Sreenivasan could so willingly be 'our little man' because in his heart of hearts he never felt trivial or inconsequential. And to the very end he stayed that way, the shrimp who knew he was a giant. Sreehari Nair doffs his hat to the late legend.
Abid Mushtaq took seven wickets as Jammu and Kashmir trounced Hyderabad by 281 runs in Elite Group D Ranji Trophy match, in Jammu, on Wednesday.
As someone who could not predict a single beat in advance, who was exhilarated by its audacity to throw random elements together and take chances all over the place, Sreehari Nair thinks Odum Kuthira Chaadum Kuthira is one of the best films of the year.
Diane Keaton's wit and honesty taught us that ageing and uncertainty aren't weaknesses, they are part of what makes us human and graceful, observes Sreehari Nair.
When you declare 12th Fail as the Best Film and Rocky Aur Rani Kii Prem Kahaani as the Wholesome Entertainer of the year, you have somehow narrowed the range of the awards, suggesting, in effect, that the entire spectrum of possibility in Indian cinema extends from the Filmfare Awards winner for the Best Film to the Filmfare Awards winner for the Best Film (Critics), points out Sreehari Nair.
Seventy years after Pather Panchali released on August 26, 1955, we finally get it. Shuttling between the village of Boral and a studio in Calcutta, caught between worrying about the next purse of funds and wondering which item to mortgage next, Satyajit Ray was explaining Indians to themselves, discovers Sreehari Nair.
Empuraan, with its gimmicky violence and vigilante posturing, is not out to widen your perspective or open up history. All it wants to do is pick your pockets, observes Sreehari Nair.
The similarities between the two movies may be striking but where they differ is in the way each focuses your curiosity, observes Sreehari Nair.
The unspoken subject of Mithya is violence, and the big zinger here is our recognition that the movie is showing us the makings of a juvenile delinquent -- perhaps the finest since Truffaut unleashed his Antoine Doinel, applauds Sreehari Nair.
The balance was so perfect in that moment, the irony so rich. Those who cheered on Elia Kazan were cheering on the one quality that made him such a singular artist: He was his own man and not susceptible to groupthink. Those who protested Kazan's presence were protesting that very quality: They were saying that he was too much of an outlier, a wolf in a radical's clothing. Sreehari Nair captures his Kodak moment at the Oscars.
'Did anyone else get the feeling that AWIAL -- despite being ostensibly based in the Mumbai of today -- is actually set in a Neverland of Solemnity?' asks Sreehari Nair.
While Satya's pleasures are palpable -- among them the poetry of the coarse language, the mercifully rough-hewn texture, the oh-so-familiar underdog story -- these pleasures hit you at a completely different speed. The movie is charged with a sense of discovery, and every shot is a cornucopia of details existing independent of the main story. It's touching, notes Sreehari Nair.
We do not whistle for Hathiram Chaudhary. And yet the bond we feel towards him is spontaneous, almost effortless. This is because he shares something of our too-ideal dreams, our wry acceptance of our limitations, our useful frustrations, and our pointless sprints, explains Sreehari Nair.
Munjya is the most wildly entertaining ghost I have encountered at the movies recently. But he has the added advantage of being a Maharashtrian ghost, of possessing rhythms of speech and behaviour that are distinctly Maharashtrian, of being blessed with that beautiful brand of Maharashtrian irritability
159 dismissals in 36 Tests, 149 dismissals in 89 ODIs, and 89 dismissals in 70 T20s are very good by any standards. And yet they don't speak to Bumrah's true value and his special appeal, notes Sreehari Nair.
Ulajh strikes you as an attempt at statement-making gone horribly wrong, a punchline that doesn't land, a roar that never reaches the ear, observes Sreehari Nair.
People turn a corner and overhear secrets, men change stripes so as to acquire shades of villainy most convenient to advancing the plot, secondary characters confess to past sins just so that the leading women are absolved of all responsibility, notes Sreehari Nair.
'Garm Hava understands that the scorching, hate-filled, doubt-filled affair between Hindus and Muslims is our national love affair.' Sreehari Nair revisits M S Sathyu's classic film, featuring the incomparable Balraj Sahni at his finest in his final role.
We asked colleagues, present and past, to reflect on a man who has made such a difference to their lives and careers. Here it is then, a rich collection of memories that offer enchanting glimpses of the enigmatic Ajit Balakrishnan.
The reasons are too private to be discussed at a round table, listed out during a seminar, or uncovered in an academic course. A proud but insomniac connoisseur murmuring in his sleep may do a better job of explaining the phenomenon than an expert on a podium. Sreehari Nair airs his thoughts.
You will appreciate the Mammootty of this movie better if you do not take the servile reviews to heart, for this is a grand, broad, almost proudly comic performance, assures Sreehari Nair.
Since nothing irritates Lijo Jose Pellissery more than a throwaway critical judgment, Sreehari Nair carefully presents his opinions about Malaikottai Vaaliban, a good two weeks after he first saw the movie.
What follows is essentially a long scene set in a single location, and you watch in amazement as the scene grows into one of Indian cinema's funniest and most spectacular pieces of sustained craftsmanship, accumulating emotional power and subtext, growing wings and claws, becoming its own beast, applauds Sreehari Nair.
Siddharth Anand's artistry bespeaks an upbringing filled with GI Joes, plastic combat boots and plastic bayonets, fake punching noises and fake sounds of gunshots, rudely interrupted by an adult voice saying, 'Beta, all this is good, but try bringing in some feelings too', observes Sreehari Nair.
Watching Aavesham is like sprinting through the whole history of our mass-masala movies and seeing it in a new light, notes Sreehari Nair. And this, incidentally, is the story of Fahadh Faasil's career too.
ITo steer clear of sanctimonious newspaper stories all your life, and then be saddled with movies like Kadak Singh -- now there's a rotten bit of luck worth moaning about, sighs Sreehari Nair.
We are back to being a country that talks about box office numbers as the measure for what an audience's real feelings about a movie are, laments Sreehari Nair.
They represent a new tribe whose grace and skill-sets lie well beyond my comprehension, notes Sreehari Nair.
The hits and misses of the week.
If you have never seen Sriram Raghavan fly, you would hardly realise that this time, he is happy in his cage, this time he isn't reaching for the skies, notes Sreehari Nair.
Girish AD doesn't make romantic comedies so much as he elevates the genre, observes Sreehari Nair.
It's not uncommon for performers to become bigger than the stories they are placed in and Sreehari Nair would happily pay to watch Isha Talwar and Paramvir Singh Cheema riffing on love, bad life choices, psychology, rhythm, and oven-baked Kulchas in Chamak.
800 gets so lost in celebrating its grand subject that it forgets something pretty elementary: Cricket is a team sport!, notes Sreehari Nair.
I do have a dream biopic. It has as its subject Renu Saluja, the cosmically gifted editor, with a special focus on the Vidhu Vinod Chopra-Saluja-Sudhir Mishra love story, says Sreehari Nair.
'As I watched Mammootty 'try out' Mathew Devassy, I could hear from my theatre seat the ready-made appreciation of the liberal press, their applause for the great actor having flirted with queerness on screen.' 'But it is a flirtation and nothing more, for I could not detect in Devassy any hint of love, not for his homosexual lover, not for his wife,,' observes Sreehari Nair.
This isn't a hatchet job, and my excuse for the exercise is my feeling that when you invert some of the clichés mentioned here, you might just arrive at the portals of genuine movie-making energy, says Sreehari Nair.
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