Paanch

At the outset, it'd be in order to mention that this is the well-known theatrically unreleased film that was in the news (in 2003 and afterwards) over the ethical exceptions that the Censor Board of India had taken to it while denying it permission to release. It held that the film "glorifies violence; it shows the modus operandi of a crime (killing of a police officer); it shows excessive use of drugs; it has double meaning dialogues (with sexual undertones); it has no positive characters; it does not carry a social message".

That episode resulted in further intensification of the lasting antagonism that marked (and continues to mark) the relationship between iconoclastic brigands of Indian cinema (with director Anurag Kashyap at the vanguard) and the government-appointed sentinels of public morality who run the Censor Board. It was primarily through p2p torrent networks and file-hosting sites like Dingora that 'Paanch' trickled into the audiovisual precincts of movie aficionados and elicited reactions that spanned the spectrum from disturbing/disgusting to captivating/thrilling. It has since then developed a sort of cult following among fans of the 'psychological thriller' genre.

The movie itself is a story of unapologetic evilness and unfettered debauchery and most of all a psychological revelation that unfolds as a chaotic sequence of events in the entangled lives of five individuals... who live on the fringes of social morality and discover (with delight) in violent sadomasochistic self-destruction an accessible means of self-realization.

In giving up, treacherous step by treacherous step, the social fiction of goodness and embracing ruinous crime they discover a seductive freedom of the soul… a primal condition that allowed for (and indeed drew forth) a most authentic, albeit disturbing, response to the fact of existence in a hostile world of urban ambitions, transient fame and chronic estrangement. The protagonist of the movie (Luke - played by KK Menon) is one of the most convincingly frightening and psychologically well-constructed characters in all of Hindi cinema. The script is cogently carried forward by the development, definition and motivation of this character. The plot consists essentially of Luke's psycho-socio-pathology and his domination of the will of the four other characters… a domination that eventually sucked all of them into a spiral of heinous crime and moral degenartion that kept their existences constantly hinged on the edge of egregious bloodshed (and frequently precipitated the same). To think that the times they had together as drug-stealing socially-shunned impecunious musicians were the actually the best they ever had is to betray some sign of how dark their lives were. Amongst the secondary characters, of particular note is Shuile (played by Tejaswini Kohlapure) who discovers a taste for evil most serendipitously… but goes on to unhesistantly accommodate seduction, manipulation, intrigue and cunning in her repertory of sin.

I have to say though, the denouement of the drama suffers a debutant directors' capitulation in face of the conventional need to impose a closure on a story that might have been better left open-ended. The movie ends on note which is somewhat redemptive and life-affirming but mostly a clear reflection of the makers' desistance to sink further into the dark recesses of human psyche which have otherwise been prodigiously explored more intrepidly than ever before in modern Hindi cinema. Anurag Kashyap is genius. He employs the visual medium in its fullness and enhances the cinematic literacy of the viewer. The soundtrack is awesome too. A gem of a flick that ought to have released theatrically and celebrated for its contribution to the coming of age of Hindi cinema.

(see the original review at http://www.voxmentis.com/search/label/Movie%20Review )

I had heard so much about this movie for the last 5-6 years that I thought this would be a letdown. Usually over-hyped movies are such that you feel that you were letdown by it. I finally got hold of it and I can say that Paanch is arguably one of the best crime thrillers the Hindi film industry has produced.

I cannot fathom the reason why the government would ban this, (probably because this movie would attain cult status and dissuade the youth of today to smoke and drink and waste their time....) but in this movie we have one of the greatest acting performance by an actor, one of the best soundtracks ever made in the history of Bollywood, and one helluva movie. The movie theme will remind you of Requiem for a Dream, Trainspotting, only Paanch has a thriller plot apart from based on the systematic destruction of human morals.

The plot is fairly simple. Its about 5 people who are struggling musicians. They play at nightclubs and concerts for cheap cash, but most of it is spent on marijuana, drugs and booze. They are all college dropouts and have almost no connections with their relatives. They live under one roof, practice in a vacant garage of one of their friends(their only friend!!).

