Just like wine, an actor’s performance also matures with age. If you disagree, look at the performance of veteran actors, Meryl Streep, Naseeruddin Shah, Om Puri and more so of legendary Clint Eastwood in his film ‘Gran Torino’. For more than two decades, these actors have consistently breathed life in every character and continue to do so, with same verve and vigour. Now isn’t, Old is gold!
At 78, Clint Eastwood is incredible, as he reticently coughs and breathes life into the role with ease, effervescence, and growls like any other erratic senior citizen. The laconic ‘Man with no name’ prefers to be known as Walt Kowalski, acts tough like ‘Dirty Harry’ and again finds himself ‘in the line of fire’.
Gran Torino tells the story of Walt Kowalski – a former War veteran and an auto worker at Ford. The first scene in the church, cleverly presents the tortured state of Walt, an atheist, bereaving the loss of his wife and spitting venom at the young pontiff, Father Janovich (Christopher Carley). The white Americans move out and south Asians flock the neighbourhood. His son’s coerce Walt to relocate but he resents and instead stays with his Labrador Daisy guzzling cheap beer.
The film moves slowly matching Clint’s hands, delicately cleaning and polishing his pristine 1972 Gran Torino car, perennially kept in the garage. Walt is despicable as racist, holds grievances against Asians and mutters nothing but profanities. The Hmong family moves next door, their teenage son Thao (Bee Vang) is tormented and bullied by a local Hmong gang. Thao tries to steal Walt’s Gran Torino and narrowly escapes death but redemption. Meanwhile Thao’s loquacious sister Sue (the beautiful Ahney Her) befriends Walt, ends his soliloquy and provides him Asian delicacies. Walt now has a new purpose in life and to the priest’s ecstasy, makes a confession for the first time. Walt helps Thao with a job and in the process incurs the wrath of the Hmong gang. He exudes confidence of an outlaw, transforms his ugly views, bad thoughts and becomes a Good protector.
Dave Johannson and Nick Schenk story with Schenk’s screenplay presents an intriguing, surreal drama with several moments of tensions, acerbic racist slurs and an utterly unimaginable, unpredictable climax. With his short sleeves, wrinkled hands, languorous gait and acute stubbornness, Clint is outstanding as Walt. Bee Vang and Ahney Her are brilliant and look promising.
Clint Eastwood’s direction is splendid, simple with amazing scenes and brilliant camera movements. Tom Stern’s photography wonderfully captures the melancholy, through Walt’s growls, empty Detroit streets, unsuccessful automotive Gran Torino and the modern Japanese cars. Joel Cox and Gary D. Roach’s editing keeps you glued while Kyle Eastwood and Michael Stevens music adds various emotions. The locations coupled with old American and modern house vividly present James J. Murakami production designs. Clint Eastwood, Robert Lorenz and Bill Gerber display enormous courage to produce a film that perspicaciously depicts bitter realities of life.
Gran Torino is riveting with emotions, angst, realism and some humour. Ironically Clint missed his first Oscar for acting but don’t miss this film for Clint’s supposedly final film as an actor.
Sunday, March 29, 2009
Wednesday, March 11, 2009
The Reader – A Poignant Revelation !...
You enjoy watching the amorous eroticism between Kate Winslet and David Kross in ‘The Reader’ and wonder, why such encounters never happened in your teenage life. But in an hour, you comprehend - brief ecstasies inevitably results in exasperation and sorrow.
The Reader is a profound, clandestine love story about a young 15 year, Michael Berg (David Kross) and his girl friend Hanna Schmitz (Kate Winslet) who is twice his age. The film begins with Michael (Ralph Fiennes) a father, lawyer and now a divorcee, remembering his past. Hanna cajoles young Michael to read to her before they make love. She enjoys Homer, Chekhov but finds Lady Chatterley’s Lover disgusting. As the affair progresses the two develop intense feelings for each other. But like most love stories, Hanna jilts Michael. After several years, Michael meets Hanna, becomes aloof and distraught after learning her past and realizing her secret.
The story is based on the best-selling novel ‘Die Vorleser’ by Bernhard Schlink, translated in English by Carol Brown Janeway. The film is divided into three sections and moves between the present and the past. It is set in post-war Germany, against the backdrop of restoration work, Auschwitz trials, and in Berlin-1995. The film succinctly portrays the drama that unfolds between Michael and Hanna at each stage.
Kate bares her skin, soul and spirit but guards her secret to commit social solecism. She surreptitiously seduces, tones down her British accent but inadvertently pronounces ‘Siemens’ with “S’’ and not ‘’Z” like the Bravarians. David Cross is promising and his performance remarkably evocative. Ralph Fiennes displays a superlative feat and deserves laurels.
