The title of the movie suggests that even murder can be justified and forgivable. But what is definitely not forgivable is killing the immense faith and hopes of film lovers like me have in every new offering from Vishal Bharadwaj.
I saw the film yesterday and am still depressed about it. Why? How? What went wrong? These are some of the questions that are constantly plaguing one's mind.
Consider the story. A woman marries and kills a series of husbands. That's it. The rest is just the elaboration of the motivations and circumstances that led to all those killings. The premise is brilliant. It had huge scope to deliver on human insights and the fine line between good and evil.
What comes across though are characters that seem to have fallen between stools. Susanna is neither a psychopathic serial killer, nor a clear victim of circumstances. In fact she's a bit of both and ends up being totally unconvincing.
Every husband of hers personifies a kind of atrocity that women face. Jealous possessiveness, substance abuse, marital rape, infidelity, blackmailing, and gold-digging. Each could be reasons enough for murder seen from a certain perspective. And that probably was the intended theme of the film.
The portrayal, however, makes them seem shallow. In my opinion, the screenplay deserves the blame which made the pace drag considerably. In its defense, it does convey a lot in a highly subtle manner. Do I want to see it again to understand the subtleties better? Not so, because of the pace.
Naseeruddin Shah is picture perfect. Irrfan Khan is brilliant in portraying the duality of his character. Annu Kapoor is his usual competent self - perfect for the character. Neil Nitin Mukesh has lived up to his role without disappointing too much. The Russian is forgettable. John Abraham is pathetic.
Priyanka Chopra swings between brilliant and hammy. What could have been a performance to die for turns into just about above-average.
I can't put my finger on what I didn't like in the film. It was probably just too ambitious a venture to deliver. Maqbool's lyrical story-telling, Omkara's passion, The Blue Umbrella's pathos, Kaminey's energy, Makdee's intrigue and even Ishqiya's raw earthy appeal were all missing.
Comparisons with other great directors who have failed are inevitable and sad. A plea to anyone who watches this film: Please don't write off Mr Bharadwaj just yet. After delivering six brilliant pieces of creative outputs, I guess I can justify and forgive him this.
Isn't that what the film is all about anyway?
Friday, February 18, 2011
Friday, January 7, 2011
No one killed Jessica
Sometimes, though really rarely, it does happen that reality unfolds in a manner that is as dramatic as the best fiction. If one is making a film on such real events, it becomes that much more critical and difficult to bring out the drama in real life without either making it boring or veering away from the facts. And No one killed Jessica succeeds in delivering by doing just that.
I was quite intrigued by the promos. Slickly made with a fantastic sound track, they made a promise of a film that will deliver a hard-hitting message. Also, everyone is aware of the story of Jessica Lall's murder in Delhi. So Rani Mukherji notwithstanding, I saw the film yesterday as soon as it released.
I wasn't fully aware of the exact details of the Jessica Lall murder story. but I was delighted to check later on Wikipedia that the film was exactly true to the facts. Of course, the names of all the celebrity players in the drama have been changed and I have a feeling that some characters like the cop and the journalist were created as representatives of the police and the media respectively.
I liked the film for several reasons. Excellent screenplay and editing is probably the first of them. Secondly, attention to detail - right down to the make of the mobile phones used - makes it real without being in your face. Thirdly, Vidya Balan is supremely understated as Sabrina, Jessica's sister fighting for justice and doing whatever it takes to hold up against all odds. Fourthly, the storytelling is at just the right pace. It doesn't dawdle except when necessary to bring out the anguish of the characters adequately.
The only thing that rankled a bit was that Rani's character was a little too stereotypical. Playing a fiery journalist who is a modern, liberated, young Indian woman is apparently incomplete if she doesn't smoke at home, spout hindi swearwords with panache and say Fuck and Bitch with very little provocation. I wish her outspokenness was only left for the critical events in the film rather than making them character traits. But her freckles seen through the almost zero makeup in extreme closeups compensate to some extent.
The new year has begun well. Let's hope it brings us a lot more such quality, unpretentious films.
I was quite intrigued by the promos. Slickly made with a fantastic sound track, they made a promise of a film that will deliver a hard-hitting message. Also, everyone is aware of the story of Jessica Lall's murder in Delhi. So Rani Mukherji notwithstanding, I saw the film yesterday as soon as it released.
