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July 03, 2015 Friday     

Accident - Kannada

A widely appreciated path-breaking film of Indian Cinema, ACCIDENT revolves around a cruel ‘Hit and Run’ case resulting in more than 12 deaths, caused by an irresponsible son of a leading politician, driving the car in the influence of drugs and booze.
Now reading the above short synopsis of the film, one might feel like nothing new and an all seen before theme used repeatedly in many Hindi films like JOLLY LLB and few others too. But before having this particular thought in mind, just take a look at the year of its release i.e. 1985, which is 15 years before the famous Nanda-BMW case of 1999, two decades before the still in court Salman Khan’s case and almost three decades before the recent similar instances reported in Mumbai or Ahmedabad in the year 2013. And this wide gap between the film and exactly similar real life cases happening decades later clearly reveal the actual importance of this shocking realistic venture made well before its time with a futuristic vision.
Having a reputation of an all time classic in Kannada Cinema, the man behind this visionary project was the well-known actor-writer-director SHANKAR NAG, who the Hindi belt viewers would recall seeing in the hugely popular T.V. series MALGUDI DAYS. It was one of the finest television series of India which also featured Shankar’s elder brother ANANT NAG, who was often seen in Hindi films like KALYUG, ANKUR, GEHRAYEE & many more. The two hour classic ACCIDENT was even produced by Shankar himself and he played the important role of a responsible journalist in it too quite impressively. Anant Nag was assigned the central character of the culprit’s influential father heading towards his next election and it’s indeed a treat to watch the veteran in all his conflicting scenes with the dilemma post the initial hour.
A landmark project of the region, ACCIDENT was probably the first film presenting the corrupt nexus between Police, Politicians and Media in Kannada cinema. It came just after ARDH SATYA which is also considered as one of the first Hindi films to showcase this brutal truth of corruption in Police department. In fact that was the period in which Indian Cinema was going through an evolving phase and had just started revealing many hidden social evils like never before in a very bold and shocking manner.
Another major merit of this well-made gem is that it doesn’t narrate the story with a dragging art-house kind of approach and keeps the viewers involved offering a fine blend of commercial and meaningful cinema quite thoughtfully. The film’s gripping screenplay, fine performances, great camerawork and very minimal background score by the maestro Illayaraja remain its greatest strengths right till the final unexpected sequence brilliantly. Plus while watching its first few scenes, I also strongly felt that probably Ram Gopal Varma got his early inspiration for all the innovative camera angles from this one particular film alone.
Director Shankar Nag conceives his every scene with a highly believable realistic vision and the main accident sequence in it is capable of causing shivers down your spine even today after almost three decades. Well received by critics as well as by the audience ACCIDENT reportedly had a different ending at first which was later changed by Shankar due to the sudden, tragic killing of then Prime Minister of India, Mrs. Indira Gandhi, because the shocking event coincidently had few similarities with the film’s original climax.
The movie won the Karnataka State Film Award for Best Film and was also awarded the first National Film Award for Best Film on Other Social Issues which got started only in 1985. It is still remembered for its exceptional treatment of the bold subject under the insightful direction of Shankar Nag and its really ironical that later the talented artist died in a road ACCIDENT only, unfortunately.
Honestly, watching it today in 2014 many might find it outdated with nothing novel to say as per its basic theme since we all have now become habitual of seeing the same corruption repeatedly in our routine films. However the truth remains that ACCIDENT was probably the first film to talk about this kind of incident much before it actually got reported in the real life and also one of those fearless, bold films going against the system post the Emergency period in the country during the late 70s.
So if you do wish to witness the few important films which were actually responsible of giving Indian Cinema its much needed timely turn in the early 80s then essentially watch ACCIDENT as a must considering it as another basic chapter of studying film-making trends in India.
Directed by Shankar Nag
Written & Screenplay By Vasant Mukashi
Starring : Anant Nag, Shankar Nag, Arundhati Nag, Ramesh Bhatt and more.
Music by Illayaraja
(Thanks to Aditya Savnal for sharing the valuable info about this regional trendsetting gem at FB.)
Tags : ACCIDENT (1985 - Kannada), Movies To See Before You Die Thriller, Must Watch Indian Regional Movies List by Bobby Sing at bobbytalkscinema, Shankar Nag directed movies,
26 June 2014 / bobbysing /
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Drishyam - Bobby Talks Cinema.com

