingly funny<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: black; font-family: "verdana"; font-size: 13.5pt;">Fleabag, a two season BBC drama, achieves greatness by
subordinating its all too ostentatious brilliance to the core task of
story-telling. It is no mean feat, when the show is overflowing with talented
actors, scene-stealers all. List of individually dazzling elements is long, snappy
lines, great acting, great use of turning to the audience - opening of the fourth
wall (deployed with great felicity by Kevin Spacey in House of Cards) and tight
editing (all episodes are below 30 min in 6 episode a season series). All these can easily
turn into self-serving <span style="mso-spacerun: yes;"> </span>clever ploys
attracting attention to their elegance and distracting from the inherent story
line. Instead, what happens is that those maddening tempo scenes, those fourth
wall tricks, those relentlessly funny repartee, compulsive humour trip,
overwrought mania, imposition of intimate, flash backs are all breathing and
stopping to create the whiplash of the intended impact marked for that point in
the story of grieving girl who is trying to make sense of her needs, her guilt
and her desires while making a life in London while relating to her family in a
uniquely complicated way. Her success and failure is beside the point but it is
one hilarious journey of glorious chaos, heartbreaks and shocking poignancy.
In the second season the father, at a particularly taxing dinner, asks
the Fleabag (many <span style="mso-spacerun: yes;"> </span>characters have not been
given names and Amazon subtitles has done a marvellous job of giving nick names
like Hot Priest, Arsehole guy, Hot Misogynist etc) "not being
naughty", <span style="mso-spacerun: yes;"> </span>the banter between the
father and the daughter goes breezily and she says "it doesn't
matter". In that simple moment we understand the growth, costs and damage
that has taken place. The girl who was marked as difficult presence and managed
to ruin many a situation without intending to be such a wrecking force, finds
herself not giving a damn. The aforementioned elements were serving the
story. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://1.bp.blogspot.com/-G_TwA0i8xWY/XReYt05xACI/AAAAAAAADz0/3OzDJgDKW6AnmsJq7DtzQAB0UzGMvnhhgCLcBGAs/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; font-size: 12pt; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1440" data-original-width="960" height="320" src="https://1.bp.blogspot.com/-G_TwA0i8xWY/XReYt05xACI/AAAAAAAADz0/3OzDJgDKW6AnmsJq7DtzQAB0UzGMvnhhgCLcBGAs/s320/1.jpg" width="213" /></a><span style="color: black; font-family: "verdana"; font-size: 13.5pt;">Bad girl stories with shocking vocabulary is dime a dozen but very
few rise above mush and pretentious display of some ideological points. Fleabag
retains understated intelligence despite being over the top in deploying its
arsenal. Fleabag, the heroine is vivacious and intelligent but she never goes for
cheap cutesy points. Her issues, her exposition of those issues and her
understanding is so deep and so lived in that they are saved from the horrific
destiny of eyelash flattering cute crap. She remains gorgeous and real. In one
of the many sex scenes where she keeps on talking to us, she tellingly says
"stay sexy, always stay sexy". And we understand that she is in sync
with the banality of it all. She is worried that she is not a good feminist but
that too is used to convey her fierce independence. When she tells the
character of Kirstin Scott Thomas that people are shit, Thomas character
depicted as successful woman businessman awardee that understands the infantile
ghettoizing nature of such awards but still comes to take that, tells her “people
are all we have got.” At many levels, wisdom of the show is a joy in itself. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "verdana"; font-size: 13.5pt;">When the first scene of the series involves a "spot of
sodomy", it is easy to fall pray to the easy allure of titillating
debauchery specially when it comes from gorgeously profane mouth of an
attractive girl. The show maintains its relationship with the profane
throughout but never allows it to stink and overpower the lilting momentum of
the consummate story telling. Sex says not sells here. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "verdana"; font-size: 13.5pt;">There are some good series or movies involving intelligent men
also. Sometimes deliciously debauch and sometimes just debauch Californication
comes to mind. Much of Woody Allen starrer are good example. Though in
later appearances Woody Allen suffered from the tendency of being rather too
aware of his cleverness. Happens with the best of them. Self-caricature is a
difficult boogie to shake off. Fleabag is spot on being clever without
taking it too seriously. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="color: black; font-family: "verdana"; font-size: 13.5pt;">The series is a high point of this year's TV offerings. The
description of the show on Amazon is to the point " a dry-witted woman,
known only as Fleabag, has no filter as she navigates life and love in London
while trying to cope with tragedy. The angry, grief-riddled woman tries to heal
while rejecting anyone who tries to help her, but Fleabag continues to keep up
her bravado through it all. Comic actress Phoebe Waller-Bridge stars as the
titular character on the series, which is based on Waller-Bridge's 2013
one-woman show of the same name." Centrality of Phoebe is well earned and
she delivers a stunning performance-layered and brave. However, great performances
are commonplace in this superlative show. Apart from the main protagonist,
there is great ensemble cast of solid names of British TV and stage. Andrew
Scott (Moriarty in Cumberbatch's Sherlock.), Olivia Colman, Bill Paterson, Sian
Clifford are all superb as expected. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "verdana"; font-size: 13.5pt;">At another level, the show is matter of great satisfaction. We are
beginning to sense the deterioration caused by algorithm driven offerings of
the streaming services. It is becoming difficult to commit to a series as
tropes are too clear, inherent grammar too obvious to veteran viewers. BBC
gave three great miniseries recently, taut Bodyguard and Collateral and, now, Fleabag. In last few years the best ‘cinematic’ work has happened on
television. The format of TV series has attracted best of the minds (Fargo, 24,
Sopranos, <span style="mso-spacerun: yes;"> </span>Breaking Bad, Mad Man, True
Detective the list is endless)and much of the budget also. It is important that
we keep on seeing such satisfying fructification of the effort as this great
series. <o:p></o:p></span></div>
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</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-87258576392384583892019-05-08T07:46:00.002-07:002019-05-08T08:58:43.811-07:00Eric Clapton: Dazzling with Depth<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-fcotaWVVDuY/XNLop60LWQI/AAAAAAAADxs/6xhW5Z-HfkcTnIuWbgKjKQEh1l1Z-W2rACLcBGAs/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1600" height="210" src="https://2.bp.blogspot.com/-fcotaWVVDuY/XNLop60LWQI/AAAAAAAADxs/6xhW5Z-HfkcTnIuWbgKjKQEh1l1Z-W2rACLcBGAs/s400/3.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center; text-indent: 36pt;">
<span style="font-family: "verdana"; font-size: x-small;">Photo courtesy <a href="https://www.spin.com/2018/08/eric-clapton-avicii-christmas-album/">Spin.com</a></span></div>
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<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">Eric Clapton and his fellow music gods, who
are still surviving- Santana, Dylan or Rolling Stones are living affirmation of
life giving properties of music. These enduring treasures survived excesses of
monumental proportion with luck, talent and above all a rare survival intelligence.
Their continued presence on planet Earth can be attributed to divine talent and
divine grace in equal measures. There was no reason why they should not have
gone the ways of 3 Js Jimi Hendrix, Jim Morrison and Janis Joplin – Bruvera Sparks
of raw talent which burnt wildly, only to be extuinguished before their 28<sup>th</sup>
birthday in every case. Nostalgic and dark iconography apart, predominant
thought is – What a waste !. The sense of loss is more acute when we see the
new frontiers explored by their contemporaries like Clapton, Santana or Dylan.
They all benefitted with new medium like MTV, Streaming or YouTube. Imagine
what Jimi Hendrix would have given us in almost 50 years since his death.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-vILGGfPweNg/XNLopXnKuyI/AAAAAAAADx0/MksJLr06EvEd6qfvq37sSJXp9XmrM0fCACEwYBhgL/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="1000" height="268" src="https://2.bp.blogspot.com/-vILGGfPweNg/XNLopXnKuyI/AAAAAAAADx0/MksJLr06EvEd6qfvq37sSJXp9XmrM0fCACEwYBhgL/s320/1.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><span style="mso-spacerun: yes;"> </span>Eric Clapton too, appeared to be perfect case
for fiery early end. Considered to be a ‘God’ when he was hardly 20 years of
age, Clapton partook, <span style="mso-spacerun: yes;"> </span>with total abandon,
all the excesses that his rock god status and his intoxicating times threw at
him. He did ‘knock at heaven’s door’ quite a few times with health scares
abound. Divine grace came to him in the form of survival epiphany. In the
throes of psychedelic delirium and alcoholic haze, he was given, what he termed,
‘grace of despair’. He clearly recognized that he has an addictive, obsessive and
restless personality. For him “the best party in town was always down the
road”. He wrote in his autobiography about ‘an obsessive enthusiasm that tended
to fade as soon as the desired object was in his possession”. He simply
couldn't settle, both from the point of view of substance use or musical
personality. There was no attainment of cruising altitude of identity, “not
with the Yardbirds, who, in effect, sacked him, nor with John Mayall's
Bluesbreakers, nor with Cream or Blind Faith. Ever restless, he seems a peevish
character always in pursuit of the next letdown.” Great thing was that he was
aware of this defect and had enough wherewithal and timber in his soul to
tackle that to his advantage when the time arrived. This clarity saved him.<span style="mso-spacerun: yes;"> </span>His music or his life or his general outlook
were formed by dealing with the dynamics of this lacune and clear realization
of its mortal implications.This handling of obsession and restlessness is the
guiding feature of his musical journey also. Dispassionate acceptance has
become his default stance- measured and unruffled, much like his playing.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">His ability to stay with an obsession
just upto the edge of precipice kept him in the dark zone long enough to reap
the benefits of corrosive depths of psychedelic chasm of the addiction or the
intricacies of the music that appear in the hieghtened throes of chemically
induced chaos. At the same time his ability to retract in time and realize the
virtue of sobriety were a sign of absence of arrogance and acceptance of his
vulnerability. This melowed, somewhat diffident self-regard, so unlike rock
gods of the time, was the reason of his survival. This also enabled the variety
and commercial viabilty of his musical output. Despite intial Blues fanaticism,
he was not stubborn and was willing to bend his musical purity to the demands
of audience and commercial tastes.<span style="mso-spacerun: yes;"> </span>When
he recorded the album ‘Behind The Sun in Montserrat’ in 1985, the recording
lable found it substandard and said this much on his face. His reaction
explains much of his personality and his music. "Instead of getting
arrogant and outraged, I did the shrewd thing," he said. He agreed to a “new,
more middle-of-the-road style that was not to the taste of many of his old
blues friends”. He knew what he was doing and was conflicted about it but he
was clear about the requirement of the survival. “I felt like I was selling
out," he said in an interview. But dividend was rich, not only in terms of
record sales but also in expansion of the range. This Blues puritan has a body
of work which includes Blues, hard rock, Raggae<span style="mso-spacerun: yes;">
</span>(I shot the sheriff), Ballads (Tear in the sky, You look wonderful
tonight) and whole lot of middle-of-the-road ‘sell out’ stuff which led to a
guilty conscience and phenomenal record sales.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">His tribulations with his addictions and
obsessions have left him a well-rounded personality. A musical tool devoid of
ego, who could easily play sideman to much junior artists, A doyan who would
not be averse to be known for his covers of others, a superstar figure who will
never be afraid to be a fan boy, a purist in some pursuits who will not
consider any music taboo<span style="mso-spacerun: yes;"> </span>and above all a
seasoned debauch who will be comfortable with his domesticated edginess. It is
a mark of a real ‘God’ to relinquish the ‘God’ status and feel relieved. His
musical identity is so rich that some critics, bred on recognizable but
singular, hooks of titans, found him devoid of identity. A summation of his
skills on his 70<sup>th</sup> birthday explains the process beautifully- "All
these different guitarists would have their famous five licks, and Clapton
learned them all. He mastered those early blueprints to perfection, so he had a
dozen licks, then two dozen, and he would link them all up on the pentatonic
blues scale in ways that gave him almost unlimited twists and wiggles, played
utterly heroically.” Here is a musical identity that has not been chiesled by
limitation but formed by ever growing abundance.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-UCfWkCLHuNI/XNLopc_k2NI/AAAAAAAADx8/WhdscUeqY6scK2pZIncKqcrOsILmzRCPQCEwYBhgL/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="188" data-original-width="268" src="https://1.bp.blogspot.com/-UCfWkCLHuNI/XNLopc_k2NI/AAAAAAAADx8/WhdscUeqY6scK2pZIncKqcrOsILmzRCPQCEwYBhgL/s1600/2.jpg" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">It is very easy to be deceived by his
subdued style. He has sedate demeanour and a musical style that aims to dazzle
with depth then with antics. Eric Clapton has played with each and every big
names from Handrix, Page, Beck, Beatles, Frank Zappa, BB King, Buddy Guy,
Rolling Stones and many collaborations with newer talents. He respected raw
talents like Handrix and his band mate Duane Allman. He himself, however, has
been less spectacular but deeper talent. His improvisation don’t come from
Jazz-like on the toes, inspirations. He bring “that indefinable extra twist of
fluidity” by amassing excellence. It is less showy but much deeper as it comes
from years of imbibing music rather than from some innate raw spark. He very
astutely recognized this. When asked to comment on the John Laughlin’s lament
that he (Laughlin) can’t play everything that he can think, Eric Clapton said “I’m
probably the opposite of John, in that he can probably think of things he wants
to play and can’t, and I can’t think of anything at all! My playing far
outreaches my ability to play what I can think. That’s why I could never be a
jazz musician, because I can’t hear it in my head. I play from somewhere else,
where it simply goes to my hands.” He is a player of massive depth, his
innovation come from reiteration and going deeper and farther. The novelity
emerges from the piling of the existing. He has succeeded as one, perhaps more
accurate assessment, says “Mr. Clapton seems to have an open channel between
his guitar and his inner feelings that neither age nor imitation can cut off.”
He might not be aiming to dazzale but the reservoire of pure music and collison
of myriad influences create startling moments routinely. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">It is easy to be duped and think that
his music is all technique and artistry and no soul. He has stayed invested in
polishing his craft and art as it has been a means of communication and
healing. He communicated his sorrow, heartbreak and despair over his crippling
addiction through music. Layla, Tear in the Heavan are case in point. <span style="mso-spacerun: yes;"> </span>Talking about his trials Eric Clapton said <span style="mso-spacerun: yes;"> </span>"I knew intuitively that if I played it
would medicate me and calm me. The biggest problem was that I didn’t know what
to think or feel and I went into a numb zone, which is the body defending
itself because madness beckons in these situations. The only way to keep myself
afloat was to play, I had a guitar in my hands all day until I went to
sleep." His music saves him, props him and propels him. “When I'm playing
well, what is there to fear? In the moment, there is nothing to fear. Music,
when you give it that opportunity, hammers that home." This patrician with
scholarly looks has an abyss of despair that gave his music a terrifying depth
and a bracing poise. This led to a natural affinity with the Blues.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-qmPtr_sHNbY/XNLrj3TypQI/AAAAAAAADyE/TogqACh7DIIOfqGx2PHgb3u0egeo2VyLQCLcBGAs/s1600/5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="472" data-original-width="630" height="239" src="https://4.bp.blogspot.com/-qmPtr_sHNbY/XNLrj3TypQI/AAAAAAAADyE/TogqACh7DIIOfqGx2PHgb3u0egeo2VyLQCLcBGAs/s320/5.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">Eric Clapton defines Blues as “true
music of the soul, without the intellect.” He pioneered the British interest in
the Southern American music of black plantation workers. He got initiated into
music by the work of Muddy Waters and his ilk. To a loner teenager with a
complicated family life (illegitimate son of a teenage mother, raised by grandparents
thinking his mother to be his sister for a long time) Blues gave a solace. A
tormented soul that recognized the sadness in the music. The Blues is a
dialogue of “of redemption, of suffering and joy”. It will help to quote at
length from a Guardian article on his 70<sup>th</sup> birthday that talks of
his early journey and how accumulation of knowledge, art and influences creates
a unique style. The Clapton tells the writer "in England we were bombarded
with pop more than anything else, You had to consciously steer a path towards
black soul or blues. Most of the players in the rock framework were coming from
a rockabilly stance. Jimmy Page and Jeff Beck grew up listening to white guitar
players like Scotty Moore and Cliff Gallup. I was obsessed with black blues
guitar players, and for me the ultimate problem was trying to shift that style
into a Chuck Berry rock format." Clapton continues "Blues is a
language you have to learn, like learning French. It’s not about a feeling,
it’s an action. There’s a lot to learn and it means going to the library and
listening to just about everything that was ever done and trying to learn from
that.”<span style="mso-spacerun: yes;"> </span>The coming lines explain the
magic of innovation by accumulation. “And then something happens. If you do
your work and do your best to carry the burden of the past and the fellowship
of the blues, so you know you’ve done all your research and you’ve studied
everything you can, I think if you really love the music you’ll start to
express it your own way. It’s almost impossible not to." At another place
he has written that he finds his stability in the blues, the music that he
first loved and that he continues to regard as a kind of beacon. “There’s a
matter-of-factness, a sense of acceptance about the blues”. Eric Clapton’s 1994
‘From the Cradle’ is the bestselling traditional blues recording in history.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">His personality, style and mood that
have been framed over a long period, have served him well in his late years.
His post MTV unplugged (1992) journey is a saga of relentless creativity. In
the new millennium he brought out good music in Albums (Riding with the King,
Me and Mr. Johnson, Back Home, The Road to Escondido, The Breeze), tours and
various events like Crossroads a festival dedicated to guitar, tribute to
George Harrison and many more. In 2019, Eric Clapton is a beacon and a servant
of music. He has adroitly avoided prima donna title of elder statesman of music
and stays relevant. He found relevence lies in staying student forever rather
than being a monument. He is playing with a depth of life, which many say,
wasn’t there in 1966. He is active, learning and at peace with himself. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";">Eric Clapton provides a very cogent
summation of his musical journey in his autobiography. “My musical identity has
taken my entire life to develop,now I can sing in a band, play backup, lead,
sing a duet — there doesn’t have to be a label on it anymore. The most
important thing is that I enjoy listening to music, and I still do.” He
continues “acceptance is a great state of being. It steps aside of hysteria,
drama, extreme emotions.” It is this side-stepping of extreme emotions by
living them and leaving them Clapton has created an eduring excellence of
poised and unblinking sensibility. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-tqVq5jmy5dk/XNLoqFc4p0I/AAAAAAAADx8/FRxmnV0u4vsJ06LZjD1D_IB00uD_fSA7gCEwYBhgL/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="200" src="https://1.bp.blogspot.com/-tqVq5jmy5dk/XNLoqFc4p0I/AAAAAAAADx8/FRxmnV0u4vsJ06LZjD1D_IB00uD_fSA7gCEwYBhgL/s400/4.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "verdana"; text-align: left; text-indent: 36pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "verdana"; text-align: left; text-indent: 36pt;"> -Dhiraj Singh</span></div>
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Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com1tag:blogger.com,1999:blog-99484807798808485.post-92109920751186376882019-04-16T10:50:00.003-07:002019-04-16T10:57:47.174-07:00Carlos Santana: Sensual Spirituality of a Monk<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-25GNhUJ7M48/XLYRRv7AbAI/AAAAAAAADv4/yLB_R9ISgKAjeIW9u7KRLCMFudO5nKcBgCLcBGAs/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="540" data-original-width="960" height="225" src="https://2.bp.blogspot.com/-25GNhUJ7M48/XLYRRv7AbAI/AAAAAAAADv4/yLB_R9ISgKAjeIW9u7KRLCMFudO5nKcBgCLcBGAs/s400/1.jpg" width="400" /></span></a></div>
<div class="MsoNormal" style="text-align: right;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Image Courtesy <a href="https://www.bbc.co.uk/music/artists/f7fda030-0ba1-42e9-a385-3deebc939bc9" target="_blank">BBC</a></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Carlos
Santana understands the utility of a little bit of sin in life. He had the
opportunity to experience sacred and profane early in his life. He was
initiated in music via violin, which he played in the church. Later, when he
shifted to guitar, he was playing in strip clubs of Mexican border town of
Tijuana. His spirituality has rightly been called his muse and the supreme
achievement of his spirituality has been to harness the sensual to the service
of music. Music for him is something that changes people’s molecular structure.
One note and it changes the way people feel.<o:p></o:p></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Coming
back to the sacred and profane, he once told Rolling Stone that in church you
play the music in a certain way, “people just fold their hands and go wherever
they go; when you work in a strip joint, you play music in a certain way, and
it’s like watching a black panther when it’s in heat.” For him “the halo and
the horns are the same thing… it is ok to be spiritually horny – that is what
creative genius is really about”. He says “I’m curious about how to penetrate
inside the note. I want to utilize sound, resonance, vibration bring people
closer to their own heart”. Obviously, we are dealing with a flower child of
60’s, out to transform fear on this planet into light and love. In him, for a
change we find a person, a musician who has learnt to utilize the excesses of
his era and profession to enhance his creativity. He endures, as he knows how
to “upgrade his software into something more illuminating.” Above all he learnt
the difference between getting loaded and getting high well in time when his
contemporaries were self-destructing themselves all around him on drugs. He may
have looked like a relic in early 90’s but his forte spirituality and
sensuality never went out of style and he stays popular across generations.</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Invitation to have good time<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Rock
as a music form, had energy, anguish and a level of beautiful noise that has
sustained it over the ages. Blues tradition brought in a soul and Jazz a whimsy
that became a rollicking lilting element in somewhat harsh landscape of rock.
There were attempts to bring in rhythmic vitality of African, Latin and Indian
music. As those were the time when giants decided to descend on planet earth in
bunches, many good attempts were made. Leading lights like Ravi Shankar, George
Harrison, Laughlin of Mahavishnu and Bob Marley did a fairly good job of
bringing these sounds from far away lands and joyous sensibilities that
pulsated in these music traditions. However, somehow, all that never came together
in a sustained and sustainable manner. These efforts never could shed their
exotic feel. It was left to Carlos Santana to close the loop through his
cosmopolitan sensibilities rooted in exuberant Latin rhythm. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-eoXjKHDHoQI/XLYSMQer-4I/AAAAAAAADwE/PWGySu1Tf-c5tYT2VEOdZnQYI9BOyyMSgCLcBGAs/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="687" data-original-width="475" height="320" src="https://1.bp.blogspot.com/-eoXjKHDHoQI/XLYSMQer-4I/AAAAAAAADwE/PWGySu1Tf-c5tYT2VEOdZnQYI9BOyyMSgCLcBGAs/s320/2.jpg" width="220" /></span></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Carlos
Santana is the central force of his band called, well, Santana. Bill Graham was
an early promoter who mentored the young band. He has the best explanation about
why Santana succeeded as opposed to somewhat vapid and ghettoised earlier
efforts. I will quote at length. Bill Graham says “What impressed me is that it
was an attempt at fusing rock and Afro and Latino and getting a rhythmic
sensuous sound into rock, which I’ve always thought it lacked in many cases.”
Graham goes on to lay down the sensuality of early Santana which holds real
even today. “What it is, is an earthy street thing when it really gets
up-tempo. You want to move and it’s physical. I like dancing together. And
Latin music — part of Latin music for me always — was I would hold a woman, and
I would touch her body, and we would sweat, and it’s all of that … very
sensual, very sensuous.” Santana has evolved and got enriched by collaboration
with varied and younger sounds. This exuberant sensuality remains.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Black
Magic Woman, an early hit, starts with a gripping cord on key board and soon
Carlos takes over with his silken guitar licks and takes the music to a
different level. Percussions create a trance and very soon the song becomes
voodoo dance of seduction and abandon of love. The number can rouse a stadium
even today after more than forty years. A truly timeless classic.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Carlos
Santana echoes Bill Graham when he talks about the ‘Smooth’ perhaps his most
famous Latin single. Santana explained in an interview, “When people hear
‘Smooth,’ it’s boogie,” Santana says. “It’s an invitation to have a good time.
Like Little Richard used to say: It’s Friday night, I got a little bit of
money, I did my homework, and it’s OK to rub closely with Sally or Sue; she
gave me that look like it’s OK. I brushed my teeth, and I got deodorant. I got
her going. It’s cool. Certain songs – ‘Smooth,’ ‘Oye Como Va,’ ‘Guantanamera,’
‘La Bamba,’ the ‘Macarena,’ ‘Louie Louie’ – that’s what these songs are for.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-WUuH2XXTvq4/XLYVps1Us3I/AAAAAAAADww/WGpZY97O3_oPDVc8fkI3-dCYmMe7wxUIACLcBGAs/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://3.bp.blogspot.com/-WUuH2XXTvq4/XLYVps1Us3I/AAAAAAAADww/WGpZY97O3_oPDVc8fkI3-dCYmMe7wxUIACLcBGAs/s400/6.jpg" width="400" /></span></a></div>
<div class="MsoNormal" style="text-align: right;">
<o:p><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Image courtesy <a href="ttps://www.youtube.com/watch?v=tRPlpFZnbz4" target="_blank">YouTube</a></span></span></o:p></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Santana
as an elderly statesman of<span style="mso-spacerun: yes;"> </span>Woodstock
generation, retains a bracing forthrightness harking back to the times when
giving good time to a woman was not considered so politically sensitive. At
fourteen he was playing in strip clubs of Tijuana and was learning to play
guitar in a way, as he accepted later, with a serene equanimity, so that
women’s nipples would go hard. This feat apart, Carlos has displayed an old
fashioned respect for women, a respect that, on a deeper analysis, is far more
meaningful than the politically correct platitudes.<span style="mso-spacerun: yes;"> </span>Women are not only a source of his creativity
but also a touchstone of his creative output. In an interview Santana said, “women
are really supremely important for musicians. We all learn from how they walk,
how they talk. It’s not politically correct today, but in the old days, in the
Sixties, if somebody was an incredible musician, you’d say, ‘He’s a bitch,’ and
if he was an incredible musician but he has a lot of class and style, then
you’d say, ‘Oh, he’s a lady.'” One needs to cut him some slack on PC front and
understand from where the sentiment is coming. Apart from the appreciation of
women, he is really elated when his music gets feminine validation. He explains
his impact “when I move around in the music, is to make sure that the bass, drums
and keyboards are on the one. That creates the trance, the spell. And it makes
women go absolutely wild.” His friend, sometime Mahavishnu Orchestra drummer
Narada Michael Walden, made Santana write a guajira (a style of Cuban music,
song or dance). That’s how he explained the form in the presence of the guitar
maestro. “Guajira is the most effective way to, excuse the expression,
penetrate a woman’s heart and then they remember the whole glory of being a
female and start dancing a certain way, It’s the most tried, true and tested
frequency that makes women open up like a flower.”<span style="mso-spacerun: yes;"> </span>Basically, for Santana, music needs to
celebrate womanhood. Some sentences may appear tasteless to the ear in 2019 but
no doubt, the explanations are coming from a place of respect, appreciation and
love.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times" , "times new roman" , serif; font-size: large;">School of Hard Knocks<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Born
in 1947 in born in Jalisco, Mexico, Carlos Santana had a musical upbringing as
his father was a mariachi violinist. Young Carlos joined his father in the
street playing for small change. His first instrument was violin. This
beginning is often seen as the cause of his sustained long notes. He played
violin in the church choir also. Very soon he shifted to guitar. He told in an
interview that even in those early days “I had my ear on Chuck Berry, Little
Richard and Bo Diddley, on B.B. King and T-Bone Walker. There was nothing
plastic about those guys. They went deep, and each note carried something
important. I knew, from a long time ago, the difference between notes and life.
I’d rather play life than notes.” Another early school was the rough-and-tumble
of Tijuana. There, an adolescent Carlos starting getting work in shady night
clubs playing from four in the afternoon until six in the morning, one hour on,
then one hour off, while the strippers stripped. This was a tough life but the
young musician was content. He resisted his mother’s determined efforts to
migrate to the USA. Finally, the family moved to San Francisco's
Spanish-speaking Mission district in 1961.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-De3GAEkKgTQ/XLYUljTR9aI/AAAAAAAADwk/nDqZL9CSi8ke0ZBalKBXVBpeuykR5dKPACLcBGAs/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://3.bp.blogspot.com/-De3GAEkKgTQ/XLYUljTR9aI/AAAAAAAADwk/nDqZL9CSi8ke0ZBalKBXVBpeuykR5dKPACLcBGAs/s400/5.jpg" width="400" /></span></a></div>
<div class="MsoNormal" style="text-align: right;">
<o:p><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Image courtesy <a href="https://www.biography.com/people/carlos-santana-9542276" target="_blank">Biography</a></span></span></o:p></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Carlos
got a fertile environment in 60s Bay Area. Psychedelic underground and
anti-Vietnam war protest on the social political front and new trends in the
field of music were the suitable diet for the raw talent that was Carlos
Santana. With organist Gregg Rolie he assemble the first Santana band. They
were lucky to catch the eye of Bill Graham, helped their appearance at many
important venues, most notably, Fillmore West concert hall and 1969 Woodstock.
Graham ensured that they figured in the film and the album made on the iconic
Woodstock event arguably the condensed crystallization of the spirit of 60s. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Guardian
writes, “Carlos's earliest musical idols had been bluesmen like Muddy Waters,
Buddy Guy and Otis Rush, but he began to listen to a more diverse palette of
sounds. To the basic rock and blues base, Santana added Latin rhythms and the
freer shapes of modern jazz, absorbed from records like John Coltrane's My
Favourite Things and Miles Davis's rock-jazz fusion, Bitches Brew. Santana's
first albums - up to and including the fourth, the complex, jazz-inflected
Caravanserai of 1972 - were some of the most original and powerful of their
time.” <span style="mso-spacerun: yes;"> </span>A consistent performer, in a
career spanning half a century, , Santana has sold more than 100 million
records and has carved a unique niche for himself. As <span style="mso-spacerun: yes;"> </span>2014 release of Corazón, was received success,
Santana surpassed the Rolling Stones and is one of only two music acts in
Billboard history to score at least one Top Ten album for six consecutive
decades from the 1960s on. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Rhythm Divine<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-XOsA7FWcmB4/XLYTc3wl2nI/AAAAAAAADwQ/FmnSfCbMKw49Vc3vow_EPw3hh_cpyzm7wCLcBGAs/s1600/3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="487" data-original-width="715" height="217" src="https://4.bp.blogspot.com/-XOsA7FWcmB4/XLYTc3wl2nI/AAAAAAAADwQ/FmnSfCbMKw49Vc3vow_EPw3hh_cpyzm7wCLcBGAs/s320/3.jpg" width="320" /></span></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Even
in his early Interviews, Santana Showed signs of deep spirituality. However
with success, his spirituality blossomed. It is very easy to be dismissive of his
spiritual jargons. However, as you know more about the person, a feeling grows that
in Carlos Santana we are dealing with a person who has cracked it. His exotic
sounding spiritual paraphernalia is helping him tremendously in staying
creative and rooted. Introducing him as one the greatest guitarist of all
times, Rolling Stone magazine has summed up saying “Santana has remained a
compelling musician with a devotional spirituality fueling his muse.” <span style="mso-spacerun: yes;"> </span>In early seventies he and his first wife
became follower of the Indian Guru Shri Chinmoy. He was very close to similarly
spiritual jazz musicians, including John McLaughlin, Stanley Clarke, Wayne
Shorter and Herbie Hancock. He is deeply grateful for the those years of
spiritual guidance when he went by the name ‘Devadip’ the divine<span style="mso-spacerun: yes;"> </span>lamp/light, turned vegan and followed monkish
discipline. He developed spiritually, however, by 1981, he started outgrowing
his guru and embarked on a journey of finding his own way. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Chris
Heath did the last cover story of the Rolling Stone Magazine on Carlos Santana.