I wasn't fully aware of the exact details of the Jessica Lall murder story. but I was delighted to check later on Wikipedia that the film was exactly true to the facts. Of course, the names of all the celebrity players in the drama have been changed and I have a feeling that some characters like the cop and the journalist were created as representatives of the police and the media respectively.
I liked the film for several reasons. Excellent screenplay and editing is probably the first of them. Secondly, attention to detail - right down to the make of the mobile phones used - makes it real without being in your face. Thirdly, Vidya Balan is supremely understated as Sabrina, Jessica's sister fighting for justice and doing whatever it takes to hold up against all odds. Fourthly, the storytelling is at just the right pace. It doesn't dawdle except when necessary to bring out the anguish of the characters adequately.
The only thing that rankled a bit was that Rani's character was a little too stereotypical. Playing a fiery journalist who is a modern, liberated, young Indian woman is apparently incomplete if she doesn't smoke at home, spout hindi swearwords with panache and say Fuck and Bitch with very little provocation. I wish her outspokenness was only left for the critical events in the film rather than making them character traits. But her freckles seen through the almost zero makeup in extreme closeups compensate to some extent.
The new year has begun well. Let's hope it brings us a lot more such quality, unpretentious films.
Friday, December 10, 2010
Obscured Brilliance
Saw a fairly recently released and immediately forgotten movie called Striker. I thought the movie was brilliant and generally after seeing a good piece of cinema, one would feel good. But seeing this movie saddened me, only because it did nothing to gain anything from the critics or the box-office while it ran, predictably, for a very short while.
I was surfing channels yesterday and came across this movie on Sahara One. It was about twenty minutes done. But just the sight and sound of the movie was so arresting that I was sucked into it. Soon, I was intrigued enough to stop watching it with the irritating commercial breaks and hired a DVD.
The movie is about a champion carrom player from the slums of Mumbai. Carrom itself is an obscure game in the larger scheme of things. It requires considerable skill and mental fortitude to master. But there definitely is no glamour in the game and serious passion for it is probably only seen in the lower strata of the urban society. And the movie is just the same - no glamour, all passion.
I loved the way the movie has been shot. Realism without pretension. The narrative is beautifully lucid and extremely well told. And so are the performances.
There's no point in going into the details of the storyline because that would only raise expectations or give away some of it. This is less of a review of the film and more a request to go watch Striker. I'm sure it will be time well-spent.
I was surfing channels yesterday and came across this movie on Sahara One. It was about twenty minutes done. But just the sight and sound of the movie was so arresting that I was sucked into it. Soon, I was intrigued enough to stop watching it with the irritating commercial breaks and hired a DVD.
The movie is about a champion carrom player from the slums of Mumbai. Carrom itself is an obscure game in the larger scheme of things. It requires considerable skill and mental fortitude to master. But there definitely is no glamour in the game and serious passion for it is probably only seen in the lower strata of the urban society. And the movie is just the same - no glamour, all passion.
I loved the way the movie has been shot. Realism without pretension. The narrative is beautifully lucid and extremely well told. And so are the performances.
There's no point in going into the details of the storyline because that would only raise expectations or give away some of it. This is less of a review of the film and more a request to go watch Striker. I'm sure it will be time well-spent.
Saturday, August 7, 2010
Aisha
Someone asks Melvin in the brilliant movie, 'As good as it gets', "How do you write women so well?" His ever insightful answer: "I think of a man and take away reason and accountability."
I read a tweet somewhere that 'Aisha' was a 'Dil Chahta Hai' of girls. The setting and the characters might be similar, and probably so were the ambitions of the makers. But sadly lacking in reason and accountability.
This is true for the writing, the characters, the story and the direction. The film is set in the super-rich society of Delhi where young socialites seem to be doing nothing better than fill their days with mundane things like polo matches and river-rafting. But unlike Dil Chahta Hai where the characters were aspirational, these just turn out to be jokes.
Speaking of jokes, Dil Chahta Hai was a laugh riot. It brought on nostalgia and even moved you to tears in places. The chemistry between the three guys was nothing short of amazing and they came alive on screen as people you would adore to be with. Aisha's jokes are so wannabe funny that you only end up wincing at them.
