The 75th International CANNES Film Festival ended last night (rather today morning here, half past 1am). Could not check out as much about the Festival this year, as I’d love to, but did check the fashionable updates on Twitter regularly. Last night, way past midnight, I switched on the telly (cable TV) to France24 just before 1am and caught the final announcements. Congratulations to Ruben Östlund on winning the Palme d’Or for a second time, this year it was for Triangle of Sadness (2022). A big congrats to all the winners at this year’s Cannes Film Festival.
Since am too ill and tired to write a good post, let the pictures do the talking. Two nights in a row I couldn’t sleep a wink, stifling weather, dengue mosquitoes, non-stop migraine headache and a load of stress. Tweeting is easier, but glad I managed to make the above collage for this post, as crude as it may seem. So exhausted.
Watched on Sunday Afternoon, 12th May 2019! Downloaded Film!
A Downloaded Movie, downloaded way back in July 2017! Have a load of Downloaded films, from July 2017, am yet to see!
The Front Page (1931) is an interesting satire centered around the Press. Earl Williams (George E. Stone), a Caucasian/white American man and supposed Communist revolutionary, claiming innocence, is convicted of killing an Afro-American cop, and is to be hanged. The court press room, situated right next to the gallows, is waiting to cash in on the latest, and cover the hanging of Earl Williams. Sometimes we see how desensitized reporters can be; for them it’s just the next story. But when the convict escapes, and is found by reporter, Hildy Johnson (Pat O’Brien); who’s about resign, get married and leave for New York, from Chicago; yet keeps getting roped in by his conniving editor, Walter Burns (Adolphe Menjou); and when Hildy Johnson realizes that Earl Williams is innocent; Hildy is hell bent on proving Earl Williams’ innocence. Of course, for Hildy, it still is the latest scoop, but he wants to save an innocent man’s life as well. A hilarious comical take on the world of news-reporters, based on the play, The Front Page, by two ex-Chicago reporters, Ben Hecht and Charles MacArthur, which was 1st staged on Broadway in 1928!
This 1931 pre-Code comedy, is a premake of Howard Hawks’ His Girl Friday (194O), minus the ‘Girl Friday’, as intended in the original Broadway play (a play I haven’t read yet). But His Girl Friday is far more an enjoyable romp than The Front Page. Cary Grant and Rosalind Russell had great chemistry in the 194O classic, as a formally married couple having to work together, and the wife, Hildy (Russell); in lieu of the male Hildy (gender swap) from the original story; constantly getting pulled in by her editor/ex-husband (Grant) and the candlestick phones that keep ringing off the hook, even though she wants to get away and get married to someone else. His Girl Friday is among the greatest comedies ever made. Reporting is in their blood, the love for the job, for both (female) Hildy in His Girl Friday and (male) Hildy in The Front Page. The Front Page‘s Hildy is actually named Hildebrand Johnson, and ‘Hildy’ is short for Hildebrand, an affectionate nickname.
Though The Front Page, directed by Lewis Milestone, is not pure excellence (not just compared to His Girl Friday, but in general); it still comes really close! A Near-Excellent, brisk, fast paced, romp with witty dialogues; that is a must watch; especially for fans of film and literature!!!!! This movie was nominated for a trio of Oscars (‘Best Picture’, ‘Best Director’ & ‘Best Actor’ – for Adolphe Menjou) at the 4th Academy Awards! Lewis Milestone had already won two ‘Best Director’ Oscars. One for Two Arabian Knights (1927), in the ‘Comedy’ category, and the other for one of my favourites films on World War I, a pre-Code anti-war film, All Quiet on the Western Front (1930).
The Front Page is a near-Excellent comedy!!!!
My Rating: 9/10!
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La Chienne (1931)
Watched on Sunday Night, 12th May 2019! On TV5MONDE!
Directed by Jean Renoir, La Chienne (1931) is about a depressed married man who falls for a streetwalker (the title, the English translation of which reads as ‘The Bitch’, is a reference to her character; a character that is both conniving and foolish) and has a clandestine affair with her. Lulu (the streetwalker played by Janie Marèse) however uses the man that loves her, Maurice Legrand (Michel Simon), for the man she is in love with, her pimp, Dédé (Georges Flamant); who in turn uses her using Legrand, for his own personal gain. Legrand’s artworks are sold by Dédé making Dédé rich; and leaving Legrand a penniless vagrant.
