IIM Calcutta


No One Killed Jessica: A Review

By Shoaib
No One Killed Jessica
No One Killed Jessica, based on the much talked about Jessica Lall murder case stars Rani Mukherjee, Vidya Balan, new comer Myra Karn and a host of other actors in various supporting roles. Rajkumar Gupta’s latest brings back into the limelight, a case which captured the fancies of the media and the nation at large for a number of years.

Set in Delhi (reminded ad nauseum during the movie through an oft-repeated background score), the movie opens with the infamous event of bar tender Jessica Lall (Myra) getting shot by high profile politician’s son Manish Bharadwaj. Sabrina Lall (Vidya Balan) sets out to seek justice for her sister, only to be stalled in her efforts by powerful politicians, hostile witnesses and corrupt police officers. She is soon joined in her quest by hotshot, foul-mouth journalist Meera Gaity (Rani Mukherjee) and together they manage to arouse public outrage to the point where the administration gives in and justice is finally delivered.

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A Very Long Engagement – ‘Never let go’

Poster for 'A very long engagement'By Subhrojyoti Mondal

Rotten Tomatoes rating – 78%
Two Academy Award nominations (Art Direction and Cinematography)
One Golden Globe nomination (Best Foreign Language Film)

This movie has been considered one of the best among Janet’s masterpieces. Category wise it’s a romantic war epic movie, based in Somme, a remote village of post-world war France. A physically challenged girl, Mathilde (Audrey Totou), loses her fiancée Manech (Gaspard Ulliel), in a battle at the ‘No man’s land’ between France and Germany during WWI. Though every single person is convinced of his demise, Mathilde refuses and clings to the last chances of hope that she believes will guide her to her love. Ultimately the movie flows through different interesting incidents to a touching climax.
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The Road

By Varun Torka
(Based on the book of the same name by Cormac McCarthy)

Road posterIt is the end of the world, and for once Hollywood is serious.

Expect no music here. No self-pitying jokes, no philosophical banter. And not even a sliver of hope. The Road is a different kind of movie. It is not only among the coolest movies to be made over the past couple of decades, but also one of the most depressing. The storyline follows a father (the Man) and his son (the Child), as they traverse a barren and disparate post-apocalyptic world, where the aim of life has been reduced to just survival. On their way they meet different people – some dangerous, some helpless – and simple things become treasures. Their experiences make you respect your comfortable life in new ways. As self-protection becomes key, the line between good and bad, already so uncertain, begins to blur.

The film stays true to the book however, and can be constructed as a sequence of different incidents that each play their part in forming a whole. Remember that The Road is not about how the apocalypse occurs, or even about how people react to it, but rather how adaptation to this new landscape is automatic. The Road is about the new dimensions of a particular father-son relationship, the inner journey of a pragmatic man who rediscovers parameters of morality from a child, and the altered meanings and significance of familiar situations and rituals (such as eating around a campfire). The film does lack pace, perhaps purposely, in order to portray a static world, with no hope of redemption.

Viggo Mortensen (of Aragorn fame) steals the show as the father trying to preserve his son’s innocence as they wander through an increasingly depraved world. The slow progression of the film and the monotony of the landscape may put off some viewers – but a powerful performance by Mortenson makes The Road a must-watch.

Rajni’s evolution, an economic perspective

By Gokul B

This is not a review for Endhiran.

Well that doesn’t mean I won’t be talking about the movie. I would of course. But I would be talking of random aspects which I thought of at various points through the day, while watching it and while discussing about it. Reviews are but a way of either selling a movie or degrading it, and the former is not necessary for a Rajni movie while the latter would amount to blasphemy.

And also excuse me for the title. Being an MBA student, I am obliged to use terms like “economy”, “branding”, etc in whatever I write.
Murattu Kaalai
One thought which kept playing in my mind throughout the movie was the evolution of Rajni. My friends from the north keep asking me what’s the Rajni craze all about. Why does the man signify so much to his fans, much beyond what any star ever has. Well the answer I can think of is, the man has always portrayed what an ordinary man aspires to be. Rajni attained stardom playing Kaalaian in Murattu Kaalai, at a time when TN was primarily agrarian and people associated themselves with a lifestyle where the fields and the livestock played a huge part of their existence. At that time, for a man, the greatest glory possible could be to tame the wildest beast in the local Jallikattu. It would be his ultimate claim to fame in his small little world of village fairs and festival time games.
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On Majoriticism, Reviews, Peepli Live, Normal Curve and More

By Ramana Krishnan

Singh Better Than KingOn a recent trip to Delhi, I stumbled on a car with a slogan saying: ‘Singh is better than king,’ and as it would happen, a friend wrote an article on a related topic here (NOT a shameless plug for the said friend). It got me thinking on certain things. A movie like Singh is King or even 3 Idiots (yes! The one hailed as the next best thing since Rang De Basanti – another falling into this category that I am talking of) has a certain kind of an impact on the audience.

