Friday, June 21, 2013

The Prestige



During its release, ’Prestige’ was dubbed as a cheat by most of the top critics. Either they were too naive or expected another ’Memento’ (my all time favourite) from Christopher Nolan. I agree that the end is not thoroughly convincing and takes a complete U turn from the entire movie’s theme.
However, this didn’t stop me from admiring the rest of the movie, no matter how many times I see it.
’Prestige’ looks into two egoistic magicians, who are too obsessed to outmatch each other and in the process enduring great mutual loss. Alfred Borden (Christian Bale) and Robert Angier (Hugh Jackman) are magician apprentices. When Alfred, during a magic show, accidentally kills one of the performer, Julia (Piper Perabo), who also happens to be Robert’s wife, the war starts. Both embark on their separate careers, with only one agenda in mind: to destroy each other.

The plot unfolds non-chronologically and there lies the greatest entertainment. It is shown as Alfred reading Robert’s diary, which mostly consists of how Robert tries to understand a magic trick by reading Alfred’s cryptic diary. We get to see events unfolding layer by layer as the movie switches from Robert’s diary to Alfred’s diary. Robert is a natural showman, but less talented of the two. He is successful but always envies on how Alfred is able to pull out ’The Transported Man’, Alfred’s trademark magic. The talented Alfred lacks presentation skills and therefore less successful in his endeavors. What is similar between them is the ruthlessness to go beyond any limit to achieve their obsessions. Robert even gambles his girlfriend to spy on Alfred, while Alfred is ready to lead a ’double’ life if that is what it takes to keep his magic a secret.

This movie itself resembles a magic that is carefully executed to hold our attention till the end. If you are not watching closely, you will end up losing an important trick or two. In fact, that’s the reason for the punch line: Are you watching closely? The entire plot is in fact revealed in a scene, where a pigeon trapped in a cage crushed to death and moments later brought back to life. The small boy who watches this magic is able to understand the trick by his sheer innocence and grieves for the bird while all the adults applaud the magic.

It is also interesting to see how Alfred and Robert ploys to ruin each other. Robert plants himself in Alfred’s Bullet Catch magic that costs Alfred his fingers. As a revenge, Alfred paybacks by breaking Robert’s leg and inducing a mutiny within his team. The scene where Alfred talks to Robert’s double intentionally mistaking him as Robert and subtly hinting on how he should keep a check on his double is a masterpiece.

Nolan uses frequent parallel shots in his narration and he is quite successful with that. The way the film opens with the voice over of Cutter (Michael Caine): "Every magic has three acts: the pledge, the turn and the prestige" is excellent. We see Cutter performing a bird trick to a little girl with parallel shots on a stage performance subtly implying a connection. As in ’Memento’ the answer to the movie lies everywhere throughout the movie and all we have to do is watch it closely (again).

The climax is the most controversial part where the film crosses its rules and move to the science fiction territory. It is certainly a letdown for such a great build up. But on afterthoughts, it’s difficult to envision an alternate way to conclude the film. The final battle of words between Alfred and Robert is quite thought provoking. When we end up tallying the successes and sacrifices from both sides, it’s unclear on who has gained and who lost the war.

Christian Bale and Hugh Jackman fit to their roles like gloves. Michael Caine as Cutter is the narrator and hence we often see his point of view. Scarlett Johansson as Olivia is the spy who changes sides. ’Prestige’ is a visual treat that needs to be enjoyed by involvement and further enhances watching experience on repeated viewing. 

Wages of Fear




For those who want to know what a genuine thriller is please watch ’Wages of Fear’.  If you think that jump cuts, intuitive camera angles, boo moments and over-the-top-music would amount for a thriller, please look somewhere else because this film works on characterization.  It is in the desperation of the protagonists, we experience the thrills rather than artificial plot convolutions.

Somewhere in South America, an oil company hires four desperate truck drivers for $2000 to transport highly inflammable nitroglycerine to put out a fire in one of their oil fields.  The problem is the road to the oil field is so rough that it is a literal death trap.  A tiny spill of nitroglycerine on the way is a sure way to end life.  The four drivers, two on each truck start their final journey, which is capable of making even a daredevil into a coward.