A really good socially critical look at human relationships, showcasing how selfishly people use one another for their own benefits! La Chienne might not be an excellent French film by Renoir, yet it’s a very good thought provoking movie, with a brilliant concept. The finalé is both tragic and comic, at the same time. The satirical state of fate of mankind.
Actress, Janie Marèse, who played Lulu, was tragically killed in a car accident, soon after the filming wrapped up. Marèse’s real life lover, and her co-star, Georges Flamant (who debuted as Dédé, in La Chienne) was recklessly driving the car. He survived the accident, but his career was seriously damaged by the press.
La Chienne, released few months after Marèse’s death, was director Jean Renoir 2nd Sound film (as in with synchronized sound)!
My Rating: 8/10!
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Drums Along the Mohawk (1939)
Watched on Monday, 6th May 2019! Downloaded Film!
John Ford’s very 1st movie made in Technicolor, Drums Along the Mohawk (1939) was the 1st movie I watched this month (another Downloaded Movie, from almost two years ago).
Produced by Darryl F. Zanuck, this Historical story, is about a newly married couple who make a new home close proximity to White settlers at Mohawk Valley on the New York frontier and find themselves at the heart of the American Revolution of 1765 – 1783.
The Year is 1776, the newly married couple get roped in by Mohawk Valley’s settlers who’ve formed a local militia in anticipation of an imminent war against them, by Tories (British loyalists) and Tories’ American Indian allies. Soon war ensues, with women and children lending a helping hand. A crucial point of the plot is the Battle of Oriskany, a pivotal engagement of the Saratoga campaign, which was one of the bloodiest battles of the American Revolution. A small group of Brits, travelling south from Canada, invaded the Mohawk Valley as a diversion. Fort Stanwix, that was besieged, is depicted as Fort Schuyler in the film. Fort Stanwix was renamed Fort Schuyler in 1776, only after the battle. Plus, Britishers hand in the war, has been toned down, it’s practically non-existent. Apparently there are lot of minor inaccuracies. Especially, due to the brewing war in Europe at the time, Ford didn’t want to show the British as villains, as the Brits were fighting against German Nazis, the modern day villains, in a modern day war.
Though lacking in historical accuracy, the movie does manage to capture the essence of the American Revolution, through retelling of a small deviation branch of the war. Thus, it’s still a really good movie, led by Henry Fonda and Claudette Colbert. The colourful cinematography is breathtakingly beautiful, and the movie was nominated for two Oscars, including for ‘Best Cinematography’ (in Colour), to Ray Rennahan and Bert Glennon, at the 12th Academy Awards, held in 1940. Ray Rennahan was also nominated, the same year, for ‘Best Cinematography’ (in Colour), alongwith Ernest Haller; forGone with the Wind (1939), for which Rennahan and Haller, won!! With the exceptional Gone with the Wind, in competition, it’s obvious that Drums Along the Mohawk didn’t have much scope. None the less, it’s still a really good movie.
Watched on Friday, 10th May 2019! Online on YouTube!
Dream House (1953) is a short Indian English-Language Film, starring Ashok Kumar and Meena Kumari. An advertorial film from Dunlopillo, UK (a popular brand for pillows and mattresses in India at the time; which Kumar happens to have in his stylishly decorated home). I came across this beautifully filmed short flick by fluke, that Friday night! Shot inside Ashok Kumar’s house, with cool contemporary Indian interior design (love the décor), as Meena Kumari visits (for they’ve been rehearsing for director Bimal Roy’s Parineeta (1953) a.k.a. The Fiancee; based on a book by Sarat Chandra Chattopadhyay (sometimes credited as Sarat Chandra Chatterji), a beautiful novel; of which the English translation I read quite recently, maybe ’twas a year or so ago); this quick, less than 3 minutes, short film, is really worth checking out; especially for lovers of Indian cinema; specifically lovers of Bollywood classics from it’s golden age. It was lovely to see a barely 20 year old, Meena Kumari, in a colour film; back in the early 50’s. Seen her colour movies from later on (60’s & early 70’s); but never seen her in colour, when she was so young. Though she’s a good actress and was known as the tragedy queen, back in her hey days, am not a great fan of hers; unlike her contemporaries; like, Nutan, Nargis, Vyjayanthimala, Waheeda Rehman and Madhubala (to name a few Hindi Film actresses of the 1950’s & 60’s, that I adore). But I do admire Kumari in the movies she’s worked in. So it’s not like I dislike her, just not a starry-eyed favourite of mine. Young, Meena Kumari, looks elegantly beautiful in this advertorial short, in a red saree, with a fashionable high-collared blouse!
