Once you begin watching this, I challenge you to look away. Gary Vaynerchuk (of Wine Library TV) keeps you entertained and engaged with 15 rocking minutes of in-your-face “If you believe in it, go for it”:

[Via Waxy]

MUTO a wall-painted animation by BLU from blu on Vimeo.
[Via KK]

“The mind’s eye.”

This mythical retina of our imagination is all you can employ when you are immersed in the world of books. You use this eye to create the setting, to imagine what the characters look like and to visualize the action in moving pictures even as the story unfolds as words on a page. And, especially, when you consider a massive, magical tome of the likes of Harry Potter and the Order of the Phoenix, you come to rely pretty heavily on this eye to corporealise the enchanting - and often wildly imaginative - yarn that Rowling weaves.

So how does one compress an 870 page novel into a 2 1/4 hour movie? Screenwriter Michael Goldenberg talks about the adaption process:

It’s a translation process from one medium to a very different one. Ideally you want people, especially fans of the books, to walk out saying it was just like the book — even if, when they think back on it later, they realize there were lots of differences. The challenge is in finding the best equivalent way to tell the story. My job was to stay true to the spirit of the book, rather than to the letter.
- Salon (via Etcetera)

And in that endeavor he succeeds and, consequently, so does the movie. Sure, entire episodes are left out - there’s no mention of Quidditch and the St Mungo’s episodes are completely absent. What is present, though, is the underlying spirit of the book: the growing up of kids into adolescents, the alienation of being “The Chosen One”, the sheer joys and pitfalls of school-life and the eventual rebellious union against the authoritarian, enforced order.

From the dark openings of the dementor attacks in a little English village to the showdown in the Ministry Of Magic, first-time-Potter-director David Yates does a pretty good job of capturing the essential elements of the story while at the same time trying not to get very involved in one particular sub-plot. If the movie has a disjointed feel at times and seems to jump around, this could well be the cause.

Artistically, directors have always been allowed the license to deviate from the book a little. While it little matters who discovers the Room of Requirement or who sneaks about the DA meetings, one thing emerges slowly as the movie progresses. Harry’s friends gain a new-found respect for and belief in him. Their progression from disbelief and sometimes downright belligerence toward Harry to acceptance and training under him are all well-captured. And finally, when Harry says it’s too dangerous so he will go alone to fight the Death-Eaters and his friends confront him together asking if all the training and preparedness they underwent was just talk, you just know that the transformation is complete: they are together in this and it’s good versus evil now.

The show-stealer, however, was the mildly coughing, always pert-in-pink, deliciously wicked Professor Umbridge (Imelda Staunton in a well-executed role), the new Professor at Hogwarts. Her portrayal of the strict disciplinarian who exerts an authoritarian influence on the school is a treat to watch and that you detest her very presence is testament to her ample histrionic abilities. Another surprise was Evanna Lynch’s Loony Luna Lovegood. She really had that goofy, butt-of-all-jokes look on her face, but finally comes through as a thoughtful and insightful ally to Harry’s group.

Yes, compared to The Goblet Of Fire, this movie is even darker in nature and that can only be expected as the plot thickens and the seriousness of the return of Voldemort slowly sinks into everyone’s minds. But Yates never lets you forget that these are still kids who are trying to be men under very difficult circumstances. Darker scenes are sandwiched by humorous ones like when Hermione teases Ron about having the emotional range of a teaspoon or when Fred and George feed another of their sickness-inducing treats to an unsuspecting junior.

Visually, the movie brings in some pretty spectacular sequences. Of course there is the broom-flight over London, the mumbling house-elf Kreacher and the metamorphmagus Tonks who amuses everyone by changing her appearance. But the artistic license I mentioned earlier has been put to good effect to give you even more than your mind’s eye could have imagined. There is the ludicrous sight of the caretaker Filch tottering on a tall ladder as he nails decree after ridiculous decree on the school walls (”Students should stay at least 8 inches away from each other”!). There’s the brilliant display of fireworks during the O.W.L.s as Fred and George decide enough is enough and leave Hogwarts leaving behind a large “W” in the sky. And of course the Hall of Prophecies: rows and rows of shelves with their gleaming prophecy-containing glass-spheres - all of which have been shot with a sense of grandeur and which evoke the same sensations of elation or mystery you feel when you read the sequences in the book. Even the pseudo-narration-using-newspapers technique has been used with great effect especially since The Daily Prophet contains photographs with subjects that can move around in the picture. (”POTTER changes back and forth to “PLOTTER?”)!

