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Reviews
Biruma no tategoto (1956)
The Best Antiwar Film Ever
I had no clue who was Kon Ichikawa till I came across the Burmese Harp. And once again it took me deep into Japanese cinema -and I knew Ichikawa will become a new addition to my list of Asian masters, both new ones and old ones.
Gorgeouslly photographed and brilliantly played by a winning cast, The Burmese Harp is one of the most astonishingly uncynical films to come out of the post-war era. It is also perhaps the most spiritual, philosophical and forgiving. This is a tough-minded work that doesn't flinch at showing the masses of decomposing corpses that lie in the wake of the war. That Ichikawa has managed to create something poetic and beautiful out of this is an achievement of highest order.
Strangley this movie also reminded me of Pan Nalin's Samsara; because as Nalin dealt with Buddhism and Sexual Desires to seek enlightenment, Ichikawa The Burmese Harp deals with Buddhism and violence to seek peace in our war-torn world.
Suna no onna (1964)
Soul Stirring Masterpiece
I highly recommend this movie to anyone who loves great stories, who loves great cinema, who loves arts in its top form.
Teshigahara explores the achingly erotic when he shows the woman's body dusted in sand; we can imagine how it would feel to touch her, just as we can feel the grit on our neck and sand between our toes. And outside, Teshigahara cuts to sand periodically, to remind us that it has a life of its own. That alone is genius stroke...
The west ignored Teshigahara for so many years, that alone goes to show how much we poeple in the west need to discover Asian cinema on our own. I wonder how many gems are still out there to be unearthed...
Modern Masters: SS Rajamouli (2024)
Neither Modern nor Master but exaggerated & hypocritical cajolery
How can one of the greatest nations on earth with such rich cultural heritage and storytelling traditions call such directors masters? Paid promotion from Netflix?
I'm British but diehard fan of Indian cinema. Mostly everyone in India will disagree with me; but south Indian cinema (with exception of Malayalam movies) has been a disaster for the rise of Indian cinema: RRR, Animal, Bahubali, Kalki, Adipurush, and so on are Bloated and incoherent, weighed down by bad acting, a rambling story, uneven pacing, and erratic visual effects. These action films, based on Indian mythology, rips off well-known franchises "Star Wars," "Troy" "Mad Max" "Game of Thrones" "Old Boy" Godfather" "Pacific Rim" and countless South Korean films - for much of how the movie looks. The characters in these movies also have hollow personalities and lackluster or terrible dialogue. And these nearly three-hour movies do not justify its overly long run time...
Within Hindi movies no one really followed paths paved by great Manmohan Desai or Guru Dutt? For me, the Amar Akbar Anthony is the most original Indian movie ever while talking aboit enetertainment and musicals. It is more modern than most of the potboilers being churned out in today's India.
What is wrong with India?
You gave the world Mahabharat, Jataka Tales, Meghaduta, Panchtantra, Mrichakatikam, and so on. You have equally brilliant modern writers!
I believe the great Indian Cinema is yet to come.
However, my faith in Indian cinema was restored when India chose not to send Rajamouli's RRR to the 95th Oscars but instead a true modern day masterpiece Chhello Show (Last Film Show) and that act alone made me disover the director Pan Nalin and soon after his SAMSARA and VALLEY OF FLOERS - i was blown away!! These movies were made much ahead of its time - not thats what I call a modern master? Every frame and sound is filled with authentic and organic Indianness and yet its truly universal. But i do not think anyone at Netflix or makers of "Modern Master" have watched movies like SAMSARA (2002), the most favourite film of Keanu Reeves!!
The makers of movies like Thappad, Court, Angry Indian Goddesses, Visaranai, The Great Indian Kitchen, and so on are the true Indian Modern Masters.
Now please dont tell me your next episode will be on Adi Chopra and Sanjay Leela Bansali!!
Chhello Show (2021)
Modern-day Masterpiece!
I have previously predicted and written that Pan Nalin is one of the most innovative and soulful filmmaker of modern era. Each of his movie is fresh with renewed moviemaking style and substance. And Last Film Show is a masterpiece in every sense of the word. It's gorgeous and deeply moving, It's tragic and terrific, It's the purest cinema with unbelievable simplicity and poetry. Pan Nalin not only celebrates magic of movies but also the magic of being unknowing genius. From Lumiere Brothers to Tarkovsky, Pan Nalin packs in so many punches and passion filled plots in one single movie -as if he has managed to pay homage to the entire gamut of movie magic and entertainment industry.
Last Film Show took me on an incredible voyage as if I was in a trance. I was hypnotized by this skillfully crafted movie and totally blown away by the command of direction, cinematography, editing and sound design.