There are a lot of things that you've seen before and rendered much better than they have been in this film. Clever repartees, a punch to defend a woman's honour, pranks, public confessions of love, childhood friends not knowing they are in love, fights among close friends, self-realizations, among other things are all mixed together in a story supposedly inspired by Jane Austen's Emma. You've seen it all before in Dil Chahta Hai, Jaane tu ya jaane na, Kal ho na ho, and even I hate luv storys. So the story is a sequence of such happenings strung together with neither originality nor effectiveness.
Coming to individual characters, the smaller characters and actors impress a lot more than the leading pair. One due to too much screen time and the other due to too little. Sonam Kapoor in the title role is practically present in every frame of the film and I used to like her before I watched it. She knows what makes her look cute and she keeps batting the eyelids and flashing the pearlies in the same way over and over again. Tiresome. On the other hand, Abhay Deol could have had a lot more substance in the role and would have been able to do justice to it too. Sadly, he is sidelined with too many others around and comes across as half-heartedly there.
Ira Dubey and Cyrus Sahukar as Pinky and Randhir are superb in their roles. But the saving grace of the film is Amrita Puri as Shefali. She is simply outstanding in the way she has delivered her character of a small-town middle-class girl trying to live up to the high society of Delhi.
All in all, Aisha turns out to be a huge disappointment. Would have been better off seeing Dil Chahta Hai for the ninety-seventh time on the DVD.
I read a tweet somewhere that 'Aisha' was a 'Dil Chahta Hai' of girls. The setting and the characters might be similar, and probably so were the ambitions of the makers. But sadly lacking in reason and accountability.
This is true for the writing, the characters, the story and the direction. The film is set in the super-rich society of Delhi where young socialites seem to be doing nothing better than fill their days with mundane things like polo matches and river-rafting. But unlike Dil Chahta Hai where the characters were aspirational, these just turn out to be jokes.
Speaking of jokes, Dil Chahta Hai was a laugh riot. It brought on nostalgia and even moved you to tears in places. The chemistry between the three guys was nothing short of amazing and they came alive on screen as people you would adore to be with. Aisha's jokes are so wannabe funny that you only end up wincing at them.
There are a lot of things that you've seen before and rendered much better than they have been in this film. Clever repartees, a punch to defend a woman's honour, pranks, public confessions of love, childhood friends not knowing they are in love, fights among close friends, self-realizations, among other things are all mixed together in a story supposedly inspired by Jane Austen's Emma. You've seen it all before in Dil Chahta Hai, Jaane tu ya jaane na, Kal ho na ho, and even I hate luv storys. So the story is a sequence of such happenings strung together with neither originality nor effectiveness.
Coming to individual characters, the smaller characters and actors impress a lot more than the leading pair. One due to too much screen time and the other due to too little. Sonam Kapoor in the title role is practically present in every frame of the film and I used to like her before I watched it. She knows what makes her look cute and she keeps batting the eyelids and flashing the pearlies in the same way over and over again. Tiresome. On the other hand, Abhay Deol could have had a lot more substance in the role and would have been able to do justice to it too. Sadly, he is sidelined with too many others around and comes across as half-heartedly there.
Ira Dubey and Cyrus Sahukar as Pinky and Randhir are superb in their roles. But the saving grace of the film is Amrita Puri as Shefali. She is simply outstanding in the way she has delivered her character of a small-town middle-class girl trying to live up to the high society of Delhi.
All in all, Aisha turns out to be a huge disappointment. Would have been better off seeing Dil Chahta Hai for the ninety-seventh time on the DVD.
Saturday, July 31, 2010
Once upon a time in Mumbai - That 70s (flop) show
So here is a gangster with a heart of gold who loves the city where he grows up and becomes its self-appointed safe-keeper. And there is another gangster, who is more ambitious than conscientious, who ultimately manages to overthrow the first guy and take over the city while ruining it completely. That in a nutshell, is what Once upon... is all about.
The film's attention to detail is amazing. Not only are the clothes and cars from the 70s, but every poster on the wall, every doorknob and every newspaper shown seems authentic. It is evident that the city has changed so much since those days that too many location shoots wouldn't have been possible. But there's an overdose of the 70s atmosphere in the indoor sequences. For instance, rather than focusing on the lead pair at a restaurant table, there are several unnecessary long and wide shots to show inconsequential extras dressed up to create the atmosphere. Yeah, we get it guys, you're showing us a movie set in the 70s. Don't hit us on the head with it.