The mind’s eye: every movie that’s based on a book strives to please this very finicky (and very individual) lens. While I might not go so far as to say this is the best movie of the series, The Order Of The Phoenix certainly does an admirable job of keeping close to the plot-line yet deviating enough at times to give your visual and auditory senses a real treat.

Definitely worth a look-see.

harry potter, order of the phoenix, movie

There’s really nothing much you can say about that experience to someone who hasn’t been there and done that. I mean, in this day and age, if you are still going to a Rajni movie with your head firmly screwed onto your shoulders, then, well, there must still be a bolt a little loose somewhere.

But if you go with undying adulation, your brains safely held in cold storage at home, your lips pursed for the numerous inevitable whistles and, of course, a simple expectation for the cinema-house entertainment that only a “Rajni Movie” can bring, then you might just go home satisfied.

Now since my review-writing skills leave much to be desired, let me intersperse this post with big words like “intersperse” (intersperse, intersperse!) and also snippets of songs from Sivaji so you can listen as you read (if you ever thought I didn’t care for you, Gentle Reader, then you are absolutely right; I am only doing this because I love the audio plugin and will use it at the slightest excuse! Onto the intro then: Thalaivar doesn’t want all these Inglees songs and wants a good-old tamil-song, so SPB masterfully complies …

(Sooriyano Santhirano)

(Nayanthara, if you are listening, I take back everything I said in my Ghajini write-up - you look … um, “different”!)

Moviewise, though, Sivaji, sadly reaches nowhere near the heights of the hype created for it. To see Shankar waste a golden opportunity with such a big crowd-pulling star saddens the mind. Well, thank goodness he didn’t make another movie about his pet peeve, corruption.

Oh wait, he did.

Sivaji, an NRI from the U.S. plans to invest his wealth in building free schools and hospitals for all, but that interferes with the villain’s plans to get hefty donations and fees from his own schools and hospitals. (Brief pause for the hohums. And don’t worry about that big clicking sound - that was just a majority of the readers of this post moving away for something more exciting). In typical review-style let me finish off the one-para story with “How Sivaji overcomes the obstacles from various corrupt villains and realises his dreams forms the rest of the story”! But thank goodness the story did not illogically jump all over the place.

Oh wait, it did.

The first half is a profusion of confused and ridiculous sequences of corrupt-politician-wooing and heroine-wooing. While the script-writers are on a tea-break, Shankar moves forward with Rajni and his usual comic histrionics only a few of which were even funny. Vivek provides some moments of much needed comic relief along with Solomon Pappiah (in a role reminiscent of Thiruda Thiruda’s lorry driver (”En ponnu unakku dhaan!”)). Thank goodness there were no red-dhavanis flying in front of speeding local-trains.

Oh wait, there were. And on that note onto a multi-crore song …

(Vaaji Vaaji)

The whole families-getting-to-know-each-other crap boggles the mind and makes you wonder what Shankar was thinking. The “Pazhaga-Pazhaga” banner was the only funny thing in all of that. Well, as expected Shriya complies with Super Star and another bazillion-crore song follows …

(Sahana Saral)

Since all that falls must rise (or something to that effect), the second half recounts the “rising”and ultimate victory of good over evil. Fantasy takes over reality, cars fly in the air, bullets stop in mid air and salute our Thalaiva and the Wachowski brothers turn even before they reach their grave as the Matrix fights are copy-catted - leather-jacket, sequenced-still-cameras and all. “Adhiradi Kaalam” has all this and more including Mariachi-inspired guns-in-guitars.

(Athiradi Kaalam)

Still there were some good moments in there. While it’s not clear if Shankar’s message to reduce corruption and black money will ever get across to the audience through this messy script, Rajni will still rock the ardent fan’s world. His costumes, his hairstyles, his dialogue delivery (”Pera Kaetta Undane Summa Adhurardhille?!”) and chewing-gum popping style do not disappoint! One word catch-phrase? Can you say “Cool”?

But, can you say it like Rajni?

(Oru Koodai Sunlight)

I especially loved his impersonation of yester-stars and his “new look” towards the end of the movie (I say he should keep that). Chinni Jayanth makes a classic cameo appearance a-la Dum Dum Dum, which I greatly enjoyed. however, thank goodness there were no super-Peter-dialogues from Rajni like “Give me a break!” and “The rich get richer and the poor get poorer”.