Chris Menges and Roger Deakins photography is surreal. David Hare’s screen play is a revelation. The cinematographer stunningly reconstructs Germany in all its colours and seasons. The lights and sets, bolster the narrative and takes you to a different era.
Claire Simpson’s brilliant editing avoids the Indian censor’s shears. It is precise, objective and carefully allows the film to oscillate through the bedroom, books, and different sets. The camera moves along with the actors. Hanna’s uniform, the mirror image and tram, provides a sneak preview into her personality and diligence. The close ups and over the shoulders shots delicately reflects the characters predicament while the wide angles, unfolds a splendid panorama. Nico Muhly’s music and sound, reverberates different sentiments. Late Sydney Pollack and his co –producers Anthony Minghella, Donna Gigliotti and Redmond Morris couldn’t have asked for more.
Although the film appears as the story of sexual initiation and attraction for an enigmatic older woman but it actually presents an incisive insight of those involved in the atrocities of the Second World War. The dialogues incisively interrogate and inveigle, not just the actors but also the viewers. The conversation between Michael and Lena Olin, Auschwitz survivor and prime witness at Hanna’s trial, is sharp and acerbic. The courtroom drama and the ensuing deliberation with his Professor, explores the spiritual debasement that the holocaust engendered in a generation of people who might in other circumstances be entirely decent.
Stephen Daldry’s spectacular direction provides an internal glimpse to the character’s helplessness, shame, anger and their tortured state. The director expertly captures Michael’s conflict with his father and Hanna. Some scenes distinctly stand out. The eyes express and are seen to be believed. You stir, when Hanna boldly asks the judge, “What would you have done?” When Ralph Fiennes pleadingly seeks atonement, you understand pain, guilt and redemption through his eyes. You leave the theatre in silence but several scenes keep piercing your mind but let me not reveal the suspense.
The Reader makes you forget the outside world. Indeed an engrossing, sensitive, memorable film which will stay in your memory for long.
The Reader is a profound, clandestine love story about a young 15 year, Michael Berg (David Kross) and his girl friend Hanna Schmitz (Kate Winslet) who is twice his age. The film begins with Michael (Ralph Fiennes) a father, lawyer and now a divorcee, remembering his past. Hanna cajoles young Michael to read to her before they make love. She enjoys Homer, Chekhov but finds Lady Chatterley’s Lover disgusting. As the affair progresses the two develop intense feelings for each other. But like most love stories, Hanna jilts Michael. After several years, Michael meets Hanna, becomes aloof and distraught after learning her past and realizing her secret.
The story is based on the best-selling novel ‘Die Vorleser’ by Bernhard Schlink, translated in English by Carol Brown Janeway. The film is divided into three sections and moves between the present and the past. It is set in post-war Germany, against the backdrop of restoration work, Auschwitz trials, and in Berlin-1995. The film succinctly portrays the drama that unfolds between Michael and Hanna at each stage.
Kate bares her skin, soul and spirit but guards her secret to commit social solecism. She surreptitiously seduces, tones down her British accent but inadvertently pronounces ‘Siemens’ with “S’’ and not ‘’Z” like the Bravarians. David Cross is promising and his performance remarkably evocative. Ralph Fiennes displays a superlative feat and deserves laurels.
Chris Menges and Roger Deakins photography is surreal. David Hare’s screen play is a revelation. The cinematographer stunningly reconstructs Germany in all its colours and seasons. The lights and sets, bolster the narrative and takes you to a different era.
Claire Simpson’s brilliant editing avoids the Indian censor’s shears. It is precise, objective and carefully allows the film to oscillate through the bedroom, books, and different sets. The camera moves along with the actors. Hanna’s uniform, the mirror image and tram, provides a sneak preview into her personality and diligence. The close ups and over the shoulders shots delicately reflects the characters predicament while the wide angles, unfolds a splendid panorama. Nico Muhly’s music and sound, reverberates different sentiments. Late Sydney Pollack and his co –producers Anthony Minghella, Donna Gigliotti and Redmond Morris couldn’t have asked for more.
Although the film appears as the story of sexual initiation and attraction for an enigmatic older woman but it actually presents an incisive insight of those involved in the atrocities of the Second World War. The dialogues incisively interrogate and inveigle, not just the actors but also the viewers. The conversation between Michael and Lena Olin, Auschwitz survivor and prime witness at Hanna’s trial, is sharp and acerbic. The courtroom drama and the ensuing deliberation with his Professor, explores the spiritual debasement that the holocaust engendered in a generation of people who might in other circumstances be entirely decent.