The story which could have had a lot of drama built around it, ends up being a damp squib. It starts well but then gets spoilt by the overly dramatic sequences to establish the strength of the characters (Ajay Devgn and the train, Emraan Hashmi and his initiation into the gang). So you're getting used to Hindi films which are realistic? Don't. Here's a film set in the 70s, or didn't you know?
The dialogues are totally corny. "Iske bare mein sochunga to usko bura lag jayega" and versions of the same sprinkled around the script. I thought that went out with Pran and Ajit about four decades ago! No wait, it's a 70s movie guys.
The women are always ready with the water-works. The men are always spouting macho lines. Where have we seen that before? Right! In the films made in the 70s.
The plot becomes intricate and then suddenly implodes like a house of cards. Worse, it makes you wonder what the point of it all was in the first place. Such unforgivable writing was okay 40 years ago. But we have to be considerate and take those leaps of faith even today. Why? You know why.
There is a cartoon strip where Calvin asks his father about why the photographs in olden days were black and white. His father tells him that the world used to be black and white then and gradually became coloured sometime in the sixties. In the same way, the makers of the film seem to be confused between the reality and way it was portrayed in the 70s. What we sign up for is to see a movie set in the 70s not made in the 70s. And that's what ends up being disappointing.
Once upon a time, these things happened in Mumbai. And once upon a time such filmy movies were made in Bollywood. Wish we were just given an accurate rendition of the events without the corniness of the movie-making.
The film's attention to detail is amazing. Not only are the clothes and cars from the 70s, but every poster on the wall, every doorknob and every newspaper shown seems authentic. It is evident that the city has changed so much since those days that too many location shoots wouldn't have been possible. But there's an overdose of the 70s atmosphere in the indoor sequences. For instance, rather than focusing on the lead pair at a restaurant table, there are several unnecessary long and wide shots to show inconsequential extras dressed up to create the atmosphere. Yeah, we get it guys, you're showing us a movie set in the 70s. Don't hit us on the head with it.
The story which could have had a lot of drama built around it, ends up being a damp squib. It starts well but then gets spoilt by the overly dramatic sequences to establish the strength of the characters (Ajay Devgn and the train, Emraan Hashmi and his initiation into the gang). So you're getting used to Hindi films which are realistic? Don't. Here's a film set in the 70s, or didn't you know?
The dialogues are totally corny. "Iske bare mein sochunga to usko bura lag jayega" and versions of the same sprinkled around the script. I thought that went out with Pran and Ajit about four decades ago! No wait, it's a 70s movie guys.
The women are always ready with the water-works. The men are always spouting macho lines. Where have we seen that before? Right! In the films made in the 70s.
The plot becomes intricate and then suddenly implodes like a house of cards. Worse, it makes you wonder what the point of it all was in the first place. Such unforgivable writing was okay 40 years ago. But we have to be considerate and take those leaps of faith even today. Why? You know why.
There is a cartoon strip where Calvin asks his father about why the photographs in olden days were black and white. His father tells him that the world used to be black and white then and gradually became coloured sometime in the sixties. In the same way, the makers of the film seem to be confused between the reality and way it was portrayed in the 70s. What we sign up for is to see a movie set in the 70s not made in the 70s. And that's what ends up being disappointing.
Once upon a time, these things happened in Mumbai. And once upon a time such filmy movies were made in Bollywood. Wish we were just given an accurate rendition of the events without the corniness of the movie-making.
Roll on Geordie Boy, roll
As most people I'm acquainted with already know, I am a devotee of Mark Knopfler. Apart from his amazing guitar work and his voice, he is also an amazing live performer. The way he interacts with the audience and the fellow musicians while on stage is an example of a Zen state-of-mind where the music and the musician are one. He makes genius seem so effortless and that is where he can truly connect and make your world worries just drop off by the wayside.
One of his least acclaimed talents is his song-writing. Mark writes about ordinary things, events and people. Autograph hunters, Circus freaks, Shoe salesmen, Migrant labourers, Truck drivers, Beat cops, Hookers, Junkies, Tattoo artists, Has-been war veterans and so many other commonplace themes. These are people which make up the real world and only Mark has the ability to find poetry and music in them.
On the other hand, he also writes about forgotten legends and historical events. Napoleon's defeat, The Mason-Dixon line, Imelda Marcos, Sonny Liston, Ray Kroc, Elvis Presley, Lonnie Donegan, etc. Each of these people and events were important contributors to the shaping of the world and have somewhere been forgotten down the line.