Oh wait, there were.

But I already knew what to expect from a Shankar movie. And even better, what to expect from a Rajni Movie. Thank goodness I am not the sort of crazy, all-out Thalaivar-fan who drives 75 miles to see the movie in Poughkeepsie because the local theatres ran out of tickets and whose throat is hoarse from all the whistles, shouts and cheers.

Oh wait, …

Thalaivaaaaaaaaaaaaaaa!

sivaji, sivaji the boss, sivaji review, rajni

Also looking forward to film version of the 5th book, Harry Potter and the Order of the Phoenix which is to be released on July 13th, 2007 (perfect timing to build publicity for the 7th book). Hope it’s better than the 4th movie which was a little disappointing.

2007 promises to be one magical year.

harry potter, harrypotter, harry potter and the deathly hallows, deathlyhallows

Enter Kamal as Raghavan, DCP Crime Branch, Chennai (cue explosions, jeeps being blown up 100 feet into the air and some “tamil-rap”). What is this, 1987? First off, he needs some major make-up and granted he is playing a middle-aged cop but should his middle also looks aged thanks to some ample girth? So OK, we get it - he is an honest cop and can do some kuthu-sandai (boxing fighting) and even some parandhu-parandhu sandai (flying-flying fighting).

Things begin to look like it can get interesting when the daughter of his police-mentor-friend (Prakash Raj in a regrettably and forgettably short role) is found slaughtered and months later, Prakash Raj and wife are also taken out, albeit in New York. Our hero is on the case, begins by making some profound observations like “4 a.m. - 22 hours = 6 p.m.” greeted by enthusiastic “yessaar yessaar!”s from his clueless constables and then heads to New York City to continue the investigation.

By now there are enough holes in the plot to rival the best of swiss cheeses. The befuddled NYPD cop with whom Kamal works gets a first hand look at how things are done in India. “But the sign says ‘No Trespassing’” he splutters just as Boom!, Kamal breaks open a gate and sails through. “But we don’t have a warrant” he pleads, even as Kamal gleefully smashes through a suspect’s door and enters. “This is how we do it in Chennai” Kamal explains patiently. More respect to us!

Also enter Jyothika who is saved by Kamal as she tries to end her life after a disastrous marriage - and then simply follows along aimlessly with nothing big to do except show up promptly for songs - ah, the songs … Now Harris Jayaraj can whistle a mean tune and streaks of his genius show up in a couple of the songs. “Vennilave”, a fast paced song shot around NYC is catchy and “Karka Karka” is our hero’s intro. But my favorite is the mildly haunting “Paartha Mudhal Naale” (Bombay Jayashri simply rocks) which is a flash back of Kamal with his wife (Kamalini Mukharji - in another of the many guest disappearance roles of the movie). While it comes nowhere near what I believe is Harris’ best ballad ever - the eternal “Ondra Renda Aasaigal“(what is it with me and Bombay Jayashri?) it is still eminently hummable and the intro music is still playing an infinite loop in my head.

The biggest drawback in the movie, however, is the direction or rather the lack of it. Kamal is given no scope to show his versatility and the song sequences are just awfully picturised. The screenplay is no better with the villains revealed even before half-time to be a couple of half-witted morons on a thinly-reasoned killing spree and the second half is just a lot of chasing and screaming as the movie heads towards an inevitable and predictable end. What I thought was going to a thrilling whodunnit, turned out to be nothing more than just another average flick.

There’s 2 1/2 hours of my life I’ll never get back.

What now? You want a rating? With stars and all?

Indha pudi:

Vettaiyaadu Vilaiyaadu

i be laugh my guts out.

flightplan is a tale of a woman who is travelling from berlin to new york with her daughter after having just lost her husband.

jodie foster in a metal enclosure with a distraught daughter … now where have i seen this before?

but, unlike panic room, where the thrill element kept your heart racing throughout the movie, flightplan is just … not that well planned.

midflight, foster wakes up to find (or not) that her daughter is missing and what’s worse, there is no record of her ever having boarded. a harrassed-looking captain (sean bean) and even more harrasseder looking air marshall (peter sarsgaard) do their best to convince foster she must be have gone loony from the loss of her husband and imagined the whole thing up, but somehow the look of conviction on our heroine’s face convinces them (and consequently the audience) that things are not what they seem.