Stars of the Foxy 50’s: Madhubala (1933-1969) and Meena Kumari (1933-1972) LEFT:Candid shot of Madhubala (51′) RIGHT:Meena Kumari in a scene from a movie (57′)
Feature Films
Mr. & Mrs. ’55 (1955)
Watched on Tuesday, 28th May 2019! Online on YouTube!
Guru Dutt’s Mr. & Mrs. ’55 (1955) is a hilarious farce, that works well to a certain point, but soon goes downhill.
The movie starts off with Pre-60’s Independent-minded Feminist, Seeta Devi (Lalita Pawar), holding a meeting on petitioning the courts to pass the Divorce Bill. Her secretary informs her, showing her the latest newspaper headline, that the Divorce Bill shall be passed. It’s a woman’s right, if she needs to separate from a bad husband/marriage! Meanwhile her niece, not yet 21, Anita Verma (Madhubala) has secretly gone to see a Tennis match. She has a major crush on Tennis player, Ramesh (a Guest Appearance by Al-Nasir), who does not reciprocate. As Anita tries to escape her aunt’s secretary, who has come to find her at the Tennis match, Anita bumps into a lazy wayward man, Preetam Kumar (Guru Dutt), who at once is smitten by her. Soon, we see Anita turn 21, and is to inherit her late father’s fortune; but according to his will she has to get married within a month of turning 21. The independent-minded aunt isn’t happy, the young girl with a crush on a tennis player, is. But when Ramesh turns down her proposal for marriage, she is crushed. Yet, the fact he plays Tennis is what she truly loves, not necessarily the player. If he didn’t play her favourite sport, she wouldn’t be so crazy about him. The aunt decides to buy a groom, who’ll agree to a divorce, once Anita inherits everything. Who does the aunt rope in, but none other than the jobless cartoonist, Anita accidentally bumped into early on in the movie; beloved, Preetam Kumar. The name ‘Preetam’ in Hindi means beloved.
The movie is laugh out loud hilarious, and the characters have been placed perfectly. Less than a year into Independence, the modern Indian progressive minded city’s educated and elite are beautifully showcased. The movie has some memorable songs, some not so; mostly picturized around Guru Dutt and/or Madhubala. But my favourite number is the comical song, “Jaane kahan mera, jigar gaya ji”, themed around the supporting characters played by Johnny Walker and Yasmin (a.k.a. Vinita Bhatt); during a lunch break at a clerical office. Hilarious, melodic and fun. Mr. & Mrs. ’55 starts to waver when Preetam kidnaps his wife and takes her to his village (today, that would be considered harassment, in itself). In the village she meets Preetam’s sister-in-law (played by Kumkum), who shows how a woman’s place is in her husband’s home, doing all the chores, having kids and taking care of them. An acceptance of domestic violence against wife as being the norm, is mentioned. So basically women have no rights. Cringe worthy. Let’s say it’s village mentality; but soon Anita, who falls for husband during this excursion (lets say a Stockholm syndrome of sorts) starts to feel the same way, and Seeta Devi, with a brain of her own, is shown as the villain of piece. Seriously?? Guru Dutt!?!?! This is when the movie starts to falter. Of course, this pre-second wave feminism, feminist, Seeta Devi, is shown to be a bit of an extremist; hating all men; but instead of providing a moderation, director Guru Dutt has brought out a narrow minded concept that the Indian woman’s place is at her husband’s feet. The other archaic extreme, with a false sense of patriotism. That’s when it disappoints. Mr. & Mrs. ’55 was considered a movie of societal relevance, back then. But it gives such a false message. So, out of the over 21⁄2 hours film, the 1st hour or so is brilliantly excellent, and continues being enjoyably fun for the most part for the next half hour, but falls short towards the last hour.