Stephen Daldry’s spectacular direction provides an internal glimpse to the character’s helplessness, shame, anger and their tortured state. The director expertly captures Michael’s conflict with his father and Hanna. Some scenes distinctly stand out. The eyes express and are seen to be believed. You stir, when Hanna boldly asks the judge, “What would you have done?” When Ralph Fiennes pleadingly seeks atonement, you understand pain, guilt and redemption through his eyes. You leave the theatre in silence but several scenes keep piercing your mind but let me not reveal the suspense.
The Reader makes you forget the outside world. Indeed an engrossing, sensitive, memorable film which will stay in your memory for long.
Tuesday, March 3, 2009
Cowardly attacks on brave, innocent Cricketers ….
The gruesome attack on innocent Sri Lankan cricket team and on the brave security officers is indeed tragic and must be censured by everybody, including those who follow or do not follow or like Cricket.
The impact of terrorism should not be measured in the number of its victims but in its attempts to upset economic, political systems, destabilize democratic societies, and in creating a climate of fear and a sense of powerlessness.
C.L.R. James in his epic book, Beyond a Boundary has rightly said that ‘Cricket is an Art’ and the game has profoundly helped in establishing national culture and influenced social, political change in Cricket playing nations.
Come to think of, doesn’t Cricket unite People amidst the chaos of religion, caste, beliefs, social status, etc, but ironically Cricket and political administrators in Pakistan are determined to disintegrate the fabric of this sport and tarnish their glorious history. It is therefore ridiculous to expect that Cricket would not be affected by the contradictions facing Pakistan. Weren’t the Champions trophy and other tours cancelled by western countries and India, for more than a year, for security reasons?
Sport is an antithesis of terrorism but unless Pakistan abolishes feudalism and precludes its government and army from colluding, either overtly or covertly with fundamentalist and nefarious groups, terrorism will cease to exist in Pakistan. Now is the time for its civic society to get together and prevent its country from being a safe haven to terrorist and rapidly becoming an anarchic society.
It will be a while before international cricket returns to Pakistan or even at neutral venues. Undoubtedly, Pakistan will loose the honour to co-host the 2011 ICC World Cup.
Hopefully better sense will prevail and Pakistan cricket and sports teams will not be ostracized and loose their place in world cricket. Cricket and sport will never be defeated by cowards. Sports did not loose after Munich Olympics and it shouldn’t after today’s heinous incident.
Indeed a sad day in the history of sports and world cricket and my sympathies with Sri Lankan team and with the families and friends of the brave security men.
My thoughts are also with the Pakistani cricketers for they are not to be blamed. Let us not condemn their cricket team.
The impact of terrorism should not be measured in the number of its victims but in its attempts to upset economic, political systems, destabilize democratic societies, and in creating a climate of fear and a sense of powerlessness.
C.L.R. James in his epic book, Beyond a Boundary has rightly said that ‘Cricket is an Art’ and the game has profoundly helped in establishing national culture and influenced social, political change in Cricket playing nations.
Come to think of, doesn’t Cricket unite People amidst the chaos of religion, caste, beliefs, social status, etc, but ironically Cricket and political administrators in Pakistan are determined to disintegrate the fabric of this sport and tarnish their glorious history. It is therefore ridiculous to expect that Cricket would not be affected by the contradictions facing Pakistan. Weren’t the Champions trophy and other tours cancelled by western countries and India, for more than a year, for security reasons?
Sport is an antithesis of terrorism but unless Pakistan abolishes feudalism and precludes its government and army from colluding, either overtly or covertly with fundamentalist and nefarious groups, terrorism will cease to exist in Pakistan. Now is the time for its civic society to get together and prevent its country from being a safe haven to terrorist and rapidly becoming an anarchic society.
It will be a while before international cricket returns to Pakistan or even at neutral venues. Undoubtedly, Pakistan will loose the honour to co-host the 2011 ICC World Cup.
Hopefully better sense will prevail and Pakistan cricket and sports teams will not be ostracized and loose their place in world cricket. Cricket and sport will never be defeated by cowards. Sports did not loose after Munich Olympics and it shouldn’t after today’s heinous incident.
Indeed a sad day in the history of sports and world cricket and my sympathies with Sri Lankan team and with the families and friends of the brave security men.
My thoughts are also with the Pakistani cricketers for they are not to be blamed. Let us not condemn their cricket team.
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