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"Amar Bondhu Rashed" by Morshedul Islam is an adaptation of a novel of Muhammad Zafar Iqbal under the same title. The crafty tale of the Liberation War of Bangladesh as portrayed in the novel rests in the core of this cinematic endeavour by the director as well. Though cinematically amateurish, this film provides an apt knitting of the main story with the cinematic technique of adaptation.
It is a tale of friendship between Ibu and Rashed (Chowdhury Zawata Afnan). Rashed, a boy of enigmatic and pulsing presence, happens to emerge all on a sudden like a blow. He ripples the lives of his peers with a mysterious Dad, supposedly his only companion. His friendship with Ibu stems and develops on the basis of a strong sense of patriotism. In the backdrop of 1971's War of Liberation, the story unfolds itself and gradually merges with the private history of Ibu and Rashed.
The film has a good casting. But the character of Rashed is not very well executed. Rashed seems to be too polished to be Rashed himself. Other characters are more or less perfect fit for the demand of the plot. The film may not be entitled to be a film of technical excellence but it has minimum number of flaws. Sometimes the characters are amputated out of the frame. Sometimes the camera moves very little that dampens the sentimental avenues of the plot. The editing is compromised for the sake of the novel at times. Transitions are not smooth but it has to be acknowledged that comprising everything while adapting a two dimensional written discourse into a film is simply absurd a demand. The sound of the film is okay.
The theme of the film is very interesting and ambivalent. For those of us who have read the novel previously, the film refreshes perspectives and thus facilitates newer thematic interpretations. The portrayal of Rashed is enigmatic. He roams around the plot without any definitive clue of his identity. Rashed can be a boy who died during the Liberation War of Bangladesh. He can be a boy who acknowledges the depth of friendship. He can represent the then collective political consciousness of our country. Rashed can be a boy that represents an Icarus-like spirit of transcending boundaries. He can be a metonymy of our 1971 War that means the country along with its people has dashed ahead but not the zeal of the war that is still blindfolded in its adolescence. Interpretations are open and they can go on as perspectives vary.
In a nutshell, this film is worth recommending. Many of us nurture a wrong conception regarding adaptation that a film must follow the exact course of the source which is nothing but weird. This film has been a very good amalgamation of the two adaptation techniques; namely analogy and transposition. It might have the minimum camera movement, but the feel that it provides is nearly priceless. If you haven't seen Rashed yet, well you haven't seen Rashed yet!!!
It is a tale of friendship between Ibu and Rashed (Chowdhury Zawata Afnan). Rashed, a boy of enigmatic and pulsing presence, happens to emerge all on a sudden like a blow. He ripples the lives of his peers with a mysterious Dad, supposedly his only companion. His friendship with Ibu stems and develops on the basis of a strong sense of patriotism. In the backdrop of 1971's War of Liberation, the story unfolds itself and gradually merges with the private history of Ibu and Rashed.
The film has a good casting. But the character of Rashed is not very well executed. Rashed seems to be too polished to be Rashed himself. Other characters are more or less perfect fit for the demand of the plot. The film may not be entitled to be a film of technical excellence but it has minimum number of flaws. Sometimes the characters are amputated out of the frame. Sometimes the camera moves very little that dampens the sentimental avenues of the plot. The editing is compromised for the sake of the novel at times. Transitions are not smooth but it has to be acknowledged that comprising everything while adapting a two dimensional written discourse into a film is simply absurd a demand. The sound of the film is okay.
The theme of the film is very interesting and ambivalent. For those of us who have read the novel previously, the film refreshes perspectives and thus facilitates newer thematic interpretations. The portrayal of Rashed is enigmatic. He roams around the plot without any definitive clue of his identity. Rashed can be a boy who died during the Liberation War of Bangladesh. He can be a boy who acknowledges the depth of friendship. He can represent the then collective political consciousness of our country. Rashed can be a boy that represents an Icarus-like spirit of transcending boundaries. He can be a metonymy of our 1971 War that means the country along with its people has dashed ahead but not the zeal of the war that is still blindfolded in its adolescence. Interpretations are open and they can go on as perspectives vary.
In a nutshell, this film is worth recommending. Many of us nurture a wrong conception regarding adaptation that a film must follow the exact course of the source which is nothing but weird. This film has been a very good amalgamation of the two adaptation techniques; namely analogy and transposition. It might have the minimum camera movement, but the feel that it provides is nearly priceless. If you haven't seen Rashed yet, well you haven't seen Rashed yet!!!