He saw his ‘church’ and talked about his interaction with ‘angles’. He
concluded, “I am, by nature, probably more cynical than most, but all I can
tell you is that when he talks about this stuff, it doesn’t seem kooky or
unhinged or even that spacey. Likewise, in all the time I spend with Carlos
Santana, I see no signs that he is unaware of life’s mundane realities.” With his
music, his success, his longevity and his serene visage the entire spiritual
edifice feels credible. He is acutely aware that people may get uneasy when he
goes on spiritual tangent. He is also clear that this unease doesn’t bother
him.<span style="mso-spacerun: yes;"> </span>He told Heath “My reality is that
God speaks to you every day. It is just an inner voice, and you trust it. That
voice will never take you to the desert.” He shares that the angles tell him to
be gracious, grateful and patient. He lives by what he thinks is his realty and
that has held him in good stead. It is pointless to question the physical
veracity of his notions. One thing is certain that he is positive, joyful and
totally devoid of deceit about his beliefs. That should do. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Carlos
Santana is one of the last greats standing and thriving from the creative
ferment of a very exciting times. He gives us chance to touch the heady sixties
and presents a least destructive but explosively powerful facet of the
flower-power days. He cobbled, perhaps, a more illustrious second innings than
the original one. His music is based on his raw talent and capability of
bringing a delicious chaos together in accessible music. A music that begets
joy or, as he says, connects molecules to light. We, mortals, will be best
served by being grateful and open to the miracle that is Carlos Santana. <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">*** </span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Dhiraj Singh</span></div>
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Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com1tag:blogger.com,1999:blog-99484807798808485.post-33115868691531346622018-12-04T09:09:00.000-08:002018-12-05T05:44:43.267-08:00Bernardo Bertolucci: Carnal core of Filmmaking<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">My exposure to Bernardo
Bertolucci is restricted to two of his most notorious films - Last Tango in
Paris and The Dreamers.<span style="mso-spacerun: yes;"> </span>I have not seen
any other Bertolucci film.<span style="mso-spacerun: yes;"> </span>Not even Conformist
(supposedly an authentic distillation of essential Bertolucci), Spider’s
Stratagem (considered his best by many), Before the Revolution (his first major
film) or The Last Emperor (his most astounding Hollywood success).<span style="mso-spacerun: yes;"> </span>Now I will not go out and seek these
movies.<span style="mso-spacerun: yes;"> </span>His recent death led to
considerable coverage and tributes (mostly guarded and largely framed by the
dominant ‘me too’ sensibility of our time), all this coverage gave some inkling
that both The Last Tango in Paris and The Dreamers are part of a very strong
filmography, which is varied, uneven and has the potential of upturning one’s
impression of the auteur.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I don’t want that.<span style="mso-spacerun: yes;"> </span>Not now, when he is not there to reclaim any throne
from which he may potentially be deposed.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "bookman old style"; font-size: 15.0pt; line-height: 150%;">A Chronicler of Sex<o:p></o:p></span></u></b></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">On the basis of these
two movies, Bertolucci emerges as a prolific chronicler of sex in all its
forms, sensuous, therapeutic, communion, a mode of feeling, way of making sense
and just simply as lust.<span style="mso-spacerun: yes;"> </span>In his films,
sex is presented as life affirming force, soul corrosive wound and mostly as
sometime gentle – sometime brutal background.<span style="mso-spacerun: yes;">
</span>It is not fair or accurate to bracket a force of nature like Bernardo
Bertolucci.<span style="mso-spacerun: yes;"> </span>However, like Marlon Brando’s
character in The Last Tango in Paris and three young characters of The Dreamers,
sex can be a vehicle to traverse Bertolucci’s art and life.<o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Both Last Tango in
Paris and The Dreamers are sexually explicit movies.<span style="mso-spacerun: yes;"> </span>Amount of nudity and sex is extremely high
and both movies were rated accordingly.<span style="mso-spacerun: yes;">
</span>Last Tango brought judicial proceedings and conviction for
indecency.<span style="mso-spacerun: yes;"> </span>Many countries can’t allow
the films under their current rating system even today.<span style="mso-spacerun: yes;"> </span>However, that is the failure of the
certification/rating system, not of Bertolucci.<span style="mso-spacerun: yes;">
</span>He has demonstrated now sex can be used as a theme or core of a story
and not merely as a prop.<span style="mso-spacerun: yes;"> </span>It is this use
of sex as a key to an emotionally (in case of Tango) and culturally (in case of
The Dreamers) rich terrain that separates Bertolucci's depiction of sex from the traditional practices.<o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Sex has been used as an
escape in movies - titillating filler, a shocker, an embellishment, a token of
audacity or just as a signal of a life style.<span style="mso-spacerun: yes;">
</span>Many times, it has been used as an indicator of happy or perverse
relationship.<span style="mso-spacerun: yes;"> </span>In most such instances, it
is short-lived on screen and is used to establish a scene or a character.<span style="mso-spacerun: yes;"> </span>With Bertolucci, sex is the core theme, the
main subject.<span style="mso-spacerun: yes;"> </span>He is not shy to make sex
the chief mode of communication, feeling and even evaluation.<span style="mso-spacerun: yes;"> </span>In the two movies, it gets integral to core
themes.<span style="mso-spacerun: yes;"> </span>If Tango is a movie about grief,
it is equally about sex.<span style="mso-spacerun: yes;"> </span>The same goes
for the Dreamers where sex is as pervasive as politics, youth and movies.<span style="mso-spacerun: yes;"> </span>It is almost always there on the screen.<span style="mso-spacerun: yes;"> </span>Eroticism or violence have been chief sexual
byproducts on screen.<span style="mso-spacerun: yes;"> </span>With Bertolucci,
as with Freud (Bertolucci was a keen student of Freud), sex is capable of
expressing life itself.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "bookman old style"; font-size: 15.0pt; line-height: 150%;">A Worthy Pioneer of the Carnal
filmmaking<o:p></o:p></span></u></b></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Bertolucci is very
well placed to be a pioneer for emotionally and culturally complex sex
movies.<span style="mso-spacerun: yes;"> </span>He has a painterly aesthetics
and his scenes are never less than beautiful.<span style="mso-spacerun: yes;">
</span>He is capable of creating beauty on screen with the least of fuss.<span style="mso-spacerun: yes;"> </span>Give him a theme and he will bring out the
psychological essence and core of its inner beauty – a mark of a gifted film
maker.<span style="mso-spacerun: yes;"> </span>China showed great astuteness, when
Bertolucci was given unprecedented access to shoot in the Forbidden City for
the Last Emperor.<span style="mso-spacerun: yes;"> </span>He simply was the best
candidate to bring out historical grandeur, present symbolism along with an unbiased
portrayal of the brutal transition from monarchy to communism for the last
Emperor.<o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Both Last Tango in
Paris and The Dreamers are primarily apartment movies.<span style="mso-spacerun: yes;"> </span>Bertolucci and his famed cinematographers
have weaved music of visuals in a closed space.<span style="mso-spacerun: yes;">
</span>Topography of rooms, bodies of </span><span lang="EN-IN" style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">the protagonist,
lights and beauty are used skilfully in the service of the themes.<span style="mso-spacerun: yes;"> </span>Making the sun drenched apartment in the Last
Tango in Paris such a joyless place and the cramped bathroom in the Dreamers a
place of youthful energy are cases in point. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>An
Accomplished scene maker, who is clued in the psychological essence of the
plot, Bertolucci is so very well suited to delve into the sensuality, lyricism
and abyss of sexual desire. He goes for pure and distilled essence of his
chosen emotion. When he goes for depiction of sex it is there without any
adornment of phoniness.</span><span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Another qualification for such a
precarious undertaking is fine tuned realism.<span style="mso-spacerun: yes;">
</span>Filming sex often (not always) would require avoiding voyeurism,
unnecessary heightening of emotions and will need an unblinking gaze.<span style="mso-spacerun: yes;"> </span>Having said that, overall frame work of the
art should not be abandoned at any time.<span style="mso-spacerun: yes;">
</span>Degradation into documentary realism is the death of sex film, kind for
which Bertolucci was striving.<span style="mso-spacerun: yes;"> </span>Even a whiff
of biology class documentary, or pornographic heightening of glee will kill the
genre before it even starts to breath.<span style="mso-spacerun: yes;">
</span>Bertolucci’s primary achievements is to find a fine blend of art and
realism.<span style="mso-spacerun: yes;"> </span>Art cannot be willed into
existence without completing the steps of achieving it.<span style="mso-spacerun: yes;"> </span>Artifice, with its artificiality and guile is
needed.<span style="mso-spacerun: yes;"> </span>Andy Warhol made seven hour movies
just by putting people in front of a camera without any script or
preparation.<span style="mso-spacerun: yes;"> </span>Whereas, his painting or
silk screens etc. are art forms as they shifted key parameter of artistry from
representation to presentation.<span style="mso-spacerun: yes;"> </span>However,
films are different ball game and his antics in the area remain dubious.<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Coming back to Bertolucci, he never
compromises with the artifice of his lush movie making.<span style="mso-spacerun: yes;"> </span>He is out to touch your heart with an
elaborate stratagem of beauty and a despair, which is achieved through abundance
rather than minimalism.<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Bertolucci deploys his supreme mastery
over his art not to control his actors.<span style="mso-spacerun: yes;">
</span>Kindly note this is important to achieve the realism mentioned
above.<span style="mso-spacerun: yes;"> </span>Total spontaneity of a Warhol or
Norman Mailer movies will come out as stranded misfires devoid of the propulsion
of beauty and inspiration.<span style="mso-spacerun: yes;"> </span>Too
controlled, Hitchcokian approach will end up producing pornography in
Bertolucci set up.<span style="mso-spacerun: yes;"> </span>Bertolucci is
conducive for improvisation.<span style="mso-spacerun: yes;"> </span>His
elaborate artifice does not block discovery.<span style="mso-spacerun: yes;">
</span>His script, story board, camera moves, dialogues, actors cue all are
planned in great details but always change.<span style="mso-spacerun: yes;">
</span>He creates a structure then embarks on a voyage of discovery along with
his actors, cinematographers and other crew.<span style="mso-spacerun: yes;">
</span>He is guiding the movie and at the same time his actors and crew making
him discover the movie.<span style="mso-spacerun: yes;"> </span>Something that
makes movies the art form that they are.<span style="mso-spacerun: yes;">
</span>This mixture of artifice and improvisation is what that saves Bertolucci
when he chooses the fraught world of sex films as his métier.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "bookman old style"; font-size: 15.0pt; line-height: 150%;">Last Tango in Paris-A Movie
Breakthrough<o:p></o:p></span></u></b></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Last Tango in Paris is
a controversial and divisive piece of art.<span style="mso-spacerun: yes;"> </span></span><span style="font-family: "bookman old style"; font-size: 13pt;">Perhaps,<a href="https://www.criterion.com/current/posts/834-last-tango-in-paris" target="_blank"> in the most famous review ever written, Pauline Kael</a> said “The movie breakthrough has
finally come..,it may turn out to be the most liberating movie ever made…Bertolucci
and Brando have altered the face of an art form. Who was prepared for
that.”</span><span style="font-family: "bookman old style"; font-size: 13pt;"> </span><span style="font-family: "bookman old style"; font-size: 13pt;">The Last Tango in Paris may not
have resulted in the revolution that Kael was hoping but she was, as usual,
very perceptive about the merits of the masterpiece.</span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">She has beautifully
elaborated on the Bertolucci’s ability to create elaborate structure for
improvisation.<span style="mso-spacerun: yes;"> </span>“It is not just Brando
improvising it is Brando improvising as Paul (his character)… When Brando
improvises within Bertolucci’s structure, his full art is realized” Pauline
Kael continues “The excitement of Brando’s performance here is in the
revelation of how creative screen acting can be……At a more complex level he
helps Bertolucci discover the movie in the process of shooting it, and that’s
what makes movie making an art.”<o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Last Tango in Paris is
a story of middle aged American </span><span style="font-family: "bookman old style"; font-size: 17.3333px;">Paul </span><span style="font-family: "bookman old style"; font-size: 13pt;">in Paris, who is grieving for his wife,
who committed suicide on the day we meet him.</span><span style="font-family: "bookman old style"; font-size: 13pt;">
</span><span style="font-family: "bookman old style"; font-size: 13pt;">He meets a young Parisian girl during an apartment hunting and he forces
himself on her and she goes along his overtures on an unadorned, sometimes
brutal sexual journey.</span><span style="font-family: "bookman old style"; font-size: 13pt;"> </span><span style="font-family: "bookman old style"; font-size: 13pt;">Jeanne, the young
girl, nonchalantly surrenders to the torrent of raw sexuality that Paul
unleashes.</span><span style="font-family: "bookman old style"; font-size: 13pt;"> </span><span style="font-family: "bookman old style"; font-size: 13pt;">He rents the flat and they
meet there for three days.</span><span style="font-family: "bookman old style"; font-size: 13pt;"> </span><span style="font-family: "bookman old style"; font-size: 13pt;">We get to see
their lives separate from each other.</span><span style="font-family: "bookman old style"; font-size: 13pt;">
</span><span style="font-family: "bookman old style"; font-size: 13pt;">Paul at the hotel that his wife owned, Jeanne with her mother and her
insipid film maker fiancé, who is inanely making a film of the days that will
eventually lead to their marriage.</span><span style="font-family: "bookman old style"; font-size: 13pt;"> </span><span style="font-family: "bookman old style"; font-size: 13pt;">In the
flat “he pushes his morose, romantic insanity to its limits; he burns through
the sickness that his wife’s suicide has brought on.”</span><span style="font-family: "bookman old style"; font-size: 13pt;"> </span><span style="font-family: "bookman old style"; font-size: 13pt;"><a href="https://www.rogerebert.com/reviews/last-tango-in-paris-1972" target="_blank">Great Roger Ebert</a> hits the nail when he
writes “He (Paul) is a man whose whole existence has been reduced to a cry for
help -- and who has been so damaged by life that he can only express that cry
in acts of crude sexuality.”</span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">I will continue with
the resonating prose of Ebert for some length.<span style="mso-spacerun: yes;">
</span>“There is no attempt to heighten the emotions. The sex is joyless and
efficient, and beside the point: Whatever the reasons these two people have for
what they do with one another, sensual pleasure is not one of them. Brando, who
can be the most mannered of actors, is here often affectless. He talks, he
observes, he states things. He allows himself bursts of anger and that
remarkable outpouring of grief, and then at the end he is wonderful in the way
he lets all of the air out of Paul's character by turning commonplace with the
speech where he says he likes her. The moment is wonderful because it releases
the tension, it shows what was happening in that apartment, and we can feel the
difference when it stops."<span style="mso-spacerun: yes;"> </span>Commenting on
the sex in the movie Ebert wrote “Paul has somehow been so brutalized by life
that there are only a few ways he can still feel. Sex is one of them, but only
if it is debased and depraved -- because he is so filled with guilt and
self-hate that he chooses these most intimate of activities to hurt himself
beyond all possibilities of mere thoughts and words.”<o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">The film gets its
texture from Bertolucci’s unbiased intelligence, eccentric construction and
details of Marlon Brando acting that work as ‘counter balance to Bertolucci’s
taste for pure psychological essence’.<span style="mso-spacerun: yes;">
</span>Ebert was almost dripping with reverence when he wrote “It's a movie
that exists so resolutely on the level of emotion, indeed, that possibly only
Marlon Brando, of all living actors, could have played its lead. Who else can
act so brutally and imply such vulnerability and need?”<o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Brando and Bertolucci
achieved a distillation of characterisation.<span style="mso-spacerun: yes;">
</span>Resonance of the characters with the emotions sought to be depicted was
so pure that a sublime unity of cinematic soul was achieved. In that moment of
pure filmmaking, need for frills and flourishes vanished.<span style="mso-spacerun: yes;"> </span>What was happening on the screen was hyper
real and yet full of pure art.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "bookman old style"; font-size: 15.0pt; line-height: 150%;">Youth, Sex, Movies and Dreams<o:p></o:p></span></u></b></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">While Last Tango in
Paris dwells on despair and sickening brutality of sex, The Dreamers inhabits
the opposing pole.<span style="mso-spacerun: yes;"> </span>Here sex is
disturbing due to strong incestuous overtones but it is festive and almost
celebratory in its impact.<span style="mso-spacerun: yes;"> </span>It acts both
as a background and a theme.<span style="mso-spacerun: yes;"> </span>This is
story of American exchange student in Paris in 1968 during the civil unrest
that erupted in the wake of government firing of Henri Langlois the founder and
director of Cinematheque Francaise.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">The student Matthew
(Michael Pitt who is devoted to movies and a life of letters and ideas) is
invited by the twins, Theo (Louis Garrel) and Isabella (Eva Green in a
stunningly bold debut). His stay with the twin becomes a journey of sexual
discovery and how a youthful exploration can shape life.<span style="mso-spacerun: yes;"> </span>Mind you, this is not just any youthful
exploration. It was unique to be young in 1968 Paris- A heady cocktail of
youthful optimism, when a pioneering cinema official could become centre of a
genuine public upheaval.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">The three 20 year olds
created an idyllic world in their apartment when streets were burning.<span style="mso-spacerun: yes;"> </span>Bertolucci’s painterly camera created a
beautiful environ supplemented by strikingly beautiful bodies of the young
characters.<span style="mso-spacerun: yes;"> </span>The youngsters indulged in
their passions of ideas, sex and movies with ‘unguarded sincerity’, which in
today’s philistine and prosaic time will be easy to ‘patronize or to
mock’.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Best review to The
Dreamer came from <a href="https://www.nytimes.com/2004/02/06/movies/film-review-when-to-be-young-was-very-sexy.html" target="_blank">A.O. Scott of New York Times</a>, who lauded Bertolucci for his
refusal to ‘scold and satirize the idealism of an earlier generation’.<span style="mso-spacerun: yes;"> </span>Scott wrote ‘Bertolucci revels in their
unselfconscious intensity, gazing affectionately at these children, who speak solemnly
of ‘Cinema’, who quote Andre Bazin with reverence and for who the movies, far
from being an escape from the world, are means to entry into it’.<span style="mso-spacerun: yes;"> </span>Wow!<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Matthew while
maintaining his outsider/observer status goes along with the ideas fuelled
kinky psychosexual sadism.<span style="mso-spacerun: yes;"> </span>A romantic
belief that free sex and great movies will free the mankind is displayed and is
accepted by Bertoucci with everyday nonchalant indulgence.<span style="mso-spacerun: yes;"> </span>Matthew is intrigued and aroused by Theo and
Isabelle’s gothic but posh sensibilities but he is convinced that all that is
not for him.<span style="mso-spacerun: yes;"> </span>Finally, he did balk at the
extremity of their vision and walks in the opposite directions whereas twins
rush to embrace the raging revolution.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">Getting back to Scott
and main theme of this article.<span style="mso-spacerun: yes;"> </span>Scott
declares, rightly, that sex in ‘The Dreamers’ is more explicit than Last Tango
in Paris.<span style="mso-spacerun: yes;"> </span>As opposed to the oppressive
and punishing sex of the Last Tango in Paris, The Dreamers is youthful, hence
infused with the joy of discovery.<span style="mso-spacerun: yes;"> </span>Scott
writes, “There is an almost Edenic quality to the nakedness, which is not to
say that the film's treatment of sexuality is altogether innocent…But it is
hard to imagine a voyeur more benevolent than Mr. Bertolucci, whose eager
scrutiny of the eros of the young is.. less a matter of prurience than of an
honest, nostalgic appreciation of natural human vitality. And the director,
unfailingly generous in his refusal to embarrass his characters, is equally
generous in sharing his sensual enthusiasm with the audience.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">In both The Dreamers
and last Tango in Paris, we are so enthralled by the atmosphere of the secluded
apartments that we stop noticing the oddity, joy and sickness of it all, Bertolucci
realizes that and ends his movie with a clear rupture from the idyll to reality.<span style="mso-spacerun: yes;"> </span>In Tango, mysterious stranger with raw and
honest emotions becomes commonplace with his attempt to interact normally with
Jeanne, object of his ravaging sexual therapy of grief.<span style="mso-spacerun: yes;"> </span>We are jolted but Bertolucci keeps the pay
off intact by killing off Paul in a stunning mesmerizing finale.<span style="mso-spacerun: yes;"> </span>Brando, an absorbing study in self degeneration,
sealed his place as one of the greatest actors of all times.<span style="mso-spacerun: yes;"> </span>Similarly, in The Dreamers, the idyll is
broken by arrival of parents of the twin and, more jarringly, by a brick through
the glass pane.<span style="mso-spacerun: yes;"> </span>Bertolucci manages to
jolt us out again from the reverie of sexual discovery and marathon idea
sessions.<span style="mso-spacerun: yes;"> </span>Pay off doesn’t get sacrificed as ending takes the flow forward and final choices are clearly underlined by
the caution and madness that ran all through the movie.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">There is no better way
of ending this than a quote of Bertolucci used by <a href="https://www.rollingstone.com/movies/movie-features/peter-travers-remembers-bernardo-bertolucci-759971/" target="_blank">Peter Travers in his tribute</a>
to the auteur in Rolling Stone, “I think – how do I put it? – that the word is
texture.<span style="mso-spacerun: yes;"> </span>You know, how a movie feels when
you hold it in your head and run it through all your life experience.<span style="mso-spacerun: yes;"> </span>So there is depth to it.<span style="mso-spacerun: yes;"> </span>And politics. And sex. And if you are lucky,
may be magic.”<span style="mso-spacerun: yes;"> </span>With Bernardo Bertolucci
we have been mostly lucky.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div align="center" class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;">******* <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "bookman old style"; font-size: 13.0pt; line-height: 150%;"><o:p> - Dhiraj Singh</o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<!--EndFragment--><br /></div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com1tag:blogger.com,1999:blog-99484807798808485.post-63407173239996996742018-11-10T21:55:00.000-08:002018-11-11T01:04:20.892-08:00Johnny Depp: Black Mass of Competing Frames<div dir="ltr" style="text-align: left;" trbidi="on">
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<!--StartFragment-->
<!--EndFragment--></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 42.55pt; margin-right: 64.0pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><b><i>The article seeks to analyze two articles
on actor Johnny Depp that appeared in Rolling Stone and GQ magazines. His
recent travails are getting lot of media tractions. Here we try to examine how ‘framing’
and ‘priming’ concepts can explain the differing slants to the current
situation of the contrarian superstar. </i></b><span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span>
</div>
<div class="MsoNormal" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-LEh4KJWFK-U/W-fdkmjRz3I/AAAAAAAADo8/jV_K3UyAl5M1sfdi15KWV9kwqtvWqW4_QCLcBGAs/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="573" height="320" src="https://4.bp.blogspot.com/-LEh4KJWFK-U/W-fdkmjRz3I/AAAAAAAADo8/jV_K3UyAl5M1sfdi15KWV9kwqtvWqW4_QCLcBGAs/s320/1.jpg" width="245" /></a></div>
<span style="font-family: "verdana"; font-size: 14pt;">It is easy to be keyed up by a shining
line of story telling.</span><span style="font-family: "verdana"; font-size: 14pt;"> </span><span style="font-family: "verdana"; font-size: 14pt;">Once a journalist
sees her story forming in a certain way, often the process becomes a frantic pursuit
to keep the initial inspiration on a straight path of narrative salvation. In
the face of information overload, deadline pressures and sheer exhilaration of
sensing a viable storyline, producing a viable story can be an overpowering
compulsion. This may lead to surreptitious infusion of neglect for alternate
views- dominance of a ‘frame’ over others. This is omnipresent, natural and
can’t be avoided.</span><span style="font-family: "verdana"; font-size: 14pt;"> </span><span style="font-family: "verdana"; font-size: 14pt;">However, a Journalist,
specially a long form one, needs to pause and ask- can I do better or, more
importantly, can I do more honestly.</span><span style="font-family: "verdana"; font-size: 14pt;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">In most of the cases, there is nothing
wrong or right (we aren’t talking of blatant malpractice of partisan
affiliation and paid corruption of news).<span style="mso-spacerun: yes;">
</span>Bias is not a crime, nor is a desire to have a cohesive story.<span style="mso-spacerun: yes;"> </span>What surely constitutes a failure is not to
stop and think an alternative narrative or at least acknowledge (to one self,
if nothing else) the creeping biases.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Two
Articles-Two Different Framing<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Johnny Depp is an iconic actor and lately
he has been in news for all the wrong reasons. He has successfully survived, so
far, his excesses that in some instances belong to the wild sixties of rock
star bohemianism. He manages to keep his rebellious streak alive and has
created an outsider niche for himself amidst the crass commercial world of
Hollywood. His cult following and a formidable body of work is there for all to
see. Of late, there is a sense that viability of his choices is under threat.
He is facing unprecedented financial ruin and his reputation suffered a massive
blow due to allegation of domestic violence and rumours about ill health.
