For every Bobby Jindal, there’s one Aasif Mandvi.

Where would we be without self-deprecation?

The concept of destiny irks me; that way, I buy into Dostoevsky’s morbid world view. But Danny Boyle (28 Days Later, Millions) has intricately woven magic realism into a modern day fable about survival and love; a film set at the center of India’s commercial hub.

Reaction to this film has been intriguing. Critics seem to be spellbound by the rather straightforward screenplay. The film would have never worked weren’t it for Danny Boyle (and his Indian counterpart, Loveleen Tandan). For one, Boyle infuses the proceedings with an overdose of realism; so much that you can almost smell what goes on. On the other hand, he romanticizes the aspirations of the protagonist. Jamal Malik, cares more for his long-lost sweetheart than the 2 Crore (20 Million in the film) Rupees at stake.

Remarkably, the use of HD (SI-2K Mini Digital Cinema Camera) gives a vibrancy and immediacy to the otherwise appalling backdrop. Boyle employs the frantic pace that he used so well in Trainspotting and achieves a structure that few Indian filmmakers have been capable of. Danny Boyle, much like Richard Linklater belongs to a rare breed of filmmakers – those capable of telling a story both empathetically as well as intellectually.

There is so much to say about the film- the characters, the score, some brilliant sequences; but I shall refrain at the risk of coming across as vapid and dense. To the discerning viewer, there are plenty of flaws but the audience at a limited screening I watched this film with burst into applause towards the end. The film is life-affirming without being overly sentimental, escapist without being ridiculous and most importantly, bloody entertaining. Reminded me why I love cinema so much.

9/10

http://www.imdb.com/title/tt1010048/

• Coming out, not a gay and glad experience
• Gay and Indian
• Law and Behold
• Six part video

Just so you know, the Indian equivalent of Proposition 8 in America is Section 377.

“The land of Mahatma Gandhi has been bloodied by terrorists whom we shall not spare; Terrorists are waging a war against India. We should be prepared for a long battle against terrorism.”

- Narendra Modi in response to the recent Bangalore and Ahmedabad blasts

The faculty at St Stephens, Delhi is apparently conducting a boycott (although the brother was still rushing to class when I last checked) in an attempt to protest againts the ludicrous move by the college to enforce a quota for Christians in faculty recruitment.

What is bound to really rile people up is a statement by the  spokesperson for Delhi Catholic Archdiocese, Father Dominic Emmanuel on CNN IBN’s Face the Nation. He goes onto say that academic excellence is not as important when compared to (wait for it) following the ‘call’ of Jesus Christ. Coming form a christian minority institution (that infringed on almost every fundamental right) myself, it irks me to see that one of the premier institutes in the country has to bear the brunt of illogical and neanderthal decisions made by the f*ckwits (thankyou, P Z Myers!) who actually have a say in matters that concern them in no discernable way. Add to that, Stephens is a publicly funded institution; so basically everyone gets to sow but few reap. Go figure.

Source: Minority quota in colleges a huge mistake

I’ve come a long way from thinking of sports as an overrated exhibition of suppressed animal instincts and misplaced male bravura. Over the last few days, it has dawned on me that yours truly is no less capable of mouthing curses or screaming jubilations during the course of a 100 overs.

I may have just picked the right time to be a fan…

http://www.ibnlive.com/news/law-panels-knotty-idea-let-boys-marry-at-18/58277-3.html

”There is no rational, scientific basis to why boys who may vote or take other decisions after 18 must wait to be 21 to marry,” commission member Kirti Singh told UNI.

So rejoice all ye who have been waiting to turn 21. Women however have it tougher; the age of consent is now 16 instead of 15.

How does the Law Commission decide on what laws to change? Aren’t there more important amendments to be made like, say, I don’t know…banning urban ‘gunda’-ism?

I love the way this country smells. I’ll never forget it. It’s kind of spicy.

Wes Anderson, in many interviews has stated that this film was intended as an homage to Satyajit Ray (and even inspired by Jean Renoir) and that’s exactly what hits you from the first frame; a poignant, stylized and funny opening sequence shot somewhere on the streets of Rajasthan. A character (referred to in the credits as The Businessman) played by Bill Murray rushes to the railway station in a cab and chases a train that has already started moving. Enter Adrien Brody with a couple of bags, cue slow motion and the track, ‘This Time Tomorrow’ by The Kinks. If you’ve seen a Wes Anderson film, you’ll know this is a sign of good things to come.

Wes Anderson, pardon the cliche, is one of a kind. His worlds are inhabited by people born into decadence with quirks and eccentricities that seem far too unreal but still manage to exhibit emotions and oddities that are quite humanistic. The Darjeeling Limited is hardly concerned about conventional plot mechanisms but flits across many familiar themes; sibling rivalry, love, family, oedipal conflicts and of course, closure.

Three brothers who have fallen apart over the years meet up on The Darjeeling Limited under the insistence of one of them who feels they need to feel something on the lines of a spiritual awakening. As they visit temples, meet people, share adventures and embrace the culture, they come apart at the seams. One of the more beautiful scenes is when the youngest brother Jack wonders if they would have ever been friends if they weren’t brothers (I wonder if the three of us would’ve been friends in real life. Not as brothers, but as people.).

Ever since Rushmore, I’ve been a huge fan of Anderson. While critics think his films are more stylistic than anything else, I think that’s pretty much what Anderson strives to create, that and characters who in spite of their inherent weirdness still manage to redeem themselves. Anderson’s choice in music is impeccable. The score features tracks composed by Satyajit Ray himself and obligatory punk rock songs from the 70s.

The cinematography by Robert D. Yeoman is as usual very Andersonesque; wide angle lenses and some pretty inventive shots. The settings and locations are a tad bit over dressed but this isn’t unusual considering the man at the helm. The casting is near perfect too. Apart from the main characters, it will be criminal not to mention the beautiful Amara Karan who I intend to immediately hunt down and propose to. She has an amazing screen presence and oozes with sensuality.

Of course, India is portrayed as exotic (to Anderson, India doesn’t seem to have changed since the 1970s) which isn’t such a bad thing since he points to Ray as his inspiration. Also, some of the Indian characters have very noticeable Yankee accents; all forgiven, mostly because I feel Anderson has created his best film to date, moving, heart warming and stupendously beautiful to look at.

9/10

PS: Hotel Chevalier is a mandatory companion piece to the film.