The Warrior

For me, three virtues define this special film. The first is the familiarity of story. The old Oriental tale, with its motifs and themes, characters and embroidery of facts. The second - the music and magnificent photography. Not the last -the fine job of Damayanti Marfatia and Irfan Khan. It is real, real difficult to not love it. Yes, it seems long and boring and the expected fight scenes are not so many. But it is a tale. Or, not, sorry, only a poem. You discover it only if you know it, scene by scene, piece by piece, before you see it.

A very worthwhile film, assuming you don't need rivers of blood, yucky closeups of severed body parts or explosions every twelve minutes to hold your interest.

Most stories about the killer who renounces violence feature a lip-smacking, almost pornographic delight in the violence itself. This film successfully avoids that trap.

The story has echoes of samurai tales to it, though the settings are the deserts of Rajastan and the mountains of the Himalayas - lowlands bad, mountains good, as always.

The lead actor is both expressive and restrained, the support is sufficient, and the whole experience moving. I hope a DVD version gets issued in the US before too long.

Lafcadia is a warrior working for the local lord as an enforcer – destroying villages that don't pay their share to him and killing whomever he wants killed. It has become too much for him and the slaughter of an old man gives him pauses before he decides on the futility of the whole thing during an attack on a village of women and children. He returns home and prepares to travel to his home village in the Himalayas but his former lieutenant Biswas has been charged with bringing back his head for the lord. Unable to find Lafcadia, Biswas kills his son. Devastated Lafcadia continues his journey, with Biswas not yet finished his quest.

Although rejected by the Academy when put up for the "best foreign language film" category on the grounds that Hindi was not a language of the UK and therefore the UK could not put forward this film (huh?), this film could have easily been rejected on the grounds that The Warrior takes so much of itself from American westerns that it couldn't be considered foreign. I'm being stupid of course, but in essence what we have here is a silent story of a man wandering across the wilderness, meeting people on his way to what will be in some way a confrontation, or showdown if you will. It doesn't really compare to the stronger westerns that have tackled this same theme but it is still interesting. Silently moving forward against impressive backgrounds, there does appear to be the allusion to epic stature in the cinematography and also the pain of the characters. The depth is not really there to support this but it does do well enough to carry the story to the end.

Part of the reason for this is a solid and haunted performance from Khan in the lead. He has little dialogue for large sections of the film but he convinces and engages from start to finish. The support is mostly good (apart from the Lord being played as some sort of Bond villain) but it is Khan's film and he does well. Kapadia's direction is excellent and his use of music and slow camera movements add to the intimacy and patience inherent in the story being told. The cinematography makes good use of the locations but never becomes the whole show.

Overall this is an interesting film that plays well by taking the form of a western and placing it within the Indian feudal system. It is not action packed and requires a certain amount of patience to get into it but, without a lot of dialogue, the cast do well to produce characters that were interesting and that I cared about – particularly Khan in the lead. A worthy winner of "best British film" at the Baftas and worth seeing.

With his debut feature 'The Warrior', Asif Kapadia has immediately identified himself as a director worth watching.

The story follows the journey of the warrior (Irfran Khan) as he attempts to renounce his violent past and find a new life of peace in the mountains of Northern India.

Sickened by the brutality of his role as leader of a band of warriors, he puts down his sword, vowing never to kill again. However he does not account for the wrath of the Warlord who sends his men to hunt him down, with terrible consequences.

A timeless, almost Zen-like film has strong echoes of the work of Sergio Leone, opting for minimal dialogue and careful pacing, and making full use of the spectacular vistas of Northern India's desert and mountain regions.

I suspect you will have to search hard to find this film at your local multiplex, but it is well worth the effort. If you're feeling a tad jaded after too many blockbusters, here's a film to reaffirm your faith in cinema.

When a man of the sword relinquishes violence, he finds it has terrible price. He journeys to his home village where he will find the violence he running from has preceded him.

Written and directed by an English person of Indian descent, with the original inspiration coming from a Japanese folk story, this movie is part of the new Internationalism in cinema. This is in no way, an Indian film, rather it British.

The words have been used by other people and I am going to use them too, then go and spank myself for being so unoriginal.

Simple. Beautiful. Poetic.

Ouch.

It is a great example of found cinema, where many actors are simple found at the locations, with some sets being made, and many people, and sets being real. Including one major character being played by an Indian street kid.

I like this sort of movie, and if you do you will probably love this movie too.