And then there are the songs which are pure emotion. It would be a pity to call them 'love-songs' because they are a lot more than that. They rise above that genre in their depth and pathos that they portray and evoke.
Here are just some of his lines that I have grown to love over the years.
This empty kitchen's where
I'd while away the hours
Just next to my old chair
You'd usually have some flowers
The shelves of books
Even the picture hooks
Everything is gone
But my heart is hanging on
- A place where we used to live; The Ragpicker's Dream.
A song reminiscing about a broken marriage.
Around the time of 'Clambake'
that old dream's still rolling on
Sometimes there'll be the feeling
things are going wrong
The morning star is fading
lord, the mississippi's cold
You can still be Marlon Brando
and the king of rock and roll
- Back to Tupelo; Shangri-La.
A song about Elvis and his unfulfilled dream of becoming as big a movie star as he was a singer.
The lord is my shepherd
He leadeth me in pastures green
He gave us this day
Our daily bread and gasoline
Go under the willow
Park her up beside the stream
Shoulders for pillows
Lay down your head and dream
Shoulders for pillows
Lay down your head and dream
- Baloney Again; Sailing to Philadelphia.
A song about black evangelists and their unending struggle against racism in America in the 50s.
Well this crumpet’s past it’s sell-by-date
but they all would qualify
They’re going to be lonely
and be happy to comply
She knows that I’m a chancer
coming on like a gent
but I’m behind, behind
with the rent
Yes, I’m behind, behind
with the rent
- Behind with the rent; Kill to get crimson.
A song about a war veteran struggling to cope with his life.
Well we build it up and I buy 'em out
but, man they made me grind it out, now
they open up a new place flipping meat
so I do too, right across the street
I got the name I need the town
they sell up in the end and it all shuts down
sometimes you gotta be an s.o.b.
you wanna make a dream reality
Competition? Send 'em south
If they're gonna drown put a hose in their mouth
do not pass 'GO', go straight to hell
I smell that meat hook smell
or my name's not Kroc, that's Kroc with a 'K'
like 'crocodile' but not spelt that way, now
it's dog eat dog rat eat rat
Oh, it's dog eat dog rat eat rat
Kroc-style - boom, like that
- Boom, like that; Shangri-La.
A song about Ray Kroc, the founder of McDonald's. He was also a ruthless capitalist who unethically took over a mom-and-pop diner and made it a world-wide brand, while driving them out of business.
Just like a castaway
Lost upon an endless sea
I saw you far away
Come to rescue me
- Darling Pretty; Golden Heart.
A love-song.
I pray for her who prays for me
A safe return to my belle France
We prayed these wars would end all wars
In war we know is no romance
And I pray our child will never see
A little Corporal again
Point toward a foreign shore
Captivate the hearts of men
Save my soul from evil, Lord
And heal this soldier's heart
I`ll trust in thee to keep me, Lord
I`m done with Bonaparte
- Done with Bonaparte; Golden Heart.
A song about a soldier in Napoleon's army which was routed in Russia.
My heart beats for my streets and alley
Longs to dwell in the borderlands
The North-East shore and the river valleys
Fare thee well Northumberland
I may not stay, I'm bound for leaving
I'm bound to ramble and to roam
I only say my heart is grieving
I would not gamble on my coming home
- Fare thee well, Northumberland; The Ragpicker's Dream.
A song about a migrant labourer from the northern provinces of England.
And every time I'm thinking of you from a distant shore
And all the time I sleep
I will have a reminder that my baby wore
A part of you to keep
And I'll send you all my promises across the sea
And while we are apart
I will carry the wonder that you gave to me
I'll wear your golden heart
I'll wear your golden heart
- Golden Heart; Golden Heart.
A song about a casual romance in a carnival fair.
She's going shopping shopping for shoes
She wants them in magenta and caribbean blue
Platinum and buttercup lilac and black
They fill a bucket up and laugh behind her back
Imelda baby Imelda baby what to do
All the poor people saying that they gotta quit paying for you
- Imelda; Golden Heart.
A song on Imelda Marcos and her extravagance exemplified by her fetish for footwear.