To provide an opening gambit, it can be easily stated that Karan Johar's obsession with the life of expatriate Indians continues and "My Name is Khan" is another refined version of that.
The setting of the film is the US; 6 years after the WTC wreckage. Rizvan Khan (SRK) happens to be there who is an autistic patient with Asperger's syndrome. He attempts to meet the President of United States (Christopher B. Duncan) in order to give him a message (which is my selection as the title of this review). The message was a vital one having a long painful background for someone like Rizvan who was not gifted with the ability to express his emotions except writing it.
Khan has been a round character. Other characters did awesome jobs as well. Shah Rukh Khan was absolutely brilliant as his expressionless-ness was the ultimate expressive aspect in the film. Kajol is always a candid actress and this film is no exception. Other characters especially Zakir Khan (Jimmy Shergil) is a round one but his seriousness has seriously been overshadowed by the acting of SRK.
Technical elements in Indian films sometimes make us remember of the cheap technicality of Indian soap operas. But there are some refreshing technical delicacies by the Director here. The triangle composition of Khan, his mother and his teacher Mr. Wadia is simply great. There are some annoying framing errors (seemingly necessary characters and objects are cut out of frame). Editing is okay as the transitions are smoothly done. The inter-playing transition between past and present was not quite a blunder if not that crafty. The music has been an absolute stunner. An A1 job by Shankar, Ehsaan and Loy as always.
Thematically this film is more than a family drama. The film tried incorporating themes beyond the familial confinement. Mentioning them would be simply repeating. But the main mention-worthy point is the handling of the theme(s). It eschews no vital aspects and yet reaches at a conclusion (however implausible that may be).
The film is worthy of recommendation. Technical flaws apart, the plot is powerful enough to provide a good time as it ripples emotions of many levels. Worth giving a try!
The setting of the film is the US; 6 years after the WTC wreckage. Rizvan Khan (SRK) happens to be there who is an autistic patient with Asperger's syndrome. He attempts to meet the President of United States (Christopher B. Duncan) in order to give him a message (which is my selection as the title of this review). The message was a vital one having a long painful background for someone like Rizvan who was not gifted with the ability to express his emotions except writing it.
Khan has been a round character. Other characters did awesome jobs as well. Shah Rukh Khan was absolutely brilliant as his expressionless-ness was the ultimate expressive aspect in the film. Kajol is always a candid actress and this film is no exception. Other characters especially Zakir Khan (Jimmy Shergil) is a round one but his seriousness has seriously been overshadowed by the acting of SRK.
Technical elements in Indian films sometimes make us remember of the cheap technicality of Indian soap operas. But there are some refreshing technical delicacies by the Director here. The triangle composition of Khan, his mother and his teacher Mr. Wadia is simply great. There are some annoying framing errors (seemingly necessary characters and objects are cut out of frame). Editing is okay as the transitions are smoothly done. The inter-playing transition between past and present was not quite a blunder if not that crafty. The music has been an absolute stunner. An A1 job by Shankar, Ehsaan and Loy as always.
Thematically this film is more than a family drama. The film tried incorporating themes beyond the familial confinement. Mentioning them would be simply repeating. But the main mention-worthy point is the handling of the theme(s). It eschews no vital aspects and yet reaches at a conclusion (however implausible that may be).
The film is worthy of recommendation. Technical flaws apart, the plot is powerful enough to provide a good time as it ripples emotions of many levels. Worth giving a try!
Raise the Red Lantern is a film directed by Zhang Yimou which is an adaptation of the novel Wives and Concubines by Su Tong. The film deals with a number of issues and handles them with meticulous craftsmanship. It is a masterpiece in every aspects ranging from storyline to technical sophistry. This review will be focused on various necessary aspects of the film but there will be no commentary over it as an adaptation. The discussion will cover its plot, characters, technical elements, sound and theme.
The setting of the film is 1920s China. Songlian (Gong Li) is an educated girl who had to marry a rich feudal patriarch because of her mother's will when her father dies. She therefore becomes the fourth mistress of the family that maintains traditions and its orthodoxy rigorously. She finds herself within a suffocating confinement. Her sole focus is narrowed down to get the attention of the master likewise the other "sisters". Interestingly; along with physical satisfaction, the wives' charm in the house seems to rest on getting the foot massage which is given to the particular wife with whom the master will be 'spending' his night. Songlian is a quick learner who starts tricking and fooling other "sisters" just like the way they do. She builds a good relationship with the second wife (Cao Cuifen) and does not quiet get along with the third one. With a number of twisting discoveries, Songlian keeps on gaming until she uncovers something grave in a state of drunkenness in her 20th birthday.