’Wages of Fear’ is not a thrill-per-second movie.  Most part of the first half has nothing but character building.  We get to know a bunch of unemployed expatriates stuck in a land of misery.  Their only way out is to get a job that pays their return ticket to the outside world.  Mario (Yves Montand) an idler with no job, Jo (Charles Vanel) the tough guy who is ex-gangster, Bimba (Peter van Eyck) a quiet person, Luigi (Folco Lulli) the easy going chap are the four stranded men.  We see the interaction between these guys.  Jo and Luigi often get into fights where the former overpowers the latter convincingly.
The journey starts normally with no incidents at first.  But, the impending danger of transporting such a volatile cargo, makes a big impression on Jo if not all of the men.  The tough Jo begins to crumble due to stress.  In fact he even gets humiliated by Mario who revered him as a leader once. That is the power of money.  It will change a coward to a hero and vice versa. 

During the journey, the men face many hurdles.  They overcome these hurdles either through common sense or through sheer stupid courage motivated by money.  What makes us sit at the edge of the seat is not because of the dangerous cargo but the men’s indifferent and careless attitude in handling such a danger.  For each hurdle, Jo reaches his new low of cowardice, where the others gain more courage.  The positive side is these men develop a bond among themselves.  They plan together and care for each other in the wake of danger.  But on the negative side, Mario is even ready to run over the truck on his partner to reach his destination.  The end is an expected poetic justice.  Danger will consume those who play with it.  

’Wages of Fear’ is an ageless classic.

My List of Top Tamil Movies

When I started listing out the top tamil movies, I inadvertently evolved the criteria for selection. As in any personal listings, this is also subjective and biased towards my taste. 

So, here are the criteria... 

The movie 

1. Should Be Evergreen ie, you can watch it upteen number of times without getting bored. You come across these movies while surfing channels, remind yourself to watch just one scene, but you’ll get so absorbed into it that you’ll end up watching the whole movie. 

2. Should Be Entertaining. There is no point in sitting through a movie just for the sake of some great acting. Many Sivaji movies comes to my mind (but few of them make it to this list too) 

I did not want to rank the movies in this list in any order other than chronologically because it proved to be difficult to compare as they cut across different genres and timelines. Although the category says "ten best", I am also not limiting myself to only 10 for obvious reasons 

Ok... Lets get into business... 


Paraasakthi (1952) 

Talk about sharp dialogues, this is the film for it. It helped to popularize the social revolution started by Dravidan think-tank. The dialogues are too intelligent and most of it even fit to today’s sordid affairs of the state. This film whiplashes many of the then prevailing social conditions that I felt that the directors and the writer (Karunanidhi) were in bad mood (or with guilty pleasure) while they developed this film. You would be amazed by the portrayal of Pandari Bai as the heroine. She is the modern women with straight thinking and less influenced with glycerine that held a prominent position in female characters’ eyes during that time. 

Andha Naal (1954) 

This is one movie that showcases the talent of tamil cinema way back to 1950s. Loosely based on "Rashomon", the story of a murder narrated from five perspectives. Sivaji Ganeshan proves why he was regarded as the best indian actor by depicting five different dimensions of the same character. A film-noir that was way ahead of its times. But the reason this film enters my all time best is because of the climax. Every shot was taken from different angles showcasing brilliant camera placements. Those who liked the camera work in Sincity, would definitely appreciate this movie too. 



Thiruvilayaadal (1965) 

An odd entry to my otherwise exquisite taste for cinema. Everyone knows the story (or stories). This is a collection of stories focussing on Lord Shiva’s avatar potrayed by Sivaji Ganesan. Reason for selection is because of two notable episodes. 

One deals with Balaiya challenging T.R. Mahalingam on a singing competition. Sivaji in a nomad avatar, teaches Balaiya a lesson of humility. We are enthralled with three different songs one by one. Balaiya’s evergreen "Oru Naal Podhuma" sung by Balamurali Krishna, followed by T.R. Mahalingam’s agonizing "Isai Thamizh Nee Seidha" number which was also sung by him. Finally by Sivaji’s lesson song "Paattum Naane" by TMS. 

