Once again, I’ve managed to get a bit behind with these posts. In fact, I’ve not been blogging much since moving to Sweden. Starting a new job. New town. New country. All that. I also moved apartments a couple of weeks ago, and now have a five kilometre walk every day. And I’ve started Swedish lessons, two days a week after work. But I really need to get on top of my blogging. I was hoping the move would help me kick off the writing again but, naturally, there’s an adjustment period… although I do have to keep reminding myself that I’ve only been here for two months. It feels like a lot longer. In a good way, of course.
Jashnn – The Music Within, Raksha Mistry & Hasnain S Hyderabadwala (2009, India). The title refers to a wannabe rock god, who dreams of stardom but doesn’t seem to have much of a clue how to go about it, even though he has a band and write songs. He doesn’t, for one thing, even know what a demo is. He lives with his sister, who is the mistress of a rich businessman. One day in a cafe, he chats up a beautiful young woman, and they start seeing each other. But it turns out she’s the sister of the businessman, and he doesn’t want Jashnn dating his sister – so much so, he threatens to cut Jashnn’s sister off without a cent. Jashnn’s girlfriend is so incensed, she moves in with Jashnn, who is now living in the place where the band rehearse. And she becomes their manager, introduces them to the concept of a demo, and takes them round the various record labels. But the businessman owns the record company, so he gets them thrown out. And it all comes down to a talent contest – as it always does in films of this sort. Jashnn has dropped out of his band, so they enter without him. But his girlfriend convinces him to perform as a last-minute contestant. Which he does. But the businessman has the judges in his pocket. Except… he gives a long impassioned speech explaining that Jashnn’s song really moved him and now he’s completely changed his mind and won’t be the evil bastard he had been previously and Jashnn can keep on seeing his sister, he won’t throw Jashnn’s sister out of her house, and everyone can live happily ever after. A polished piece of Bollywood, but romantic tosh from start to finish.
The Lego Batman Movie, Chris McKay (2017, USA). It was free to watch on Amazon Prime. That’s my excuse and I’m sticking with it. The original The Lego Movie (see here) was sort of fun, except for the horribly intrusive daddy issue swerve in the story toward the end. The Lego Batman Movie is, well, more of the same, but instead focuses on the titular superhero. The film is a relentless sequence of jokes, most of which manage to be funny. The Joker turns the tables on Batman by surrendering – along with all his fellow super-villains – so giving Batman no reason to exist. But it’s all a cunning plot, because Batman steals Superman’s Phantom Zone Projector to send the Joker to the Phantom Zone, which is what the Joker was hoping, because he promptly escapes and brings with him all manner of villains from assorted intellectual properties. There’s a running joke about Bruce Wayne accidentally adopting Dick Grayson, which a is bit uncomfortable in places, but then Batman decides to turn him into Robin (resulting in one of the films better comedy sequences). Still, it’s a Lego movie and you get what it says on the tin. I’m not entirely sure who these films are aimed at – the jokes are a bit too knowing for kids, but Lego is a child’s toy. I guess Lego have done well with these films, then, to position them for such a wide audience.
Dastak, Mahesh Bhatt (1996, India). This was Sushmita Sen’s first film. She was crowned Miss Universe in 1994, and in Dastak she plays herself, a winner of the Miss Universe contest, who is being stalked by a killer. The policeman assigned to look after her turns out to be an old schoolmate, and romance soon blossoms between the two. Which the stalker does not like. And, er, that’s pretty much it. Although released in 1996, the film feels like it’s a decade or two older. The violence is all a bit pantomime, and I can’t honestly remember any of the musical numbers. But Sen is good in her first film role – not that it seemed to require much acting – and the stalker plot follows the usual story beats, with the stalker escalating each time he feels Sen’s behaviour doesn’t meet with his approval. Meanwhile, the police have no clue to the stalker’s identity. But at least moustachioed cop gets to kindle a romance with his charge. For all its by-the-numbers plotting, and despite the fact it was clearly a star vehicle for Sen, I quite enjoyed Dastak. Perhaps it was because it was a Bollywood film but it felt more dramatic than is usually the case for a Bollywood film of that time. I mean, I’ve seen some excellent Indian thrillers, like Thadam and Kahaani (see here), but they were twenty-first century films. Anyway, not a bad film.
The Getting of Wisdom, Bruce Beresford (1977, Australia). A friend told me that prior to the 1980s pretty much every internationally-recognised film made in Australia was shot by one of two directors. I’m guessing Breresford was one of the two. The Getting of Wisdom was his fifth film and is adapted from a 1910 novel by Henry Handel Richardson (despite the name, a female Australian author), which has apparently been in print continuously since then – so, quite highly regarded, then. Laura Tweedel Rambotham is a provincial naif from a small village who is sent to a boarding-school in Melbourne. The other girls are all snobs, so she finds it hard to fit it. But she’s a gifted pianist and makes friends through her talent. She also invents a romance with the school’s visiting priest, engineering encounters with him in such a way the other girls believe the relationship is real. Until it’s abruptly revealed to be a lie. I wasn’t entirely sure what to make of The Getting of Wisdom. It seemed a bit cobbled together in parts. It probably didn’t help that the source novel is more a series of escapades than an actual straight-through plot, and the film reflected that. I’m glad I saw it, but I can’t say I’d recommend it.
Manikarnika: The Queen of Jhansi, Krish & Kangana Ranaut (2019, India). Apparently Amazon bought the distribution rights to this film immediately after its theatrical release in India. Which is why it’s on Amazon Prime. Although not why it’s free to Prime members. I’ve seen a few recent Indian films available on Amazon Prime, and I think the same deal applied to them. Just to confuse matters, Amazon are releasing them in different language versions – Hindi, Tamil, Telugu and sometimes Malayalam. Anyway, Jhansi is famous for its queen, who fought against East India Company at a time when it pretty much had all the various kingdoms, sultanates and principalities sewn up, and was busy robbing them blind in the name of English commerce and good Queen Vic. Manikarnika was having none of that, and refused to submit. So the British threw an army at her. Strangely, all the British characters in this film had South African accents, although apparently it was just Americans doing bad British accents. Other than that, the film is a long sequence of battle scenes, which are rendered extremely well, with much CGI, or courtly intrigue, most of which involves the British being perfidious or Manikarnika being heroic. It’s good stuff, but no one could accuse it of being subtle. And it’s a definitely a piece of history British people would benefit from learning about, especially all those arseholes who think the British Empire was some sort of noble endeavour that brought all the good things to most of the planet. Was it bollocks. It was a shameful period of British history, and movies like Manikarnika: The Queen of Jhansi give an excellent indication why. Worth seeing.
Area Q, Gerson Sanginitto (2015, Brazil). Stop me if you’ve heard this before. There’s a place where several people have gone missing, and then returned claiming to have been abducted by aliens. For reasons never made entirely clear, an award-winning journalist is sent to that place to look into the matter. The journalist is currently trying to find his young son, who disappeared some months previously. The journalist interviews some of the abductees, and they seem to have been genuinely changed by the experience. Then he is abducted himself, and learns that his son was also abducted. This is all being told to another journalist after the events, because the original journalist’s career bombed after he came back claiming to be an abductee. Area Q differs slightly in its presentation of this over-used and somewhat dated premise because it’s Brazilian. The journalist is an American from LA, but the abductions (except for the son) all take place near a mountain in Brazil. It adds a strange gloss to what is a bog-standard plot strung together from unbelievable clichés. It doesn’t help that the acting is not very good, and the script pretty terrible. Definitely one to avoid.
1001 Movies You Mist See Before You Die count: 939