The chisels are calling, it's time to make sawdust
Steely reminders of things left to do
Monteleone, a mandolin's waiting for you
My fingerplane's working, gentle persuasion
I bend to the wood and I coax it to sing
Monteleone, your new one and only will ring
- Monteleone; Get Lucky.
A song about Monteleone, the legendary guitar maker.
Now some were grown up unlike me
And were dealing with reality
I was spittin' sulkin' smokin' shirkin'
While a lady from Jamaica was singing and working
I had everyone but me to blame
And every day was just the same
Well nobody ever said it was a righteous world
But if they did they never said it like a Southsea girl
- No can do; Golden Heart.
A song about a youth having to do odd jobs to make ends meet while chasing a dream.
Now I wish you sunny skies
And happiness wherever you may go
But you got to realise
There'll be wind, there'll be rain
And occasional snow
You're gonna want to smile in them
If you're gonna walk a mile in them
There'll be times when you`ll be blue
To laugh at rainy days and then
Make your getaways in them
You're gonna need a quality shoe
- Quality Shoe; The Ragpicker's Dream.
A song about a shoe salesman trying his hand at philosophy.
Rudiger waits at the hall in Berlin
He waits there all night
Security's tight
They know who he is but they don't let him in
Rudiger waits in the dark by the stair
His fingers are shaking
His feet they are aching
But your name's in the paper so Rudiger's there
- Rudiger; Golden Heart.
A song about Rudiger, the avid autograph-hunter who leads an uneventful life otherwise.
A silver dawn steals over the docks
A truck with no wheels up on the cinderblocks
Men with no dreams around a fire in a drum
Scrap metal schemes rusted over and done
- Silvertown Blues; Sailing to Philadelphia.
A song about a forgotten scrapyard on the verge of redevelopment.
They pull off her cables and hack off her hatches
Too poor to be wasteful with pity or time
They swarm on her carcass with torches and axes
Like a whale on the bloody shoreline
- So far from the Clyde; Get Lucky.
A song about a proud ship built in Clyde in England being broken in a ship-wrecking yard far away in India.
They never could be sure about the day he was born
A motherless child set to working on the farm
And they never could be sure about the day he died
The bear was the king they cast aside
- Song for Sonny Liston; Shangri-La.
A song about the life and death of Sonny Liston, the legendary and controversial boxer.
Well the Brickyard's there to crucify anyone who will not learn
I climbed the mountain to qualify went flat through the turn
But I was down in the might-have-beens and an old pal good as died
And I sat down in Gasoline Alley and I cried
- Speedway at Nazareth; Sailing to Philadelphia.
A song about a racing car driver in the racing season of 2001
Dark is the night
I need a guiding light to keep me
From foundering on the rocks
My only prayer is just to see you there
At the end of my wandering
Back in the dock
- The Trawlerman's Song; Shangri-La.
A song about a fisherman.
I don't know what brought you to me
That was up to you
There's so many come to see me
Who want their own tattoo
I fixed a needle in the holder
Laid my hand upon your spine
And there upon your shoulder
I drew the picture as your sign
When I think about us
I see the picture that we made
The picture to remind us
True love will never fade
- True love will never fade; Kill to get crimson.
A song about a tattoo artist finding and losing the love of his life.
So that's Mark for you. Ordinary lives, ordinary themes and extraordinary poetry!
One of his least acclaimed talents is his song-writing. Mark writes about ordinary things, events and people. Autograph hunters, Circus freaks, Shoe salesmen, Migrant labourers, Truck drivers, Beat cops, Hookers, Junkies, Tattoo artists, Has-been war veterans and so many other commonplace themes. These are people which make up the real world and only Mark has the ability to find poetry and music in them.
On the other hand, he also writes about forgotten legends and historical events. Napoleon's defeat, The Mason-Dixon line, Imelda Marcos, Sonny Liston, Ray Kroc, Elvis Presley, Lonnie Donegan, etc. Each of these people and events were important contributors to the shaping of the world and have somewhere been forgotten down the line.
And then there are the songs which are pure emotion. It would be a pity to call them 'love-songs' because they are a lot more than that. They rise above that genre in their depth and pathos that they portray and evoke.
Here are just some of his lines that I have grown to love over the years.
This empty kitchen's where
I'd while away the hours
Just next to my old chair
You'd usually have some flowers
The shelves of books
Even the picture hooks
Everything is gone
But my heart is hanging on
- A place where we used to live; The Ragpicker's Dream.