The second reason is the episode of Nagesh, where he tries to fake as the author of a poem orignially written by Sivaji. It has a strong undercurrent of acting challenge between Nagesh and Sivaji, each trying to overshadow the other. In fact Sivaji has admitted that one should be watchful while performing with Nagesh as he would highjack the scene with his acting prowess just like that. 

Aayirathil Oruvan (1965) 

Not to be mistaken with Selvaragavan’s forgettable and confusing film. This is ’thalaivar’ MGR’s masterpiece. This films portrays MGR as a slave rebel who fights for the freedom of his folks. The charisma of MGR is not shown better in any other movie. What a performance. His walk, talk and philosophical orations... too energetic to believe he was at his 60s at that time. The way he leads his pack of angry young men into an organized unit of army is worth watching. 



Thillu Mullu (1981) 

A light-hearted laugh riot. Rajini fakes as a conservative and disciplined man to get a job in Thengai Srinivasan’s company. The following is an unbelievable train of jokes. Noteworthy performances from Thengai Srinivasan’s underplay and Rajini’s antics. Not to miss the enjoyable cameo by Kamal Hassan in the climax. Many of us don’t realize that there is in fact a villain in this movie. Yes, the kid who blackmails Rajini. His emulation of Rajini is also worth a watch. 

Indru Poi Naalai Vaa (1981) 

A totally out-of-the-box thinking film at those times. Three friends woo for a lady by all sort of juvenile tricks. A splendid screenplay by the evergreen screenplay specialist Bhagyaraj. Watch out for the three different methods used by the three protagonists to convey their love to the girl. 



 

Vikram (1986) 

A James Bond inspired movie after Jaishankar’s crop of copies. This is one tightly edited movie that covers the adventures of a secret agent. Try to watch only one scene and you will end up sitting till the climax. 






 
Samsaaram Adhu Minsaaram (1986) 


A National Award winning movie. Where Bharathiraja took the camera to the outdoor, Visu brought it back to the studio. He proved that quality movies are possible even in a shoe-string budget. The dialogues alone were a hit at those times that they sold audio cassettes with only dialogues. 







Vedham Pudhidhu (1987) 

A delicious treat for atheists and agnostics. Takes the bull by its horns in addressing various social ills caused by religions and caste systems. Camerawork and direction stands hand to hand to lift this film to a greater level. Known for the slapping scene 








Nayagan (1987) 


Who can deny this film’s impact in indian let alone tamil cinema. Kamal Hassan lived through the three stages of Velu Nayakkar, a don of Mumbai. A jewel in Kamal’s crown. 







Unnal Mudiyum Thambi (1988) 

Inspite of its highly conscientious storyline, every scene is etched out well. This is about the tussle between a carefree son and his vanity ridden father. 




 
Michael Madhana Kamarajan (1990) 

An unbelievable screenplay that meshes the lives of four brothers and their misadventures. Every single dialogue in this movie showcases Crazy Mohan’s skills. Read my complete review 




Inaindha Kaigal (1990) 

An action-adventure movie associated with Abaavaanan, who gave us some visually pleasing Oomai Vizhigal, Senthoora Poove etc. This movie too has some arresting visuals and meticulously crafted action scenes throughout the movie. Although from story standpoint it doesn’t have much to offer, the elongated and slow-motioned action never failed to impress me whenever I view them. An example is the rope-car sequence just before the interval where Ramki and Arunpandian literally join hands (hence the title) 

Captain Prabhakaran (1991) 

The film that made the word Captain and Vijayakanth synonymous. A dare devil portrayal of IPS officer by Vijayakanth. Noteworthy speech at the climax that reminds Parasakthi. 

Basha (1995) 

Defined Rajinikanth’s roadmap to the next level of a mass leader. His underplay in the first half and the anticipation to his eventual revelation as a don would bring goosebumps to anyone. 

Indian (1996) 

Proved that intelligent and social cinema can lock hands. An unbelievable performance by Kamal. Read my complete review 

There are of course better movies that didn’t make it to my list. Only reason could be that they should have not satisfied by criteria of selection. I’ll keep revising this list if I happen to remember or come across anything better