The character of Songlian is the most craftily characterized one in the film. While other characters, especially second and third wives are seen to be only fussily engaged in grabbing the master's attention, Songlian projects an amazing amount of sentimentality, sensibility, anger and calculability. Songlian's maid is also an important character who is characterized to a credible degree. Within a confinement of rules, traditions and orthodoxy; Songlian and her maid have expressions that are praiseworthy. The master and First wife's son Feipu plays a precise but significant role. Other characters serve up to their demand of the plot. This is one of the very few films where there are no unnecessary characters. Moreover, the acting is superb.
The film has brilliant editing and incredibly meticulous cinematography. Kudos must be given to the cinematographer Yang Lun and Zhao Fei. The cinematography is so amazingly mathematical that it turns out to be a work of art. The precision reminds of Eisenstein's Battleship Potemkin and some of its legendary cinematography. Editing is very smooth and the superimposition in the last sequence are also uncannily perfect. The screenplay deserves a bow. It's literally hard to find any flaws in the technical sector of the film.
The film uses very little sound. The songs of the "Third Mistress" are enchanting. The introductory music which is repeated several times in the film is very purposive and upholds the stereotypical fact that it is a Chinese film.
The film deals with a number of themes. There is something graver than mere sentimentality because it must not be forgotten that this film was banned by the Chinese Government. The film has all the dramatic themes necessary to make a film attractive. But the main theme of the film serves as a critique of Confucianism that means it is a satire of the theory of a good family. Songlian's condition by the end of the film can be a critical psychoanalytical reading.
To be conclusive, the film is a must watch for both film critics and movie-goers. The film critics will surely find this to be a soothing experience. On the other hand, movie-goers will surely have a good time.
The setting of the film is 1920s China. Songlian (Gong Li) is an educated girl who had to marry a rich feudal patriarch because of her mother's will when her father dies. She therefore becomes the fourth mistress of the family that maintains traditions and its orthodoxy rigorously. She finds herself within a suffocating confinement. Her sole focus is narrowed down to get the attention of the master likewise the other "sisters". Interestingly; along with physical satisfaction, the wives' charm in the house seems to rest on getting the foot massage which is given to the particular wife with whom the master will be 'spending' his night. Songlian is a quick learner who starts tricking and fooling other "sisters" just like the way they do. She builds a good relationship with the second wife (Cao Cuifen) and does not quiet get along with the third one. With a number of twisting discoveries, Songlian keeps on gaming until she uncovers something grave in a state of drunkenness in her 20th birthday.
The character of Songlian is the most craftily characterized one in the film. While other characters, especially second and third wives are seen to be only fussily engaged in grabbing the master's attention, Songlian projects an amazing amount of sentimentality, sensibility, anger and calculability. Songlian's maid is also an important character who is characterized to a credible degree. Within a confinement of rules, traditions and orthodoxy; Songlian and her maid have expressions that are praiseworthy. The master and First wife's son Feipu plays a precise but significant role. Other characters serve up to their demand of the plot. This is one of the very few films where there are no unnecessary characters. Moreover, the acting is superb.
The film has brilliant editing and incredibly meticulous cinematography. Kudos must be given to the cinematographer Yang Lun and Zhao Fei. The cinematography is so amazingly mathematical that it turns out to be a work of art. The precision reminds of Eisenstein's Battleship Potemkin and some of its legendary cinematography. Editing is very smooth and the superimposition in the last sequence are also uncannily perfect. The screenplay deserves a bow. It's literally hard to find any flaws in the technical sector of the film.
The film uses very little sound. The songs of the "Third Mistress" are enchanting. The introductory music which is repeated several times in the film is very purposive and upholds the stereotypical fact that it is a Chinese film.
The film deals with a number of themes. There is something graver than mere sentimentality because it must not be forgotten that this film was banned by the Chinese Government. The film has all the dramatic themes necessary to make a film attractive. But the main theme of the film serves as a critique of Confucianism that means it is a satire of the theory of a good family. Songlian's condition by the end of the film can be a critical psychoanalytical reading.
To be conclusive, the film is a must watch for both film critics and movie-goers. The film critics will surely find this to be a soothing experience. On the other hand, movie-goers will surely have a good time.