Sreehari Nair wishes to write about that which is in the cultural air but absent from trending lists. You can e-mail the author at sreeharin@rediff-inc.com
'Kumbalangi Nights is a movie that respects women, but most importantly, it's a movie that loves them,' says Sreehari Nair.
'Ek Ladki Ko Dekha Toh Aisa Laga is a step backward for the portrayal of female camaraderie in our movies,' argues Sreehari Nair.
Soni is a soft treatment of a very complex subject, feels Sreehari Nair.
Though it is a little too neat and a little too light, Rubaru Roshni is important because it is telling us stories of people who have experienced an 'Inner Migration' in their lives, notes Sreehari Nair.
...A hate letter to our system, feels Sreehari Nair.
'His sin was that he made public a certain lifestyle that was to be kept within the confines of those sweaty dressing rooms,' says Sreehari Nair.
'A big reason for its low recall value is that Rangbaaz's colourful characters are all essentially punks,' feels Sreehari Nair.
Sreehari Nair is *not* impressed by this lot of films at all.
What holds It's Not That Simple together is the cast; performers who frequently rise above their stodgy lines to bring something personal to the table, notes Sreehari Nair.
'Wasn't there a single person below 30 in the whole production team? I wondered aloud at different points in the narrative,' notes Sreehari Nair.
'Tigers fails to understand that the phenomenon of a million babies dying because there is not enough clean drinking water in which to mix a certain packaged baby formula may have its source in a system where deprivation runs so deep that even a small gift works like a tonic,' argues Sreehari Nair.
...But a comedy about Class Wars. Sreehari Nair tells us why.
Gajraj Rao's performance in Badhaai Ho is the finest by an actor in a Hindi film this year, applauds Sreehari Nair.
'What seemed missing in Tumbbad was that screwiness, that kinkiness, which shades so many of our best parables,' observes Sreehari Nair.
'Sriram Raghavan is mainstream Hindi cinema's greatest gift to us,' declares Sreehari Nair after watching the director's latest movie caper.
'This is a movie, which if you allow it to, will wash itself all over you, so that you emerge from it a little drenched but wide awake,' says Sreehari Nair.
If Manto, the film, falls short of being a masterpiece it's because Nandita Das could not quite crack the Manto code: She couldn't quite see the wholeness of her subject with the same eyes that Manto saw his people. This imperfection in the film, in a way, becomes the greatest tribute to Manto, feels Sreehari Nair.
'Love Sonia is a motion picture with the ambitions of a novel.' 'When I walked out of Love Sonia this Monday night, I walked out with a hushed audience that seemed too overcome by the raw power of the film to even pause for applause,' notes Sreehari Nair.
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