The movie continues at leisurely pace until they have an idea to kidnap their friend and ask for a fat ransom from his rich dad. But all goes haywire when one of them in a fit of rage kills their friend. Things turn for the worse when to cover up one murder they go on a killing spree. In the end, all five of them are behind bars, and in a gradual degradation of all morals.

This movie, if and when it comes out will primarily be remembered for the immensely powerful acting performance of one Kay Kay Menon. His performance is bound to remind you of Brad Pitt in Fight Club as the legendary Tyler Dyrden. K.K's music will make you take a jacket and go out to the nearest music store and buy the Original Soundtrack of this movie ASAP!! Paanch is the movie where one can say Bollywood came of age and we had proper rock music.

There are only three songs in the movie, one a bluesy track "Kya din kya raat" one that will remind you of the classic jazz of the 40's, the psychedelic themed "Tu Jaa Maat" meant to remind you Cobain and the rock track "Khuda ke Liye" which will remind you of "Rock On!!" only it was 5 years earlier.. Even The Doors' "Roadhouse Blues" was an awesome addition!!!

The acting performances have been superb. Kay Kay Menon was brilliant as "Luke" as I mentioned earlier, and he has been brilliantly supported by the very impressive Aditya Srivastava as "Murgi", Joy Fernandes as "Joy" and Vijay Maurya as the hilarious "Pondy" Even Tejaswini Kolhapure as "Shiuli" the only chick in the movie does a decent job. Sharat Saxena is also impressive in his short role as the Police Inspector.

Lastly, Mr.Anurag Kashyap!!! This was his very first attempt behind the camera. It was his brainchild. He being the producer and writer as well. But kudos to the man, for giving us yet another cinematic pleasure. Thank you sir, and I hope you make more of similar movies and keep us people who are fans of non-mainstream movies satisfied.

A truly well deserved 10/10 !!!

Saw it finally, after a long long wait. It is an engaging piece but not a path breaking, shattering one as I found in some other reviews before the Internet preview release.

My points, Cinematography and Art direction right from credits to last frame (i would combine these as they gave the whole feeling) are splendid capturing the entire feel of youth's agony, their ambitions, their fear and the entire feeling of being locked up in a room or a garage or in a police station (claustrophobic feeling). The outdoors are though minimal and not extravagant, they are done with finesse. No green scenery's here and no sunset sunrise scenes. Yet they are captivating enough to endear, enthrall and to transform into the world of these characters.

Editing, nope that's one thing I felt is not up to the mark, the reason may be that its the director's and editor's first movie and a sharper scissor was needed. The scenes I would like to cut are 1) The end song in which the girl sings same one as she has sung earlier 2) The scene in which Luke strangles Nikhil's father (this was later communicated in dialogue) 3) The scene where Pondy and Joy are shown as being taken to Jail (this was later communicated in dialogue). Thus felt like these were like spoon feeding. Acting of Kay Kay as Luke Morrison is just awesome and equally appreciable is that of Vijay Maurya as Pondy. I did not like the acting of Tejaswini, I felt she just sleep walked. Background music is apt 3 songs are great. Main Khuda, Baith Jaa, Akhiyan. Vishal Bharadwaj gave an awesome sound track and thanks to him.

Now, the thing to writing, the dialogues are wonderful "Aye Pondy Chaai Piyega, Chal Mere Liye Ek Banaa" reveals the domineering attitude of Luke and so is each dialogue relevant to the characterization.

The script has made me ask some questions to myself and some questions to the writer director Anurag, 1) If the entire confession in police station was about money then police at any point did not seem to be interested in where the money that was stolen was kept and all they were interested is why were the murder's that took place happen. 2) Was it necessary for Joy to have the other guys waiting outside Nikhil's house after they stole the money they wanted? He was just eating and these guys went in and when they found that Nikhil's father was there, they just strangled him. Without this also it would have been done as how the police came to know about murder of Nikhil's father and kidnap of Nikhil was not shown anyways and that was not the point of movie also. 3) The most disappointing thing was that Luke who was shown as if he was drowned just comes alive. This seemed to be a twist and this made the movie predictable as to who shall have the final laugh. And there in lay the antagonist of a wonderful script.

