Black

First things first. On Easter Sunday I pondered whether I should go see the film "Black" -- a film about which I had heard nothing in the popular press, until I saw its title on the cinema's Marquee. Not surprising really, since the film appears at this point to have only been released in the specialty Hindi-language Bollywood film circuit in Canada. Which is a real pity because if I had not made an accidental point of presenting myself at a movie-house that was actually screening the picture, as a Euro-heritage native-born Canadian I would likely still be walking around in a typically North American ethno-centric film fog about this excellent picture.

When I initially asked the theatre's ticket clerk what "Black" was about, his description hardly got me excited. It's the story of a teacher who helps a disabled woman. It didn't sound terribly engaging to me. But boy, was I wrong! While I am not a complete stranger to a number of Bollywood-type films, I'm lucky if I see one or two in a year, and at that, it's usually been because someone else has suggested it. While few of these "B" class movies "deserve" screen time in mainstream North American theatres, this is hardly the case for "Black". It is not a "B" class flic.

If only because the film's Director Sanjay Bhansali co-wrote the script, this obviously allowed him to imagine how he might want to capture the story with beautiful emotionally-charged cinematography. And what a sophisticated symbolically packed feast it was at that! Yet backing up the impeccable imagery was an equally top-drawer story. One dimension tells the story of a once well-regarded teacher who has come to the end of his financial, if not his existentially-justified rope, a man whose talents are neither fully recognized or completely appreciated. Then during this 11th hour turmoil, he receives a letter asking for help from the parents of a young deaf and blind girl. Her story is of course equally gripping, a girl effectively trapped in an internal prison in which language, a vital connector within herself as well as to the outside world, is missing. In this sense, both characters need one another, for both are on the common and all too true brink of being "disposable people" - people ripe relegated to become out-of-sight out-of-mind statistics in a faceless institution.

This feature of the story speaks to a possibility few of us care to contemplate, namely: "Who would care for me if everything fell to pieces?". It is a possibility reminiscent of and anchored in a time when as children we depended entirely on our parents for nurturance and love. This I think is what gives this story its privileged access to the inner-recesses of our deep emotional need for interconnection. And because it is a story told as much with emotionally poignant visuals as it is with emotionally gripping dialogue, these have a way of by-passing the usual intellectual filters we erect to both define and "protect" ourselves from one another. This film will have none of that. And the emotionally-forceful performances offered by the male and female leads simply seal our fates, leading us to co-journey with them in their heroic quest to find the light that will illumine us as much as them.

Few are the number of viewers who could experience this film and not leave better people, if only because it succeeds in allowing us to recognize the value of caring for one another as the greatest triumph, if not the most important ingredient in all of our other successes as a species. In short, this film strives to restore one's faith in the value of life and love, and does very well in that task. And what more can anyone ask from any motion picture? It is a work of genius, well executed, and a triumph of film-making, regardless the culture. Which is why I believe it deserves a lofty 10.

Black is an unusual and interesting film in idea and visualization. It's a very special film and there is no doubt; Sanjay Leela Bhansali is among the best talents Indian Film Industry has produced.

There have been films like Sadma, Sparsh and Koi Mil Gaya and Sanjay's directorial debut Khamoshi - The Musical, where the protagonists of the films were physically challenged. KHAMOSHI - THE MUSICAL, was a tale of a deaf and dumb couple and their ordinary child. Despite the presence of matinée idols like Salman Khan, Manisha Koirala and Nana Patekar, the film failed.

Black cannot be described in sheer words. It has been handled with extreme kindliness and it does boast of a plot that's rarely attempted on the Indian screen. Before this movie, Gulzar made a movie 'Koshish' in early 70's starring Jaya Bhaduri and Sanjeev Kumar for which they have won the awards.

Michelle McNally (Ayesha Kapur/Rani Mukerji), born to an Anglo-Indian family, is deaf and blind. She is a bright and intelligent girl and she lives in the world of black and this frustrates her because she desires to speak. Therefore, because of her frustration she becomes harsh and cruel on numerous events.

Debraj Sahai (Amitabh Bachchan) is a strange person. He is an alcoholic, a teacher to the deaf and blind children. The principal of the school believes in his ability and sends him to the McNally house to teach Michelle. Debraj's arrival at the McNally home is far from favorable, as he arrives intoxicated, annoyed and impolite. On encountering Michelle, Debraj realizes that the only way to tackle her is to distress her, be violent at times and at the same time, show her the love.

