I liked Dilli 6 - much against a whole lot of my brethren.
To narrate a 'theory' and not a story per se is a task in itself, more so when you think of writing it all down in a screenplay format. I thought the snapshots of old Delhi which was presented both via the characters and scenarios (the clash of religious ideologies, the politcal in-correctness of our social system) ... it was all There! Rakeysh OmPraksh Mehra got it right with his experiment. The box-office failing the film is a different debate altogether.
Abhishek was at his most endearing best. It's such a delight to see him grow in stature as an actor, knowing exactly how NOT to wear his stardom on his shirt collar, and just BE the character! Waheedaji was the eternal epitome of grace & beauty. Sonam was in her impish, chutzpah self. A word on this girl - more than 2 of my male colleagues lamented on the lack of screen space for Sonam Kapoor - I mean, give me a break! This girl is all but 1 film old...and here we are wanting her to 'steal the scenes' away from the story! Arey, She was what she was in that setup. Nothing more or less was warranted. What crime did Mr. Mehra commit in keeping his characters to just the basics...? Why is there a need to romantacise relationships when the film is not about that?!
Now onto the Kaala Bandar thing - now, this is not mainstream cinema. However, to have mainstream stars embellish such symbolic euphemisms that exist in theory is a feat by itself. Not to forget the most wonderful Masakkali- both the pigeon and Rahman's awesome track (Maramat Muqadar Kar do Mere Maula - that lingers on far beyond the rolling titles!)... Where else have we seen Binod Pradhan's deft camera panning across the Jama Masjid, revealing multitudes in prayer or pushing itself over the rickshaw in the many gullies of Dilli Streets - (with the Jalebi intact!) - I mean this is a superb cinematic effort! The limbo-ness of the narration tempts me to put this film above the much loved Rang De Basanti.
I wonder why we are not even attempting such things in Tamil. Yes, we do have our own milestones in recent times...but ever since the Multiplex Films in Hindi shook us out of our routine, Hindi cinema is seeing some wonderful blossoms!
The most spectacular of 'em all is up for a post shortly ... It goes by a name followed by an initial without a fullstop in between... it goes by the name...
DevD
To narrate a 'theory' and not a story per se is a task in itself, more so when you think of writing it all down in a screenplay format. I thought the snapshots of old Delhi which was presented both via the characters and scenarios (the clash of religious ideologies, the politcal in-correctness of our social system) ... it was all There! Rakeysh OmPraksh Mehra got it right with his experiment. The box-office failing the film is a different debate altogether.
Abhishek was at his most endearing best. It's such a delight to see him grow in stature as an actor, knowing exactly how NOT to wear his stardom on his shirt collar, and just BE the character! Waheedaji was the eternal epitome of grace & beauty. Sonam was in her impish, chutzpah self. A word on this girl - more than 2 of my male colleagues lamented on the lack of screen space for Sonam Kapoor - I mean, give me a break! This girl is all but 1 film old...and here we are wanting her to 'steal the scenes' away from the story! Arey, She was what she was in that setup. Nothing more or less was warranted. What crime did Mr. Mehra commit in keeping his characters to just the basics...? Why is there a need to romantacise relationships when the film is not about that?!
Now onto the Kaala Bandar thing - now, this is not mainstream cinema. However, to have mainstream stars embellish such symbolic euphemisms that exist in theory is a feat by itself. Not to forget the most wonderful Masakkali- both the pigeon and Rahman's awesome track (Maramat Muqadar Kar do Mere Maula - that lingers on far beyond the rolling titles!)... Where else have we seen Binod Pradhan's deft camera panning across the Jama Masjid, revealing multitudes in prayer or pushing itself over the rickshaw in the many gullies of Dilli Streets - (with the Jalebi intact!) - I mean this is a superb cinematic effort! The limbo-ness of the narration tempts me to put this film above the much loved Rang De Basanti.
I wonder why we are not even attempting such things in Tamil. Yes, we do have our own milestones in recent times...but ever since the Multiplex Films in Hindi shook us out of our routine, Hindi cinema is seeing some wonderful blossoms!
The most spectacular of 'em all is up for a post shortly ... It goes by a name followed by an initial without a fullstop in between... it goes by the name...
DevD
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