Recently, two major publications did cover stories with great degree of access
to the star. Journalist from Rolling Stone and GQ magazines were invited and
Johnny Depp opened the doors of his home and soul to them. Gave them rare
glimpse of his private sanctum and bared his soul in prolonged intimacy of his
lair. Undoubtedly, a privileged and rare opportunity for any journalist. The
result is two very different pieces. One a devastating piece by Rolling Stone
(The article can be accessed here - </span><a href="https://www.rollingstone.com/movies/movie-features/the-trouble-with-johnny-depp-666010/"><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">https://www.rollingstone.com/movies/movie-features/the-trouble-with-johnny-depp-666010/</span></a><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">)<span style="mso-spacerun: yes;"> </span>The article is anchored as “Multimillion-dollar
lawsuits, a haze of booze and hash, a marriage gone very wrong and a lifestyle
he can’t afford – inside the trials of Johnny Depp”. One gets the drift where
is the focus. Variety magazine commented on the article and called Depp a “</span><a href="https://variety.com/2018/film/news/johnny-depp-rolling-stone-profile-amber-heard-1202853819/"><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">PR liability</span></a><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">” . Variety hit a
bulls eye in its last sentence “Hollywood can accept almost anything, except
for failure.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">GQ article (</span><a href="https://www.gq-magazine.co.uk/article/johnny-depp-interview-2018"><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">https://www.gq-magazine.co.uk/article/johnny-depp-interview-2018</span></a><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"> ), on the other
hand, is a sympathetic piece and is anchored as “We don’t know the truth. But
following an invitation to spend time with the face of one multibillion-dollar
franchise and a whole rogue’s gallery of tender, oddball tales at the French
village he once bought to share with another former partner, we now know his
version of it. Aggrieved, aggressive and vulnerable, by turns it’s all these
things. He spoke, we listened and here is the truth Johnny Depp wants you to
hear”. One gets the impression that the article is invested in giving Depp a
platform. The article was criticized for glamourizing domestic violence by </span><a href="https://www.cosmopolitan.com/uk/reports/a23577545/johnny-depp-british-gq-cover-glamourises-domestic-abuse/"><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Cosmopoliton</span></a><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"> and </span><a href="https://www.independent.co.uk/life-style/johnny-depp-british-gq-cover-amber-heard-domestic-abuse-a8568216.html"><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Independent</span></a><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"> .<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>In
both the cases, the invite was from the Depp establishment.<span style="mso-spacerun: yes;"> </span>In one case it was more of a personal hunch
based on Depp's history with Rolling Stone.<span style="mso-spacerun: yes;">
</span>He is the most featured film actor on the magazine’s cover and has a
long standing relationship with the magazine cofounder going back to wild days
of Hunter S Thompson.<span style="mso-spacerun: yes;"> </span>GQ was approached
with the help of an elite PR Company.<span style="mso-spacerun: yes;">
</span>Interview with Rolling Stone lasted three days, whereas, GQ was a day
and daylight affair.<span style="mso-spacerun: yes;"> </span>By the look of it
GQ interview struck the mark for the beleaguered actor whereas Rolling Stone
interview was a massive disaster that gave respectability and shape to an inchoate
but continuous barrage of negative news onslaught against the actor.<span style="mso-spacerun: yes;"> </span>One more huge difference in the two interviews
was paraphernalia of starry excesses.<span style="mso-spacerun: yes;"> </span>Free
flow of hash, alcohol and other props of such life style marked RS interview.<span style="mso-spacerun: yes;"> </span>Dedicated chef, weird hours, paid flunkies- the
environment was simply not viable to turn nauseating to sexy.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Most
importantly, where the elite PR agency succeeded and Depp's personal assessment
faltered was the ensuring <span style="mso-spacerun: yes;"> </span>a frame
suitable for the star's image.<span style="mso-spacerun: yes;"> </span>Rolling
Stone article titled ' The Trouble with Johny Depp' chose to stay with the stereotype
of wild talent gone to dogs.<span style="mso-spacerun: yes;"> </span>The article
decided not to focus on charisma, and off beat nature of Depp's talent and
persona.<span style="mso-spacerun: yes;"> </span>The frame was set to portray
the waste, downfall and excesses. The wealth management Company TMG got all the
opportunity to plug in their viewpoint which was given to the reporter more
professionally than hash addled Depp.<span style="mso-spacerun: yes;">
</span>Article’s disapproval for Depp's life style is barely hidden.<span style="mso-spacerun: yes;"> </span>(“But the things that were charming when he
was 28 – doing drugs and running around the scaffolding on a high floor of
Atlantic Records’ L.A. building – seem disturbing at 55.”).<span style="mso-spacerun: yes;"> </span>Depp's ugly divorce with Amber Heard received
a treatment that was in consonance with over all texture subject matter of the
article – a declining celebrity unable to control his impulses and his
cluelessness. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>GQ
article on the other hand, was titled 'Johnny Depp will not be Buried’ is
clearly a different article about the same subject.<span style="mso-spacerun: yes;"> </span>Frame here is that of troubled, aggrieved but
supremely interesting talent on the path of seeking truth.<span style="mso-spacerun: yes;"> </span>There have been mistakes but nothing that
can't be forgiven in the light of the non conforming genius of Johnny
Depp.<span style="mso-spacerun: yes;"> </span>Focus is on Depp's appeal rather
than on his decline.<span style="mso-spacerun: yes;"> </span>The article has
been criticized, mostly in the competing magazines, for glamorizing a wife
beater (another controversial frame).<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Framing
and Priming of Johnny Depp<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>How
such frames are decided or how do they creep in?<span style="mso-spacerun: yes;"> </span>What are the lessons for media relation experts?<span style="mso-spacerun: yes;"> </span>These two recent articles have a plenty of
insights to offer.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Framing "involves selecting a few
aspects of a perceived reality and connecting than together in a narrative that
promotes a particular interpretation. Framing can perform upto four functions:
define problems, specify causes, convey moral assessments and endorse
remedies" wrote communications expert Robert M Entman of George Washington
University, USA.<span style="mso-spacerun: yes;"> </span>In order to succeed,
framing appeals to congruence and resonating augmentation by existing notions,
knowledge or cognitive structure.<span style="mso-spacerun: yes;"> </span>Experts
use the term 'schema' for this.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Another
concept is priming.<span style="mso-spacerun: yes;"> </span>Priming is raising a
concept to the level of an evaluative standard.<span style="mso-spacerun: yes;">
</span>This priming is guided by the dominant wisdom of the time.<span style="mso-spacerun: yes;"> </span>For example #metoo changed environment,
crimes against women will have more evaluative salience than perhaps they would
have had otherwise.<span style="mso-spacerun: yes;"> </span>Apart from dominant
wisdom aspect, priming can be made effective by expert use of faming.<span style="mso-spacerun: yes;"> </span>In present articles we see privileging of
financial mismanagement domestic violence, excessive life style over talent,
creative achievements and possibility of being innocent by Rolling Stone. In
the GQ article all the ailment's were subjugated to the aura of an intensely
creative personality.<span style="mso-spacerun: yes;"> </span>The article kept the
focus on Johnny Depp's star appeal with all eccentricities. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>I
will quote from GQ article where allegiances of the articles are being drawn.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 35.65pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">"Or is Johnny Depp simply a man who
has been wronged and harbours a genuine desire to set out to protect his name
and his past work so that he can begin to bring himself back from what has been
a period of his life he’d sooner forget? <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 35.65pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Does he seek vengeance against an
industry – and certain individuals – that he says took advantage of his
naivety?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 35.65pt; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Is this a man who still believes in
trying to be the outsider, an artist who desperately wants to be free of responsibility,
something that might be mistaken for isolation and eccentricity but is actually
something closer to a belief in romantic rebellion? </span></i></b><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">(emphasis mine)"<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Right before his first glimpse of Johnny
Depp the author wonders "where does the myth of Johnny Depp end and the
truth of who Johnny Depp is begin".<span style="mso-spacerun: yes;">
</span>In next paragraph he notes the smile "one that hovers between charm
and mischief, heroic and villainous".<span style="mso-spacerun: yes;">
</span>Immediately we know that this will be a sympathetic piece if not outrightly
a fan boy one.<span style="mso-spacerun: yes;"> </span>The author has declared
that he is willing to be charmed and explore the appeal of Johnny Depp
phenomenon.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Rolling
Stone article, on the other hand, draws different lines.<span style="mso-spacerun: yes;"> </span>It says,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 35.45pt; margin-right: 49.8pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>“One
day, Depp shows me his artwork, and it strikes me that Depp is now a worn
Dorian Gray. “I imagine Johnny doing a version of Jack Sparrow at 70, at 80,”
his friend Penélope Cruz tells me. “It will be as charming and as great.” But
the things that were charming when he was 28 – doing drugs and running around
the scaffolding on a high floor of Atlantic Records’ L.A. building – seem
disturbing at 55. (Cruz ends our conversation by telling me about Depp trying
to pull his own tooth at a London restaurant while having dinner with her and
Stella McCartney.)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 35.45pt; margin-right: 49.8pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Maybe being a permanent Peter Pan is the
key to Depp’s onscreen charm. But time has passed. Boyish insouciance has
slowly morphed into an aging man-child, still charismatic but only in glimpses.
If his current life isn’t a perfect copy of Elvis Presley’s last days, it is a decent
facsimile.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: .2pt; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">You immediately know
that the author has no hope for the star and has more or less decided that
Johnny Depp is no longer viable.<span style="mso-spacerun: yes;"> </span>He is
in no mood to be charmed or let nostalgia be given a play.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Rolling
Stone article sets the tone and its sympathies early on in a long setting up of
mise-en-scene.<span style="mso-spacerun: yes;"> </span>Depp's grievances get
projected as rant of an incoherent and stoned star.<span style="mso-spacerun: yes;"> </span>His friends are discredited a sleek and sly
specimen.<span style="mso-spacerun: yes;"> </span>Few Examples:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">"It had taken a month and almost 200
e-mails for the message to become clear: Come to London; Johnny Depp wants to
bare his soul about his empty bank accounts.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 35.45pt; margin-right: 35.65pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">It’s estimated that Depp has made $650
million on films that netted $3.6 billion. Almost all of it is gone. He’s suing
The Management Group, run by his longtime business manager, Joel Mandel, and
his brother Robert for negligence, breach of fiduciary duty and fraud. …The
suit seeks more than $25 million from TMG, accounting for “tens of millions” it
claims TMG illegally took for its commission, plus any additional damages the
court sees fit."<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Note
the infusion of wildness in his claims whereas TMG reply gets sober and lengthy
treatment. May be they provided better material to the another.<span style="mso-spacerun: yes;"> </span>Framing theorists, make capabilities of PR manages
a factor in bias. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 49.8pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">“Over the past 18 months, there has been
little but bad news for Depp. In addition to the financial woes, there were
reports he couldn’t remember his lines and had to have them fed to him through
an earpiece. He had split from his longtime lawyer and agent. And he was alone.
His tabloid-scarred divorce from actress Heard is complete, but not before
there were persuasive allegations of physical abuse that Depp vehemently
denies.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Where GQ described his enigmatic smile,
Rolling Stone went like this.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 1.0cm; margin-right: 49.8pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">"During my London visit, Depp is
alternately hilarious, sly and incoherent. The days begin after dark and run
until first light. There is a scared, hunted look about him. Despite grand
talks about hitting the town, we never leave the house. As Depp’s mind leads us
down various rabbit holes, I often think of a line that he recited as the Mad
Hatter in Alice in Wonderland: “Have I gone mad?”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">With this setting, the article is doomed
to stay negative as no one survives this introduction.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Mirage
of Objectivity<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Mainstream media resort to objectivity
norms that are supposed to underline their editorial decisions. This, to some
extent, gives a pause to the tide of various conscious-unconscious biases.
However, this commitment is not apparent in all the organizations or all the
stories that are done by the organization. For some media outfits, situation is
very different. These organizations are open about their affiliations and are
clear about their stand for a political party, a brand of nationalism or a stand
on gender sensitivity. There are some publications, which are not so upfront
and claim to be mainstream and objective. Their framing is slanted and their
writings, if analyzed carefully, will reveal a consistent bias. They apply
slanted frames consciously and consistently without ever surrendering their
claim as an objective news arbiter of events. These organizations claim all the
benefits that accrue to media due to its image as the independent and neutral
entity. Even with consciously neutral mainstream media, it is not always
possible to give due weightage to all relevant competing frames. PR skills of
the principals differ, facts change rapidly along with the dominant moral
parameters. By and large this can be said that despite the claims to the
contrary, it is simply not possible to have a piece of content that is fully
free of bias of some sort. However, quality journalism needs to be aware of the
biases and honest attempt should be made to acknowledge competing claims. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Media biases get reflected, most
frequently, in two ways. Content bias is more akin to a slanted framing. Here
slanted frames are deployed over a period of time. Secondly, there is ‘decision
making’ bias. This examines the influence of a journalist’s beliefs/ideology on
the text that she produces. Charitable scholars have labeled it as ‘heuristics’
instead of bias. This is simply omnipresent and can’t be avoided. Belief system
is a prism with which anyone, let alone a journalist, sees the world. A
journalist will view and write about differently on topics like naxal violence,
#metoo, domestic violence or Kashmir depending on personal beliefs and
experience. All news/views/content organizations deploy short cut decision
rules (heuristics) to make editorial choices. This is also a means of dealing
with information overload that a news organization faces. These short cuts may
take the shape of ideology tinted thumb rules. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">To illustrate, a reporter may feel very
strongly about domestic violence and if this element is present in the mix of a
situation that will colour the entire story. Johnny Depp’s story has a massive
overhang of domestic violence. The allegations, which are vigorously disputed
by the star, have framed the story in a major way and in both the stories Depp
is seen fighting the taint with varying degree of success. GQ article has been
criticized for not challenging Depp sufficiently on the charges. The article
was charged of glamourizing a wife beater. This made any depiction that uses a
slightly less hostile frame a challenging task. Anna Leszkiewicz Deputy culture
editor at New Statesman was very clear in her disapproval of GQ handling of the
Johnny Depp. She tweeted a thread against the article. That needs to be
reproduced in toto to show the level of feeling that the topic raises among the
informed and powerful people.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">“can’t believe i have to say this
@britishgq but being accused of domestic violence does not make you cool. it
does not make you an “outlaw”. it does not make you a sexy, conflicted hero. it
does not mean you know “torment”. it does not lead you to the “sordid beautiful
truth”.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">it certainly does not mean you have
“looked into the Gorgon Medusa’s eyes to see for [your]self life’s savage
reality”!! (a genuine quote from this piece.) it does not men you are making it
your “life’s mission” to “seek truth” ?!? what is this pathetic ego massaging
nonsense?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">this paragraph (a disclaimer in the GQ
article) is an embarrassing, feeble, attempt to distance the article from the
reality of what it is: a puff piece about a man accused of hitting his wife. “i
just wanted to chat with a man - a man who, by the way, brought JOY to
MILLIONS, before you start your whining”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">i did not expect to get genuinely upset
about this today! and yet! embarrassing as it is i am!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">i spent my formative teenage years basing
a big chunk of my identity around this man. he was everything to me. i met him
& he was kind to me: a teenager who loved him. my faith in that man was
eradicated. and ppl go around gawking at his mansion like nothing happened? fuck
that!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">all that paragraph says (“this is not
reporting! i am not trying to find out what happened! just having a chit chat w
a big star!”) is that we chose moral cowardice to gain hollywood access. what a
terrible look for gq.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt; margin-left: 2.0cm; margin-right: 56.9pt; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 56.9pt; text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Ash Crossan from
Entertainment Tonight tweeted “Why are we letting Johnny Depp still be a thing”.
<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">It is plain to see, once a resonating
allegation comes in play, it affects different persons differently. For Deputy
Culture Editor of New Statesman, Chapter of Johnny Depp is closed. An actor who
was ‘everything to her’ doesn’t have the chance to be heard, admired or to be
analyzed in any other frame than that of reprehensible wife beater, a charge,
to be fair, is still to be proven. Entertainment Tonight’s Crossan is not shy
of appropriating the power of ruining a stellar creative career of three
decades standing on the basis of these charges. Without getting into the merit
of the sides involved, it is sufficient to cite this as an example where
personal beliefs lead to a decision bias. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Despite its pervasive nature, it may be
noted that ideology/beliefs should not be seen as the basis of all the slants
in news items. Ideology or beliefs <span style="mso-spacerun: yes;"> </span>can
not explain everything. To do so would be ignoring the role of external forces,
specially the events and dominant trend of the time, pressure from the spin
managers and internal influences from the profession. Journalistic choices are
definitely influenced by the internal information processing heuristics of
their organization. In fact, much of media relations is about skillfully
exploiting these media decision heuristics or short cuts. In GQ article the
media managers succeeded in promoting a frame favourable to the star. However,
Depp’s assessment regarding Rolling Stone's decision heuristics was based on his
reading of the co-founder of the magazine and his past association with the
publication. What he did not calibrate was the belief system of the journalist,
moral climate accentuated by #metoo, PR prowess of TMG. Furthermore, Depp’s
declining box office success and <span style="mso-spacerun: yes;"> </span>rise of
#metoo must have affected the decision heuristics at Rolling Stone which has
made a career out of quality reporting on music scene in particular and culture
in general. The publication, dealing with the wild rock scene is normally not associated
with taking this conservative a stand on life style choices. But unfortunately
for Depp, he misread the prevailing dynamics. And to quote Variety magazine
once again “Hollywood can accept almost anything, except for failure.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Audience-Consumer
or Citizen<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">On the top of it all, news output is
affected by two dominant ways in which the audience is perceived by the news
outlets. Audience as consumers and audience as citizens. When audience is seen
as consumers, need to maintain a mass base of audience takes over. Though any
quality publication would avoid to cater to the lowest common denominator,
quest for simplified and dramatized exposition of events will increasingly come
into play. This “encourages reporters and editors to play up stories that offer
stereotyped novelty- new instances of culturally resonant symbols. These properties
afford the audience the pleasure of recognition and sense of understanding”.
Remember framing appeals to existing and resonant cognitive patterns –Schema.
In Depp’s case this was schema of ruined grandeur, or clueless fading celebrity
or a wife beater (Rolling Stone ) on the one hand and stereotype of misunderstood
hero or a person who is seeking to place the records straight (GQ) on the other.
Rolling stone reminded us of the last days of Elvis whereas GQ focused on the
lovable rogue. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Another view of the audience is as
citizens. This induces a ‘watchdog bias’ in the news outlet and the
journalists. This may propel a journalist to favour a person who she thinks,
still has the trust of the citizens. When that trust is seen slipping, negative
frames make their appearance. GQ reporter may have seen Johnny Depp as still
viable figure among his fans<span style="mso-spacerun: yes;"> </span>and chose
this audience segment which will get more delight in seeing hope for their icon
than the segment that is looking for affirmation of their doomsday beliefs
about the star as target of his piece. This watchdog bias can be seen as the
basis of vehemence against domestic violence charges against Johnny Depp. This
self perception of watchdog role may create a feeling of ideological neutrality
but it inevitably <span style="mso-spacerun: yes;"> </span>affects the output. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Finally, While there may not be any right
or wrong frame, there is a need to recognize as GQ piece has written “Perspective
can be a treacherous thing. It can be hoodwinked. It can be manipulated.
Perspective, after all, is inherently subjective.” There is a need to
understand that any editorial output is a product of various biases and
competing frames which interact with perceived facts, skills of spin managers,
decisions heuristics and overall moral climate of the moment. Media managers
will do well to understand the way media takes editorial decisions- their
production heuristics. Similarly audience will be better off if they understand
the biases that go in the journalistic output. There is no substitute of media
literacy among the audience to keep the media output closer to reality-
whatever that means. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">***** <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana"; font-size: 14.0pt; line-height: 115%;">Dhiraj Singh<o:p></o:p></span></div>
<!--EndFragment--><br /></div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com1tag:blogger.com,1999:blog-99484807798808485.post-28111709063672956022018-10-30T09:52:00.000-07:002018-11-02T09:50:16.890-07:00Coen Brothers: Entertaining core of monumental banality <div dir="ltr" style="text-align: left;" trbidi="on">
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<!--StartFragment-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-fTcLTbPUVJ4/W9iFm_Fox7I/AAAAAAAADnM/sLDg5HzMt9M0WEylXyVM9t9lh5sjZWwTACLcBGAs/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="920" height="253" src="https://2.bp.blogspot.com/-fTcLTbPUVJ4/W9iFm_Fox7I/AAAAAAAADnM/sLDg5HzMt9M0WEylXyVM9t9lh5sjZWwTACLcBGAs/s400/1.jpg" width="400" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin: 0cm -1.15pt 0.0001pt 0cm; text-align: center; text-indent: 36pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">Photo Courtesy- <a href="https://ksassets.timeincuk.net/wp/uploads/sites/55/2018/07/GettyImages-452334867-920x584.jpg" target="_blank">NME</a> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">Coen
Brothers have been around for a very long time now. Their fanatic devotion to
their art and their creative quirkiness is legendary and well documented.
Luckily, there had been some combination of fortuitous factors that kept them
on the scene and allowed them to churn out their exquisite eccentricities.
Perhaps, and I see no other explanation, it was this length, this durability
that allowed some masterpieces filter through unhurt by their wilful subversion
of what is good in their work. Good storytelling often requires a very
deliberate suspension of gleeful pursuit of your genius eccentricities.
Thankfully, the brothers never did that and, more importantly, time and
prolific output gave us a filmography riddled with self imposed destruction and
some pure masterpieces. Fargo, Big Lebowski and No Country for Old Man reaffirm
the faith in cinema as an art form. All their cult following, imitations and
reverence that has been generated around these films is fully justified. The
brothers’ output is always spirited and dexterous, with rare possible exception
of The Man Who Wasn’t There (2001) and The Ladykillers (2004). Blood Simple
(1984) their first feature is almost as good as any of their work. Miller’s
Crossing (1990) is held out both as hope and subversion of gangster genre. Almost
all their films are crime stories which are so densely woven that they
transcend straightjacketed definitions. Raising Ariozona, Barton Fink, A
Serious Man, and Inside Llewyn Davis are worthy of their place high up in the
esteem totem pole. However, the trio of Fargo, Big Lebowski and No Country for
Old Man is in the league of its own and should be seen as fully realized work
of incredibly talented film makers who seem to have made a fetish out of not
hitting bulls eye. <o:p></o:p></span></div>
<h1>
<span lang="EN-IN">Stylistic Perversion<o:p></o:p></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-5AXpmKIaoSo/W9iHwXtDyoI/AAAAAAAADnY/Zw_gtCIINMw79NzjFxK4a7bjqTL_-hELwCLcBGAs/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="662" data-original-width="474" height="320" src="https://3.bp.blogspot.com/-5AXpmKIaoSo/W9iHwXtDyoI/AAAAAAAADnY/Zw_gtCIINMw79NzjFxK4a7bjqTL_-hELwCLcBGAs/s320/2.jpg" width="229" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">When
Coen Brothers are good (which they mostly are) their stylish perversion has a
controlled quality that leads to a more effective exposition of the movie
category. In their hands even a cliché becomes a piece of complex art - no mean
achievement. It has been noted that while their combination of ‘virtuosic
dexterity with mischievous high spirit’ has created magic sometimes, however,
“their appetite for pastiche overwhelms their more sober storytelling
instincts”. But that was then. Last one and half decades have noticed that
controlled perversity more than that overwhelming appetite for pastiche.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">‘Coenverse’
is gaining currency as a phrase on the lines of Marvel Comics Universe or DC
Comics. A tightly knit group of actors and concern with same themes may give rise
to this type of myth-making. However, this got pushed most plausibly by the TV
Series Fargo where three different stories were peppered with some shared
strands of storylines and characters which have given rise to a cottage
industry of spotter and theorists of Coenverse. But noting can be far from
reality than a concept a viable cohesive and identifiable Coenverse. They are
almost fanatic in their frantic reinvention. Films replying to the description
of established genres like comedy, suspense, Noir, Thriller, Musical appear
with delightful regularity. However, almost always, these films are playing
with the genres in very irreverent way, and enriching them in the process. A
Cohesive universe for their entire filmography is never viable though individual
films lend themselves to a wider franchise, as proven by TV series Fargo. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">Fargo,
the film is a genre in itself. It is novel enough to lay claim to the title of a
complete sub-genre. Eloquent landscape, nonchalant and rising sense of peril,
blithe obliviousness about how brutal is violence and how vulnerable are they.
Regional stamp of character traits, accents and territory, Astonishing moral
uprightness (again a sub part of obliviousness to violence) and a An amusingly
menacing set of henchmen from outside, fumbling locals, upright, normal and
resourceful locals. All this elements were capped by beautifully drawn
interesting characters and bouts of witty and entertaining dialogues resulting
in perhaps one of the most rewarding TV Series of recent times.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<h1>
<span lang="EN-IN">Masters of Narrative Tease<o:p></o:p></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-FXwyY5koQN4/W9iKLU7eb1I/AAAAAAAADnk/4NJvfcjRdokpcyYaiNuFt2u5ucHH2-q1gCLcBGAs/s1600/3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1089" height="320" src="https://3.bp.blogspot.com/-FXwyY5koQN4/W9iKLU7eb1I/AAAAAAAADnk/4NJvfcjRdokpcyYaiNuFt2u5ucHH2-q1gCLcBGAs/s320/3.jpg" width="217" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">Coen
brothers have been called masters of narrative tease. Their narrative build up
does have a slow burn feel. It makes you wait for the denouement but, usually,
it is not the answer to whodunit that gets to the top </span><span lang="EN-IN" style="font-family: "verdana"; font-size: 14pt; text-indent: 36pt;">of the mind. Sheer
pleasure of the scene, cross currents of dialogues, topographical backdrop and
sheer beauty of characterisation keeps the focus resolutely on what is
happening on the screen in the present. Even during the most heightened of the
peril and the most killing of suspense one does not hit forward button to take
a peek. Journey is more rewarding than the destination. Problem with some of
the other director and even with the Brother in their lesser efforts, is that
exquisite scene execution sometimes triumphs over narrative pay off. Cleverness
of scene may lead to sacrificing some crucial aspect of storytelling. However,
in their crowning trio, all their cleverness, technical virtuosity served the
needs of the story. Fargo remained committed to tell the story of that murder
and resulting spiral of violence. Episodes of brilliant scenes were not islands
of excellence but strong bricks contributing to the strong storyline. No
Country for Old Man has never ending series of brilliant scenes, some very long
drawn like Llewelyn’s hunting scene and his arrival on scene of the carnage and
getting the money, introduction of </span><span style="font-family: "verdana"; font-size: 14pt; text-indent: 36pt;">Anton Chigurh</span><span style="font-size: 11pt; text-indent: 36pt;"> </span><span lang="EN-IN" style="font-size: 11pt; text-indent: 36pt;"><span style="font-family: "verdana";"><span style="font-size: 14pt;">and his talk
with Petrol Pump store owner. All very captivating and flawless scenes, but
their brilliance never distracted the audience from the </span><span style="font-size: 18.6667px;">greatest</span><span style="font-size: 14pt;"> chase ever on
the silver screen. Payoff for the audience is hugely satisfying. Their claim to
being masters of narrative tease comes from their ‘playfully layered sideways
story telling’.</span></span></span><span style="font-family: "verdana"; font-size: 14pt; text-indent: 36pt;"> </span></div>
<h1>
<span lang="EN-IN">What makes a Coen Brother Movie<o:p></o:p></span></h1>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">When
they exist to subvert genre definition, when they are famous to mock any
attempt to templatize their work, when their output is so diverse, question
remains – what makes a Coen Brothers movie a Coen Brothers movie. For one,
“they are claver in the way they make their incredulities seem necessary.”
Presence of two Lebowskies, why do a focussed hunter go back with a water can
to the dangerous crime scene, how ordinary situations invite casual violence in
a spectacular fashion, above all, why does Chigurh kill with his cylinder
device. All that looks so germane to the plot that we as an audience just don’t
notice it. It all looks so absurdly logical. Their achievement is finding the
impossible sweet spot where suspense, exaggeration and plausibility come together.
Plausibility comes from the sheer brutal force of their virtuosity. Technical
brilliance impresses but narrative virtuosity simply takes hold of you. Their
good films, their contrivances don’t call attention to themselves, they simply
serve the story. All this is achieved through ‘ruthless application of craft’. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">For
a raw outsider (read non-American) they may appear too exotic or too localised.
They do speak to local nuances. They are quintessentially bards of American
popular culture which they ‘conscript to their idiosyncratic genius.’
