Frames And Angles

What is a woman’s film? Has an all-female cast? Deals with women issues? Or does it explain a woman’s point of view on various issues? I was bothered by too many such questions when i noticed the ads for “1st Women’s film festival” at Chennai. The kinda passionate movie buff am turning out to be, i wanted to attend and experience a film festival ambience, meet people with common interests and the creators behind the movies. But I never got a chance or rather i failed to create an opportunity. Last month, i was almost there for “First French rendezvous”. So i decided not to miss this festival scheduled from March 1 to 8 at Sathyam cinemas and South Indian Film Chamber in Chennai.

The festival’s theme was simple. Movies directed by woman directors, from all over the world. Being conducted by InKo centre, a Indian Korean cultural centre, movies were mainly from the two countries. Movies from Iran,Japan,Mexico,UK,Japan were also screened. Around 80 movies where screened at 4 screens through out the week. I squeezed as much time as i could from my schedule (thanks to the second shift) and watched around ten movies. What follows is a brief review of the movies in the order i watched them.

(Movie/Country/Director/Language)

Deveri/India/Kavitha Lankesh/Kannada:

I dont classify movies as art and commercial. I think any movie, which is made passionately, qualifies as a good cinema. What is popularly called as “Art” cinema, as long as it is engaging and compelling, i do not worry about the “art” tag. But when the passion of the director fails to light up the screen, i disapprove any cinema, commercial or art. “Deveri” could be the best example of how an art or good cinema should not be. Straight forward narrative, sluggish screenplay, background score that is unnecessarily melodramatic at times – Deveri has all of them. It is a story of Deveri (Nandita Das – shockingly artificial at times), a young lady working at construction sites during the day and as a prostitute at the nights. Her younger brother, eight year old, couldn’t understand why his sister disappears in the nights and the language like “customers”. Soon he learns the truth and wants her to stop. What would Deveri do next? You might as well leave it rather than watching this boring melodrama.

Dharm/India/Bavana Talwar/Hindi:

Set in Beneras, “Dharm” is about the head-strong head priest of the temple, Pandit Chaturvedi (Pankaj Kapur) realizing the real value and meaning of Religion. With a sensible script, Bavana takes you through a spiritual journey with vivid and engaging images. Well planned shots, executed with perfection keeps you glued to the screen. There is some good humour when the head priest tries to baby sit. Watch out for Pankaj Kapur – one of the most underrated Indian actors – the way he walks, chants the manthras, the initial grumbling towards the kid – he is a real treat! The adequate supporting cast has made Bavana’s job much easier. Nalla Muthu (Camera) paints a breathtaking canvas with carefully chosen colours. The good message, the mesmerising manthras, the cute kid and the majestic performance of Pankaj Kapur – You certainly cannot ask more for.

Pestonjee/India/Vijaya Mehta/Hindi:

Set in Bombay in 60’s. Pestonjee(Anupham Kher) an innocent irresponsible extrovert parsi bachelor, is looking for a good parsi girl to marry. Piroj (Naserudeen Shah), his best friend, is everything what Pesi is not. Very calculative, introvert but gold at heart, he is always worried about Pesi that he is not bothered about his investments and insurance. Peroj is waiting for the matchmaker to decide on Jeroo’s horoscope. During this wait, Pesi marries Jeroo! But Piroj, is not angry or jealous. He is quite happy that his friend is gonna lead a good life. He is too absorbed into their life that, after moving to a small town soon after their marriage, he dreams and fantasizes about their married life, their baby (he thinks they will name him Piroj), prays for them everyday. After five years, he returns to Bombay only to find that their real life bears no resemblance to his fantasies! And he finds much more jolting truths about Pesi’s extra marital affair with Sanoo(ironically, the real life partner of Anupam Kher, Kiron Kher!). What follows is an engaging drama, with some serious questions about life and happiness. Naserudeen is first rate. Anupam is adequate. Though Shabana does complete justice, her role is annoyingly cliched. You might not want to miss the popular Maa of Bollywood, Kiron Kher, looking ravishing and doing some serious flirting. Such a complicated script has been given a light humourous treatment. Screened aptly on sunday evening, i had the feel of listening to good old Kishore Kumar songs with a steaming cup of tea. Just loved it.