The 50’s housewife concept existed in the west too (the famed American Dream); but it’s not something artists/open-minded intellectuals condoned. Hollywood never glamorized portraying women to stoop so low. It’s as if, if anyone’s seen Mona Lisa Smile (2003), Julia Roberts’ free-thinking Art Professor were Seeta Devi, and she was shown as the villain of the piece. Mr. & Mrs. ’55 also reminded me of another Bollywood movie, that we watched a kazillion times as kids, Chhoti si Mulaqat (1967). It didn’t fare well with 60’s audiences either. But even though it did seem to some extent pro-wife’s place is at her husband’s home; it wasn’t this extreme, and was actually a very good plot and a near-Excellent movie. It dealt with child marriage, the mental dilemma of the bride as a grown up when she’s reminded of it, as she is about to wed the man she loves, and the modern Indian woman of the 60’s. Her mother is a very progressive woman; against whose knowledge the daughter was wed as child. But in a sense, to some extent, the movie does portray the mother as the villain of the piece. Yet, the plus side is, when the daughter (mostly out of curiosity) defies her mum, and decides that she should be with her husband (a husband she never knew); the husband turns out to be the man she falls in love with as an adult. Luckily! So all’s well, saved by a thread. At least, in the case of Chhoti si Mulaqat, her husband didn’t remain a village idiot, he grew up, studied, became a modern open-minded individual and came up to her standard; and earned his place, in her heart and her social circle. In Mr. & Mrs. ’55, Guru Dutt’s character is still pretty narrow-minded, even though he is a good guy and truly loves her. She definitely deserves better. It ends with the feeling, she’ll be his ideal Indian wife (like his sister-in-law), though it’s doubtful she’ll have to endure physical abuse by Mister ‘Beloved’. But the movie overall isn’t bad, just not great; ruined by that foolishness of where a woman’s place lies; and to some extent a hint against divorce and the Divorce Bill, itself.
In India, before 1955, divorce was not recognized by the Hindus, as according to the Hindu religion marriage is sacrament and not a contract. But with the codification of the Hindu Marriage Act of 1955, both men and women (of Hindu, Buddhist, Sikh and Jain, faith) are equally eligible to seek divorce. In Muslim societies, anywhere in general, the husband could divorce his wife for no reason, without a hitch, while for a wife it wasn’t an easy task to get a divorce, in some cases, not at all. The Dissolution of Muslim Marriages Act of 1939 made amendments for Muslim women in India to obtain divorce, comparatively easier. Christian marriages were (and still are) governed by Victorian era implemented, The Divorce Act of 1869, Parsis by the Parsi Marriage and Divorce Act of 1936, and Inter-racial/religious marriages The Special Marriage Act of 1954! The Hindu Marriage Act in 1955, was implemented on 18th May 1955. Mr. & Mrs. ’55, released the same year, was an acknowledgement of Modern India’s Hindu Marriage Act in 1955, from which the title of the movie was derived. But unfortunately, the hints on the fact that women should succumb to their man’s needs; even though the man in the movie is not a bad man, is still a bit too of an archaic mentality, even for that time. To show that women should succumb to blindly follow traditional values, is a major step backwards. A pity, such a fun flick, with such witty dialogues.
Guru Dutt’s character is a cartoonist, and the cartoons shown in the film were by R. K. Laxman; a style of drawing I recognized instantly, as I watched the film. In one scene, we see a hand drawing a caricature of Lalita Pawar, Guru Dutt and Madhubala. That’s obviously R. K. Laxman’s unaccredited hand. R. K. Laxsman’s creations were another plus for me.
Thus, Mr. & Mrs. ’55, was only averagely good, that too mainly thanks to the hilarious performance by bewitching beauty, Madhubala; and the brilliant, Lalita Pawar. Worth checking out. Even though the latter part, with it’s backward concept, along with the ending, sucked. Mr. & Mrs. ’55 was one of earliest Hindi movies to show an airport reunion, which was done to death, in much later Bollywood films.