this obviously means that the thrill element begins a fatal downward spiral during the second half of the movie as foster goes on a huge (wo)manhunt to find her daughter. i just sat dumb with disbelief that an aircraft can have that many empty passageways, and yet i cannot even get up on an international flight for 2 seconds without bumping into a couple of coffee carts and being greeted with a few “please keep your seatbelt fastened at all times sir!”

whether foster’s conviction is redeemed or not forms the climax of the movie which, not surprisingly, takes on a few additional, needless and, ultimately, tiring twists. in the end this so called thriller seemed more contrived and convoluted than what it needed to be.

this is one flight you can plan on missing.

we managed to catch a tamil movie this weekend after a long time. wish we hadn’t.

ghajini, (apparently a remake of an english flick) was bearable during the first half and excruciating to “nails-on-chalkboard” levels during the latter). surya, asin and nayanthara make what could have been an entertaining thriller into an inane mindless-songs-and-mindless-fights filled ride through the experiences of a short-term memory loss (STML) patient.

enter the robot: ok, so you have STML. the director thinks “how do i convincingly let the audience know that this guy is afflicted with this syndrome?” and in a flash he gets it: let’s have him do the robot dance! surya, who always likes to do his roles with a lot of conviction gets into the dance groove a little too heartily and flicks his head around so much, i was afraid it would slide right off his shoulders.

the best parts of the movie are the flashback sequences leading upto his memory loss, where i was pleasantly surprised to see asin take up the role of “saving grace” of the movie. though she tends to shake her hands around a lot, she turns out to be a surprising natural in her acting areas. her comedy sequences in the early portions of the movie were a treat.

nayanthara, who is obese by any definition of the word, does a lot of shaking and running and i cannot describe it better than karthik does (that his post is 4 months old is a testimony to how out-of-touch i am with the tamil film scene):

[...] Nayanthara has a role that is peripheral enough that her performance doesn’t matter too much. Although, I must admit I was a little traumatized when I saw her dance to an item number - every part of her literally shook, and in a startling reminder of Newton’s first law, certain parts kept shaking even after she had stopped dancing.

harris jeyraj’s bone-jarring music (and “zulu-zulu” chants whenever “robot-dance” surya enters) made me want to mute the audio and switch to subtitles, but knowing what worse horrors that can entail, i resigned to lip-reading the dialogues. suttum vizhi sudare was the only listenable song.

and finally we come to the title of this post. our poor STML afflicted hero needs visual clues to make sure he doesn’t forget his daily chores and so his room walls are filled with friendly reminders like “breathe”, “pee now!” and finally the best of all: “refill cadrige” (sic) - for the polaroid that robot-dance carries with him at all times. apparently the director turned over spelling to the spot-boys.

the climactic fight with matrix-style cameras and twins to boot must have been difficult to shoot, but since i was already tone-deaf and couldn’t-care-less by then, vidhya had to shake me back to consciousness to watch it.

ghajini is eminently switchoffable after the flashback sequences.

5 things i liked:
1. the entry of the beauxbatons and durmstrang schools: nice choreography!
2. moody’s theoretical description of the unforgivable curses and practical demonstrations on the spider - merry fun turns to deathly silence.
3. harry’s dragon fight in the first task - wow! really made me jump (and i am guy who feasts on movies like “the ring”)
4. the picturesque grounds and castle as the seasons pass - summer and winter bring a whole new character to the buildings.
5. interludes between the different students - the harry-ron fight and reunion, ron-hermione’s tough chemistry, harry-hermione’s frienship - all come together nicely in many parts of the movie.

5 things i hated:
1. too many deviations from the book - no dobby/winky or mention of any elf or SPEW - would have thought it would have made for good comedy and the weasley twins could have been maximised for some “wizardly wheezes” type fun.
2. quidditch world cup - could have been more interesting by … actually showing the game (atleast a little bit)! the movie skips on after the introduction of the players
3. was that a pirate’s eye patch on mad-eye?
4. cho cho cho - she was just cho ordinary - harry could do better than her!
5. and finally my biggest crib: lord voldemort! come on! where is the depth of character? where is the sonorous voice? where is the charisma? looked like an ordinary man in a mask - which i guess he was.

overall, i was a bit disappointed with the screenplay, but the effects and some intense and comic moments make up for it for a overall rating of 3/5.