37 ½ /Norway/Vibeke Idsøe/Norwegian:

Selma is 37 years old. She is working as an unsuccessful writer for a magazine. She has got many good ideas, but her lady boss doesn’t even care to have a look. People reject her for her unattractive looks. She is afraid of mid life crisis. One fine day, her husband leaves her for another young woman, promising to be a very good friend henceforth. No husband, No children, No career, No life. She is totally depressed until she meets her child hood friends, who once bullied her. Life takes a u turn. This cheerful tale starts very brightly with flashy titles. Racy screenplay, good music and acting, light humor – all made for an engaging watch.

Yugaanth/India/Aparna Sen/ Bengali:

Deepak, a successful and acclaimed photographer, and Anusuya, a successful Bharatha Natyam dancer, a couple in their 40’s, meet after 18 months in a seaside village where they spent their honeymoon 17 years ago. Discrete episodes of their past are told in individual points of view. What went wrong about their married life? They hope that only a miracle to fix their broken lifes, and a miracle does happen at the end. Aparna Sen has simply got too many things to say in two hours. I doubtfully conclude that the movie tries to analyse the problems that pop up when two highly creative people are together in a wed lock. Anusuya is a dancer – so you get to watch two dance dramas free of cost! Movie is full of conversations, conversation, and conversations! The saving grace of the film is the subdued performance of Anjan. He does the best thing an actor could do – he makes you believe that a character like Deepak could exist. Roopa ganguli reminded me of South Indian actress Rohini in her looks. Different websites write her differently (Rupa, Roopa, Ganguli, Gangooly). The same can be said about her performance – at times its natural, at times its amateurish.

Rush, it’s gone! / Iran / Shah Hosseini/ Persian

This is my pick of the festival. A gripping tale told effectively in 78 minutes. Set in a fishing village of South Iran, the movie helps to you to have a look into the live of gypsy women living there. The director manages to weave an interesting tale of love around the highly insane customs of the gypsies. A woman, unhappy in a forced marriage, should not lead another life unless her husband’s body is washed away to the shore. “Mother Sea“ holds back the bodies of the husbands of women who are not chaste! The heroine is aggressive, rebellious but there is no one to help her out of this situation. Enter – a rich business man – falling in love with her. The movie changes gears at this point and never slows down. The scintillating music score grows on you. A high voltage drama! I reassured myself that Iranian movies are one of the best of the world.
L’Abri/Korea/Lee Mi Yeon/KoreanThis light romantic drama, called “Lover’s Refuge“, is about a young male literature teacher, almost a recluse, and his new student who reverts back to normal life after trading sex for money for a while. The slow pace actually supplemented the mood. Bus stop is used as an interesting metaphor through out the movie. Light humour and the lead actor’s performance were the highlights of this film. Not a masterpiece, but a good watch indeed.
Andre Omgang/NorwayHilde Heier/NorwegianThree men, at their late 30s, 40s and 60s, father and two sons, are struggling with three stages of married life! The youngest of the lot, uses the right opportunity to break a bond. His elder brother has crossed a probable break up and is making desperate attempts to boost up the relationship. The father, the more matured of the lot, is trying to find a meaning in his life with his senile wife. All the three men meet every week, only to discuss about their local football team’s performance! This tragic-comedy was quite different from the other movies. The characters of the men are crystal clear – a great achievement for a woman director.
Meghae Dhaka Tara/India/Ritwik Ghatak/ Bengali:Set in the post partition period in Bengal, this movie is about the selfless sacrificing Nita, the second child of a family. Her family exploits her completely as she is the only bread winner of the family. Her lover betrays her and marries her more beautiful sister. Her younger brother leaves the home as soon as he gets a job. Her elder brother is quite impractical, dreams of becoming a singer and refuses to take up a job. This emotional tale ends with the family being uplifted at the cost of her health and youth. A little bit patience is required to watch this black and white saga. I would prefer the much lesser melodramatic version, “AvaL oru thodarkadhai“ by iconic Tamil director K.Balachander.

It was indeed an experience to see such a mixed genre of films. Many faces became familiar during the course of the festival. I could see movie reviewers taking notes after every movie, film institute students analyzing the movies, passionate directors introducing their films. An inspiring and interesting festival.