Direction no doubt is superb. But what started as a very very interesting and psychological thing with each shade of a character being revealed poignantly. What started as a very interesting and psychological movie turned out to be a thriller kind where the ending was predictable and so called commercial. Yet its one thing that should be watched out to know what a angry young man does (for KAY KAY).

Watch it for KAY KAY 3/5

Prompted me to chip in after the ROCK ON!! "euphoria". A film I saw at the at Osians in 2003. A film made way-back…..an underground fav. Though a envy worthy status for a film to be loved and sought after even in it's unreleased state.…it's been long and it needs to be out in the open. What if we never got to watch Fight Club or Old Boy ever and just were privy to the downsized Indian Censor friendly Sanjay Gupta's Zinda and what if the only Fight Club I knew was Vicky Malhotra or Chopra or whatever's Zayed Khan starrer Fuzz Club? I would dread it if censors all over the world kept a film in limbo for their own immaturity and stunted growth process.

And now that it's cleared what are the producers upto? Is it a medical product to have an expiry. Will it lose it's value?

For me Paanch still looks fresh and dark/morbid/stark/gritty and this is the movie which patented Anurag Kashyap's neon fetish. When the first poster of Alwyn Kalicharan was released in the TOI some years back…..it read… "This Winter Think Neon"

15 fps shots...time transitions.....great music....VIJAY MAURYA is awesome....as usually towering over the expected SHOW STEALERS....KK and Aditya Srivastav......who are GREAT anyways....the problem is they are so good....you know they are gonna blow you...so you expect it....awesome music......Abbas Tyrewala's legendary "TAMAS" lyrics...they still manage to haunt me......

IT'S ABOUT ROCK…….and there is ROCK…..they dope....they swear…they scratch armpits….they want a better life….Luke wants to be recognized…ever worshiped…and music is a let out…a let out for angst/love/lust/greed and unfulfilled dreams and not just a Sunday relief in their plush Malabar Hill penthouse.

A film which gives me the choice to explore or feel for the lesser evil than the GOOD v/s BAD routine or is PAANCH about EVIL v/s BAD ASS EVIL. How often do we have that on screen?

ONE OF THE BEST TITLE SEQUENCE....ONE WHICH YOU WILL REMEMBER....AFTER SEVEN WHICH HAD A SIMILAR GRUNGY FEEL TO IT.....I LOVED THIS ONE.....PLUS THE CITY CAPTURED IN IT'S PSYCHEDELIC GLORY.

Paanch needs a wider platform to be seen…..to be loved/hated/criticized/debated on.

There are hardly any films that stand the test of a year these days, let alone 8 years. Paanch was shot in 2000, but has yet to see a mainstream release in India due to strange business problems (which continue complicating the world rather than simplifying it). There may be cinematic moments in Paanch that have been replicated in later (and far lesser) films, but the whole here is far greater than the sum of its parts. And that whole is driven by a tone of seething intensity that is too individual, too real, to not be the author's personal voice. Films with personal voices are rare in these times, and that is what makes the film special. Whether Paanch is seen now, or 10 years later, it is this tone that will always give it a distinctive voice.

Despite not having a remarkable plot or even a thought-provoking narrative thrust, and despite a few (no doubt, forced) nods to commercial viability, the film's visceral energy still gives it a very compelling quality. The performances are almost uniformly excellent, and the "realness" of atmosphere can make you smell and taste the time and place – qualities Hindi cinema badly needs to incorporate in its thought process.

This is not a film about music or musicians, but about dark mindsets in people who happen to be musicians. The music (with very distinctive Indian rock songs – Vishal Bharadwaj and Abbas Tyrewala at their best) is just a backdrop but it has a force that makes you forget that it is just a small plot point in the overall scheme of things.

The director of Paanch – Anurag Kashyap, has moved on with a highly accomplished film (Black Friday) and a very personal one (No Smoking), but Paanch will always be special for the new voice that emerged in 2000. Whenever the film is seen.