I laughed, I fell silent, I was anxious, I was scared, then laughed again -but in the end it made me weep. This movie is breathtaking and heartbreaking both at the same time. It touches you deep within. It is a top-notch quality entertainment that is so inspiring - you will come out of the movie feeling happy, positive and uplifted.
Super highly recommended -and watch this movie with your family and friends -and it is an absolute must for those who love cinema!
Open your heart and let the Pan Nalin flood your heart with his light...
The Tiniest Invisible Piece of Shit! (2020)
Brilliant Celebration of Blue Planet
Simply but terrifically put together, this short is absolutely relevant and refreshing. Pan Nalin and his team once again shows us their love and respect for nature during the pandemic with unique point of view.
Valley of Flowers (2006)
Original, Brave and Brilliant!
Yesterday I had an opportunity to attend the private screening of integral version of Valley of Flowers (155minutes!!) in the "chick" Planet Hollywood on Champs-Elysees in Paris. The film made huge impact on me. A week earlier I saw The Fountain (2006) by Darren Aronofsky. I liked the Fountain as well but it is Valley of Flowers sent my brain spinning.
The reason I mentioned the Fountain is because I was struck by the similarities of the theme in these two movies love across ages, death and immortality, man's fight against time
Human beings in constant state of seeking equilibrium in love, life, nature and human nature.
Both Aronofsky and Nalin are known for invading the unknown realms of the real and surreal world. Though Valley is just a second feature of Pan Nalin, but the maturity he displays in handling of his subject matter is truly astounding. Valley of Flowers is truly an independent film compare to giant 35million dollar Fountain with star cast. Fountain is witnessing a vast release worldwide. Meanwhile Valley might not even make it to our domestic screen here in US. However, It is Nalin's film, which stirred me so deep, I felt a true sense of unearthing and that made me write, my very first comment on IMDb.
I know nothing about Buddhism or Yeti or Tibet or Himalaya. But that did not matter; the film gave me enough to chew. Of course the Himalayan parts are breathtaking, like in his earlier Samsara (2001), but here the "landscapes of faces" of Bandits are awesome. Costume and Production design are top-notch, aesthetics better and higher than many multi-million dollar Hollywood blockbusters.
Nalin's cinematic sense, and certain trance like camera movements are evocative; his girls are divine (even though they are playing demon). Again like in Samsara, Nalin discovers Mylene Jampanoi; a French Chinese actress gets a break to do her first feature. Nalin auditioned several hundreds across the world before discovering Mylene. Indian actor Milind Soman is less impressive but Naseeruddin Shah again proves his talent as one of the greatest actor of Asian cinema in his brilliant interpretation of yeti.
Nalin also proves his talent as an extraordinary screenwriter, he wrote both Samsara and Valley of Flowers. His cinematic structures do not follow any recognizable genre or style. His dialogs and editing is constantly breaking rules must mention an amazing scene of hero's "time walk" in Valley of Flowers with simple cuts on pair of feet walking from early 19th century to modern day Tokyo. This scene in itself is a cinematic poetry in the realms of Rilke or Rumi.
I've been professor of Japanese Culture and society and dealt with many of the themes of Pan Nalin's movies. Nalin's portrayal of modern day Tokyo makes keen observation about existence of superstitions, demon and notion of death in Japan. Nalin manages to penetrate the layers of modern day Japanese life very effectively. Unfortunately, in the Fountain, Aronofsky fails to display similar command in scenes of ancient Spain and modern day medicine episode.
Again it is amazing coincidence how Aronofsky and Pan Nalin, both these young filmmakers chose their hero in modern times to be a Doctor. Controversial Dr. Zinelli of Dignitas of Zurich who assisted several people in their voluntary death inspires Nalin's modern day hero. Meanwhile Aronofsky's hero researches to fight cancer. Again Nalin's episode in modern day Tokyo leads to a sublime conclusion of the story where many twists are revealed, love and lovers are sacrificed -in some of the most poetic and memorable scenes in history of modern-Asian cinema.
I ask this question several times to myself why the festivals like Cannes, Venice, Berlin or Pusan have failed to highlight this talented filmmaker from India. I've been huge fan of Satyaji Ray but now nearly 50 years later there is a filmmaker emerging from India with a new voice and new style new energy - a truly modern and universal filmmaker. I am sorry to say there have been many others in between like Mira Nair or Shyam Benegal or Das Gupta but Pan Nalin is beyond, he is in another league all together. With his two features, I have this intuition that there is something churning within this filmmaker like a volcano. The day that volcano finds voice we will witness an existence and acknowledgment of a brilliant filmmaker. Is anyone listening in Hollywood?