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Review of ‘Bombay Talkies’, A Bollywood Anthology Film of Four Shorts
Director Dibakar Banerjee is more keen to establish a small world in which his characters, both major and minor, live. You are much more enthusiastic and involved with these people because Banerjee weaves together the whole fabric of her creation, not just weaving the design; he allows his camera to capture the sight, sound, and essence of his world, and you respond and respond to that more than the works of other directors. He is one of the best new Indian directors I have seen whose films have received far less recognition than they deserve. Everyone is talking about the involvement of Karan Johar or Anurag Kashyap and only a few (myself included) might have gone to Bombay Talkies to keep an eye on Dibakar Banerjee. His segment is called Zvezda and comes right after Dzhokhar’s opening segment; Banerjee’s work simply blows the other segments out of the water, and only Kashyap’s Muraba can escape unscathed. But poor Zoya Akhtar’s segment, Sheela Ki Jawani, is not very happy, barely living up to the standards of Banerjee’s work. And Dzhokhar’s gay-themed hockey segment seems limp by comparison.
Having said all this, I don’t think you should skip the other segments and catch only Banerjee’s; Bombay Talkies is a far better deal than most other Indian movies you can watch in theaters. It has a limited release and managed to garner mediocre collections at the box office, but it certainly deserves recognition for being a novel, not just for being a novel. Four different directors with quite different styles and palettes have set their works for an anthology film (a term for many short films that are put together to form a feature film) and you as an audience member have a lot more to talk about here than just quality. the film itself: compare the works of these filmmakers and form your own preferences. I loved Banerjee’s work, but I heard many others praise Karan Johar more, but you see what’s happening here is that everyone is talking a lot more about the movie than they normally would. For this alone, people should catch Bombay Talkies before it exits the theaters with the last farewell of Bollywood.
Bombay Talkies, named after the prestigious film studio of the same name that opened in the 1930s and is now closed, is a cinematic ode to celebrating the centenary of Bollywood. This ode is sung by four directors: 1) Karan Johar, known for his epic melodramas with names that usually start with the letter ‘K’, 2) Dibakar Banerjee, an extremely talented director whose works evoke the multiplicity seen in neorealist films 3) Zoya Akhtar, who has won several awards in India and comes from a family of talented actors, musicians and lyricists and 4) Anurag Kashyap, whose works have been screened at Cannes. While Johar and Akhtar share this style of direction possessed by many filmmakers who have been brought up in the industry since its inception, Kashyap and Banerjee inject the flavor of world cinema into commercial Bollywood.
Johar starts first, his film about Avinash, a lonely gay man estranged from his family who meets a lonely married straight woman whose sex life (with her husband, of course. Infidelity not usually discussed in Indian films) is sterile. There’s a husband who’s bored and lonely (and totally unturned by his wife) and loves old Hindi songs, and things get complicated when Avinash meets the husband and his gay sensibilities kick in. You know perfectly well what will happen next. When Johar finishes, it’s Banerjee’s turn: his film is about a lower-middle-class Maharashtrian (Nawazuddin Siddiqui, awards to come) whose many small ambitions, which include raising emus, never take off until he gets the golden opportunity to one day share a space at screen with megastar Ranbir Kapoor. If Banerjee makes us hate cinema owners for holding the film’s interval, Zoya Akhtar’s post-intermission segment about a toddler who hates football and likes to dress up as a girl and adores actress Katrina Kaif makes us hate the film’s editor for not including more of Dibakar’s story . The last segment is a little strange and unusual, and Kashyap is; his film tells the story of Vijay, a native of Allahabad who, at the insistence of his ailing father, travels to Bombay to offer the King of Bollywood half of the Muraba, a pickle, so that the other half, once blessed with Bachchan’s mind… teeth, Vijay’s father could eat to get well.
Dzhokhar’s segment is simple, they are quite predictable; you’re well aware of what’s going to happen and since it’s a Johar film, you know the characters are going to shed a lot of tears. Aside from the jokey and wacky subject matter, I really wasn’t sure if it portrayed gays in a flattering light. Akhtar, on the other hand, makes a film full of annoyingly precocious children and one-dimensional characters, especially the child’s father who keeps saying, “Football is a man’s game.” Football will make you strong’. Anurag Kashyap’s Jam is delicious and wonderful, but nowhere near the richness of Banerjee’s offering. There is so much to enjoy, so many little things that we watch happen in Banerjee’s film, and he is a pro when it comes to camera and sound handling. There is a common theme of the father-son relationship in all four shorts.
There is a music video after the short films celebrating one hundred years of Bollywood and they added a montage showing Bollywood through the period. Towards the end, stars like Aamir Khan appear, but I was sadly disappointed with the presence of some actors like Sonam Kapoor here, which shows how retarded Bollywood has become. Why couldn’t they let Nawazuddin sing? Or Kalki Koechlin? When your entire film is about celebrating real stars, why ruin the moment by bringing in a hundred million club whose star-studded films make no sense?
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