A song reminiscing about a broken marriage.
Around the time of 'Clambake'
that old dream's still rolling on
Sometimes there'll be the feeling
things are going wrong
The morning star is fading
lord, the mississippi's cold
You can still be Marlon Brando
and the king of rock and roll
- Back to Tupelo; Shangri-La.
A song about Elvis and his unfulfilled dream of becoming as big a movie star as he was a singer.
The lord is my shepherd
He leadeth me in pastures green
He gave us this day
Our daily bread and gasoline
Go under the willow
Park her up beside the stream
Shoulders for pillows
Lay down your head and dream
Shoulders for pillows
Lay down your head and dream
- Baloney Again; Sailing to Philadelphia.
A song about black evangelists and their unending struggle against racism in America in the 50s.
Well this crumpet’s past it’s sell-by-date
but they all would qualify
They’re going to be lonely
and be happy to comply
She knows that I’m a chancer
coming on like a gent
but I’m behind, behind
with the rent
Yes, I’m behind, behind
with the rent
- Behind with the rent; Kill to get crimson.
A song about a war veteran struggling to cope with his life.
Well we build it up and I buy 'em out
but, man they made me grind it out, now
they open up a new place flipping meat
so I do too, right across the street
I got the name I need the town
they sell up in the end and it all shuts down
sometimes you gotta be an s.o.b.
you wanna make a dream reality
Competition? Send 'em south
If they're gonna drown put a hose in their mouth
do not pass 'GO', go straight to hell
I smell that meat hook smell
or my name's not Kroc, that's Kroc with a 'K'
like 'crocodile' but not spelt that way, now
it's dog eat dog rat eat rat
Oh, it's dog eat dog rat eat rat
Kroc-style - boom, like that
- Boom, like that; Shangri-La.
A song about Ray Kroc, the founder of McDonald's. He was also a ruthless capitalist who unethically took over a mom-and-pop diner and made it a world-wide brand, while driving them out of business.
Just like a castaway
Lost upon an endless sea
I saw you far away
Come to rescue me
- Darling Pretty; Golden Heart.
A love-song.
I pray for her who prays for me
A safe return to my belle France
We prayed these wars would end all wars
In war we know is no romance
And I pray our child will never see
A little Corporal again
Point toward a foreign shore
Captivate the hearts of men
Save my soul from evil, Lord
And heal this soldier's heart
I`ll trust in thee to keep me, Lord
I`m done with Bonaparte
- Done with Bonaparte; Golden Heart.
A song about a soldier in Napoleon's army which was routed in Russia.
My heart beats for my streets and alley
Longs to dwell in the borderlands
The North-East shore and the river valleys
Fare thee well Northumberland
I may not stay, I'm bound for leaving
I'm bound to ramble and to roam
I only say my heart is grieving
I would not gamble on my coming home
- Fare thee well, Northumberland; The Ragpicker's Dream.
A song about a migrant labourer from the northern provinces of England.
And every time I'm thinking of you from a distant shore
And all the time I sleep
I will have a reminder that my baby wore
A part of you to keep
And I'll send you all my promises across the sea
And while we are apart
I will carry the wonder that you gave to me
I'll wear your golden heart
I'll wear your golden heart
- Golden Heart; Golden Heart.
A song about a casual romance in a carnival fair.
She's going shopping shopping for shoes
She wants them in magenta and caribbean blue
Platinum and buttercup lilac and black
They fill a bucket up and laugh behind her back
Imelda baby Imelda baby what to do
All the poor people saying that they gotta quit paying for you
- Imelda; Golden Heart.
A song on Imelda Marcos and her extravagance exemplified by her fetish for footwear.
The chisels are calling, it's time to make sawdust
Steely reminders of things left to do
Monteleone, a mandolin's waiting for you
My fingerplane's working, gentle persuasion
I bend to the wood and I coax it to sing
Monteleone, your new one and only will ring
- Monteleone; Get Lucky.
A song about Monteleone, the legendary guitar maker.
Now some were grown up unlike me
And were dealing with reality
I was spittin' sulkin' smokin' shirkin'
While a lady from Jamaica was singing and working
I had everyone but me to blame
And every day was just the same
Well nobody ever said it was a righteous world
But if they did they never said it like a Southsea girl
- No can do; Golden Heart.