A few months before I wrote about a well made Korean crime thriller SUSPECT X (2008) and was informed that a fine film with the similar basic plot has recently become a big hit in the south too called DRISHYAM (The Visuals). Knowing that I didn’t get excited enough as was frankly not expecting anyone to surpass the brilliant execution seen in the Korean film and thus skipped the movie and then didn’t think about it at all till the last month when its original DVD was released. And I just bought it only to see the way they have adapted the similar interesting plot of the original.
But surprisingly, the film shattered all my doubts about its execution and broke the silly myth too that it was exactly a replica of the Korean crime thriller mentioned above. Yes, its basic plot is somewhat similar, but the director here has his own story to tell and that too in a way which simply grabs you from the neck and makes you sit straight with eyes wide open looking at the screen till its all over. In other words, there are very few instances when a film surpasses any of the similar projects made in the past and delivers a never before kind of content with a fresh approach given to the theme so skillfully. And that is the reason I have to rate DRISHYAM as one of the top ten investigative crime thrillers (with an exceptional script) made in Indian Cinema till date undoubtedly.
Its certainly a highly impressive triumph achieved by both the writer-director Jeethu Joseph and his entire cast superbly led by Mohanlal, Meena, Ansiba Hassan & Baby Esther in the lead roles. The supporting cast equally adds to the project as the key characters and so does the background music and cinematography capturing the tense moment beautifully. In fact praising the film, its been said that DRISHYAM has started a new genre which can be called a ‘family thriller’, since the first half of the film completely talks about the family, their mutual relationships, the loving warmth and their little fights, creating an intelligent base for the mystery. And the thrilling moments actually begin just 15 minutes before the intermission.
However what comes next in the final 90 minutes of the film is truly mind blowing which eventually makes you forget the lazy, slow paced moments of its initial hour, quite easily. As a matter of fact when you once again think about all those long detailed sequences of the first half, after watching its extremely well written climax, then they all seem to be pretty engrossing, as every single scene has an individual meaning and a value of its own related to the actual story progression in the later reels. Hence what might seem to be a drawback of the movie initially, doesn’t turn out to be the same once it successfully manages to bring you onto the edge of your seat repeatedly in its final hour.
In short, no this is not blatant copy of any foreign film and remains an outstanding work in both cinematic and entertainment terms which will force you to rethink over all your perceptions about the regional cinema being made in the country. Putting it bluntly, DRISHYAM proves that we are now making many worth watching gems here in India too which can easily be compared to World cinema and are much ahead then the baby products being regularly offered by the Hindi Film Industry.
Therefore, forget any of your doubts, hesitations & pre-set notions about regional movies or the subtitles and watch DRISHYAM at the earliest, because it will entirely change the way you look at the films being made in the south part of our own country.
Tags : Drishyam (2013 - Malayalam, Movies to See Before You Die, Crime Thrillers, Not to Be Missed Movies List by Bobby Sing, Worth Watching Movies List By Bobby Sing, Best Investigative Crime Thrillers made in Indian Cinema, One of the best scripts of the new millenium, a rare triumph in Malayalam Cinema.
02 June 2014 / bobbysing /
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Prahaar - Bobby Talks Cinena,com