Fortunately, America’s localism is so universal now that stories based on truly
quaint Americana are no longer esoteric. Bowling alley of Big Lebowski and
Minnesota localism of Fargo does not take anything away from the universal
appeal that a Hollywood movie carries. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">While,
of late, <span style="mso-spacerun: yes;"> </span>they have tilted towards
controlling their natural jauntiness and found the appeal of rest and calm or,
at least, still ness, they get their appeal, in not less measures, from their
propensity for chaos. For example, perfunctory end of the main target of the
chase in No Country for Old Men </span><span style="color: #1a1a1a; font-family: "helvetica"; font-size: 14.0pt;">Llewelyn who </span><span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">died by the hands of unknown Mexican without getting even on screen
death scene. This shows that their penchant for disruption has not gone
anywhere. Their Fargo TV Series is richer by brilliant fight scenes and raining
fish and frogs.<o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">A
Newyorker Profile noted their unique fascination with stupidity. A fascination,
not of bemused indulgence, but something bordering on brutal. In their films stupidity
leads to well-deserved disaster. Fargo or No Country for Old Man are full of
such disasters. Blood simple and many of their other movies don’t contrive to
make the stupidity cute and abhore making the audience root for stupid characters.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span style="color: #2c6eab; font-family: "calibri light" , sans-serif; font-size: 16pt; text-indent: 36pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin: 0cm -1.15pt 0.0001pt 0cm; text-align: left; text-indent: 36pt;">
<span style="color: #2c6eab; font-family: "calibri light" , sans-serif; font-size: 16pt; text-indent: 36pt;">A layered Playfulness</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: -1.15pt; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<br /></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">Their
layered playfulness has been termed as flattening out of realism. They have no
use for documentary type realism. The relentless deadpan delayering of reality
that looks for an entertaining core of monumental banality is what makes these
crime movies something akin to art work. Something akin to Picasso who brought
reality alive by killing realism and steadfastly avoiding abstract. He worked
on layers and announced to the world that there is beauty in the most banal and
in the most mundane. Every scene in a Coen Brothers movie is ceaselessly
bringing reality closer by staying with the most common ticks and the most
mundane stupidities. Both in Fargo and No Country for Old Man, the brothers
stay with a scene and reveal something extra of their story. In all the scenes
violence never erupts but grows. It shocks but never goes for cheap thrill of
surprise. Two most haunting deaths took place off screen in the No Country for
Old Man. Anton Chigurh strained himself only in his first kill , that of the
Deputy Sherriff after that it was less gory and more chilling. Violence spreads
like a smear and acquires life of its own. It is not John Woo, Michael Mann type
of stylishly choreographed violence. Still it is no less fascinating in its
uninterrupted menacing march. <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-w-OKA5EzqNg/W9iLCrfYuaI/AAAAAAAADn0/y_h1bbXJ7JgtycLrfPdxwcZs-I7qS9PngCEwYBhgL/s1600/4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="320" height="320" src="https://4.bp.blogspot.com/-w-OKA5EzqNg/W9iLCrfYuaI/AAAAAAAADn0/y_h1bbXJ7JgtycLrfPdxwcZs-I7qS9PngCEwYBhgL/s320/4.jpg" width="222" /></a></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">Coen
Brothers have been indifferent to old style naivety and earnestness. “You could
call them nihilist, if only their subversion were more systematic, or post-modernist,
if their fooling was not so random that it shattered any academic category you
place it in” said Newyorker. The profile continues “The movies were skewed
genre commentary: surreal parody offered without irony; spoof that was too
unstable to settle into satire”. No better description can be attempted. But
greatness came knocking when harmony struck to knock their paranoid genius into
something subservient to the story. Chaos got chiselled and perversely
controlled. Result is pure genius.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-IN" style="font-family: "verdana"; font-size: 14.0pt;">****
<o:p></o:p></span></div>
<!--EndFragment--><br />
<br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">Dhiraj Singh</span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">_______________________________________________________</span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">Trailer for the <strong class="highlight" style="box-sizing: border-box;">Coen</strong> <strong class="highlight" style="box-sizing: border-box;">Brothers</strong>' Netflix Western </span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">The <strong class="highlight" style="box-sizing: border-box;">Coen</strong> <strong class="highlight" style="box-sizing: border-box;">Brothers</strong>’ ‘Ballad of Buster Scruggs’</span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">the coen brothers</span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">coen bros movies</span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">coen brothers movies</span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><br /></span>
<span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif; font-size: medium;">new coen brothers movie</span></div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-39642943335837319172018-09-01T02:21:00.000-07:002018-09-03T01:04:55.725-07:00Paul Thomas Anderson: An Unconsummated Genius <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://2.bp.blogspot.com/-wQYaZDsKPZA/W4pUBDql8RI/AAAAAAAADiQ/nWJl064K0uYmDA_kkvFZJzTeo0W9Qg8nACLcBGAs/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><img border="0" data-original-height="531" data-original-width="1011" height="210" src="https://2.bp.blogspot.com/-wQYaZDsKPZA/W4pUBDql8RI/AAAAAAAADiQ/nWJl064K0uYmDA_kkvFZJzTeo0W9Qg8nACLcBGAs/s400/1.jpg" width="400" /></span></a></div>
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<span lang="EN-IN" style="line-height: 150%;"><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Photo Courtesy - <a href="http://www.tasteofcinema.com/2018/7-reasons-why-paul-thomas-anderson-should-win-best-director-oscar-this-year/" target="_blank">Taste of Cinema</a></span></span></span></div>
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Paul
Thomas Anderson movies have all the ingredients of great movies. Still, there
is a nagging feeling of incompleteness at the end. This, many would say, is not a bad thing – a
piece of art can leave you dangling or intrigued and void can be a very
rewarding sensation. But being left
intrigued is not the same as being left dissatisfied. That means that the product misses some link
coherence that is needed for proper communication of pleasure. In other words, this is not a realized piece
of art.</span><span style="font-family: "bookman old style"; font-size: 14pt;"><o:p></o:p></span></span></div>
</div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">This might be a harsh thing to say
about somewhat acknowledged masterpieces like, Boogie Nights (1997), The Master
(2012), There will be Blood (2007), Inherent Vice (2014) and Phantom Thread
(2017) – Magnolia (1999) is exception and is a great movie in its completeness
of communication.<span style="mso-spacerun: yes;"> </span>Good thing about Paul
Thomas Anderson is that he is insanely imaginative, hugely talented, masterfully
skilled and has age on his side.<span style="mso-spacerun: yes;"> </span>More
importantly, he is not afraid to engage with ever-new vistas to transcend
himself. His fascination with details may often diluted overall result.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>Let’s first talk about what makes his
suffocating limitations stark and tolerable at the same time.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Intense Individuality and Universal
Themes</span></span></u></b></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-NKWDTbdJYW4/W4pVyMDwKKI/AAAAAAAADio/d_MOJeXnBqQ6n3Og5cfqZXqbs_IRYWsJACLcBGAs/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="268" data-original-width="182" src="https://1.bp.blogspot.com/-NKWDTbdJYW4/W4pVyMDwKKI/AAAAAAAADio/d_MOJeXnBqQ6n3Og5cfqZXqbs_IRYWsJACLcBGAs/s1600/2.jpg" /></span></a></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Solitary
creative process of Paul Thomas Anderson is, in a way, redeemed by the highly
social nature of his topics.<span style="mso-spacerun: yes;"> </span>Very often
we find him commenting upon historical shifts shared by a country, if not
humanity.<span style="mso-spacerun: yes;"> </span>He has been termed as ‘national
bard, singing sad tidings of our (American) destiny’.<span style="mso-spacerun: yes;"> </span>He could talk with great intimacy, eliciting
suspicion of an autobiographical origin, about gambling, sad comrederie and
demise of short-on-film pornography, the ‘Long Goodbye’ to innocent optimism of
60s and early 70s, frontier capitalism and the travails of a religious
cult.<span style="mso-spacerun: yes;"> </span>All patently personal takes, but
talked to a moment in the collective memory of a people.<span style="mso-spacerun: yes;"> </span>Sheer sociality of the topics hid monolithic
understanding of a monk.<span style="mso-spacerun: yes;"> </span>His lonely
pursuit of peeling the layers of a personal emotions on the one hand and decoding
collective feelings, on the other, <span style="mso-spacerun: yes;"> </span>has
been highly rewarding exercises and has given many great cinematic
moments.<span style="mso-spacerun: yes;"> </span>He is condensed in his
detailing and expansive in his scope.<span style="mso-spacerun: yes;">
</span>Whatever limitations his solitary eye has, it finds resonance in a
sufficiently large number of people due to pan-humanity span of his
canvas.<span style="mso-spacerun: yes;"> </span>He has been great at this and
has generated great interest in his work with their chiming topicality.<span style="mso-spacerun: yes;"> </span>So, he is good at working on his material, he
has an eye for finding cinema-worthy strands in the ether of collective
consciousness.<span style="mso-spacerun: yes;"> </span>This is not the only good
thing about this supremely talented filmmaker.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 36.0pt; text-justify: inter-ideograph;">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Eclectic Genius<o:p></o:p></span></span></u></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><a href="https://1.bp.blogspot.com/-rQ0UzmQ07H8/W4pXMQTSzfI/AAAAAAAADi0/rub45jxClJsMzZCAc0VInPU1LXuKdrMlQCLcBGAs/s1600/3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1013" height="320" src="https://1.bp.blogspot.com/-rQ0UzmQ07H8/W4pXMQTSzfI/AAAAAAAADi0/rub45jxClJsMzZCAc0VInPU1LXuKdrMlQCLcBGAs/s320/3.jpg" width="216" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> 90s have given rise to auteurs with
distinctive voices.<span style="mso-spacerun: yes;"> </span>They have all
delivered to keep cinema moving and lending it a solid fooling in the comity of
arts.<span style="mso-spacerun: yes;"> </span>Directors who emerged in the wake
of Francis Ford Coppola, Cassavates, Brien De Palma, Kubric directly learning
from Spielberg and George Lucas have given cinema its new idiom for the new and
challenging millennium.<span style="mso-spacerun: yes;"> </span>Coan Brother, <span style="line-height: 150%;">Steven Soderbergh, David Fincher, Quentin Tarantino,
Richard Linklater, Todd Haynes, Sofia Coppola, Alexander Payne. </span><span lang="EN-IN" style="line-height: 150%;"><span style="mso-spacerun: yes;"> </span>are the flag bearers of this, I daresay,
golden era.<span style="mso-spacerun: yes;"> </span>They all have wide range but
all of them have their voice, style. Mostly, these directors have their specifc
strong points. None of them is any lesser due to that specificity.<span style="mso-spacerun: yes;"> </span>Paul Thomas Anderson is a master of all and
that is why has the strongest potential to reach and redefine the top of the
auteur totem pole.<span style="mso-spacerun: yes;"> </span>And, to our utter
frustration, is the least realized.<span style="mso-spacerun: yes;"> </span>But
first, his extra-ordinary mastery over the tricks of his trade.<span style="mso-spacerun: yes;"> </span>While Sophia Coppala is great with creating a
mood of delicious melencholy and has impeccable with music, </span><span style="line-height: 150%;">Fincher is a ‘visual virtuoso’ and creates a dystopian
palette with gusto, Linklater a verbal stylist. Payne establishes character of
great depth. Tarantino uses his geeky knowledge to great results and is a
director of great verbal panache. Soderbergh mesmerizes with reinvention. </span><span lang="EN-IN" style="line-height: 150%;"><span style="mso-spacerun: yes;"> </span>Paul Thomas Anderson has perhaps the longest
list of specialities.<span style="mso-spacerun: yes;"> </span>His dialogues are
able to create the desired impact.<span style="mso-spacerun: yes;"> </span>He
very effectively deploys verbal sophistication to achieve a posh banter or
rebuke, he can be a profane joy like </span><span style="line-height: 150%;">Tarantino
</span><span lang="EN-IN" style="line-height: 150%;">or rustle up a Woody Allenesque intellectual rant at will.<span style="mso-spacerun: yes;"> </span>His camera work and ability to create a
beautiful frame is up there with Francis Ford, Scorcece and Coen Brothers.<span style="mso-spacerun: yes;"> </span>He handled camera for Phantom Thread and
created a work of abiding beauty.<span style="mso-spacerun: yes;"> </span>He
uses formats to cram desired details onscreen and is one of the best user of
wide formats.<span style="mso-spacerun: yes;"> </span>His choice of music is
rarely a boastful announcement of the director’s esoteric taste. <span style="mso-spacerun: yes;"> </span>The music is always at the service of what is
happening on the screen.<span style="mso-spacerun: yes;"> </span>That does not
mean that he does not bring his A game there.<span style="mso-spacerun: yes;">
</span>Johnny Greenwood (his usual music composer) has acquired a legendary
status especially after the hauntingly mesmerizing score for Phantom
Thread.<span style="mso-spacerun: yes;"> </span>Like his contemporaries, Paul
Thomas Anderson is a bit show-off in camera movements, high pitch editing,
musical score and cinema trivia.<span style="mso-spacerun: yes;">
</span>Somehow, it is felt that this showmanship services the deep humanism of
his movies and supports the scene if not entire story. His mastery has the
widest range among his peers.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">A Vessel of Great Acting</span></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></span></u></b></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><a href="https://4.bp.blogspot.com/-7kNMs2TzDO4/W4pYnLIUNSI/AAAAAAAADjM/4oqFC4pYbDMfOGNKbR7HA9yjr7NvwH4dgCLcBGAs/s1600/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="466" data-original-width="300" height="320" src="https://4.bp.blogspot.com/-7kNMs2TzDO4/W4pYnLIUNSI/AAAAAAAADjM/4oqFC4pYbDMfOGNKbR7HA9yjr7NvwH4dgCLcBGAs/s320/5.jpg" width="206" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"> Paul Thomas Anderson has always drawn
great performance from his actors.<span style="mso-spacerun: yes;"> </span>In
his movies (which are still in single digit), Paul Thomas Anderson has given
actors with lengthy and distinguished career their most iconic roles.<span style="mso-spacerun: yes;"> </span><span style="line-height: 150%;">Philip
Seymour Hoffman</span><span style="line-height: 150%;"> <span lang="EN-IN">(The Masters) Daniel Day-Lewis
(There will be Blood & Phantom Thread), Mark Wahlberg and Julliane Moore
(Boogie Nights), Vicky Krieps (Phantom Thread), Joaquin Phoenix (Inherent Vice
& The Master) and most notably perhaps Frank T.J. Mackey in Magnolia a
gloriously inappropriate Tom Cruise.<span style="mso-spacerun: yes;"> </span>His
films provide a gorgeous frame to what has been termed as ‘toxic masculinity’
of his protagonists.<span style="mso-spacerun: yes;"> </span>The director has
taken his actors to the depths and heights of their strength.<span style="mso-spacerun: yes;"> </span>He gave them canvas, time, histrionic
fission, proper competition and the whole ecosystem to reach their
crescendo.<span style="mso-spacerun: yes;"> </span>He deployed the tool of
opposite characters in the same shot to heighten the impact.<span style="mso-spacerun: yes;"> </span>Fumbling Adam Sandler, Krieps and Phoenix
found their <span style="mso-spacerun: yes;"> </span>vulnerable beauties pitted
against formidable and certain Hoffman and Daniel Day Lewis.<span style="mso-spacerun: yes;"> </span>Lewis got the high pitch he needed to dig up
the maniac energy in There will be Blood and poise, time, dialogues and
counterpart for his unmoving hauteur in Phantom Thread.<span style="mso-spacerun: yes;"> </span>In Magnolia, the director used Tom Cruise’s
concentration, energy and his charisma (which proved wonderfully amenable to
dubious interpretations).<span style="mso-spacerun: yes;"> </span>Tom Cruises’s
cheesiness was kept at a level where it was both loathsome for its gigantic inappropriateness
and endearing for its vulnerability.<span style="mso-spacerun: yes;"> </span>All
these actors got great scenes, with aforementioned supportive ecosystem, and
they hungrily seized them to great impact.<span style="mso-spacerun: yes;">
</span>This success in giving great scenes to his actors has made him a vessel
of great acting for top thespians.<span style="mso-spacerun: yes;">
</span>However, this success has often come in the way of him becoming a fully
realized artist.<span style="mso-spacerun: yes;"> </span>More on that later.</span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br />Speaking to the Yearning for the Past<o:p></o:p></span></span></u></b></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>It has been noted that Paul Thomas
Anderson has been speaking to an America that thinks that the best is in the
past.<span style="mso-spacerun: yes;"> </span>Some scholars think not without
merit, that this association with this <span style="mso-spacerun: yes;"> </span>perceived past <span style="mso-spacerun: yes;"> </span>glory of America adds to his cult
following.<span style="mso-spacerun: yes;"> </span>1960s & 1970s of Boogie
Nights and Inherent Vice, ‘Frontier rapaciousness’ of There will be Blood, 1950s
of Phantom Thread and <span style="mso-spacerun: yes;"> </span>post World War II
confusion of The Master, despite their depravations and quirks hark back to a
time loss of which is deeply mourned by many Americans and any auteur who could
bring back the authentic pulse of those times is worthy of a high place in
cinematic pantheon for many.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>He is also great at addressing great
themes in these seemingly period dramas.<span style="mso-spacerun: yes;">
</span>Power play of a romantic relationship and lonely strains of a genius in
‘Phantom Threads’, vulnerability and pull of a sect in ‘The Master’, feeling of
loss at a dying ethos in ‘Inherent Vice’, family and forgiveness in ‘Magnolia’
and, believe me, in ‘Boogie Nights’ and finally ills of capitalism in ‘There
will be blood’ are huge themes that have been explored with adroit and
sympathetic touch by Paul Thomas Anderson.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Hope of Cinematic Growth</span></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></span></u></b></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><a href="https://2.bp.blogspot.com/-0tp23IxiTG8/W4pZLa0PCnI/AAAAAAAADjY/rjD9PZaHkKwKOVfLHP1BvZOBzP2Av8IQACLcBGAs/s1600/6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="371" data-original-width="594" height="199" src="https://2.bp.blogspot.com/-0tp23IxiTG8/W4pZLa0PCnI/AAAAAAAADjY/rjD9PZaHkKwKOVfLHP1BvZOBzP2Av8IQACLcBGAs/s320/6.jpg" width="320" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">It is fascinating to watch Paul Thomas
Anderson to graduate from self to universal.<span style="mso-spacerun: yes;">
</span>His sunny California Valley milieu, his childhood concerns if not
afflictions, with gambling,<span style="mso-spacerun: yes;"> </span>pornography,
solitary toil of a genius, vulnerability of sickness, forgiving & family,
sense of loss at the death of hippie ideal are very starkly present in his oeuvre.
Normally, not always and not always with very good results, creative journeys
move from autobiographical to universal.<span style="mso-spacerun: yes;">
</span>Artists who manage this well leave behind some thing remarkable.<span style="mso-spacerun: yes;"> </span>Paul Thomas Anderson, who is still relatively
young, has proved himself to be worthy traveller.<span style="mso-spacerun: yes;"> </span>In his technique he graduated from the showy
Scorsese like camera movement and feverish editing to a more sedate but
technically challenging vistas in ‘Inherent Vice’ and most notably in ‘Phantom
Thread’.<span style="mso-spacerun: yes;"> </span>He based ‘Phantom Thread’ in
1950s London and still chuckles over the name ‘Woodcock’ in his interviews. This
is a far cry from the sunny California. He was accused of working only in high
pitch and was called master of bombastic bravura.<span style="mso-spacerun: yes;"> </span>In ‘Phantom Thread’, in many ways a film
where we see maturing and settling of his voice, he found the strength in
subtle and slow.<span style="mso-spacerun: yes;"> </span>This growth fills one
with hope that the unrealized feeling of his works and the lack of satisfaction
that they leave in their wake would soon be a thing of past.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">That nagging feeling<o:p></o:p></span></span></u></b></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Paul Thomas Anderson has great sense of
history and has all the tools to tell his story.<span style="mso-spacerun: yes;"> </span>He is capable of establishing a character in
simply few shots of him dressing up for the day.<span style="mso-spacerun: yes;"> </span>He can create a California beach, its
timeframe and even its anxieties, by a still frame that just lingers a bit longer.<span style="mso-spacerun: yes;"> </span>Ironically, his strengths are the main reason
that his work looks unfulfilled, unrealized.<span style="mso-spacerun: yes;">
</span>In any lesser movie, ending (his great bane) would not have jarred at
all as they jarred in ‘The Master’ and ‘Phantom Thread’ and most remarkably in
‘There will be blood’. He hilms are so relete with strong moments that may be
conveying a story requires much stronger ending than he has managed so far.<span style="mso-spacerun: yes;"> </span>Audience do need a pay off.<o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span lang="EN-IN" style="line-height: 150%;"><span style="mso-tab-count: 1;"> </span>New York Times critic Janet Maslin has
accused Paul Thoma Anderson for torpedoing his films by botched up endings.</span><span style="line-height: 150%;"> David Denby half mockingly wondered that the
directors misfires at the finish line as "some part of him must have
rebelled against canonization."</span><span lang="EN-IN" style="line-height: 150%;"><o:p></o:p></span></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>His frightening mastery of creating
memorable scenes also comes in the way of him providing a fluid story-telling
experience.<span style="mso-spacerun: yes;"> </span>I better quote from<span style="mso-spacerun: yes;"> </span><a href="https://thepointmag.com/2017/criticism/the-master-paul-thomas-anderson">Nick
Pinkerton</a> in <a href="https://thepointmag.com/">The Point</a> (A magazine founded
on the suspicion that modern life is worth examining). This was the best
profile of the great director that I came across during my research.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">“The boldness and sweep of
Anderson’s aesthetic is connected to what can make his films such frustrating
experiences. The talent and imagination are undeniable, and so too is the
tiptoe exertion that accompanies their inevitable reach for the transcendent—a
strain we register as viewers at precisely the moments when we should be
feeling the transcendence itself.” <o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">About
his technique of putting opposite characters to get cinematic traction too has
been beautifully analyzed by Pinkerton and I again quote at length as this perhaps
can’t be put any better-<o:p></o:p></span></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-spacerun: yes;"> </span>“Indeed Anderson excels at making standout
scenes—though they often have the feel of compartmentalized units, isolated
from any larger construction. This accounts, perhaps, for the vaguely
unsatisfied feeling that his films always leave me with. They exhibit clearly
their creator’s relish in seeing the sparks that result from grinding
antithetical characters against one another, but when the grinding is over
you’re left with a handful of dust.”<o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>‘Inherent Vice’, a great movie by any
count, could not lift itself to its comedic potential.<span style="mso-spacerun: yes;"> </span>Drug-addled haze has been used to great
effect in Michael Douglas starrer ‘Wonder Boys’, The Big Lebowski and his idol
Altman’s ‘Long Goodbye’ and many more.<span style="mso-spacerun: yes;"> </span>In
‘Inherent Vice’, we are stuck in the strain of transcendence rather than
enjoyment of transcendence. <o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>‘Magnolia’ is an exception.<span style="mso-spacerun: yes;"> </span>The ending with its absurdly beautiful ending
resolved the insanely varied strands in a memorable coda of forgiveness and
cinematic payoff. Though Janet Maslin used the ‘torpedo’ metaphor for Magnolia,
Roger Ebert, who indulgently watched the rise of Paul Thomas Anderson has put
only ‘Magnolia’ among his famous pantheon of ‘Great Movies’, not even ‘There
will be blood’ got that honour (Ebert was no longer there for ‘Inherent Vice’
and ‘Phantom Thread’).<span style="mso-spacerun: yes;"> </span>Ebert recognized
Paul Thomas Anderson as a genius and said early in career that he loves camera
and is a bit of a show off. Ebert has been a personal touchstone for my movie
appreciation journey. His less than total entrallment with Paul Thomas Anderson
was the first warning bell in my mind that led me to my research.<o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>Coen Brothers (Those of Fargo, The Big
Lebowski and No Country for Old Men – That pipped ‘There will be blood’ at the
Oscars) scores heavily over Paul Thomas Anderson by their diabolically skilful
and complete story telling.<span style="mso-spacerun: yes;"> </span>In 2018,
among the Academy Nominees for direction, ‘Phantom Thread’ was the most
powerful and beautiful movie but the winner ‘The shape of the water’ and even other
nominees like ‘Dunkirk’, ‘Lady Bird’ or ‘Get out’ were better with
communicating their core themes and took their story to logical conclusion.<o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>All this does not take anything away
from Paul Thomas Anderson.<span style="mso-spacerun: yes;"> </span>In fact, much
of his cult following may be because of his slow burn incompleteness.<span style="mso-spacerun: yes;"> </span>He is never short of great in any of his
frames.<span style="mso-spacerun: yes;"> </span>His skills in individual
departments are perhaps most multifaceted and deeper than any.<span style="mso-spacerun: yes;"> </span>Most importantly, he is growing and tackling
these issues.<span style="mso-spacerun: yes;"> </span>But the fact remains that
his skills as director need better consummation from the writing department and
one hopes that he finds in him the generosity and playfulness to find a worthy
writing collaborator.<span style="mso-spacerun: yes;"> </span>His ceding of
little control may be necessary sacrifice for fuller blooming and a deserving
realization of his mind boggling skills.<span style="mso-spacerun: yes;">
</span>Some talents cannot be allowed to remain unrealized.<o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: center;">
<span lang="EN-IN" style="font-family: "georgia" , "times new roman" , serif; line-height: 150%;"><o:p><a href="https://4.bp.blogspot.com/--4OS9PSVzlI/W4pXtnn8gWI/AAAAAAAADi8/ADrQBtSxOeoSfFJ9gPq8SSJiz-lPLz4XQCLcBGAs/s1600/4.jpg" imageanchor="1" style="clear: right; font-size: 14.6667px; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="457" data-original-width="1024" height="176" src="https://4.bp.blogspot.com/--4OS9PSVzlI/W4pXtnn8gWI/AAAAAAAADi8/ADrQBtSxOeoSfFJ9gPq8SSJiz-lPLz4XQCLcBGAs/s400/4.jpg" width="400" /></a></o:p></span></div>
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<span lang="EN-IN" style="line-height: 150%;"><o:p><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span></o:p></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-IN" style="line-height: 115%;"><span style="font-size: large;">Dhiraj Singh</span></span><!--EndFragment--></span><br />
<br /></div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-47218532010562753012018-08-20T10:05:00.001-07:002018-08-20T10:08:47.183-07:00V S Naipaul: Raw Nerves in a Free State<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://2.bp.blogspot.com/-do3wCIQmL1Q/W3ry8gKzYpI/AAAAAAAADhM/TPcOCtufX7AWJFxVkDuFEe6tTGqNrNZQwCLcBGAs/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="813" height="270" src="https://2.bp.blogspot.com/-do3wCIQmL1Q/W3ry8gKzYpI/AAAAAAAADhM/TPcOCtufX7AWJFxVkDuFEe6tTGqNrNZQwCLcBGAs/s400/2.jpg" width="400" /></a></div>
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Photo Courtesy <a href="https://www.newyorker.com/books/page-turner/the-shattering-double-vision-of-v-s-naipaul" target="_blank">Newyorker</a> </div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"></span>His
‘raw nerves’ have been a calling card for V S Naipaul throughout his long
creative career.<span style="mso-spacerun: yes;"> </span>He made an art form out
of being prickly.<span style="mso-spacerun: yes;"> </span>This nerviness helped
him to come to terms with being a man with no past.<span style="mso-spacerun: yes;"> </span>He was always conscious of being a double
exile (Indian from Trinidad writing in England).<span style="mso-spacerun: yes;"> </span>Initially, he just had a settled ambition to
become writer without knowing how to go about it.<span style="mso-spacerun: yes;"> </span>There was always a nagging feeling in him
that he does not have the rich background of civilizational past and
established literary pointers or landmarks that are available to ‘metropolitan’
writers of the Europe and from other rich ancient traditions.<span style="mso-spacerun: yes;"> </span>His past, as Trinidadian Indian ended at his
grandfather - an indentured labour.<span style="mso-spacerun: yes;"> </span>He
started with personal memories and created masterpiece like ‘A House for Mr.