Now, because we are so jobless – me in writing this article and you in reading it – you might just as well do well to imagine a normal curve. Now imagine one (and only one specific) quality of a film or a film maker which defines the quality of the movie made and assume this quality to be distributed along the normal curve. Now this quality in itself would be a function of a multitude of things including, intelligence, clarity of vision, control over technique, actual knowledge of technique/craft etc. Also, assume that ‘intelligence’ is good enough a term to supersede all of these individual terms and qualities. This basically means that each filmmaker makes a movie that falls somewhere along the normal curve with the position on the curve being a function of the intelligence of the movie-maker.

Now, imagine another normal curve. This time, take the function of that normal curve to be the ability to get (and like) a movie. Even this curve, given a million assumptions and one, can be thought to be a function of intelligence – of the moviegoer this time.

Superimpose the two curves in such a way that the averages of the two curves aren’t the same, but merely parallel and separated by a certain horizontal distance signifying the higher average intelligence of the movie-maker than the movie-goer (fine! I think the average movie-maker is smarter than the average movie-goer. No scientific/logical reason to believe so. Go sue me! :P).
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My Sister’s Keeper

By Pranava Boyidapu

A strongly emotional movie based on the book by the same name by Jodi Picoult, it holds the audience with a captivating story line that slowly unfolds itself while the cinematography is enchanting at times.
The story is about the family. It’s about Anna who sues her parents for the rights of her body, medical emancipation so that she doesn’t have to live with a single kidney for the rest of her life. It’s about a sister, who feels that the family is going through a lot of trouble over her cancer problems and wishes she could be a better sister and a better daughter. It’s about a mother who fights for one daughter’s life by fighting with the other daughter in court for her kidney. It’s about a father who struggles hard to hold the family together and to ensure that all his children are happy. It’s about a brother whose dyslexia went unnoticed because of the cancer patient in the house.
The camera helps enormously to the story. From the very beginning of the movie the camera helps set the mood. A slow motion movement, with a happy, slow jingle captures all the happy moments that the family spends yet retaining the weight of the situation at the back of the mind at the audience. The best scene in the movie I feel is the scene where Kate, the girl with cancer, refuses to go out of the house because she lost all her hair. The mother then shaves off her head and the entire family goes to an amusement park. The scene was shot beautiful! Watch it to understand it!
Here is a sneak peek that will get you hooked.

Cine ‘Peek’ of the Week: Dabaang

By Chirag Jain

Movie: Dabangg
Genre: Action
Cast: Salman Khan, Sonakshi Sinha,
Direction: Abhinav Kashyap
Theme: Chulbul ‘Robinhood Pandey is a corrupt, yet dabanng cop. He is out there to live in this world by his own terms. But everything has its own strings attached.
Positives: Real short movie. Fast paced. Full marks for action: Better than Expendables in many regards, despite the fact that it contained all the big guns, and here we have just one Salman. Great combination of cheeky as well as romantic songs. Add to that the ‘dabangg’ dance steps by Salman. The dialogues are just made-to-order for the movie, and there could not have been a more apt role for Salman, neither does it seem that anyone other than him could have done better justice to the protagonist role. And the starting as well as the ending shots (apart from ‘Munni badnaam’) are a must-must watch.
Negatives: Logic’s just ain’t there at some places.
Critic Rating: 3.5/5
Entertainment Rating: 6/5
Paisa Vasool: Definitely yes @Ajanta. Even if it means getting the tickets in black.
Final Reco: This is a big time treat for Salman fans. A real entertainer for sure. This one may just be his best performance in his rather long bollywood career. And yes, this movie comes with a guarantee: you just can’t stop whistling/laughing/smirking/commenting for the entire length of the movie. Go get Dabangged.