There have been some rare instances in Hindi cinema, when a director has not made a film just as a part of his bright career, hasn’t made it for any expected returns and was not looking for any major commercial success either defying the usual industry trend. Films made when the director personally wished to say something significant or give something back to his loving fans which might help them to grow and live a better life. PRAHAAR stands tall among such highly appreciable attempts in Hindi films, which till date remains the only directorial venture of the hugely famous writer-actor-director Nana Patekar. And the thinking actor made this movie just for his own countrymen with a specific social message that we constantly need to fight with the enemy existing within our crumbling society first, before fighting the one attacking the political borders.
Beginning with a one line theme saying ‘A Soldier never quits till he is dead”, the film travels a full circle journey and ends on a highly thoughtful note, beautifully conceived by the director with hundreds of nude kids running along the main protagonist as a symbol of universality and equality among all fellow beings. Having a brilliantly structured script (in four major parts) it makes an important sarcastic comment on the new mean perceptions of life followed by majority of people wherein they do tend to behave as cowards most of the times undeniably.
In the first part of the script, Nana takes you onto the tough journey of military training camps where the young boys are being turned into courageous military men. The authentic commando training scenes in the film are really a treat to watch especially when Nana first performs every difficult task given to the boys himself, to set an example. And believe me, there are not many in the industry who could have done that in such an unbelievable manner without any graphic or camera tricks.
In the second section, it very insightfully shows how the commando training proves useful in fighting the inner enemies of the country too, attacking in the form of terrorists, criminals and underworld mafia. The trained boys rescue a kidnapped school bus from the extremists, which though could have been shot in a much better way (avoiding too many dark scenes) but still adds a lot to the film’s fine build-up altogether.
Returning to the realistic social life, the third part showcases how a common man avoids confronting the bad elements fearing the drastic consequences and instead pays a small amount to buy his family’s peace regularly, posing as a coward. The questionable pattern of living is explained in the words of the elderly man when he says that “We do not fight these goons as we are supposed to be decent people”. But unfortunately Peter, the brightest commando trained by Major Chavhan, has to pay a price for the revolt expressed, which changes the life of every single person related to him unexpectedly.
The final section shockingly deals with how a reputed Army Major tackles this social evil taking it personal and doesn’t feel any regret in going for the extreme solution possible making some brutal killings. So the battlefield changes in this particular part, depicting the need of a strong defense mechanism to be applied both within as well as at the political border of a country unconditionally. And it’s these two concluding sections of the film only which have numerous scenes to hit you real hard and the talented cast perfectly plays them all with sheer excellence, worth experiencing.
For instance,
a. The most crucial scene of the film is when Habib Tanvir slaps Nana saying that your Military training brainwashed my child teaching him how to revolt resulting in his death, otherwise we were all living peacefully before that.
b. The change of character of Madhuri Dixit from a loud, talkative girl to a silent, lost person after the tragic event is portrayed intensely.
c. The shocking sequence wherein the spectators start throwing stones at the Major who is fighting with the goons for their rights only, causing the emotional outburst of Dimple shouting helplessly, really makes you sit back and think.
d. And lastly the final scene of the film wherein Nana is running along hundreds of nude kids, which was later censored for the film’s TV broadcast too (as I can remember) certainly comes up as one of the most thoughtful scene ever incorporated in a Hindi film.

Equipped with a well-designed Background Score using the compassionate alaaps, PRAHAAR also has a soothing waltz number “Dhadkan Zara Rukh Gayi Hai” with a fine mouthorgan musical piece too used beautifully.
A story written by Nana Patekar himself, the film effectively conveys a message that perhaps people are just worried about themselves and their families only following a mean or coward way of living which cannot ever result in a healthy society. Because a just-social system can only exist when a person starts thinking & caring about the other too and doesn’t try to skip the problem just because it is not related to him or his loved ones directly. It also raises a very important and debatable point that probably one year of army training should ideally be made compulsory for every citizen of the country to realize his own potential, physical capability and the mental ability in order to fulfill his major social responsibilities.
On a concluding note, PRAHAAR is an important film of Hindi cinema as they don’t make films like these anymore and therefore its producer Sudhakar Bokade surely deserves praises for backing up this non-commercial venture way back in the year 1991. With a hope that Nana Patekar soon finds another Sudhakar Bokade for financing his second film, I would recommend PRAHAAR especially to all the young ones in particular, since the film does have the elements which might help you in becoming a more responsible human being living in this fast collapsing social structure around.
Story, Screenplay & Directed By Nana Patekar
Starring : Nana Patekar, Dimple Kapadia, Madhuri Dixit, Habib Tanvir, Gautam Joglekar, Makrand Deshpande and more.
Music : Laxmikant Pyarelal
Tags : Prahaar (1991), Movies To See Before You Die Thriller Drama, Most Thoughtful films In Hindi Cinema, Must Watch Films List by Bobby Sing, Worth Watching Classics List By Bobby Sing, Not To Be Missed Movies List By Bobby Singh, Directed by Nana Patekar, Madhuri Dixit without makeup, Prahaar means Hitting Hard.
16 April 2014 / bobbysing /
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