Biswas’ but he realized that a genuine exploration of his writerly ambition
will not be fully realized if he does not find a way to transcend deficiencies
of his limited background.<span style="mso-spacerun: yes;"> </span>His
remarkable life and the distinguished literary career is a saga of getting
enriched by tackling a deficient base and finding new ways of being a literary
chronicler of one’s time.<span style="mso-spacerun: yes;"> </span>His ‘raw
nerves’ were handy tool in this enterprise, never letting him settle in views
and giving him a formidable reputation as “Cantankerous Curmudgeon”.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">A
Miraculous Ambition</span></u></b><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"> – V S Naipaul rightly
credits his father Seepersad Naipaul to give him an ambition to write.<span style="mso-spacerun: yes;"> </span>The senior Naipaul, who was son of an
indentured labour – a class just a handshake short of slaves, quite remarkably,
found resourcefulness to educate himself enough to be a lover of literature and
become a journalist.<span style="mso-spacerun: yes;"> </span>He also realized
his ambition to be a writer though in a very limited way.<span style="mso-spacerun: yes;"> </span>V S Naipaul openly admits that he internalized
the ambition to be a writer even before he knew what being a writer entails. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">Naipaul has extensively and famously
examined his writing impulse on many occasions. He wrote<span style="mso-spacerun: yes;"> </span>“I write the artificial, self-conscious
beginnings of many books; until finally some true impulse—the one I have been
working toward—possesses me, and I sail away on my year’s labor. And that is
mysterious still—that out of artifice one should touch and stir up what is
deepest in one’s soul, one’s heart, one’s memory.” This great mysterious
stepping-stone of literature of reaching the most genuine, deepest and real
through the artifice helped him in the beginning. He is on record about sitting
in the Freelance Room of BBC World Service building – an old hotel, and started
populating the characters of his lived in street of his childhood Port of
Spain. It flew and helped him write his initial books. He became the poet of
communities with short memory pools and half-baked societies.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>His
is a story of sheer ambition.<span style="mso-spacerun: yes;"> </span>He willed
himself into being a writer.<span style="mso-spacerun: yes;"> </span>His
apprenticeship with his father and scholarship to Oxford bear testimony to the
power of a nurturing environment.<span style="mso-spacerun: yes;"> </span>This
is also an ode to the power of literature.<span style="mso-spacerun: yes;">
</span>V S and his father developed this burning desire to be writer just by
the exposure to quality work of Shakespeare, Huxley, O Henry etc. without
having any literary ecosystem of history, community, context or resources.<span style="mso-spacerun: yes;"> </span>He stayed with his ambition, testing its
ability to tell his realities.<span style="mso-spacerun: yes;"> </span>He was
helped by an unsparing eye, absence of melodrama and above all boundless talent.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">Seepersad, who died in his forties when
Naipaul was at Oxford with a scholarship, succeeded through his son, who almost
closed the loop by becoming one of the most accomplished master of English
prose and being the most prominent literary voice of the last century.<span style="mso-spacerun: yes;"> </span>Nobel Prize was just sealing the obvious.<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-N4XkTd0xNec/W3ry8qn734I/AAAAAAAADhI/S0wXe57f-4Yjt55mi_fvujJgiBdtGO3OQCLcBGAs/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="404" data-original-width="647" height="249" src="https://2.bp.blogspot.com/-N4XkTd0xNec/W3ry8qn734I/AAAAAAAADhI/S0wXe57f-4Yjt55mi_fvujJgiBdtGO3OQCLcBGAs/s400/3.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt;"><o:p> Photo Courtesy <a href="https://www.indiatoday.in/education-today/gk-current-affairs/story/vs-naipaul-dies-at-85-all-about-the-nobel-prize-winning-author-1312200-2018-08-12" target="_blank">India Today</a> </o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt;"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt;"><o:p><br /></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">Limits
of literary forms</span></u></b><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"> – A surging Naipaul mastered
novels.<span style="mso-spacerun: yes;"> </span>His ‘A House for Mr. Biswas’, ‘A
Bend in the River’ and ‘Enigma of Arrival’ are out there with prime examples of
novel as a literary form.<span style="mso-spacerun: yes;"> </span>His voice is
deep, comical and authentic.<span style="mso-spacerun: yes;"> </span>His technique
impeccable and his imagination rich.<span style="mso-spacerun: yes;"> </span>But
his ‘raw nerves’ were at play once again.<span style="mso-spacerun: yes;">
</span>He was getting impatient with the limitations of novel form to tell the
story of his time.<span style="mso-spacerun: yes;"> </span>In his own words.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>“For
sixty or seventy years in the nineteenth century the novel in Europe,
developing very fast in the hands of a relay of masters, became an
extraordinary tool. It did what no other literary form—essay, poem, drama,
history—could do. It gave industrial or industrialising or modern society a
very clear idea of itself. It showed with immediacy what hadn’t been shown
before; and it altered vision. Certain things in the form could be modified or
played with later, but the pattern of the modern novel had been set, and its
programme laid out.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">All of us who have come after have been
derivative. We can never be the first again. We might bring new material from
far away, but the programme we are following has been laid out for us.” <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>His
sense is not having the historical richness of ‘metropolitan’ writer is also at
work here.<span style="mso-spacerun: yes;"> </span>That and his prickly raw nerves.<span style="mso-spacerun: yes;"> </span>He can’t withstand the feeling of being
derivative.<span style="mso-spacerun: yes;"> </span>He wrote “What is good is
what is new, in both form and content”.<span style="mso-spacerun: yes;">
</span>He, who entered the authentic, the deep through artifice, was very clear
that “What is good forgets whatever models it might have had and is unexpected;
we have to catch it on the wing.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Writing of this quality cannot be taught in a
writing course”.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Naipaul
ever prickly with staleness was looking for new ways of expressing
himself.<span style="mso-spacerun: yes;"> </span>He lamented “Late twentieth
century needs another kind of interpretation.<span style="mso-spacerun: yes;">
</span>But </span><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">the,
novel, still (in spite of appearances) mimicking the programme of nineteenth
century originators, still feeding off the vision they created can subtly
distort the unaccommodating new reality”.<span style="mso-spacerun: yes;">
</span>With this he moves in for kill as he is an explorer not a prophet. Ever
evolving. ever processing, with no tolerance for stale, inauthentic or
derivative. In his characteristic contemptuous way he damns novel:-</span><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>“As a form it is now common place
enough, and limited enough to be teachable. ….. It is a vanity of the age (and
commercial promotion) that the novel continues to be literature’s final and
highest expression”.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>This realization led him to embark on
what, very insufficiently, referred to as his travel writings.<span style="mso-spacerun: yes;"> </span>His non-fiction repertoire<b style="mso-bidi-font-weight: normal;"> </b>is as large as his fiction and is
responsible for much his acerbic literary persona.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>As he agitated against mimicry of 19<sup>th</sup>
century programme by 20<sup>th</sup> century novel, he was equally aghast by
the newly independent societies ineptly ‘mimicking’ the societies of their
former masters and losing their ‘wholeness’. <span style="mso-spacerun: yes;"> </span>He is “oddly romantic” about ‘wholeness’ of
culture in Africa that lurks beneath the shallow upper layer of mimicry.<span style="mso-spacerun: yes;"> </span>Ian Buruma, who has anointed Naipaul as ‘poet
of the displaced’, has very perceptively explored the connection between his
raw nerve and obsession with wholeness and totally ruthless intolerance for
phoniness of mimicry.<span style="mso-spacerun: yes;"> </span>He was unsparing
about these newly freed societies – he called India a ‘greater hurt’ and his
first visit ended “in futility and impatience a gratuitous act of cruelty, self
reproach and flight”. His ‘raw nerves’ never created enough bile for him to
become ‘an apologist of the empire’.<span style="mso-spacerun: yes;">
</span>Colonial plunder led to wiping out of these cultures and leaving
“half-baked, dispossessed, rootless societies” losing their “wholeness”.<span style="mso-spacerun: yes;"> </span>He is clear-eyed about the deficiencies of
these societies.<span style="mso-spacerun: yes;"> </span>Summing up the connect
between his raw nerves, wholeness and mimicky, Buruma writes<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">“He understood people who were culturally dislocated and who
tried to find solace in religious or political fantasies that were often
borrowed from other places and ineptly mimicked. He described such delusions
precisely and often comically. His sense of humor sometimes bordered on
cruelty, and in interviews with liberal journalists it could take the form of
calculated provocation. But his refusal to sentimentalize the wounds in
postcolonial societies produced some of his most penetrating insights.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">The Believer</span></u></b><span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;"> - His acerbic wit, his ‘calculated
provocations’ gained him a well deserved reputation of ill tempered
intellectual.<span style="mso-spacerun: yes;"> </span>He provokes and is
masterfully disdainful in his put downers.<span style="mso-spacerun: yes;">
</span>He is provocative about pseudo romenticization of tribal societies.<span style="mso-spacerun: yes;"> </span>He is often compared to Conrad in this
regard, though he, with his characteristic lack of modesty, finds ‘A bend in
the River’, ‘much much better than Conrad’.<span style="mso-spacerun: yes;">
</span>He might have a point there.<span style="mso-spacerun: yes;">
</span>While Conrad appears settled in his bleak and settled view of the ‘bush’
the ‘darkness’.<span style="mso-spacerun: yes;"> </span>He was occupying a
pulpit from where he was pontificating. Whereas, Naipaul, with all his sweeping
contempt for the darkness, appears to be explorer in action rather than a
prophet with his unchanging edicts.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">He
is always aware that he can revisit the enigma of these societies.<span style="mso-spacerun: yes;"> </span>In fact, India was revisited so was his most
controversial works on Islamic countries.<span style="mso-spacerun: yes;">
</span>In India he saw signs of redemption in his later books but he remained
steadfast in the issues with Islam.<span style="mso-spacerun: yes;"> </span>He was
so caustic in writing on Islam that his Nobel, in the immediate aftermath of
9/11 terrorism attack on WTC, New York, was seen as political.<span style="mso-spacerun: yes;"> </span>But it was lauded by many.<span style="mso-spacerun: yes;"> </span>Philip Hensher was quoted in 2002 Atlantic
article.<span style="mso-spacerun: yes;"> </span>Hensher wrote “If ever there was
a moment when external considerations might have discouraged the Nobel
committee from rewarding the author of Among the Believers, that magnificently
disdainful journey through Islam, this is it.”<span style="mso-spacerun: yes;">
</span>Despite this, he has been accused of being Islamophobe by Edward
Said.<span style="mso-spacerun: yes;"> </span>Derek Walcott called him a
racist.<span style="mso-spacerun: yes;"> </span>He has been accused of aping
bigoted ways of colonialists.<span style="mso-spacerun: yes;"> </span>He’s
statements have been found openly offensive in LGBT circle.<span style="mso-spacerun: yes;"> </span>He damned Forster and Keynes with clear
hatred dripping with withering sarcasm for their homosexuality.<span style="mso-spacerun: yes;"> </span>His views on Islam has been derided and also celebrated
for his ‘terrifying honesty’.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "bookman old style"; font-size: 14.0pt; line-height: 150%;">All said and done, Sir V S Naipaul was a deeply unpleasant
man to us mortals.<span style="mso-spacerun: yes;"> </span>He was cruel,
sadomasochist (his treatment of his wife, mistress and boast of being a ‘great prostitute
man’ are cases in point) a penny pincher and a snob.<span style="mso-spacerun: yes;"> </span>No doubt, but what he was not was mimic.<span style="mso-spacerun: yes;"> </span>His unpleasantness was rooted in his
‘terrifying honesty’. He was clear when a mistress had served her purpose,
place of his wife in his life, Entry of his second wife into his home the very next day when his long suffering wife was laid to
rest after a long cancer battle.<span style="mso-spacerun: yes;"> </span>His
famous one liners verging on sadistic, racist and heartless always originated
from his core clarity, which was both his bane and strength.<span style="mso-spacerun: yes;"> </span>He was always authentic - that does not mean
that we have to like his nastiness.<span style="mso-spacerun: yes;"> </span>A
life dedicated to refining perception and constant honing of touchstone of self
can result in a terribly clear and chiselled beacon, which guides and terrifies
in equal measure.<span style="mso-spacerun: yes;"> </span>This, hopefully,
Naipaul will continue to do for a long time.<o:p></o:p></span></div>
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<a href="https://3.bp.blogspot.com/-c5FStD_nU-Q/W3ry8hUruAI/AAAAAAAADhE/hS-KF9npXB4qcJntayxyxJen_xy_OS1BgCLcBGAs/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="360" data-original-width="640" height="225" src="https://3.bp.blogspot.com/-c5FStD_nU-Q/W3ry8hUruAI/AAAAAAAADhE/hS-KF9npXB4qcJntayxyxJen_xy_OS1BgCLcBGAs/s400/1.jpg" width="400" /></a></div>
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<div style="text-align: center;">
Photo Courtesy <a href="https://www.economist.com/obituary/2018/08/16/vs-naipaul-died-on-august-11th" target="_blank">Economist</a></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-60197286660887380132018-02-23T22:35:00.004-08:002018-02-23T22:51:38.511-08:00Expendables Series- A Well Executed Cliché<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-gnQW-bsGtUo/WpEHcg9rppI/AAAAAAAADHI/0mun80J8SIw6MTD5KYCMeggO2ffE0oFsgCLcBGAs/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="350" data-original-width="700" height="320" src="https://3.bp.blogspot.com/-gnQW-bsGtUo/WpEHcg9rppI/AAAAAAAADHI/0mun80J8SIw6MTD5KYCMeggO2ffE0oFsgCLcBGAs/s640/1.jpg" width="640" /></span></a></div>
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<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;">Netflix
has confirmed this for me.<span style="mso-spacerun: yes;"> </span>Suggestions
thrown by the streaming site scream that I like certain type of films and,
gradually, eclectic nature of that list is fading and a homogenous list of 90s
action title or later films with 90s action stars has emerged.<span style="mso-spacerun: yes;"> </span>This may be put to self referring nature of
the artificial intelligence fuelled algorithm but it has caught one thing bang
on – I love a well executed cliché.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span>
<br />
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<!--StartFragment--><span style="font-family: "bookman old style"; line-height: 115%;">Cliché is Cliché because it
is good. Something, when introduced for
the first time is so good that it is repeated so often that it becomes
predictable. This repetition infuses
another quality into the equation i.e. accessibility. As we are witness to so many usage of the cliché
that we catch it immediately. It becomes
almost like a muscular memory.<span style="font-size: 14pt;"> </span></span><!--EndFragment--></span><br />
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;"><br /></span>
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;">Considered
an anathema for creativity, clichés are considered lazy shortcut as thrill of
novelty is often missing in a clichéd atmosphere.<span style="mso-spacerun: yes;"> </span>This characteristic makes creation of an
entertaining cliché extremely difficult.<span style="mso-spacerun: yes;">
</span>It is here that the Expendable series scores. Expendable series is testosterone
driven male (though there are females in feisty roles, they are equal fighters
but finally all of them end up propping male characters) action sagas.<span style="mso-spacerun: yes;"> </span>The series rides on the nostalgia value of
action stars of 90s or even earlier (Stallone has been around since 1970 and
Harrison Ford since 1960s, the same goes for Arnold Schwarzenegger also).<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-QEvxGtQ4NGg/WpEHS-hqACI/AAAAAAAADG8/6S1sg4rfQ9Az-K8My7t_oNef1Pc_CElIQCLcBGAs/s1600/audiences-tf1-bombe-le-torse-avec-expendables-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="501" data-original-width="1160" height="171" src="https://2.bp.blogspot.com/-QEvxGtQ4NGg/WpEHS-hqACI/AAAAAAAADG8/6S1sg4rfQ9Az-K8My7t_oNef1Pc_CElIQCLcBGAs/s400/audiences-tf1-bombe-le-torse-avec-expendables-3.jpg" width="400" /></span></a></div>
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;">All
these stars, the number kept on increasing – have a solid action filmography
and a devoted following among the people, who came of age in those torrid
years.<span style="mso-spacerun: yes;"> </span>So there is a solid wallop of
star power packed in the series.<span style="mso-spacerun: yes;"> </span>Many of
us will go and spend money to see a new flick, howsoever B grade, for any
single one of them separately.<span style="mso-spacerun: yes;"> </span>Seeing a
multi-starrer is a huge bonus and, for some, unadulterated pleasure.<span style="mso-spacerun: yes;"> </span>They are super stars, even in these withered
visages.<span style="mso-spacerun: yes;"> </span>A concrete link to the best
years of many lives. <o:p></o:p></span><br />
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;">Star
power aside, the series plays very dexterously on clichés of machismo.<span style="mso-spacerun: yes;"> </span>The fluid camaraderie of male bonding has
been tapped in a very entertaining manner.<span style="mso-spacerun: yes;">
</span>Chemistry between these aging superstars rescues the bravado filled
casual banter from being ham handed.<span style="mso-spacerun: yes;"> </span>The
repartee leads to genuine amusement.<span style="mso-spacerun: yes;">
</span>This smooth chemistry and intelligent friendly ribbing was exploited
with great success in the ‘Ocean’ series also.<span style="mso-spacerun: yes;">
</span>In Ocean, George Clooney and Brad Pitt were the anchors with interesting
characters around them.<span style="mso-spacerun: yes;"> </span>Here we have
Stallone and <span style="mso-spacerun: yes;"> </span>Jason Statham as the
lynchpin of a motley crowd of finely etched characters.<span style="mso-spacerun: yes;"> </span>Actors have enough history and restraint to
keep their decidedly adolescent talk from falling into childish or corny.<span style="mso-spacerun: yes;"> </span>It is quite an achievement to keep things
adult in such a hyperbolic locker room environs.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;">Most of
the crowded cast have achieved fairly detailed contours of their intended
characters.<span style="mso-spacerun: yes;"> </span>There are silent types,
there are deranged ones, some are butt of jokes of their friends and there are
wise and amused leaders.<span style="mso-spacerun: yes;"> </span>They are
clearly constructed and their uniqueness contribute to the masculine bonhomie
of the films.<span style="mso-spacerun: yes;"> </span>These characters are
interesting enough to overpower the violence perpetrated by them.<span style="mso-spacerun: yes;"> </span>Violence is entertaining background
choreography in the wider context of chemistry between these characters.<span style="mso-spacerun: yes;"> </span>All of them are solid action heroes and given
their background, their self-deprecating references to their age are
particularly heart warming.<span style="mso-spacerun: yes;"> </span>At one point
Stallone, after getting a solid beating, informs his crew in a matter of fact
manner ‘I got my ass kicked’, to hearty chuckles. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 36.0pt;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Another pleasure of such movies is their
locales and authenticity of their props. Africa, Europe, Latin American
Islands, customized motorcycles, bars and that airplane are all stuff of dream
for young at heart nostalgia junkie.<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;">In
final analysis,<span style="mso-spacerun: yes;"> </span>The Expendable series is
a good binge worthy indulgence which is a guilty pleasure. Not so guilty for
someone whose cinematic sensibilities are trained to the highs of earlier day
authenticity of action and who is a little jarred of the hyper stylized
pretensions to the reality. Crude violence of Expendables framed by the
intelligent characterization of every single star is any day preferable. <o:p></o:p></span><br />
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;"><br /></span>
<span style="font-family: "bookman old style"; font-size: large; line-height: 115%;"><a href="https://2.bp.blogspot.com/-IH00cTF6F6c/WpEHUZ63YCI/AAAAAAAADHE/PRS1DpHBvjUE_TMbXOUkONqy4z30ecQ0ACLcBGAs/s1600/expendables-cast-vanity-fair-ss01.jpg" imageanchor="1" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><img border="0" data-original-height="823" data-original-width="1200" height="273" src="https://2.bp.blogspot.com/-IH00cTF6F6c/WpEHUZ63YCI/AAAAAAAADHE/PRS1DpHBvjUE_TMbXOUkONqy4z30ecQ0ACLcBGAs/s400/expendables-cast-vanity-fair-ss01.jpg" width="400" /></a></span></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-75332986423201648972017-12-26T08:19:00.001-08:002017-12-26T08:25:59.959-08:00Moulded by Kisses and Caresses: Warm Flesh of Rodin's Sculpture<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-IN"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-5rVvQ4-8sgE/WkJ0UmtrgVI/AAAAAAAAC9g/nVN56Bcds6Q7jqxh4yiHbo65dN0NQcAlgCLcBGAs/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://2.bp.blogspot.com/-5rVvQ4-8sgE/WkJ0UmtrgVI/AAAAAAAAC9g/nVN56Bcds6Q7jqxh4yiHbo65dN0NQcAlgCLcBGAs/s400/1.jpg" width="400" /></a></div>
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<span lang="EN-IN" style="font-family: "verdana";"><span lang="EN-IN" style="font-family: "verdana";"><br /></span></span></div>
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When Augustus Rodin’s contemporaries in
painting were transcending naturalism to ring in modernity in painting, he was literally
chiselling away habits of classicism to push sculpture to modernity. Sculpture,
by definition, has a brute materiality about it. This materiality helped prolonging
the grand themes of classicism – stability, mythical subjects and a condensed
other worldliness – longer than, say, painting or music. It fell on Rodin to
bring in movement, fleeting moments, unfinished surfaces, in other words –
‘embrace of ambiguity’ through ‘ a conflicted allegiance to grandiosity and
intimacy.’ <o:p></o:p></span></div>
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<span lang="EN-IN" style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Rodin has been labled as grandiose,
ostentatious and even corny. His reputation dipped immediately after his death
in 1917 when the new breed of sculptor (many of whom worked under him eg..
Maillol, Brancusi, Bourdelle, Pompon etc.) started preferring ‘meaningful
Canons of form & Vision’ over Rodin’s searing emotions expressed by hyper
detailing. While benefitting from Rodin’s paving of the way from classical
themes, they focused their own voices on achieving a less detailed or
complicated form, reaching core in a quieter way. Today, however, Rodin stands
a undisputed harbinger of modernity in sculpture, often compared to
Michelangelo in impact and stature. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Classicism was grand and sure. A
realized truth with scriptural certainty. It conveyed a fully formed reality
cast in stone. This was called ‘monumentality’ i.e. representation of
completeness of a divinity, an era, impact of king, nobleman or a mistress.
Rodin who had a ready access to the art of past. Found a potent weapon to
subvert the grand tradition. This weapon was doubt. He was lucky to be at the
intersection of ‘19<sup>th</sup> century amplitude’ & ‘20<sup>th</sup>
century doubt’. His equivocation, his insistence on capturing the fleeting
moment – a work in progress sensibility brought a rupture. A rupture that is
brought forth only by epoch – shaping artists.</span><o:p></o:p><br />
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-IN" style="font-family: "verdana";">His ‘anti-monumentalism’ was a natural
corollary of his stubborn rejection of completeness. In ‘</span><span style="font-family: "verdana"; mso-ansi-language: EN-US;">Les Bourgeois de <span style="mso-bidi-font-weight: bold;">Calais</span></span></span><span lang="EN-IN" style="font-family: "verdana";"><span style="font-family: "verdana" , sans-serif;">’,</span><span style="font-family: "verdana" , sans-serif;"> a depiction of six wealthy citizens of the
French town who offered themselves to the attcaking army for execution as a
price for safety of their fellow citizens, the moment that Rodin chose to
depict was neither the surrender nor the execution (which never took place) but
a moment when they were alone after the spark of initial heroism had passed.
The art work is not recreating a landmark moment but a void with a promise of
movement and uncertainty. Doom, despair and surrender to fate is still a work
in progress before getting to its horrible, chaotic finality.</span><span style="font-family: "verdana";"><o:p></o:p></span></span></div>
</div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-IN" style="font-family: "verdana";">This rejection of completeness reached
a new level during his mature years in works like hands or head less torsos.
These disembodied works left scope for possibilities. The telos, the final
cause remained hidden but, quite clearly, the moving force in this melee of
incompleteness. A moving force propelled by entropy and renewal. Robert Hughes
found in these incomplete figures ‘expressive power of the non-finito’ and
savage force of the human form to express emotion. Hughes wrote “his use of the
"partial figure"—the headless striding man, the ecstatically capering
figure of Iris, Messenger of the Gods—went beyond such conventions as the body
not yet released from its mass of raw stone, or even the broken antique
fragment. It was a way of asserting the power of reduction, a demonstration
that the expressive power of human form could be so concentrated as to drop,
without loss, such usual signifiers of emotion as the head.” Incompleteness is
a sure indicator of movement. This kinetic fuel is another hallmark of the
break that Rodin effected from stable unmoving glory of classicism. Unfinished
conundrum of </span><span style="font-family: "verdana"; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Iris</span><span style="font-family: "verdana"; mso-ansi-language: EN-US;">, <span style="mso-bidi-font-weight: bold;">Messenger of
the Gods<b> </b></span></span><span lang="EN-IN" style="font-family: "verdana";">or Walking
Man and his distinctive musculature created tension in his stones or bronze
that signified movement. Talking about the this kinetic appeal in the ‘Walking
Man’ Peter Schjendahl of The New Yorker wrote “</span><span style="font-family: "verdana"; mso-ansi-language: EN-US;">Walking becomes lurching. The effect is
simple, but it electrifies as the sign of an intelligence that comprehends, and
can gainfully subvert, the fictive language of figuration in sculpture. You
get, in a flash, that Rodin could have played no end of Picasso-like games with
givens of the medium, had he been more of a sophisticate.</span><span lang="EN-IN" style="font-family: "verdana";">”</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-IN" style="font-family: "verdana";">While his transmogrifying and cross
feeding sculpture reminded of Picasso’s inventiveness, his most potent
playfield was flesh - the surface. Rodin said “to any artist worthy of the
name, all in nature is beautiful, because his eyes, fearlessly accepting all
extension truth, read there, as is an open book, all the inner truth”. There he
is closest to great British artist </span><span style="font-family: "verdana"; mso-ansi-language: EN-US;">Lucian Freud</span><span lang="EN-IN" style="font-family: "verdana";">, for whom flesh was ‘<a href="http://modernartists.blogspot.in/2012/09/lucien-freud-bohemian-monk-and-his.html" target="_blank">mound of feelings</a>’. This fascination with
speaking flesh has brought forth a sexual frankness in both Freud’s and Rodin’s
work. While Freud kept on working the texture and tone his model’s flesh,
Rodin’s surfaces are his most thoroughly finished incompleteness. Gaping
sexuality of ‘Iris the Messenger of God’ fascinates more by pulsating
coarseness of the texture then its exposed boldness. He achieved a very real
surface for his work. His ideal was captured by Paul Gsell. Rodin when talking
of Venus de Medici, <span style="mso-bidi-font-weight: bold;">swooned “It is
truly flesh! You would think it moulded by kisses and caresses! You almost
expect, when you touch this body, to find it warm”<b>.</b></span> This ‘warm’
flesh is one more definitive indicator of his subversion of Classicism, a
period of idealized surfaces. His reputation for eroticism often bordered on
sensational. His quest to recover ‘freedom of instinct’ led to many experimentation
which were even termed ‘exploitative’ use of his models. For Rodin there was no
visual compromise, he sought to avoid stage effect in his nudes. ‘I know why my
drawings have this intensity. It is because I do not intervene. Between nature
and paper, I eliminated talent. I do not reason. I simply let myself go.” Like
Goya, like <a href="http://modernartists.blogspot.in/2011/09/creative-predator-picassos-women-and.html" target="_blank">Picasso</a> and like <a href="http://modernartists.blogspot.in/2011/09/condensed-sensations-art-of-henri.html" target="_blank">Matisse</a>, Rodin exemplifies primal force of nature
where talent appears eliminated simply by it all pervasiveness. Rodin is an
undisputed master and his absence for last hundred years has made it clear
beyond any doubt.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span lang="EN-IN"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></div>
<div style="text-align: left;">
<span lang="EN-IN"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div style="text-align: left;">
<span lang="EN-IN"><span style="mso-spacerun: yes;">Dhiraj, 26 Dec, 2017 </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com1tag:blogger.com,1999:blog-99484807798808485.post-59568808115157922192017-07-09T20:10:00.002-07:002017-07-09T20:15:33.513-07:00Breaking Bad: First Among Equals<div dir="ltr" style="text-align: left;" trbidi="on">
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After
all these years, much of the technical superiority of Breaking Bad does not
look so unassailable. Breathtaking photography, emotion appropriate editing,
use of topography-making the landscape a protagonist, using heartbreakingly
normal situations to enact epic questions of humanity and great acting have
become rather common and do not count for insurmountable strategic advantage.
Great TV in Fargo, The Fall, Luther, True Detective, Orange is the New Black,
lately, American Gods etc have amply demonstrated that these aspects, though
making for a sustained advantage, are replicable with similar success. Then,
what makes series like Breaking Bad a classic, first among equals and account
for such high degree of sustained cult popularity coupled with mainstream
acclaim?<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Answer
to my mind is that none of the other contender have this dense collection of
great characters. Each and every character of Breaking Bad is significant
enough to have a personality and interesting background story worthy of an
independent spin off series- Better Call Saul is one highly rewarding
example.<span style="mso-spacerun: yes;"> </span>Though Walt and Jesse get most
of the screen time and their character ticks are most microscopically
presented, but none of the significant characters are peripheral.<span style="mso-spacerun: yes;"> </span>Mike, Gustav Frig, Skyler, Hank, Marie, Todd,
Lydia or the kids (including the infant-Holly), and, off course, Saul Goodman
have been invested with strong personalities. They are all people who make for
great partners but never can be relegated to the status of a tool or paid
employee. Bit characters like Uncle Jack of Todd or the Vacuum guy, Badger and
Skinny Pate have a quality of permanence that carries them through for a very
long series spanning over five seasons. Other series too have memorable
characters and some of them are permanent fixture of<span style="mso-spacerun: yes;"> </span>TV pantheon but Vince Gilligan has created an
unprecedented constellation of great characters and placed them in a perfect
story. Command over the progression of the story- often tricky in long series,
is pitch perfect and creates a narrative which forces the viewers to stay
invested in the fates of the characters. <o:p></o:p></div>
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A
character grows on the audience in the alchemy of paradox. The character needs
to be immediately clear also and it should have an element of surprise – joy of
deciphering or unraveling. Gustav Frig is a character that has coiled neatness
about him. We know he has more to him than meets the eye. We take delight in
discovering his backstory, innate decency, capacity for violence or capacity
for revenge. Mike too portrays his reliable solidity immediately but we take
pleasure in discovering his languid approach, his softer aspects, his supreme
efficiency in what he does. Hank comes as an amiable lout of a detective. His
detective skills and uncorruptibility is immediately evident. We love his
tenacity and fragilities. Ladies, Skyler, Marie and Lydia have fully developed
character arch complete with flaws and undiluted capacity to give. Lydia’s
greed, absolute self centeredness and paranoid ambition simply shine through in
the limited number of scenes that she had. Todd’s type gets established in
efficient strokes and a high functioning sociopath was established in few quick
scenes. In short, strong characterization is the main strength of this much
awarded show and a quality that can’t be copied very easily.</div>
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<o:p></o:p></div>
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Other
technical virtues, mentioned in the beginning may be easy to copy but their
standard in Breaking Bad is nothing short of outstanding. Spare, sparse
landscape of New Mexico complements the rugged mood of the topic and creates a
neo western aura around the show which serves it well. Photography and editing
are elegant and their cleverness contributes and doesn’t distract. Angle shots
from inside safe, barrels table top etc add urgency. Close ups, play with depths,
wipes are plenty but never come in the way of story telling and only add to the
atmosphere. <o:p></o:p></div>
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The
mixture of operatic ambition in technical aspects, epic aspirations in latent
messages on the one hand and resolute everydayness of the settings worked well
for the show. The family, household, neighborhood, office, car wash, dresses,
bit characters at gas stations, department stores and look and feel was kept
real. Sense of grandeur came from the sweep of story, photography and far
reaching changes that the situations brought I the characters. This has a
quality of a great literature- almost Shakespearean.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Even
for a binge watch, the show did not lose its story thread and one cannot but
marvel at the impeccable continuity and controlled arch of the story. Breaking
Bad is compelling television, the best of its kind. It will continue to attract
lovers of quality TV for a long time. <o:p></o:p></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-82552904055717361902017-01-22T02:05:00.002-08:002017-01-23T01:31:10.282-08:00That sexy beast Jude Law is playing Pope- The Young Pope<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Ar1SkRHURk8/WISB0RdfF5I/AAAAAAAACWo/w3ogmt-cD5U4Nv7m8bIb1A3MJ6_dA56agCLcB/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-Ar1SkRHURk8/WISB0RdfF5I/AAAAAAAACWo/w3ogmt-cD5U4Nv7m8bIb1A3MJ6_dA56agCLcB/s400/1.jpg" width="400" /></a></div>
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Europe
does it for me.<span style="mso-spacerun: yes;"> </span>Italy or to be more
precise, Rome surely does it for me.<span style="mso-spacerun: yes;">
</span>Anything set in the locale simply ignites the mood for quirky bohemia.
Any level of sophistication stops being snobbish. Art and highbrow conversation
seem normal. Then there is Vatican. A mythical city-state erected on a tomb. A
symbol that can really be leveraged to heighten any emotion, be it conspiracy, power
play or simply eye-watering spiritualism laced miracle mongering.<span style="mso-spacerun: yes;"> </span>Expectant, devoted, enchanted faces are
simply part of the scenery. Awe is an easy state to reach in such situations.
Woody Allen and Dan Brown (films on his books) have used both bohemian and awe
elements with great felicity. But I digress.</div>
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That
sexy beast Jude Law is playing Pope- a Young Pope. He is a nightmare for people
trying to get out of their smoking habits. Surely, he uses the fag with great
oomph.<span style="mso-spacerun: yes;"> </span>His loose charms coiled but
accessible, are ready to enliven any conceit that Oscar winning Director Paolo
Sorrentino conjures to tell a story of intriguing but vacant idea. But I
digress. <o:p></o:p></div>
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Jude
is not<span style="mso-spacerun: yes;"> </span>the only charisma melting the
screen. There is Diane Keaton. She is so posh that even in habit she is
unbearably stylish. Her nightshirt is a riot (I am a virgin…but that’s an old
story), shoes with appealing heels and walk of sophisticated CEO. Verve,
solidity and great acting make her a treat to watch. She is a star. But I
digress<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-HKeCsBcDb-I/WISCQ9b_ZoI/AAAAAAAACWw/b9SE2KmcjdorKFYAXRJz1dcN_q8QQ-rFACLcB/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-HKeCsBcDb-I/WISCQ9b_ZoI/AAAAAAAACWw/b9SE2KmcjdorKFYAXRJz1dcN_q8QQ-rFACLcB/s400/5.jpg" width="400" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Silvio
Orlando as Cardinal Angelo Voiello, Camerlengo and Cardinal Secretary of State is
the fulcrum of the show. In some episode you get a feeling that he is getting
more screen time than Jude Law. He is one stout bundle of contradictions. He
brings easy comedy, always a tall order, and chutzpah to his role as solid
servant of the church. However, his service aspects are deeply hidden as he is
a scheming politician and admits to it. A solid and believable performance that
is often infused with audacious naughtiness. Again, I digress. There is so much
in the show that can make one digress from the beauty of the full package. <o:p></o:p></div>
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<br /></div>
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<a href="https://2.bp.blogspot.com/-qmZa0y80Cw0/WISDddH8L6I/AAAAAAAACW4/m590nBvAyCIL2_oZ2HLJEv3UTQQ-jFFoQCLcB/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="https://2.bp.blogspot.com/-qmZa0y80Cw0/WISDddH8L6I/AAAAAAAACW4/m590nBvAyCIL2_oZ2HLJEv3UTQQ-jFFoQCLcB/s400/4.jpg" width="400" /></a></div>
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The
Young Pope premiered on 21 October 2016 on Sky Atlantic in Italy. The series
has come to limelight after coming to pay and streaming TV on 15 January this year.