A song about a youth having to do odd jobs to make ends meet while chasing a dream.
Now I wish you sunny skies
And happiness wherever you may go
But you got to realise
There'll be wind, there'll be rain
And occasional snow
You're gonna want to smile in them
If you're gonna walk a mile in them
There'll be times when you`ll be blue
To laugh at rainy days and then
Make your getaways in them
You're gonna need a quality shoe
- Quality Shoe; The Ragpicker's Dream.
A song about a shoe salesman trying his hand at philosophy.
Rudiger waits at the hall in Berlin
He waits there all night
Security's tight
They know who he is but they don't let him in
Rudiger waits in the dark by the stair
His fingers are shaking
His feet they are aching
But your name's in the paper so Rudiger's there
- Rudiger; Golden Heart.
A song about Rudiger, the avid autograph-hunter who leads an uneventful life otherwise.
A silver dawn steals over the docks
A truck with no wheels up on the cinderblocks
Men with no dreams around a fire in a drum
Scrap metal schemes rusted over and done
- Silvertown Blues; Sailing to Philadelphia.
A song about a forgotten scrapyard on the verge of redevelopment.
They pull off her cables and hack off her hatches
Too poor to be wasteful with pity or time
They swarm on her carcass with torches and axes
Like a whale on the bloody shoreline
- So far from the Clyde; Get Lucky.
A song about a proud ship built in Clyde in England being broken in a ship-wrecking yard far away in India.
They never could be sure about the day he was born
A motherless child set to working on the farm
And they never could be sure about the day he died
The bear was the king they cast aside
- Song for Sonny Liston; Shangri-La.
A song about the life and death of Sonny Liston, the legendary and controversial boxer.
Well the Brickyard's there to crucify anyone who will not learn
I climbed the mountain to qualify went flat through the turn
But I was down in the might-have-beens and an old pal good as died
And I sat down in Gasoline Alley and I cried
- Speedway at Nazareth; Sailing to Philadelphia.
A song about a racing car driver in the racing season of 2001
Dark is the night
I need a guiding light to keep me
From foundering on the rocks
My only prayer is just to see you there
At the end of my wandering
Back in the dock
- The Trawlerman's Song; Shangri-La.
A song about a fisherman.
I don't know what brought you to me
That was up to you
There's so many come to see me
Who want their own tattoo
I fixed a needle in the holder
Laid my hand upon your spine
And there upon your shoulder
I drew the picture as your sign
When I think about us
I see the picture that we made
The picture to remind us
True love will never fade
- True love will never fade; Kill to get crimson.
A song about a tattoo artist finding and losing the love of his life.
So that's Mark for you. Ordinary lives, ordinary themes and extraordinary poetry!
Tuesday, July 20, 2010
Inception
Christopher Nolan makes predictable movies. You know before you even get in the hall that it is going to be a story told in a manner you have never experienced before. Likewise you know that the performances will be amazing. And what's more you also know for sure that the plot will be deliciously complex and at the same time so well told that you would end up feeling intelligent that you got it all.
I saw Inception and I was expecting a movie experience that will sweep me off my feet. But somewhere I was also ready to be a little disappointed because that's what always happens when you expect too much.
In fact, Inception literally blew my mind. It is a film about pushing things to the limit. And true to the theme of the film, it has pushed every single skill involved in film-making to the ultimate limit possible.
It is important that you catch every frame and hear every line of the movie. Every second of the film pushes the story ahead, layering it further and further in complexity. But the storytelling is done with such finesse that it grips you more and more. Right down to the last frame till the fade to black.
I just can't find words to express how awestruck I'm feeling after seeing this movie. If there's just one film that you will be watching this whole year, please please let it be this one.
I saw Inception and I was expecting a movie experience that will sweep me off my feet. But somewhere I was also ready to be a little disappointed because that's what always happens when you expect too much.
In fact, Inception literally blew my mind. It is a film about pushing things to the limit. And true to the theme of the film, it has pushed every single skill involved in film-making to the ultimate limit possible.
It is important that you catch every frame and hear every line of the movie. Every second of the film pushes the story ahead, layering it further and further in complexity. But the storytelling is done with such finesse that it grips you more and more. Right down to the last frame till the fade to black.
I just can't find words to express how awestruck I'm feeling after seeing this movie. If there's just one film that you will be watching this whole year, please please let it be this one.
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