Debraj succeeds and Michelle amazingly learns her first word - Ma. But this is just the beginning. There are several battles to be won. His dreams of Michelle going to a college with students without any disability. But, at this stage, Debraj starts to suffer from Alzheimer. He slowly forgets everything including all words and their meanings. The roles are now reversed!

Sanjay Leela Bhansali explanation of Helen Keller's outstanding life and the role Annie Sullivan played in her life. The real-life story was presented on the big screen in the 1962's Hollywood flick THE MIRACLE WORKER, which starred Patty Duke and Anne Bancroft for which both the performers won the Oscars.

A film like BLACK relies heavily on performances and Bhansali has extracted award-worthy work from practically the entire cast. When you talk of BLACK, it's not just Bachchan or Rani's work you would like to extol, but Shernaz Patel, Nandana Sen, Dhritiman Chaterji and Ayesha Kapur's contribution as well.

International Cinematography by Ravi K. Chandran. Each and every frame is laudable of a great compliment. Omung Kumar has created lively sets for the film. The Shimla shopping mall has been reconstructed to precision in Mumbai. Background music by Monty is apt. BLACK belongs to Amitabh Bachchan and Rani Mukerji primarily. After Khakee and Dev, this one is his best performance and for this role, he felt that for the last 25 years I have been working in the movies but this is the first time that I have shown such an interest. Bachchan comes up with a performance that he'll always be remembered for!

There's no denying that Rani delivers her best performance to date and her performance in this movie has topped on the number one spot and crossed her early performances i.e. 'Yuva', 'Hum Tum' and 'Veer - Zaara'. Rani has conveyed through expressions exclusively. Here's a performance that should act as a reference guide for all aspiring actors. And yes, she's bound to walk away with all major awards next year as well!

Shernaz Patel is exceptional. Her sequences with Bachchan are awesome. Dhritiman Chaterji is excellent. Nandana Sen impresses in a small but significant role. Ayesha Kapur is first-rate and she should be given a special award next year in every award ceremony. And also Best Perfromances award should be given to Mr. Amitabh Bachchan and Rani Mukherjee. If Bollywood has to move ahead with time we will be open to experiments like this. A must watch for those who like different cinema. After Lagaan, The Legend Of Bhagat Singh, Kaante, Khakee, this is the movie, which can compete with any Hollywood Movie. Rating: 4 Out Of 5

Excellent performance of the two main actors: Rani Mukherjee is unrecognizable and believable in her role of a blind person & Amitabh Bachchan, well, wonderful as usual! It is a sad and dark movie though. I do not think that this movie is about love nor God... but about hope for sure! It is a good movie, well played. For people looking for a Hindi movie without the Bollywood songs and dances, this one will make them happy; there is nothing of that sort here in this film that is a bit long (124 minutes!).

For those who admire Amitiji(I am one of them), I guess you must watch this movie because he really is incredible!

For a long time I would watch Hindi / Tamil movies only when ironing. You don't care if you miss some parts - there is always gratuitous mandatory dances, fights and incidental humor.

Black stands out among the Hindi movies. The brilliant acting, dramatic tension, breathtaking views of the mansions in Simla and the story-telling technique blended to create a great experience. Agreed Amitab is a great actor. But Rani Mukerjee mounts a respectable challenge to him. Supporting actors were great too.

If Hindi movies are half as good as this, I would watch more.

I had a bonanza holiday break watching Black, Paheli and Mangal Pande. Looks like there is some real light at the end of the tunnel, after all! I am now a declared fan of Rani Mukerjee.

When the credits started rolling on this movie, my wife and I looked at each other and both spontaneously said "That was one of the best movies I have ever seen". Sure, it was inspired by "The Miracle Worker", with Anne Bancroft and Patty Duke, bit visually it knocks it for six.

Awesome awesome cinematography. Let me say that again. Awesome awesome cinematography. Nearly EVERY shot is a wonder!

Amitabh Bhachchan's acting is his best ever (at least for western audiences), and beats most recent performances from Hollywood.

I don't consider this film a remake, but even if you do, you still need to see it.