The Young Pope is simply great because it is lyrical filmmaking so typical of
great Italian directors from Michelangelo Antonioni, Federico Fellini and
others. Great performances are a given. <span style="mso-spacerun: yes;"> </span>Here, Paolo Sorrentino is in good form. His
films are funny and maintain a rhythm that traces not only the mood arch of the
key protagonist in this case, Jude Law’s Pope, but also has capacity to go
whimsy, surreal or plain fun at will. His greatest strength is to take a given
moment and create something really enjoyable. Examples aplenty. Pope getting
ready to vaguely blasphemous background music (I am sexy, I know it), Secretary
of state contemplating Venus of Willendorf, again the Secretary of State
following football match dressed in the team uniform, Pope’s dealings with
uptight Vatican bureaucracy. Every episode is full of memorable moments Sister
Antonia in Africa was painted in very deft free strokes, Pope’s media officer,
his two confidante are all not only viable but enjoyable too. Portrayal of
innate mysterious powers of the Pope despite his obviously mundane power games
are so fine tuned that sympathy remains with him despite his militant anachronistic
views. <o:p></o:p></div>
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Storyline
is mostly known by now. A 46 year old American Cardinal Lenny Belardo, has been
elected as Pope and established powers are imagining a pliable puppet. Rest of
the story is how this situation is tackled by the new Pope. <span style="mso-spacerun: yes;"> </span>He takes an unorthodox approach to ensure his
supremacy while advocating fundamentalist orthodoxy of Catholic Church. Another
omnipresent overhang is his mommy issue. As a child he was abandoned by his
Hippie parents. The Pope is obsessed with this issue. His detractors say that
it is affecting his decision-making. <o:p></o:p></div>
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A
word about Jude Law.<span style="mso-spacerun: yes;"> </span>The actor in the
tradition of Downey Jr (Sherlock to his Watson) and Johnny Depp, is a good tool
of engaging flippancy and irreverence. His good looks don’t distract but
enhance the contradictions of his situation in the show. He is in sure
directorial hands and his timing is impeccable. He is amused, horrified,
intrigued and evil with consummate ease. His whining for mommy is surprisingly not
very irritating. His heartbreak, solitude and sorrow are sublime. When he cries
after the death of his spiritual father and chief competitor (a superb James
Cromwell), it is primal and tears our heart out. His star aura is a chief prop
for a show that is so openly wedded to extrovert pointing to its own
cleverness.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<span style="mso-spacerun: yes;"><br /></span></div>
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<a href="https://4.bp.blogspot.com/-afzUZx7YLjY/WISCC9CI4JI/AAAAAAAACWs/lEB6NXGM7cgwVaosHnKmDk-7oGt1s-L2gCLcB/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="220" src="https://4.bp.blogspot.com/-afzUZx7YLjY/WISCC9CI4JI/AAAAAAAACWs/lEB6NXGM7cgwVaosHnKmDk-7oGt1s-L2gCLcB/s400/3.jpg" width="400" /></a></div>
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The
show is full of itself, in a good sort of way, exuberance and overt highbrow
approach is sustained with unfailing direction quality and impeccable
production values. Whenever opulence becomes obscenely lavish, it serves a
story purpose. It has been said that the show likes its own voice too much, but
then, there is lot to like there.<span style="mso-spacerun: yes;"> </span>We do enjoy
the beats of electro music that is deployed to perk up a moment. No doubt that
the premise while being interesting and intriguing, is flimsy and it is
difficult to sustain for 10 lengthy episodes. You can face only that many court
intrigues, that many clever strategies to impose your will or keep impressing
with arcane, splendid and mythical beauties of the world’s most famous
religious seat. This is a great material for a feature length movie (Dan Brown
films are examples) but a series is difficult proposition. Sorrentino has
manfully handled this problem and his solution is to convey that the characters
in the show, despite their exaggerated uniqueness, are not one-dimensional
characters.<span style="mso-spacerun: yes;"> </span>He takes his time to show
the hidden aspects of these characters.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Jude
Law while conveying impetuous distracted charm, starts showing real saintly
characteristics. The Secretary of State, while being an opportunistic and
scheming politician comes out with a much deeper multilayered personality that
is deeply devoted to his church. The same is true for other notables. Investigation
of the child abuse scandal brought thriller element and sustained the momentum
of the show at a critical juncture. The length of the show provides an
appropriate platform to fathom the depth and peeling off layers of these
characters. In the hands of a director like Sorrentino, this becomes a joyful
journey as he infuses it with panache and unpredictable twists. The show never
loses its funny core. A memorable outing to the small screen by a proven master
of celluloid.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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- Dhiraj Singh</div>
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Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com2tag:blogger.com,1999:blog-99484807798808485.post-64213618725681364542016-10-26T08:54:00.000-07:002016-10-26T09:27:14.922-07:00Minimally Grand: Eastwood Enigma<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="https://2.bp.blogspot.com/-p8SKs3mm8vA/WBDOl96bmOI/AAAAAAAACLI/UonmJdKiFgMc4A0xKZij-0s8nFBOeqnMACLcB/s1600/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://2.bp.blogspot.com/-p8SKs3mm8vA/WBDOl96bmOI/AAAAAAAACLI/UonmJdKiFgMc4A0xKZij-0s8nFBOeqnMACLcB/s400/2.jpg" width="400" /></a> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Minimal should be an unusual word to
be used in Clint Eastwood’s context. He is a physically big man with a colossal
screen presence and epoch defining cultural influence.<span style="mso-spacerun: yes;"> </span>With all his towering impact, the word that
defines him is Minimal. He is all about ‘giving central satisfaction’ and
removing everything else. His minimalism accentuates the force of his
personality. He has a lean telegraphic style of delivery that is hallmark of
his screen presence and also his directorial output. He goes for core and is
ready to drop everything else, not because it will distract (of course it will)
but mostly due to the fact that it is none of his business. He stands stark and
abundantly clear. Despite bohemian airs of his youth, he is a shrewd and
intelligent person. This intelligence is reflected the management of his
estate, politics, finances, marriages, family cohesion (anyone else would have
been hit much harder with all that philandering) but most importantly, he
showed his intelligence in managing his own brand and his own career. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Even before working with Sergio Leone
and Don Siegel for spaghetti westerns and Dirty Harry series, Eastwood knew
limitations of his acting. He is not as versatile an actor as say Sean Connery
or Denzel Washington or Morgan Freeman. His range is set and he is unique in
that range. To quote Jonathan Heaf of British GQ, “Paul Newman was always too
smooth, Marlon Brando too pretty; Steve McQueen too much of a hothead,……there
is a stylish nonchalance about Eastwood; he drives home fervour and conviction
without so much as flickering a smouldering <span style="mso-spacerun: yes;"> </span>cheroot from one corner of his mouth to the
other.” More than acting, he is a presence and his air of raw masculinity,
menace and authority are the key ingredient of that presence. He has to leverage
these factors for any role. Even light heartedness of some of his characters is
light heartedness of a suave lumberjack. As a DJ, gasping aging FBI agent,
journalist, boxing coach, reluctant western gunslinger he manages to bring full
authority of his limited assets very effectively. Every character benefits from
the ingredients of his star persona without degenerating into self-caricature.
He is clearly a limited actor but he is very resourceful and efficient with his
skill set. </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="https://1.bp.blogspot.com/-iqWCVI21pys/WBDOnDD7IhI/AAAAAAAACLM/4S5XgqtGGAMDRiMx6VKdA5zmi_dYpHXIwCLcB/s1600/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://1.bp.blogspot.com/-iqWCVI21pys/WBDOnDD7IhI/AAAAAAAACLM/4S5XgqtGGAMDRiMx6VKdA5zmi_dYpHXIwCLcB/s400/4.jpg" width="400" /></a></span> </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Even his on-screen personality clearly
indicates a man with economy of gestures who is fairly unhurried about using
the time and resources given to him but he is focused. Being unhurried does
not mean that he is not fast. He is very quick because he is not wasting time on
distractions and is engaging with the core in a very thorough manner. He is
aware when and how to expose the core of a character, issue or a film with
minimum movements. He is clean and efficient on screen and as a director, he is
famous for wrapping his shots in first takes. Even his sprawling movies spend
time on the crux with great discipline. For example Unforgiven was unscrambling
futility of violence and the reluctance of the hero to indulge in violence.
Invictus is taught in management schools- in chunks, to drive home lessons of
leadership and reconciliation. American Sniper is meditative and ruminative
about the isolation and moral quandary of a sniper but never meandering-
Eastwood stays the course and never meanders. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-GWncKjiDjLA/WBDOllOgX1I/AAAAAAAACLE/aL6EYIKYbW8V-7gWCmSQadykgi1oyhRzwCLcB/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://4.bp.blogspot.com/-GWncKjiDjLA/WBDOllOgX1I/AAAAAAAACLE/aL6EYIKYbW8V-7gWCmSQadykgi1oyhRzwCLcB/s400/3.jpg" width="400" /></a></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">His evolution must have taught him
about the value of staying on course of unraveling the core of the question at
hand.<span style="mso-spacerun: yes;"> </span>When everyone else saw a handsome
young man with not much of histrionic angularity, Italian second unit director
Sergio Leone took the basic underlying structure of Japanese samurai movies and
American westerns and created Man With No Name. He made the underlying
structure based on glares, gun slinging and tough men overt and dropped the
melodrama and other distractions that had crept into the genre. Dialogues were brought
down to minimum and establishment of force of the personality was achieved in
minimum possible moves. Eastwood with his ‘apprising taciturnity’ and imposing
personality fitted the bill. He was learning what worked for him. What worked
for him was – if you have good ingredients, don’t mess with them too much. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">He was a star after the Italian stint.
But it was Dirty Harry series that made him an icon. Don Siegal directed him in
Coogan’s Bluff where Eastwood played a Western sheriff from Arizona pursuing a
criminal in New York. This brought the man with no name some identity and urban
setting. Moral clarity in the face of scums of the earth appealed to Nixen era
sensibilities. Stage was set for Dirty Harry – man with strong moral core and
was willing to discard tentativeness that liberal sensitivities bring in as
check against misuse. However, Callahan (Dirty Harry’s name) was focused on
removing bad people and was exquisitely violent. His line “You’ve got to ask
yourself one question, ‘Do I feel lucky?’ Well, do ya, punk?” became a
signature line. Influential critics squirmed at the glorification of violence.
But Eastwood as a vehicle of righteous violence was lapped up by the audience. David
Denby of New Yorker has described the matter with masterful clarity “That
moment—an insolent piece of pop cruelty—put Eastwood, at the not so young age
of forty-one, over the top. An actor may work for years without becoming a
star, as John Wayne and Humphrey Bogart did throughout the nineteen-thirties.
Then, suddenly, looks, temperament, and role all come together—as they did for
Wayne, in “Stagecoach” (1939), and for Bogart, in “The Maltese Falcon”
(1941)—and the public <i>sees</i> the actor, sees what it desires. He becomes
not only a star but a myth, as Garry Wills defined it in his 1997 book “John
Wayne’s America”—something that was true for the people who needed it to be
true. What the public needed from Eastwood by the time of “Dirty Harry” was
both physical and, in a convoluted way, moral.” <span style="mso-spacerun: yes;"> </span>We have seen this in India also around the
same time a lanky actor was trying his luck with all sorts of roles but in
Zanjeer he found the mould where everything- the mood, the look and the temperament
clicked and people wanted the angry young man to be real. But I digress, so
back to Eastwood. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-NbfbiD4eccM/WBDQaJAagsI/AAAAAAAACLY/bBeOKAwz7GwuY3dzaIPuNmxPP5K9bKyXQCLcB/s1600/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-NbfbiD4eccM/WBDQaJAagsI/AAAAAAAACLY/bBeOKAwz7GwuY3dzaIPuNmxPP5K9bKyXQCLcB/s400/5.jpg" width="313" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Physically and from the point of view
of style, Eastwood is a worthy vessel of a collective expectations of the
entire nation. He stands tall at six feet 3-4 inches with rugged good looks and
has maintained his fitness over the years and is considered one of the most
agile and sharp octogenarian of our times (he was born in 1930). “</span><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">He had an animal grace, a big-cat tension as he moved” qualities that
have survived. Efficient resource manager that Eastwood is, he puts these
attribute to stamp his authority on screen. His authority is tempered with
weary worldliness and after Italian sojourn, had a visible and strong moral
center. He personified American manhood ideal and a symbol of its individualism
for most of the last century. This isolation may be bitter but never as painful
as we see in tortured souls of say a Van Gough or a Wallander- the Swedish
detective. He goes back to splendid isolation of a monk not of an outcast.<span style="mso-spacerun: yes;"> </span>He might be spare in his movement but grace
and style never leaves him. His conventional good looks were given makeover of
style that became him by Sergio Leone. He rose in the movies that were
self-referential- aware of their artifice and partial to magnificent visual backdrop.
Lack of style is not his definition of lean, spare telegraphic film making. His
focus on the core can be pretty detailed and beautiful. His grimness is not
dependent on documentary like realism. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">In this
backdrop of a limited but extremely effective props for acting and branding,
Eastwood took charge of career and have been doing this for last many decades
through his production company to make what Tom Junod of Esquire magazine calls
‘Clint movies’. Unhurried meditation on the subject with which the actor/
director has become comfortable with. He takes his time and jumps into the film
making which is fast, efficient and without frills. Many of his films are
reputed to have finished before schedule and well within budget. It has been
documented that he filmed a shot of A Perfect World with double of Kevin
Costner as Costner was taking his own sweet time for coming out for shooting.
He exerts an authority on screen as well as sets. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">He was very closely identified with
screen <span style="mso-spacerun: yes;"> </span>violence. He is a regular fixture
in the essays that tackle problematic glorification of violence. However, in
later ventures he has dealt with the futility of violence. Much has been
written about Unforgiven for its emphasis on messiness and pointlessness of
violence. He realized that gory aspects of violence are not good business as
they can be copied and lead to gratuitous one-upmanship. He developed a more
nuanced understanding of violence and his depiction became more successful in
making violence a gruesome reality which never helps anyone and it went more
realistic than stylized. Gran Torino and Unforgiven are case in point. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="https://2.bp.blogspot.com/-Ooamtea8PhY/WBDOkjai73I/AAAAAAAACLA/atcCh_BlkZYHO9KDla2Y24u6PDruL_RwACEw/s1600/1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-Ooamtea8PhY/WBDOkjai73I/AAAAAAAACLA/atcCh_BlkZYHO9KDla2Y24u6PDruL_RwACEw/s400/1.jpg" width="291" /></a>He has a political stand that is
conservative and Republican. He was elected Mayor of Carmel, California. Often
politics of his films are criticized. Dirty Harry was panned for its fascistic
overtones. His Speech at 2013 Republican Convention where he talked to an empty
chair has been termed rambling to classic by the analysts. Fact remains that he
has taken stand on political issues and has shown his displeasure with excessive
culture of political correctness. Richard Brody of New Yorker is <span style="mso-spacerun: yes;"> </span>bang on target when he writes<span style="mso-spacerun: yes;"> </span>‘With<span style="mso-spacerun: yes;">
</span>films ripped from the headlines (recent or past), such as “J. Edgar,”
“Heartbreak Ridge,” “Flags of Our Fathers,” “Invictus,” and, “American Sniper,”
Clint Eastwood has long been a conspicuously political filmmaker—the crucial
American political filmmaker after John Ford (and before Spike Lee). But what
makes a filmmaker political isn’t the choice of political subjects but, rather,
the fullness of political thought, which extends to subjects that, at first
glance, don’t seem political at all’. He has recently supported the racist
remarks from Donald Trump and called current generation ‘pussy generation’ for
what he perceives to be over emphasis on political correctness. Similarly, role
of women in his films (rather their insignificance) have been a sore point.
However in the 90s he realized this and in the Line of Fire has been
acknowledged as an equal and absurdity of gender archetypes were openly mocked
at by Clint’s character by caricaturing them. His Gran Torino and Million
Dollar Baby are sensitive studies in gender and racial relations. It seems he
hates to be bogged down by too nuanced interpretation and wants to retain bit
of less prickly old days when he was a boy in 30’s, 40’s and even 50’s. He has
evolved but he is from old times. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">He has been
perhaps the greatest Actor Director, only Woody Allen comes close and Mel
Gibson too has a distinguished career as director. However, no one comes close
to the length and depth of his career. He has been directing since Play Misty
for Me and his latest Sully is getting rave reviews. He has given music score
for most of his movies. His company has produced most of them. By any standard
he has been one of the most successful single cinematic personality since
Charlie Chaplin. His post Unforgiven movies have won awards and critics alike.
His directorial output with a body of work like Unforgiven, Invictus, Gran
Torino, Herafter, Mystic River, Changling, American Sniper, Letter from Iwo
Jima and Sully puts him in the higher reaches of cinematic pantheon.<span style="mso-spacerun: yes;"> </span>His assured touch has created works of
enduring value. He crafted and succeeded in inventing and reinventing himself.
He didn’t allow Eastwood mystique to be a liability but used his strengths to
further explore his star persona in the service of his medium. He gave depth to
westerns, he created space for righteous stylized violence and later he
explored futility of violence (Unforgiven) and revenge (Invictus). Tackled
racial relations (Gran Torino) and dealt with strong female roles in Changlings
and Million Dollar Baby. He lent his star power to experimentation. All his
films, specially later ones take the story of cinema forward but they remain
quintessentially ‘Clint Movies’. Lean, minimal and spare thing of unbounded
beauty.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
- Dhiraj Singh</div>
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</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-58004092217864372482016-10-16T10:24:00.002-07:002016-10-18T04:17:07.186-07:00Pink is a significant achivement. <div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-5uBiOqYDEEw/WAO3etFzeBI/AAAAAAAACJw/Ay5-TlEDscsSdFD_VUbaKu1AeeqyfXK3QCLcB/s1600/1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://4.bp.blogspot.com/-5uBiOqYDEEw/WAO3etFzeBI/AAAAAAAACJw/Ay5-TlEDscsSdFD_VUbaKu1AeeqyfXK3QCLcB/s400/1.jpeg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
Pink is a great movie, and I am not even talking about the
message or the ideology of the movie (which, <span style="mso-spacerun: yes;"> </span>by the way, is great). The movie is simply
good cinema. A compact story told with masterful control over the medium.
Cinema being a combinatory art form, brings various branches, which are both
craft and art in themselves, to serve the vision of the director or to tell a
compelling <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>story. We will appreciate the hardwork put in
the movie if we realize, how difficult it is to weave a scene which is
accessible to the audience in a cohesive way. Early cinema audience were puzzled
by even close ups and moving images it took some time to instill grammar of
camera in the audience. Having a disparate shots and developing a narrative
from that is never that easy. Pink is a fully realized cinematic product.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Pink is a fully realized product of cinematic control over a
complicated idea. It grabs attention with masterly deployment of tools of the craft.
The very first scene after a suitably spare casting credits creates the tempo. Inter-cutting
of bleeding Rajvir and tensed girls in two different cars set the spiraling nature
of the doom so well. Similarly, shots of traffic lights on lonely roads, South
Delhi colonies, Metro, Police Station cell, all were used to help the mood of
the related scenes. That is about cinematography and editing which kept the
narrative tight and did not allow audience attention wane. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Then characterization. Every character of the movie has come
out succinctly. Rajvir and his friends could easily be situated in a context of
unexamined patriarchy and feudal mindset. Rajvir’s father was <span style="mso-spacerun: yes;"> </span>irritated but not angry with him as he was
comfortable with his infractions. Two scenes of his father established an
entire value system. Girls- it was so easy to get that wrong. They were believably
nuanced. Adria was the quietest but came out very clearly as a girl facing
prejudice at many levels. Falak with her maturity and family burden was trying
to navigate the situation with least disruptive way but her core came out so
vividly when she broke the compromise proceedings immediately when she could
not agree with the vulgarity of Rajvir’s thought process. She was the one who
articulated their stance in the court and she exposed the hollowness of payment
issue of their meeting with the boys. Meenal was difficult but she clearly laid
out the core of a character who wants to live the life on her terms and is
willing to take risks for that. Her trauma and believable rootedness in
traditional value of family was conveyed very clearly. Bond between the three
girls was conveyed so naturally <span style="mso-spacerun: yes;"> </span>but
never by overt proclamation. Their care, <span class="tgc">camaraderie and depth
of friendship is noted in gestures, their heroic and unflagging support for
each other. However, greatest pleasure is given by skillful etching of small
characters. Solidity of their home owner is clear in one or two scenes that were
given to him. ‘SHO madam’ was realistic in here casual corruption and lack off
smarts. Generosity of the soul of Deepak’s ailing wife Sara was conveyed in
almost all the scenes that she handled from the sick bed but in one scene where
she offers biscuit to the girls is such a genuine depiction of a grand gesture
of giving soul. The judge, colony people, inspector and almost everyone was
placed so fully in the scheme of things always a sign of great director. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="tgc">At one level Pink is an extremely competent
court drama. Court drama is a genre that has a rich history in all major film
industries. B R Chopra used it with great effect in Kanoon. Mera Saya, Insaaf
ka Tarazu, many recent comedies including very good Jolly LLB are some examples.
Deepak’s initial diffidence and rusty beginning stepped up the tension. Half of
the movie is a substantial time to spend in the courtroom and Pink maintains the
momentum by arguments and acting. The scenario had no big discoveries involved
so it was about establishing new sensibilities and all actors and director were
upto the task. Presence of an unusually sensitive judge helped. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="tgc">Of course Amitabh Bachchan. Another feather
in the cap of the thespian who has taken upon himself to take the medium
forward. He is pitch perfect as man of fine sensibilities. He is angry and
burdened and looks it. He conveys his worries and ailments with subtle <span style="mso-spacerun: yes;"> </span>fluctuations in his voice and mannerism. His
initial rustiness in the court was so controlled that it is a masterclass in
itself. He is every inch<span style="mso-spacerun: yes;"> </span>THE Amitabh
Bachchan with his strong style intact but this pull, this star power is fully
devoted to make Deepak Saigal a success in a great role. Not a single false
move. Chief pleasure of his recent performances is the latent heroism of is
characters that expresses itself in the least flamboyant manner. He is almost self-effacing
in his most heroic moments in Pink and leaves a deep impact. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="tgc">Now the most powerful appeal of the movie.
After getting into the flow of the movie I immediately regretted that I did not
bring my 14 year old son for the movie. It is such a powerful movie that
conveys so many lessons of proper gender relations for the boys of today’s
generation. The rule book that Deepak kept on referring to during the trial is
so convincingly conveyed that it is bound to have an impact. Film or the camera
was never in doubt where the blame lay. Such a powerful initiation into the
world of right sensibilities. My friends have a point when they say that this film
should be taken over as tool of spreading healthy practices of gender sensitization.
I was keen to watch the movie as Deepanjana Pal of Newslaundary in her excellent
review expressed a niggling discomfort over ‘mansplaining’ and ceding<span style="mso-spacerun: yes;"> </span>of space by Meenal to Deepak. After watching
the movie I felt relieved that my observation about burdening a film with the
personal ideologies were not too far off the mark. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="tgc">While the central message is the key appeal
of the movie, I liked the fluidity with which it has tackled the issues and
great performances that kept the movie at a believable plane. Music, editing
direction, screenplay, sound other elements like cinematography have created a
great movie. A significant <span style="mso-spacerun: yes;"> </span>achievement. </span><br />
<br />
<span class="tgc">-Dhiraj Singh </span></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-29741696102120645922016-10-10T10:25:00.000-07:002016-10-18T04:18:36.308-07:00Amitabh Bachchan: Enduring Excellence<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="text-align: center;">
<a href="https://2.bp.blogspot.com/-pdtNk9w1dZY/V_vJE65rsCI/AAAAAAAACI4/6_1nFQVuMlUwqqUcN6wLLJ3zPAzx5XuZQCLcB/s1600/3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://2.bp.blogspot.com/-pdtNk9w1dZY/V_vJE65rsCI/AAAAAAAACI4/6_1nFQVuMlUwqqUcN6wLLJ3zPAzx5XuZQCLcB/s400/3.png" width="400" /></a> </div>
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Amitabh Bachchan is having an
unbelievably successful late innings. His post KBC output is no less than the
body of work during his angry young man days. It can be argued that later phase
surpasses the earlier period if we take critical acclaim and contribution to
cinema as yardsticks. His National Award winning performances, mostly, fall
during the late phase and he has taken more risks to enhance his vistas and,
more importantly, stay relevant in a totally new era with vastly different
cinematic sensibilities and attention span. By any means, Nishabd, Black, Chinni
Kum, Paa, Piku and Pink are path breaking movies creating new avenues for the
medium and harnessing the thespian’s considerable star power in the service of
his acting prowess. </div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>A
successful second innings by a great artist can really be rewarding. Henry
Matisse took his creative journey forward virtually from his sick bed with his
cutouts and murals in The Chapelle du Rosaire de Vence. Clint Eastwood will be
known more for the work in his late seventies and eighties when he developed a
telegraphic leanness of cinematic delivery as a director. He has not only given
many Oscar worthy films but also created a niche for gritty, spare storytelling
which has spawned a successful genre of such films. Currently his <i style="mso-bidi-font-style: normal;">Sully</i> is running to rave reviews. As
mentioned somewhere else, advanced age can resolve many inhibitions and free an
artist to experiment. A senior artist, though a carrier of a historical
baggage, is often free from the worries of building a career and has better
understanding of opportunities that his or her field provides. The wisdom of
experience and accumulated star power can put the actor in a position of more
deliberate and conscious choices of films. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Given these advantages, we should
see late flowering more often. However, it is not so common due to various
factors. Commercial constraints keep the dominant trends of film making in sync
with the lowest common denominator which favours youth and existing cookie
cutter approach to film making. Aging stars often find it difficult to get
author backed roles and are forced to take less central so called ‘character
roles’ . General trend is, and Amitabh Bachchan also suffered this in 1990s, is
‘ muscular memory’ output. It goes like this. <span style="mso-spacerun: yes;"> </span>The actor sleepwalks through the film. Due to
innate greatness or ‘muscular memory’, broad parameters of the basic movie are
usually in place and it has some signature flashes of genius. But this work
fades in comparison to earlier works which were less of products of practice
but of genuine inspiration supported by indefatigable craftsmanship. Soul
simply does not shine through. Admirers of the artist get into nostalgia mode and
start celebrating diminished sparks that remind them of the original fire –
their own and that of the artist. Robert De Nero and Bruce Willis in Hollywood
stopped caring about the quality of films that they were picking. De Nero,
arguably the best actor of our times has reduced himself to B grade films and
deploys his considerable acting muscles for cheap laughs and stereotypical
thrills. Nearer home, Rajnikant (a massively under utilized actor) too is not
able to break free from his astronomical image. His every new film is brand
exercise in milking strong points of his star persona. He, unlike Amitabh, has
not leveraged his influence to break the mold. Not that he is failing, he
continues to manage his fan base with great success. But he is not expanding
cinema. </div>
<div class="MsoNormal" style="text-align: center;">
<a href="https://3.bp.blogspot.com/-oY-on0M-fU4/V_vI-jfHxGI/AAAAAAAACIw/cDM8MtqNeT4dHTf2WM1elJf4suHcXh6EQCLcB/s1600/1.jpe"><img border="0" height="300" src="https://3.bp.blogspot.com/-oY-on0M-fU4/V_vI-jfHxGI/AAAAAAAACIw/cDM8MtqNeT4dHTf2WM1elJf4suHcXh6EQCLcB/s320/1.jpe" width="400" /></a> </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Amitabh Bachchan too was trapped
in image and habit of staying in safe hands. He relied heavily on a set of directors.
Initial phase of Bangali senior directors like Hrishikesh Mukherji was taken
over by<span style="mso-spacerun: yes;"> </span>Yash Chopra, Prakash, Mehra,
Manmohan Desai,<span style="mso-spacerun: yes;"> </span>Mehul Kumar, Tinu Anand
etc. His choice of films deteriorated and he struggled to give a good film
during 90s though he was shining as a star and giving hits like Hum, Shahanshah
and attempts at reinvention like Agneepath and Main Azad hoon. His main
achievement was to stay afloat as the reigning king of Hindi films. Future
researchers will marvel how he survived so many embarrassing film choices
(Indrjeet, Jadoogar, Toofan, Insaniyat etc come to mind). Even in his heydays,
it was difficult to defend Amitabh Bachchan in any serious discussion. His mass
popularity made serious cinephiles of those austere days angry. His unabashed
pandering to populist tastes was very easy to attack. While everyone agreed
about his talent but there were many who did not consider him to be great
actor, Bachchan was for them, nothing more than a self-parody. An amalgamation
of<span style="mso-spacerun: yes;"> </span>his exaggerated mannerism, never
allowing (I find that unfair) his star persona to be subservient to the
character he was playing. To top it all he took a sabbatical for half a decade,
a very long time in pop culture where memory is short and fads move quickly. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
His return was painful, to say
the least.<span style="mso-spacerun: yes;"> </span>No lover of cinema can read
the list without grimacing with <span style="mso-spacerun: yes;"> </span>pain and
sadness -Mrityudata , Major Saab, Lal Baadshah, <span style="mso-tab-count: 1;"></span>Sooryavansham,<span style="mso-spacerun: yes;">
</span>(not a bad outing), Hindustan Ki Kasam,<span style="mso-tab-count: 1;"> </span>Kohram
and Bade Miyan Chote Miyan. Even yours truly wrote a <a href="http://modernartists.blogspot.in/2011/10/amitabh-bachchan-untimely-requiem.html" target="_blank">requiem </a>for the superstar
in 1997, a very painful moment for someone who knew only one superstar. His
frustration and financial loses (ABCL was a great concept which simply did not
work) led Amitabh to his old director Yash Chopra, asking<span style="mso-spacerun: yes;"> </span>for work! Yash Chopra, one of the more
intelligent interpreter of emotions, who gave him Deewar, Kabhi Kabhi, Trishul,
Silsila and Kala Pathar, reinvented him as senior, aged father figure in
Mohabatain. This Aditya Chopra directed vehicle created a space for the second
innings and showed the film world possibilities what this maga talent could
offer. Meantime success of KBC introduced him to millennials and made him a
contemporary for a generation who only knew him as a tall figure from earlier
times. Another favourable development was rise of new crop of directors who
were taking Hindi Cinema beyond 90s. Someone, recently accused Rajesh Khanna of
destroying the golden age of cinema by making every other branch of film a hand
maiden of star system. Gradually story writing, lyrics, even production design
took back seat in the scheme of producing a film. Film maker’s work was
supposed to be substantially over after signing a bankable star. Days of strong
teams of Navketan, Raj Kapoor’s talent bank, respectable poets writing for
movies were over. Amitabh did little to help the matter, But that was about to
change. Ramgopal Varma personally and through his disciples created a new band
with fresh perspective. Bhansalis, Gowarikars were rising with Aditya Chopra
and Karan Johar firmly in place. Yashraj studio created an eco system for newer
talent. Multiplex system, digital production and availability of legitimate
finances pushed new film makers to create new sensibilities.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>With
this backdrop, Amitabh was ready for a new innings and he was being hugely
intelligent about it. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
There was, despite strings of
duds, a huge reservoir of influence and star power that Amitabh Bachchan
enjoyed at that time. Buoyed by a little push by Chopras, TV and other factors,
he started cementing his new persona as an aged actor, experimenting with age
appropriate roles. After Mohabattain, Amitabh acted in Aks, Kabhi Khushi Kabhi
Gham, Aankhain, Kaante and Boom. All these films with exception of Aks (a
personal favourite) gave decent business and created a climate for tailor-made
role for the aging superstar. He gave a solid hit in Baghban and attained the status
of a benign patriarch of Indian values which came handy for his flourishing
advertising career.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-spacerun: yes;"> </span>Amitabh was everywhere. An early adapter of
social media, he was fully aware that stardom, no longer had the luxury of
mystery and seclusion.<span style="mso-spacerun: yes;"> </span>He broke the
legendry decision of not featuring in advertisements and has since managed an
extremely successful career as model for widest possible array of products, a
testimony to his credibility and pull.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Under reliable directors like
Govind Nihlani and Rajkumar Santoshi he kept in touch with his action persona
as police officer in <i style="mso-bidi-font-style: normal;">Dev</i> and <i style="mso-bidi-font-style: normal;">Khakee</i>. <i style="mso-bidi-font-style: normal;">Veer Zaara, Lakshay, Deewar</i> etc kept him busy with reasonable
success. Then, in 2005 came <i style="mso-bidi-font-style: normal;">Black</i>. </div>
<div class="MsoNormal" style="text-align: center;">
<a href="https://4.bp.blogspot.com/-H7zjZBU2qgI/V_vKaq_ry0I/AAAAAAAACJA/q3GYkvoZOoY9_OQ33Tw6TjSERRUgHU2pwCLcB/s1600/5.jpe" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://4.bp.blogspot.com/-H7zjZBU2qgI/V_vKaq_ry0I/AAAAAAAACJA/q3GYkvoZOoY9_OQ33Tw6TjSERRUgHU2pwCLcB/s400/5.jpe" width="400" /></a> </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Black</i> gave him Filmfare, National and every possible award for the
year and resoundingly announced that Amitabh was ready to take risks to test
his limits.<span style="mso-spacerun: yes;"> </span>His stubborn irascibility in
the backdrop of a hazy foreignness gave him a canvas to paint. He performed a
complicated role that even needed a kissing scene with his student. The scene
in any lesser hands would have been a disaster but both Amitabh and Rani
Mukherjee lent full pathos, dignity and compassion to the moment that it
deserved. It was a lyrical portrayal of many inaccessible emotions. The film
very successfully reached to the depth of its difficult subject and created one
of the path breaking moment in Hindi cinema. <span style="mso-spacerun: yes;"> </span>This mold breaking was turning into habit for
Amitabh. In Kabhi Alvida na Kehna, he took on the role of a philanderer with
deep sense of respect for women and morality, never an easy balance to strike.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<a href="https://1.bp.blogspot.com/-v3iPzsM6-qo/V_vKa0T3FEI/AAAAAAAACJE/3WG36eEAF2cmRn0eUQV4HpF6kBMdNLvxwCLcB/s1600/4.jpe" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-v3iPzsM6-qo/V_vKa0T3FEI/AAAAAAAACJE/3WG36eEAF2cmRn0eUQV4HpF6kBMdNLvxwCLcB/s320/4.jpe" width="221" /></a>Nishabd tested even Amitabh. He
had to convey yearning, vulnerability and conflict in almost taboo
circumstances. This Movie needed Amitabh as only he could have taken on the
nuances of the forbidden love in its full sinful splendour. His grand
personality made it believable that a vivacious 18 year old could desire a 60
year old father of her friend. Amitabh relished the opportunity to portray the
beauty of losing everything in love. Complexities of this doomed situation
created new emotions and delicious pains in his character. In the hindsight,
saving this gem of movie from falling into the realm of sleaze was a great
achievement. Though the movie could not go the whole hog on the path of such
difficult relationship, but Amitabh realized the character fully to bring out
the depth and plausibility of his situation. One of the definitive performances
on Indian screen. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
This was followed by Cheeni Kum
where he so successfully tackled romance with Tabu whose father in the movie
was younger than him. Bereft of taboo dimensions of Nishabd and powered by
guilt-free atmosphere and powerful performance by both the leads, it was a
mature love story with a lighter aspect. Amitabh was not only stylish but was
in full sync with a late life lover. Jhoom Barabar Jhoom and Last Lear took the
experimentation further. Bhootnath, God and<span style="mso-spacerun: yes;">
</span>Aladin were forays into comedy that always came easy to the megastar.
His following among children is enviable. Paa was another landmark role with
another National Award. Piku brought alive very believable demanding father and
another National Award for the thespian. Teen and Pink are recent successes
which saw him succeed in different roles. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="https://2.bp.blogspot.com/-HrQfQ1qMUlo/V_vI--x5l5I/AAAAAAAACI0/LmshJmhkM-YwUjJInVFgl8aJ6GbwACbxQCLcB/s1600/2.jpe" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-HrQfQ1qMUlo/V_vI--x5l5I/AAAAAAAACI0/LmshJmhkM-YwUjJInVFgl8aJ6GbwACbxQCLcB/s320/2.jpe" width="212" /></a>What lies behind this longevity? Sociological
explanation of India of 70s and 80s, series of directors, transition of mushy,
romantic days of a declining Rajesh Khanna are worthy explanations. However, a
bigger part lies in the talent reservoir of this awkward looking actor with
some undefinable arresting quality. Amitabh Bachchan is a complete package. He
is superb in action, comedy, romance and clean cut family emotions. He even has
a famous unique dance style and has given Filmfare worthy songs. It wasn’t so
common when he appeared on the scene and not many of his contemporaries were so
versatile. <span style="mso-spacerun: yes;"> </span>Amitabh has economy of
movements of an assured star. Despite a bombastic nature of many of his roles,
he carried the day with his smouldering inner fire. A coiled presence which
surprises with fluid, stylized expressions. This inner smouldering quality has
allowed him to play with silences. His famous baritone is his forte but to me,
his felicity with the silences and ability to emote with eyes are more potent histrionic
weapons in his arsenal. He has many very posh distinctive style ingredients in
his acting but all those famous mannerisms serve the needs of his characters.
His being Amitabh Bachchan makes his Piku’s father and Sarkar’s don more
potent. Persona of Amitabh is amplifying these characters not dominating them.
Such an actor can never become a caricature of his own image, despite having an
extremely strong style set. Arguably, Nana Patekar and to a certain extent, Rajnikant
and even Shahrukh Khan could not be fully successful in avoiding a self-parody
trap. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Over a period of time many actors
gather star power and influence to alter their medium. However, not many are
inclined or lucky enough to use that star power to lay down new rules of the
game. Dilip Kumar pulled Hindi cinema (along with Motilal, Ashok Kumar and
Balraj Sahni) from the hyper stylized, Parsi theatre type of acting. Rajesh Khanna
brought rockstar hysteria to films and showed how romance can be a vehicle for
myriad emotions. Amitabh came and embodied the angst of youth of his time. He
made being angry and dissatisfied fashionable. He turned being a mommy’s boy into
ultimate machismo. He married romance, action , comedy and social message in a
never before alchemy of popular appeal, art and commercial success. <span style="mso-spacerun: yes;"> </span>But he took the medium to a different level in
his second innings. He took risks and broke taboos. He wrote the new script of
Hindi film lead who was old, often not in control and ready to be heroic in the
least flamboyant ways. This led him to playing Alzhimer patient, constipated curmudgeon,
wheel chair bound chess player, old man falling in love with much younger
ladies, son to his son and an old sleuth in Feluda mode. All these are walking
on new terrain created by an extremely talented and influential superstar
who<span style="mso-spacerun: yes;"> </span>rose above his comfort zone and
chose to rewrite the script . What was once a survival tactics has now become a
defining point of onward march of cinematic narrative in India. Herein lies the
genius of Amitabh Bachchan. Happy Birthday sir. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
- Dhiraj Singh</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-13062893832614404522016-01-05T02:52:00.001-08:002016-10-18T04:19:37.778-07:00Adele: An unmediated Joy<div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-ad9I0NC24cA/VougBaNcKII/AAAAAAAAA7c/Fw4kRPlPweQ/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://2.bp.blogspot.com/-ad9I0NC24cA/VougBaNcKII/AAAAAAAAA7c/Fw4kRPlPweQ/s400/1.jpg" width="400" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;">Somehow,
it does not feel wrong, a man on the wrong side of forties, listening to heartbreak
song from a girl of 19, 21 or 25 (though she is 27 now). She is pure voice and
when Adele sings, such songs are not teen, girly stuff. She infuses those
cries, angst and pain with so much classical dignity that it pierces the heart
with simple happiness. Not for nothing, her song writing has been compared with
Shubert and Beatles. So the sartorial dignity of yours truly remains uncompromised.</span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>Elsewhere, while talking about painting, I wrote of Cezanne’s
‘imperative of solidity’. An artistic output that strives for a solid presence
without losing any of its lyricism and suppleness, Adele’s<span style="mso-spacerun: yes;"> </span>songs are solid. She delivers a fully formed
concrete reality. Many find her ‘incapable of a false note’. Such perfection
can turn mechanical, blemishes are life, perfection is stone. There is nothing
plastic when she sings. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>There may not be any false note but she has that “perfect
imperfect voice”. A voice that is capable of hitting you with total brutality.
Coarse reality living on those notes but fine sensibilities get transmitted
through supreme control and superlative vocal skills. The throw and thrum just
gets conjured up and stands up in person. Just watch the video of ‘Hello’ and
first ‘hello’ comes with burning of stove-yes, let there be light and there was
light. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>Her songs convey doubt, uncertainty and yearning but this she
does by hitting every note fully – totally bereft of tentativeness. Note comes
out fully formed, loud, clear and confident of its purpose. No wobble, no
dithering. This direct appeal, this ‘unmediated expression, further reinforced
by next door, simple English girl persona is huge part of her appeal. Her voice
is not silken but throaty, ‘toothsome’ throw. It has timber that can carry her
frailties and pain with a confidence of a supremely talented youngster. </span><span style="font-size: 13.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;">What has been termed as ‘throwback
classicism’ <span style="mso-spacerun: yes;"> </span>of her song writing led to</span>
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;">Newyorker
slotting her as a “soul singer in the most expansive and truest sense.” Songs that
are “points of reckoning, reflections, admissions of culpability sung purely
and without guile, because what’s it matter now?” Adele from her retrospective
analysis and regret is able to convey joy of a relationship with all the
attending joy of poetry and music. She can be angry as a youngster or regret
some of her behaviour or choices or just stay amazed at the intensity of pain (“They
say that time’s supposed to heal you, but I ain’t done much healing.”). Beyond
all this artistry is the artist who manages to create musical tsunami at will
without surrendering to the demands of the cutthroat world of music industry. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;">She can afford to bring out
albums after gap of years, say no to tours that sell music, have a combative
stance with the streaming services, indulging in a voice destroying eating and
drinking habits (though now subdued)and having absolutely non flashy song
delivery style (“. I just want to sing it. I don’t want to perform with my
body.”). With this she comes back and as matter of routine nonchalantly collect
Grammy, Oscars and sales of millions.<span style="mso-spacerun: yes;"> </span>This
next door girl image add to her relatability. Audience feel protective about
her and when such a person delivers music with such sublime facility, response
is huge. As was said earlier, it is pure voice that hits with its completeness,
and comprehensive throw that has made Adele what she is today. Absence of
antics is part of this great ‘unmediated expression’.<span style="mso-spacerun: yes;"> </span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif; font-size: 13.0pt; line-height: 107%;"><span style="mso-spacerun: yes;">-Dhiraj Singh </span></span></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-44770060031777138552015-12-01T03:03:00.001-08:002016-10-18T04:21:40.684-07:00Crazy Joy of Tamasha<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-RcA3ixwQjBw/Vl186o6TNCI/AAAAAAAAA4o/M9z9X2lu-lU/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-RcA3ixwQjBw/Vl186o6TNCI/AAAAAAAAA4o/M9z9X2lu-lU/s320/1.jpg" width="217" /></a><span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;">Imtiaz
Ali has created a mature love story in ’Tamasha’. It is one of those complex
movies which demand a little more indulgence and attention than usual, not for
everyone to enjoy. Trailers and pre-release hype had rightly prepared the
audience for a certain interpretation of the storyline. Expectations were that
this film will explore the toll that yearning for honesty takes on a relationship.
There were some interesting choices of clues in Tamasha apart from obvious
product placements. The book that everyone was reading was ‘Catch 22’ and the
conference in Tokyo was on bipolar behaviour. Tamasha has two beautiful movies
in it and both are very powerful. <span style="mso-spacerun: yes;"> </span>One
deals with ‘Catch 22’ of role-playing and other is more to do with personality
disorders brought about by not being able to live by one’s choices. Merging of
the two strands, howsoever expertly, has left a dissonance in the experience. </span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>Milan Kundera wrote a beautiful story on role-playing by
lovers <span style="mso-spacerun: yes;"> </span>titled "The Hitchhiking
Game". In the story a young couple on a trip decided to play strangers. They
delved into excitement and madness that such games are prone to induce. The
experience excited them initially and, even, brought out hidden aspects of
their personalities and relationship. But things went bad and the story ended
with protagonist calling for pathos to rekindle emotions and failing. The Role-playing
resulted in deforming the relationship and killing romance for all practical
purposes. Debauched abandon of such temporary leave from constraints of
morality, habits, and obligations may leave permanent scars. That was Kundera
writing in restrictive communist milieu. This is Imtiaz Ali deploying the state
of breaking free to a different and somehow, opposite impact while keeping the
agony angst, ecstasy and madness of the enterprise intact. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"> </span><a href="http://3.bp.blogspot.com/-k3K_Fu03nHE/Vl1-FahsbaI/AAAAAAAAA48/LQmCGvRbYuA/s1600/3.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-k3K_Fu03nHE/Vl1-FahsbaI/AAAAAAAAA48/LQmCGvRbYuA/s320/3.jpg" width="240" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;">To begin with, there
wasn’t any relationship to deform and role play created one and here anonymity
of role-play was used to pry open maladies and heal them. Actors (a superb
Ranbir Kappor and sublime Dipika Padukone) rose up to the challenges and
infused the characters and situation with genuine joy and heart rending agony.
Their on-screen <span style="mso-spacerun: yes;"> </span>chemistry gave the story
that critical emotional heft. Imtiaz created beautiful moments used Corsica and
Hauz Khas Delhi not only as backdrops but also as characters (Ved/Don used to
talk to mountains). Results are very satisfying. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>The Director has gone arty and sophisticated about laying
foundations of the major concerns of his film. His tools were the story teller
(very effective Piyush Mishra) stage play, monologue by Ved/Don. One has to be
attentive and patient to follow the direction of the story. ‘Sitare Jameen Par’
or ‘Three Idiot’ or Munna Bhai wre more direct about their core messages.
Imtiaz takes his time and allows the audience to participate in the process of
deciphering characters and decoding core message – pay off is better, if a bit
strenuous sometimes. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>Imtiaz Ali is good at many aspects of direction. His song
picturisation is great, he exploits locales beautifully, he captures joys and
pain of romance very deeply. At the same time he is very sympathetic in his
portrayal of unravelling of person. His portrayal of ruin conveys its grandeur.
‘Rockstar’ saw impact of agony and total unravelling by creative torrent.
However, in the entire process there was no doubt about where the Director’s
sympathies lay. He applauded the ruining by the acid of honesty/creativity and
intensity of feelings. Here too he was appreciative of the madness of it all. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-QbUWE7PLFMM/Vl187GwNUuI/AAAAAAAAA4s/upI0QWvjCXg/s1600/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://3.bp.blogspot.com/-QbUWE7PLFMM/Vl187GwNUuI/AAAAAAAAA4s/upI0QWvjCXg/s400/2.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"></span> </span></div>
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<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;">I
was rooting for ‘Catch 22’ of pure of nameless, free lunatic anonymity of role
playing. You like someone for a role which may come back to haunt you when
expectations change. But to my mild disappointment he deployed this crazy
relationship to heal a personality flaw or helping a sick person, to get his
freedom. Power female of the crazy relationship was not somewhat reduced to a
tool of healing. She was an equal partner in the crazy adventure in Corsica,
while in Delhi, it was all about Ved. Story tried to convey repression and
bipolarity of Ved, Ranbir Kapoor showed remarkable resourcefulness in tapping
crazy nervous thrill of his character’s lunacy. Dipika showed equal aplomb in
sliding into supportive role. She was great in conveying her bewildered disappointment
on meeting robotic ‘normal’ Ved. All said and done, Imtiaz Ali brings certain
smartness in the interactions of his characters. Whether it is coquettish
banter or it is catharsis of brutal longing, it is never less than posh without
being showy. </span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="http://3.bp.blogspot.com/-k3K_Fu03nHE/Vl1-FahsbaI/AAAAAAAAA48/LQmCGvRbYuA/s1600/3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>Another issue with the core message is its insistence on
superlative. It exhorts against mechanical pursuit of mediocrity and shackles
that habits and expectations put on us. It asks us to create our own story. But
what happens when you are a mediocre trapped under mediocre expectations. Not
everyone has the exit route of a ‘Storyteller’. Don’t they deserve a place
under the Sun. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>But that is a minor quibble. Tamasha is a grand movie,<a href="https://www.blogger.com/null" name="_GoBack"></a> one of the best.</span><br />
<br />
<span style="font-family: "verdana" , "sans-serif"; font-size: 12.0pt; line-height: 107%;">- Dhiraj Singh </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-75390922341918596122015-11-09T02:20:00.000-08:002016-10-18T04:23:09.866-07:00Milan Kundera Remains a Pleasure to Read<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<a href="http://2.bp.blogspot.com/-vTyCQMV83Sw/VkBy5yqKvZI/AAAAAAAAA3o/Gxsy8qmo_ew/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-vTyCQMV83Sw/VkBy5yqKvZI/AAAAAAAAA3o/Gxsy8qmo_ew/s320/1.jpg" width="226" /></a><span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Milan
Kundera is a writer of moments, of fleeting experiences or even further sub
division or an interpretation of that emotion. He likes to call his method or
style as ‘meditative interrogation’ or ‘interrogative meditation’. However,
those delightfully ponderous and long meditation are almost always about a
moment as said above, a fleeting one. It can be about an old lady waving goodbye
or a rather disgruntled look at the female midriff. Fleeting or momentary this
might be but Kundera weaves lifetimes out of it. </span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Old
masters, here I am talking in terms of age, tend to acquire a telegraphic
leanness in their output. In case of writing, often, paragraphs start looking something
like formulae- Condensed and distilled – expressing core truth with the benefit
of commentary. This can go either way. It might strike as a whiplash of
understanding or leave the trail of unsatisfied craving for understanding
sometimes.</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Autumnal
output by master authors swings in one more direction. The author sleepwalks
through the product. Due to innate greatness or ‘muscular memory’, broad
parameters of the products are usually in place and it has some signature
flashes of genius. But this work fades in comparison to earlier works which
were less of products of practice but of genuine inspiration supported by
indefatigable craftsmanship. Soul simply does not shine through. Admirers of
the artist get into nostalgia mode and start celebrating diminished sparks that
remind them of the original fire – their own and that of the artist. But, as I
mentioned somewhere else, nostalgia has both its utility and futility.
‘Festival of insignificance’ Milan Kundera’s first novel in this millennium, a
115 page telegraph of a novel, exemplifies all the facets of aging maestros
discussed above. But, a fan, like yours truly can’t but be thrilled by the
offering.</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">‘Festival
of Insignificance’ is a sparse stark reminder of Kundera’s core capability of
analysing a moment/feeling/situation/concept and see how that can pervade the
much larger canvas of life despite seemingly niche quality. Kundera has great powers
of perception to grasp underlying ingredient of a situation and deploys his
meditative interrogation with great success on that. Here, he dwells on
insignificance as the leitmotif of human existence and has developed an
enjoyable book. The novel, despite its sparse bulk, is able to cater to the
ruminative cravings of the reader. However, one can’t shake the feeling that
Kundera is playing like a retired or retiring player. He has retained his key
capabilities but the novel needs more. However, the fact remains that the Master
always delivers, at least to the basic minimum level, even when he is
sleepwalking. </span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">It
has given rise to voices in many quarters doubting the continued significance
of Milan Kundera. In a recent article titled ‘How important is Milan Kundera
today? in the Guardian Jonathan Coe writes<span style="mso-spacerun: yes;">
</span>“The Festival of Insignificance, then, is certainly typical Kundera, if
not classic Kundera. It is an old man’s book and, while there are flickering
signs of a mellow and playful wisdom, it would be surprising if there were not
something autumnal about it. A glance at the back covers of Kundera’s novels in
the Faber editions reveals a raft of quotes from the likes of Ian McEwan,
Salman Rushdie and Carlos Fuentes, most of them more than 30 years old,
reminding us that his reputation was at its zenith in the 1980s, the decade
when everybody was reading The Book of Laughter and Forgetting and The
Unbearable Lightness of Being.” Another article in Atlantic Monthly ‘Does Milan
Kundera Still Matter?’ says “Reading Kundera in the ’80s was like watching Mad
Men with the conviction that smoking, drinking, and grabbing the secretary’s
ass were bold assertions of individual autonomy in the face of a cruelly
repressive state.</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Czech
Communism collapsed 25 years ago. Kundera, who is 86, has lived in France for
40 years and written in French for more than two decades. The Festival of
Insignificance—his first novel in 13 years—is an excellent opportunity to ask
what happens to his fiction once the backdrop of Soviet oppression no longer
throws his dark jokes, nihilism, and naughty interludes into bright relief.’</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;"><a href="http://1.bp.blogspot.com/-lJ3f7m9QTkI/VkBy8pOYBUI/AAAAAAAAA3w/deb2sOOHB9c/s1600/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://1.bp.blogspot.com/-lJ3f7m9QTkI/VkBy8pOYBUI/AAAAAAAAA3w/deb2sOOHB9c/s400/2.jpg" width="400" /></a> </span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Such
observation may be valid and writing in Kundera style may no longer be having its
novelty kick but that does not take away much from his importance. He is a
great novelist and a pioneer for his style which he himself confesses is in the
tradition of great European novelists. His key works stand the test of time and
resonate with brilliance that appeals to human concerns beyond a certain
epochs. His best works contain the intellectual and emotional pleasure of an
examined life. His capabilities of “forging connections between the individual
consciousness and the shifting currents of history and politics” has the thrum
of operatic proportion and never fails to elate. This sophistication of
feelings which hovers in the no man land of psycho-philosophical fiction. </span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">He
has mastered the art of deploying the tool of novelistic inquiry to issues of
his choosing and that has often led to a hugely satisfactory literary pay
off.<span style="mso-spacerun: yes;"> </span>His key works of the so called
middle period are the foundation of his reputation. The Book of Laughter and
Forgetting, The Unbearable Lightness of Being and Immortality will find place
in any pantheon of great novels for the intensity of their inquiry, their
amusement at the complication that grim realities of life throw at us. Despite
their playfulness, irony and ponderous meditation these novels were and remain
urgent due to their evident connection with the zeitgeist. </span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">One
of the qualities of great literature is that its esoteric highbrow abstraction
does not affect its accessibility. Kundera seemingly obtuse phenomenological (a
term that he politely refuses) inquiries are illuminated with the easy
recognition. Reader never feels distant from the text despite ‘interiority’ of
the material.</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Kundera
has achieved a unique voice in his books. A playful wisdom that abhors
seriousness. He may look formidable due to his erudition and European
sensibilities but he is never serious. The twinkling naughtiness of his voice,
that impish tone is sure shot antidote to dogma. This is also a protective
armour that saves the scepticism from being fossilised into dogma of his own.
With these voices he confidently ‘pursues the lost possibilities’.</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">This
pursuit is essentially interrogative. Frequency of questions in his text is
only overtaken by the open refusal to subscribe unambiguously to any point or
belief. Even the most extensive enquiries yield answers that have an air of
work-in-progress. This is not tentativeness on his part, simply an
acknowledgement of the logic of evolution that human issues don’t lend
themselves to final answers.</span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">Much
of requiem for Kundera’s relevance centres around the fact that his strengths
like taste for irony, philosophical gravitas, essayistic style has been either
equalled or overtaken by later writers like Julian Barnes and Alain de Botton
to Slavoj Žižek. This should be seen as another instance of his greatness if he
is able to inspire greatness. As an original he retains his primacy. If he
discovered a genre or a style that is still relevant enough to attract great
talent, credit is all his.</span><br />
<br />
<span style="font-family: "verdana" , sans-serif; font-size: 12.0pt; line-height: 107%;">-Dhiraj Singh </span></div>
<div class="MsoNormal" style="margin-left: -1.0cm; text-align: justify; text-indent: 64.35pt;">
<br /></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-10304498570390614702014-08-01T02:21:00.001-07:002016-10-18T04:24:16.665-07:00Dilip Kumar: An Act of Grace<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div style="text-align: left;">
<a href="http://2.bp.blogspot.com/-IgID8-xfkRU/U9tabYn_2tI/AAAAAAAAAvM/0ysxSYy6Sdg/s1600/5.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-IgID8-xfkRU/U9tabYn_2tI/AAAAAAAAAvM/0ysxSYy6Sdg/s1600/5.jpg" width="185" /></a>For Dilip Kumar acting is, well, an act of grace,
a dignified investigation of an emotion or a character study. He is refined; he
is stylish even while negotiating the coarsest of reality. All that meditative
poise and calculated mannerism never took anything away from the inherent
realism of the situation. Managing the paradox of portraying reality with
intensely personal style has been his most astounding achievement. Realism for
him is not reaffirming a stereotype in its most documentary details. For him
realism is exploring the core of reality with essentials of one’s being and
infusing it with an interpretation that is honest to the feelings of the actor.
It is this honesty of feelings that pulls off the delicate dance of stylized
reality – the ‘art of sweet excesses’</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<a href="http://2.bp.blogspot.com/-S8jJqLAbIO4/U9tacHdudqI/AAAAAAAAAvY/-GyXvIm2od8/s1600/8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-S8jJqLAbIO4/U9tacHdudqI/AAAAAAAAAvY/-GyXvIm2od8/s1600/8.jpg" width="400" /></a> </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-mhaONG2C1GI/U9talAA-NVI/AAAAAAAAAv4/J4OSSs0rVQY/s1600/10.jpg" style="margin-left: 1em; margin-right: 1em;"></a></div>
<div style="text-align: justify;">
Dilip Kumar can be easily credited with laying down the grammar of Hindi film acting. He rescued Hindi film acting from the
hyperbolic style of earlier time. The high theatricality of Parsee theater was
the order of the day. Along with Ashok Kumar, Motilal, Balraj Sahni he brought
dramatic changes in expected parameters of the art of screen acting. The thrust
was on bringing the theatricality of the screen acting down as the medium of
cinema was demanding change of the rules. Camera had different rules than stage
and screen acting was still coming to grips with that. Keen student, that
Dilip Kumar was, learnt the potential of the still new medium and synched his
strengths with the demands of the celluloid storytelling. Consequently, Dilip
Kumar stands as a marker from where modern screen acting begins. What
makes his perceptive embrace of the technical details remarkable was his
success in getting the stardom mix right. He was, arguably, the first actor to
establish a star persona based on nuanced acting and mannerism. This was
different from Master Vitthal or Nadia who were creation of a genre and were
replaceable by anyone given that the technicians remained the
same. Dilip Kumar on the other hand was bringing inherent star elements
to the table. Raj Kapoor and Dev Anand were also doing the same. His sometime
mentor Ashok Kumar also stands in the same league. However, Dilip Kumar’s
contribution was more far reaching then the others.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<a href="http://1.bp.blogspot.com/-mhaONG2C1GI/U9talAA-NVI/AAAAAAAAAv4/J4OSSs0rVQY/s1600/10.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="241" src="https://1.bp.blogspot.com/-mhaONG2C1GI/U9talAA-NVI/AAAAAAAAAv4/J4OSSs0rVQY/s1600/10.jpg" width="320" /></a> </div>
<div style="text-align: justify;">
Raj Kapoor, Dev Anand and Dilip Kumar were the
stars who really shaped stardom in Hindi Films, later to be redefined by Rajesh
Khanna who brought rock star hysteria to the mix. While the pioneering
influence of each and every member of the troika is beyond question, Dilip
Kumar stands apart. Dev Anand left the drama and power of the earlier roles for
a caricature of himself and his increasing descent was kept tolerable by his
joy for life, music and engaging themes. Raj Kapoor contributed more as a
director- producer or creator of great teams then as an actor. His
uni-dimensional Raju is an enduring icon of its time. This Chaplinsque tramp
with heart of gold carried many a complex social issues of his times on his
shoulders. While its services are acknowledged we can’t overlook its limits in
histrionics department. It was left to Dilip to create, then open, doors
in various aspects of acting. He redefined tragic hero by owning it. His 1940s
to 1960s period had many performances where he poured agony on screen and made
being a loser cool. Devdas may have become prototype of a certain genre but his
torment found forceful expression in many other outings such as Dilip in <i>Andaz</i>,
Ashok in <i>Babul</i>, Vijay in <i>Jogan</i>, Shamu in <i>Deedar</i>, Devendra
and Anand in <i>Madhumati</i>, Ganga in <i>Gunga Jumna</i>. </div>
<div style="text-align: center;">
<a href="http://4.bp.blogspot.com/-ynBj6aNtVn0/U9taaMxppvI/AAAAAAAAAu8/Ajgk4gNL5no/s1600/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://4.bp.blogspot.com/-ynBj6aNtVn0/U9taaMxppvI/AAAAAAAAAu8/Ajgk4gNL5no/s1600/1.jpg" width="320" /></a> </div>
<div style="text-align: justify;">
His mild depression and consultation with the
psychiatrist of British Monarch in London have moved into folklore. That apart,
<span style="mso-spacerun: yes;"> </span>we need to see his success in tragic
roles from the point of view of new language that he was laying down. Silences,
slow moistening of eye, tonalities of dialogue delivery and expressions were
all coming to Indian screen for the first time. It’s a measure of his craft
that original ingredients of sorrow on screen hold valid even today. He
needed new tropes to blend the inherent rebelliousness of his characters that
went side by side with their tragedy and pathos. He was not only agonising but
was also refusing to accept the easy solutions or existing traditions. Devdas
may be a loser but he took his defeat and refused to compromise with his new
reality. Similarly other tragic character showed a principled core which
rebelled against bending to social mores. This conflict needed new grammar of
acting to convey. Along with the grammar, dramatic capabilities were needed to
establish that on celluloid. Dilip Kumar had the intelligence, stamina and
talent to be up to the task. His presence at that critical juncture of the evolution
of cinema in India cannot be overstated. Lord Meghnath Desai called him Nehru’s
Hero as he was representing the conflicts that the new nation was facing. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<a href="http://1.bp.blogspot.com/-keT-FynYlwA/U9taaL7f_2I/AAAAAAAAAvA/4di8qbKwimU/s1600/3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/-keT-FynYlwA/U9taaL7f_2I/AAAAAAAAAvA/4di8qbKwimU/s1600/3.jpg" /></a>If Dilip kumar had stopped there, he would have still had stupendous repertoire.
But, then, Dilip Kumar is not an ordinary talent. He went on to become complete
actor by adding comedy, action, romance and even dance to his performances.
Some of the most hilarious moments of Indian screen are created by this ‘tragedy
king’ and if you hold a poll on most romantic moment in Hindi film so called
'feather scene' from <i>Mughal-e-Azam</i> will figure very high. Like tragedy,
Dilip Kumar brought his unique refinement to all these new areas also. He
could pull off buffoonery in <i>Ram aur Shyam</i>, <i>Ganga Jamuna</i> and <i>Bairaag</i>
with all his refined mannerism intact. His debt is acknowledged by almost all
who came after him. His second innings was not very successful though he
had memorable roles in <i>Karma</i>, <i>Shakti, Kranti, Mashaal</i> etc.
However, thing to be noted here is that he was the first to blaze the trail of
second innings. Before him no one created a niche for senior actors to play
leading role. While he does not have a <i>Chini Kum</i> or <i>Black</i> to his
credit, he created a space which was ably exploited by Amitabh Bachchan,
perhaps the only complete actor that can be compared to the senior thespian. </div>
<div style="text-align: justify;">
<a href="http://3.bp.blogspot.com/-7J7Dp8N3zvE/U9tabvJ5PAI/AAAAAAAAAvQ/W0MejU22fVk/s1600/7.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="http://4.bp.blogspot.com/-FOtpM7vSqRY/U9taaD-6ojI/AAAAAAAAAu4/ddzcLHuGD5o/s1600/2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-FOtpM7vSqRY/U9taaD-6ojI/AAAAAAAAAu4/ddzcLHuGD5o/s1600/2.jpg" /></a>Born almost 92 years ago in Peshawar to
Hindko-speaking Pathan parents, Yusuf Khan was Fourth among 12 children.
Sometime in the late twenties, the family moved to Bombay, where his father
Ghulam Sarwar Khan set up a fruit business. Devika Rani who was looking after
the affairs of Bombay Talkies after death of her husband Himanshu Rai noticed
young Yusuf and offered him job with high salary of Rs 500. “Yusuf Khan, she
felt, was not a name to go well with a romantic hero. Of the three names
suggested to him – Jehangir, Vasudev and Dilip Kumar – he chose the last. This,
he thought, was also appropriate for it would hide his new occupation from his
conservative father, who loathed all ‘nautankwalas’, as he used to call those
associated with the cinema.” However, he was found out by the father who came
to accept his new profession only after seeing him in Shaheed. Dilip Kumar went
on doing 63 films in more than six decade long career. Numerable awards
including Dadasaheb Phalke and Nishan-e-Pak came his way. The number of films is
very less but Dilip Kumar preferred to immerse himself in the roles that he
did. Unlike Amitabh Bachchan, there are lesser sorry film choices by Dilip
Kumar. It is an oeuvre that is truly critical to the history of cinema in the
subcontinent. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="mso-spacerun: yes;"> <a href="http://3.bp.blogspot.com/-7J7Dp8N3zvE/U9tabvJ5PAI/AAAAAAAAAvQ/W0MejU22fVk/s1600/7.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://3.bp.blogspot.com/-7J7Dp8N3zvE/U9tabvJ5PAI/AAAAAAAAAvQ/W0MejU22fVk/s1600/7.JPG" width="320" /></a></span>Dilip Kumar along with Amitabh Bachchan forms the
twin peaks of Hindi Cinema. His contribution is immense and pleasure of
watching him is unsurpassed. He is a sublime presence that attracts with its
refinement and sophistication. In him we find a really successful marriage of
classicism and mass appeal. Long live the Emperor. </div>
<div style="text-align: center;">
<a href="http://2.bp.blogspot.com/-uf7-DfCrR6g/U9tacSeg9PI/AAAAAAAAAvc/zrIr3kVeNgg/s1600/9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://2.bp.blogspot.com/-uf7-DfCrR6g/U9tacSeg9PI/AAAAAAAAAvc/zrIr3kVeNgg/s1600/9.jpg" width="320" /></a> </div>
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<br />-Dhiraj Singh</div>
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Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-4707166809388293592014-03-14T01:58:00.002-07:002016-10-18T04:25:10.595-07:00Review of True Detective: Engaging Dark Core of an Intelligent Show<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"> </span><a href="http://1.bp.blogspot.com/-tjrY_w1It1g/UyLEHtukoyI/AAAAAAAAAuI/vr9kOfBl4gY/s1600/TD1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="329" src="https://1.bp.blogspot.com/-tjrY_w1It1g/UyLEHtukoyI/AAAAAAAAAuI/vr9kOfBl4gY/s1600/TD1.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">‘True Detective’
tells a complicated grisly crime story with details, very good acting and
atmospherics. It seems that this- straight forward story telling of a
spectacular crime, is reason enough to catapult the star-studded HBO show <span style="mso-spacerun: yes;"> </span>to stratospheric heights of popularity.<span style="mso-spacerun: yes;"> </span>But that is not the only reason for this to
be an outstanding show. It has a strong subject matter depicted with gritty
control over the narrative. Presence of the ‘two masters of laconic’ Woody
Harrelson and Matthew McConaughey has knitted the story in the overall aura of
excellence. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="http://1.bp.blogspot.com/-nJUPWjtkrFY/UyLEHdEYCGI/AAAAAAAAAuc/zk3EVchJxew/s1600/TD3.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://1.bp.blogspot.com/-nJUPWjtkrFY/UyLEHdEYCGI/AAAAAAAAAuc/zk3EVchJxew/s1600/TD3.jpeg" width="320" /></a><span lang="EN-US">Top notch
performances by McConaughey and Harrelson are the key pleasure of this very
enjoyable show. McConaughey, who is in the sweet spot of creative and professional
resurgence has hogged the limelight. In fact, singular in the title is for him.
He has given a great performance- taught and good to watch. He remained clued
into the ruined grandeur of his character. In both young and later part he
managed to convey the anguish of a damaged soul which is aware enough of grasp
the horror of its own decay. This doomed intelligence and doggedness that was
sure if righteousness got beautifully showcased in the star persona of a great
actor. But my vote goes to that magnificent creep, Woody Harrelson. He was not
transferring a one-dimensional trauma but a whole array of sensibilities. He
was flawed in a much more nuanced way. His Marty is far more layered in conveying
the real fault lines of an inherently decent man prone to envy and adultery. He
had to convey decency while playing second fiddle, not a particularly difficult
task. Dr Watson in his many avatars has done it manfully over the years. But
here Marty has to create story by being a force rather than a prop. The
bromance or buddy angle apart he is not in awe of McConaughey’s Cohle. He does
not have the ultimate clutch of loyalty card. He is there as player not as a
sidekick. He, unlike Cohle, is not functioning with a given tune of tormented philosopher.
He is being equally impactful in more mundane mantle. In the absence of showy
props (tragic back story, ruined look, past as soul-shattering undercover
agent) his spectacular performance gets more weight. </span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US"><a href="http://4.bp.blogspot.com/-e-sH0X8ce0U/UyLEHUOoeyI/AAAAAAAAAuE/DHxWnYF4t1E/s1600/TD2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://4.bp.blogspot.com/-e-sH0X8ce0U/UyLEHUOoeyI/AAAAAAAAAuE/DHxWnYF4t1E/s1600/TD2.jpg" width="320" /></a> </span></div>
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<span lang="EN-US">Despite dealing
with universal themes, ‘True Detective’ has a provincial core. It is not easily
accessible to a non-American. Louisiana landscape and accented monologue will
need a second viewing for a person like me to get the full flavor. However
genius of the show is clear. This is a highly moody and individualistic take on
a conventional hunt of a murderer by two detectives who, despite their damaged
selves, retain a true passion to fight the darkness of crime. The plot is
simple. ‘True Detective’ follows the Louisiana State Police detectives Rust
Cohle (Matthew McConaughey) and Marty Hart (Woody Harrelson) as they
investigate a series of occult-based sex murders in the course of seventeen
years. Smattering of occult references and nuanced deflecting of suspicion have
kept the cyberspace abuzz with the discussion about the series.<span style="mso-spacerun: yes;"> </span>A good cultural product is supposed to
create discussion and disagreement. Here we have plenty.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">There are
sequences which stand out. Six minute long take in action sequence at the end
of episode four has been rated<span style="mso-spacerun: yes;"> </span>‘worthy
of Scorsese.’<span style="mso-spacerun: yes;"> </span>Final episode had the
climax that was very creepy and gave a fitting finale to the sickness that
pervaded throughout the series. Family scenes, interrogations, bonding
sequences, chases etc fitted in the whole that the creator planned for
them.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-J_JVagNGWug/UyLEIDUCyuI/AAAAAAAAAuQ/sGEwZjhMmVY/s1600/TD4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="155" src="https://1.bp.blogspot.com/-J_JVagNGWug/UyLEIDUCyuI/AAAAAAAAAuQ/sGEwZjhMmVY/s1600/TD4.jpg" width="320" /></a><a href="http://1.bp.blogspot.com/-tjrY_w1It1g/UyLEHtukoyI/AAAAAAAAAuI/vr9kOfBl4gY/s1600/TD1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">However, I liked
many other shows better, particularly from UK and Scandinavia.<span style="mso-spacerun: yes;"> </span>May be ‘True Detective’ <span style="mso-spacerun: yes;"> </span>is<span style="mso-spacerun: yes;">
</span>getting more attention due to the pop philosophical air that it managed
to gather, big banner and heavyweight starcast. The show is smart enough to
avoid spoofs that such ultra serious pieces evoke so easily. May be not smart
enough, as The New Yorker has taken upon itself to find what is funny and ‘hot
air’ in the show. Truth be told, I am slightly wary of the critics who start
with a gender angle, which might be very important in itself but of a limited
value as a device for an objective review. On a different level, deep
understanding may often deprive you of simple pleasures. It may lead to
compulsive spoofing without appreciation of the good elements. That said, ‘True
Detective’ is superlative TV and pushes the envelope in many departments of the
genre. Clichés will be there, that is why we go back to a genre. ‘True
Detective’ does a splendid job of presenting those clichés in an entertainingly
intelligent way. </span><br />
</div>
<div class="MsoNormal">
-Dhiraj Singh</div>
<br /></div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com0tag:blogger.com,1999:blog-99484807798808485.post-11430865998395834862013-08-14T02:15:00.003-07:002016-10-18T04:28:46.022-07:00PAUL CEZANNE: A MORAL IMPERATIVE OF SOLIDITY<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal" style="text-align: left;">
<a href="http://3.bp.blogspot.com/-WCc9oMhPe4c/UgtFZKBgJuI/AAAAAAAAAp8/ItSqv_onMHA/s1600/Paul-Cezanne8.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="252" src="https://3.bp.blogspot.com/-WCc9oMhPe4c/UgtFZKBgJuI/AAAAAAAAAp8/ItSqv_onMHA/s320/Paul-Cezanne8.jpg" width="320" /></a><span lang="EN-US">Standing in
front of Cezanne canvas is confronting reality in the most clear-cut way. A
Cezanne is stark, solid and well defined to the maximum extent possible. In a
world where communicating the artistic<span style="mso-spacerun: yes;">
</span>intent in a roundabout way is treated as clever and sublime, Cezanne
chose to dig art by conveying presence through solidity. He agonizes ‘to
realize his sensations’. His sensation is not a fleeting stimulus but a
weighted optical whole that has a concrete richness with tangible attributes
that challenge the artist to realize them on canvas. Cezanne feels almost a
moral imperative to scrupulously realize that presence. </span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US"><a href="http://3.bp.blogspot.com/-HrkiTcZRXH4/UgtFQnmicJI/AAAAAAAAAoo/z_XqTrtSL0c/s1600/Paul-Cezanne10.jpg" style="margin-left: 1em; margin-right: 1em;"></a> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"> Like his art,
Cezanne is a solid presence. There is very little in modern art after him that
has not reckoned with him. Cubism may be most open about its debt to Cezanne
but Cezanne was ‘father of it all’ as famously stated by Matisse. When Lucien
Freud struggled to bring lardy nakedness out of his portraits, he was facing
the same moral imperative of solidity as Cezanne. Even Andy Warhol, in his
choice of presentation over representation was echoing Cezanne.<span style="mso-spacerun: yes;"> </span>It is common knowledge that his so-called
‘geometric works’ fed into Cubism. However, it was his meditation on presence
that attracted Cubists who, in turn, were also obsessed with bringing out all
facets of reality.<span style="mso-spacerun: yes;"> </span>It is documented that
Picasso bought a lithograph of ‘Large Bather’ when he was working on ‘Les
Demoiselles d’ Avignon.’ He was not referring to the ‘geometrical works’ when
he said “it is Cezanne’s anxiety that is most interesting.” More on this later.
Braque was more detailed in his assessment of Cezanne’s influence on the
movement that he co-founded. Braque said “The discovery of his work overturned
everything….I had to rethink everything. There was a battle to be fought
against much of what we knew, what we had tended to respect, admire, or love.
In Cézanne’s works we should see not only a new pictorial construction but also
– too often forgotten – a new moral suggestion of space.” <span style="mso-spacerun: yes;"> </span>Pithiness of this observation lies in
capturing the moral dimension of Cezanne’s obsession.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US"> </span><span lang="EN-US"><a href="http://3.bp.blogspot.com/-HrkiTcZRXH4/UgtFQnmicJI/AAAAAAAAAoo/z_XqTrtSL0c/s1600/Paul-Cezanne10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://3.bp.blogspot.com/-HrkiTcZRXH4/UgtFQnmicJI/AAAAAAAAAoo/z_XqTrtSL0c/s400/Paul-Cezanne10.jpg" width="400" /></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Coming back to
Cezanne’s anxiety, this anxiety is a critical part of the moral dimension. In
an oft-quoted remark to his son six weeks before his death, Cezanne said “I
must tell you that I am becoming, as a painter, more lucid in the presence of
nature, but with me, to realize my sensations is always painful. I cannot
achieve the intensity that manifests itself to my senses; I do not have the
magnificent richness of coloration that animates nature.” Cezanne’s anxiety-
his desperation for expression or a yawning gap between feeling and realization
was defined by critic Robert Hughes as ‘ the scrupulousness of a genius without
facility’ and was elevated to the level of ‘the touchstone of the modern
consciousness.’<span style="mso-spacerun: yes;"> </span>Hughes too detects the
moral dimension in Cezanne’s struggle. He writes “his painting was a moral
struggle in which the search for identity fused with desire to make the
strongest possible images of the other – nature- under the continuous
inspiration and abomination of an art tradition that he revered.”</span></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-9Qb_Unu_078/UgtGQAsDoxI/AAAAAAAAAqQ/KFrXcR7PpIA/s1600/14.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-9Qb_Unu_078/UgtGQAsDoxI/AAAAAAAAAqQ/KFrXcR7PpIA/s1600/14.jpg" /></a></div>
<a href="http://2.bp.blogspot.com/-ogGwLRk3jp0/UgtFVtI-pZI/AAAAAAAAAo4/66jvXrYFHpw/s1600/Paul-Cezanne13.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span lang="EN-US"> </span><br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Development of Cezanne’s
art makes for a fascinating reading. His origins had very little art. In Aix-en-Provence,
where he was born in 1839 it was as non artistic as was possible in the France
of the day. His father was a laborer turned <span style="mso-spacerun: yes;"> </span>hatter and, eventually, a banker. He (the
father) was convinced that his son was not a fool and was surprisingly
supportive of his son’s artistic plans. <span style="mso-spacerun: yes;"> </span>From 1852 to 1858 young Cezanne studied
humanities at the College Bourbon in Aix, where he met his lifetime friend,
Zola the writer. Ironically in college, Cezanne used to win all literary awards
and Zola was winner in the arts competitions. After that he studied law for a
while, but under Zola's constant encouragement he turned to painting. By 1861
both young men were in Paris.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="mso-spacerun: yes;"><a href="http://2.bp.blogspot.com/-frI1FoETAgU/UgtFWXs8AjI/AAAAAAAAApE/TGjTN4QwRiA/s1600/Paul-Cezanne2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-frI1FoETAgU/UgtFWXs8AjI/AAAAAAAAApE/TGjTN4QwRiA/s200/Paul-Cezanne2.jpg" width="154" /></a> </span>His fascination<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>with
‘presence’ found its natural expression in his genius as portraitist. Starting
with 1869-70 portrait of his painter friend Achille Emperaire he went on to
become one of the best portrait artists of all time. His self portraits ‘invite
comparison with those of Rembrandt, and the best of them justify it’. Like
everything Cezanne, his portraits assert their pictorial distinctiveness with
every fiber of their being. Subjects of the portrait emerge as ‘fully formed’
to take their space and cut out any confusion that can lead to dilution of
clarity of structures. ‘Realization of sensation’ is foregrounding of the
syntax of presence. Hughes nails Cezanne’s<span style="mso-spacerun: yes;">
</span>pursuit of chiseling out the reality of his local mountain- Mont Ste-
Victoire. I will reproduce this biggish paragraph so as not to dilute the
astute observations of the critic.<span style="mso-spacerun: yes;"> </span>“Each
painting attacks the mountain and its distance as a fresh problem. The bulk
runs from a mere vibration of watercolor on the horizon, its translucent,
wriggling profile echoing the pale green and lavender gestures of the
foreground trees, to the vast solidarity of the Philadelphia version of Mont
Ste.-Victoire, 1902-06. There, all is displacement. Instead of an object in an
imaginary box, surrounded by transparency, every part of the surface is a
continuum, a field of resistant form. Patches of gray, blue and lavender that
jostle in the sky are as thoroughly articulated as those that constitute the
flank of the mountain. Nothing is empty in late Cézanne — not even the bits of
untouched canvas. …. His goal was presence, not illusion, and he pursued it
with an unremitting gravity. The fruit in the great still lifes of the period,
like Apples and Oranges, 1895-1900, are so weighted with pictorial decision —
their rosy surfaces filled, as it were, with thought — that they seem about
twice as solid as real fruit could be. … The light in his watercolors (perhaps
the most radiant exercises in that medium since Turner) is not just the
transcendent energy, the "supernatural beauty" of abstraction; it is
also the harsh, verifiable flicker of sun on Provençal hillsides. To his
anguish and fulfillment, Cézanne was embedded in the real world, and he returns
us to it, whenever his pictures are seen.” <span style="mso-spacerun: yes;"> </span>It is this struggle of realizing those
sensations on canvas that makes Cezanne so enduring.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="http://3.bp.blogspot.com/-5vo9CwWAkWw/UgtFZbCs5AI/AAAAAAAAAp4/ouIs8416QMw/s1600/Paul-Cezanne9.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="http://1.bp.blogspot.com/-jXjn0yMKvwM/UgtFYhTtHUI/AAAAAAAAApo/Re5YWEPISrA/s1600/Paul-Cezanne7.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-jXjn0yMKvwM/UgtFYhTtHUI/AAAAAAAAApo/Re5YWEPISrA/s320/Paul-Cezanne7.jpg" width="264" /></a><span lang="EN-US">Durability of
Cezanne’s appeal is also due to comprehensive nature of success. He is
relatively rare in achieving maturity of multiple aspects of his artistic genius.
When his influence on later artists is talked about, mostly the reference is to
some particular aspect which was picked by the artists and taken to new heights.
In Cezanne we find realization of many aspects- coloration, form, drawing,
texture, modeling and expression. His monkish dedication to his art and ability
to avoid self-destructive impulses, so common to his era, led to a certain
ripeness and heft to his output. This ripeness lent sufficient complexity to
his work that enabled later artist to pick and choose from a masterly weave of
fully realized fields. Softly dazzling aura of his watercolors, stoic
weightiness of his still life or unmistakable ‘presence’ of his portraits is
grand enough to be a foundation of separate schools. Here too, his achievement
was embedded in a moral dimension as noted by Meyer Schapiro “he was capable of
an astonishing variety. This variety rests on the openness of his sensitive
spirit. He admitted to the canvas a great span of perception and mood, greater
than that of his Impressionist friends. This is evident from the range of
themes alone; but it is clear in the painterly qualities as well. He draws or
colors; he composes or follows his immediate sensation of nature; he paints
with a virile brush solidly, or in the most delicate sparse watercolor, and is
equally sure in both. He possessed a firm faith in spontaneous sensibility, in
the resources of the sincere self. He can be passionate and cool, grave and
light; he is always honest.” Cezanne was always direct and agonizingly moral.
‘Frankness of his means’ coupled with his dedicated search of the pure form
took him to a pedestal which is reserved for the epoch-makers. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-5vo9CwWAkWw/UgtFZbCs5AI/AAAAAAAAAp4/ouIs8416QMw/s1600/Paul-Cezanne9.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="159" src="https://3.bp.blogspot.com/-5vo9CwWAkWw/UgtFZbCs5AI/AAAAAAAAAp4/ouIs8416QMw/s200/Paul-Cezanne9.JPG" width="200" /></a><a href="http://3.bp.blogspot.com/-dNKYT0QW0HI/UgtFX22tPUI/AAAAAAAAApc/QaVsH4Mx-tA/s1600/Paul-Cezanne6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://3.bp.blogspot.com/-dNKYT0QW0HI/UgtFX22tPUI/AAAAAAAAApc/QaVsH4Mx-tA/s200/Paul-Cezanne6.jpeg" width="200" /></a><a href="http://3.bp.blogspot.com/-5vo9CwWAkWw/UgtFZbCs5AI/AAAAAAAAAp4/ouIs8416QMw/s1600/Paul-Cezanne9.JPG" style="margin-left: 1em; margin-right: 1em;"></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Robert Hughes
has written “</span><span lang="EN-US" style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Mangal; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;">it may be that Cezanne was reaching for a kind of expression in
painting that did not exist in his time and still does not in ours.” </span><span lang="EN-US">His desperation for expression and ‘sensitive spirit’ was looking
for a new sensibility. Despite ripeness of his output that search remained
unfulfilled. This unfulfilled search for a new sensibility is what that makes
him ‘Patriarch of Modernism’. His sensibility was beyond his facility as
bemoaned in his last letter to his son while describing the pain of realizing
the sensations. He kept his agony from turning self destructive and that
allowed him to practice his craft at a level which was heroic enough to open
the floodgates of modern art.<span style="mso-spacerun: yes;"> </span>True
modernism is a search, not a point, in art history. <span style="mso-spacerun: yes;"> </span>The fact that Cezanne remained unfulfilled is
a testimony of his humanity and his greatness. </span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-HrkiTcZRXH4/UgtFQnmicJI/AAAAAAAAAoo/z_XqTrtSL0c/s1600/Paul-Cezanne10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-cUoYfJ_QS8A/UgtFVvcO2tI/AAAAAAAAAo0/_43FxM1cD7c/s1600/Paul-Cezanne14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://2.bp.blogspot.com/-cUoYfJ_QS8A/UgtFVvcO2tI/AAAAAAAAAo0/_43FxM1cD7c/s400/Paul-Cezanne14.jpg" width="400" /></a></div>
<div style="text-align: center;">
</div>
<br />
-Dhiraj Singh</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com5tag:blogger.com,1999:blog-99484807798808485.post-89169201487606042532013-05-24T02:33:00.003-07:002016-10-18T04:29:12.991-07:00Normal Pathology of The Fall<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-KOiytIv8v0o/UZ8zSFLAWMI/AAAAAAAAAn4/aRuioanLRX4/s1600/FAll1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
<div style="text-align: justify;">
<a href="http://1.bp.blogspot.com/-vxF4DmaxRuk/UZ8zdCq57ZI/AAAAAAAAAoQ/HRpe5ZxXo4w/s1600/Fall4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="160" src="https://1.bp.blogspot.com/-vxF4DmaxRuk/UZ8zdCq57ZI/AAAAAAAAAoQ/HRpe5ZxXo4w/s320/Fall4.jpg" width="320" /></a><span lang="EN-US">The fall (BBC 2 starring Gillian
Anderson and Jamie Dornon) is now two episodes old and has making of a great complex
psychological drama.<span style="mso-spacerun: yes;"> </span>The Allan Cubitt’s
new drama is a serious affair with brilliant performances and uncompromising
portrayal of evil.<span style="mso-spacerun: yes;"> </span>It is a difficult
viewing which is scary rather than repelling.<span style="mso-spacerun: yes;">
</span>An overhang of violence or implicit threat has not been achieved by gore
and blood but situating evil in boring sedate reality.<span style="mso-spacerun: yes;">
</span>This ordinariness of the evil is compounded as camera refuses to turn
away from ‘really’ uncomfortable issues.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">“The basic story
of the series is that of two hunters: a serial killer on the loose in Belfast
and the police officer who is tasked with stopping him. The first hunter is a
man by the name of Paul Spector (Jamie Dornan); a serial killer who happens to
be a grief counsellor by day. The second hunter is Detective Superintendent
Stella Gibson (Gillian Anderson- she of X Files). Gibson, an officer from
London’s Metropolitan Police Service, is an old acquaintance of PSNI Assistant
Chief Constable Jim Burns (John Lynch), who calls her in to do a 28 day review
of a murder case which has stalled. While reviewing the case she comes across
two cases which she believes are linked and were committed by the same
individual and, after convincing Burns of that fact, abandons her review to
head the inquiry into the serial killer on the loose in Belfast.” (from TVwise
review of the The Fall)</span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US"><a href="http://4.bp.blogspot.com/-KOiytIv8v0o/UZ8zSFLAWMI/AAAAAAAAAn4/aRuioanLRX4/s1600/FAll1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://4.bp.blogspot.com/-KOiytIv8v0o/UZ8zSFLAWMI/AAAAAAAAAn4/aRuioanLRX4/s320/FAll1.jpg" width="320" /></a> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>Serial killing is by definition
sadistic i.e. killing for pleasure and, moreover, the victim has done nothing
to earn her (mostly it is a she) fate except to conforming to some
characteristic that triggers the evil in the psychopath.<span style="mso-spacerun: yes;"> </span>In popular culture it has been used
extensively however, almost always, a distance has been created by situating
the evil in something exotic.<span style="mso-spacerun: yes;"> </span>Audience
differentiate themselves from serial killers in more fundamental ways then just
degrees.<span style="mso-spacerun: yes;"> </span>They normally don’t see
themselves on the same continuum and serial killers are given enough ‘quirks’
to make them a different species altogether.<span style="mso-spacerun: yes;">
</span>But not here.<span style="mso-spacerun: yes;"> </span>Proximity with the
evil has been achieved not only with camera dwelling lovingly on the brutality
but also the calm way in which the killer goes about his business at the crime
scene.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>More than this longish stay with the
brutality, it is the context in which the killer has been put.<span style="mso-spacerun: yes;"> </span>Jamie Dornan’s Paul Spector gets his menace quotient
from the scenes in which he is placed in normal family life and a routine day
job.<span style="mso-spacerun: yes;"> </span>Busy thrum and stress of the
domesticity only adds to the normalcy of the circumstances.<span style="mso-spacerun: yes;"> </span>There is nothing extraordinary about the stress
that he faces in his everyday life.<span style="mso-spacerun: yes;"> </span>He
may not be cheerful but how many of normal people are?<span style="mso-spacerun: yes;"> </span>Still, there is no doubt that he is
evil.<span style="mso-spacerun: yes;"> </span>Domesticity is a backdrop that props
up his darker side.<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Use of deviant situations in routine everyday
life creates an unease which does more to establish the dark canvas then the
conventional mores<span style="mso-spacerun: yes;"> </span>of suspense
genre.<span style="mso-spacerun: yes;"> </span></span><br />
<div style="text-align: center;">
<span lang="EN-US"><span style="mso-spacerun: yes;"> </span></span><a href="http://2.bp.blogspot.com/-fBqio2RFVIY/UZ8zSGAEkhI/AAAAAAAAAoA/6HdMvbnb5R4/s1600/The-Fall2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://2.bp.blogspot.com/-fBqio2RFVIY/UZ8zSGAEkhI/AAAAAAAAAoA/6HdMvbnb5R4/s320/The-Fall2.jpg" width="320" /></a></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>In one scene we meet Paul in his
role as a grief counselor and find him asking probing questions to his clients.
Occasional diversion<span style="mso-spacerun: yes;"> </span>in the sexual
territory will not be noted, but from him it raises some antennas. Later we
catch him making inappropriate drawings while the mother talks of death of her
child.<span style="mso-spacerun: yes;"> </span>Other uneasy situations involve
children near perilous situations.<span style="mso-spacerun: yes;"> </span>He
hides his gear in the false roof right above his son’s bed, adorned with
whatever children’s rooms are adorned. His daughter gives a jaunty family
performance while he gets distracted by the news item about his previous kill.
Inappropriate behavior of the teenage babysitter and her vulnerability in the
presence of cold blooded psychopath keeps us on edge. In a later scene, camera
follows the young daughter moving towards the room where Paul is wrestling with
the babysitter. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="mso-tab-count: 1;"> </span>These situations firmly established
the perverse nature of the landscape.<span style="mso-spacerun: yes;">
</span>However, the perversity never crosses the line to become otherworldly.<span style="mso-spacerun: yes;"> </span>It always remains within the overall
parameter of normalcy: just a point on the continuum where we all can see
ourselves.<span style="mso-spacerun: yes;"> </span>Somehow, it always appears
that this evil is possible for any one.<span style="mso-spacerun: yes;">
</span>Even the audience cannot rule itself out.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Another
effective trick was a juxtaposition sequence in the beginning of the second
episode.<span style="mso-spacerun: yes;"> </span>In the sequence camera
alternately shifted between domineering lovemaking between DSI Stella and one
of her subordinates and the languid perversion of the killer in which he
‘poses’ his victim with elaborate tenderness. The sequence serves to blur the
boundaries of perverse behavior of a serial killer and seemingly normal
behavior of DSI Stella.<span style="mso-spacerun: yes;"> </span>In short, intense
atmospheric shots are used to stunning impact to give the series its calm eerie
texture.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US"><span style="mso-spacerun: yes;"><a href="http://2.bp.blogspot.com/-m5CONBCV0Nc/UZ8zSX5lsyI/AAAAAAAAAn8/C1WcPeKyebM/s1600/the-fall3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="167" src="https://2.bp.blogspot.com/-m5CONBCV0Nc/UZ8zSX5lsyI/AAAAAAAAAn8/C1WcPeKyebM/s320/the-fall3.jpg" width="320" /></a> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Performances are
top notch. Gillian Anderson is effortless in conveying her haughtiness,
maverick tendencies and a very strong personality. She uses the full weight of
her personality to get what she wants – whether it is the attention of a good looking
cop or to be lead investigator in a case. Above all she conveys her
capabilities and vulnerability with great facility without making too much song
and dance about them. The Fall achieves its status of being “perfect means of
exploring the banality of evil, the nature of obsession, and the niggly-squirmy
minutiae of everyday”<span style="mso-spacerun: yes;"> </span>by devoting equal
time to the hunter and hunted. Jamie Dornon is playing the creepy with a
surefootedness of a <span style="mso-spacerun: yes;"> </span>pro. He is able
survive long sequences without belaboring the point of his evil still conveying
the full horror of his ‘normal’ pathology. </span><br />
<span lang="EN-US"><br /></span>
<span lang="EN-US">-Dhiraj Singh</span></div>
</div>
Dhirajhttp://www.blogger.com/profile/15724876381617571938noreply@blogger.com1