All three stars mentioned here, Guru Dutt, Madhubala and Meena Kumari, died way before their time. Nicknamed, Tragedy Queen, Meena Kumari; who fought off depression and alcohol abuse, finally succumbed cirrhosis of the liver. She fell into a coma and soon left this world, on 31st March 1972, aged 38. The egoistic Guru Dutt; a truly great filmmaker (he has a better filmography than Mr. & Mrs. ’55) unhappily married to Geeta Dutt, and suffering from an Othello syndrome, finally committed suicide on 10th October 1964, after a couple of failed prior attempts. He was only 39 years old.
Born on Valentine’s Day, 1933, Madhubala, at a young age found out she had a hole in her heart (Ventricular septal defect), and won’t live that long. She completed many of her films by 1959, before her illness aggravated. She continued working while suffering through her illness, but by 1966 she was too weak, and could not finish her project, Chalak, co-starring Raj Kapoor. Chalak never saw the light of day. Mostly bedridden from weakening bones and spewing blood, she tried her hand at film direction. However her directorial debut with, Farz aur Ishq, was not meant to be. Ultimately succumbing to her illness, she died on 23rd February 1969, shortly after her 36th birthday; during the pre-production of Farz aur Ishq. Madhubala was admired in both senses, as a sex symbol of 50’s Bollywood (she was called Marilyn Monroe of Hindi Cinema), as well as one of the finest actresses of her time (she too has a way better résumé than Mr. & Mrs. ’55). Madhubala, also almost made it to Hollywood. Both, Life magazine’s James Burke, and American Film Director, Frank Capra, were impressed by her looks and work. James Burke clicked her pictures in 1951, and captioned them, “The Biggest Star in the World – and she’s not in Beverly Hills”. Frank Capra offered Madhubala a break into Hollywood and true international fame, but her father, worried about his sickly daughter travelling so far, politely declined the rich offer of her earning American dollars. Her Hollywood dream ended, then and there. Sad, none of them lived to be 40! Tragic!
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The 70’s
Feature Films
The Last Detail (1973)
Watched on Thursday, 23rd May 2019! Downloaded Film!
The Last Detail (1973) is a sad road trip where two Navy Chasers escort a kleptomaniac to prison. The young man is sentenced for 8 years, for the petty crime of stealing just $40! Good concept, sad story, but such a dull paced movie, it truly was a bore. The only saving grace were the acting talent roped in, including a virtually unknown Randy Quaid, at the time. Jack Nicholson is really good, as always, but did he really deserve to win a ‘Best Actor’ award at the Cannes Film Festival??????
Very Bad! Feel like dozing off, just writing about it.
My Rating: 3/10!
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The White Buffalo (1977)
Watched on Thursday, 9th May 2019! Downloaded Film!
A Western-cum-Adventure film produced by Dino De Laurentiis, The White Buffalo (1977) is another boring waste of time, made in the 70’s decade, that I saw this month. I’d say stay away from this film as well, though it’s not among the worst films ever made. This silly flick is actually beautifully shot in Colorado with it’s snow capped Mountains! What brilliant Cinematography!
Kim Novak has a small role it it! In a sense she’s the only interesting character, besides that ‘White Buffalo’ itself.
My Rating: 4/10!
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This Decade (2010’s)
Documentaries
Roger Vadim with 3rd wife, actress, Jane Fonda; seen here along with her brother, actor, Peter Fonda, in a water taxi in the Venice lagoon, in 1967
Room 237 (2012)
Watched on Saturday, 11th May 2019! Downloaded Film!
Room 237 (2012) is an analysis, with varied speculative theories, behind Stanley Kubrick’s Horror classic, The Shining (1980). Some interesting views through use of symbolism in the movie, but most are crazily extreme. The story of the cinematic version of The Shining (as the original story was a novel written by Stephen King, which apparently differs a lot from it’s cinematic adaptation; and in fact one theorist points out how Kubrick purposely kills off King’s vision, and hints on it in The Shining) metaphorically representing the Holocaust, and the Genocide of American Indians, makes sense, to some extent. BUT, the Apollo 11 Moon landing footage was fake, and directed by Stanley Kubrick (a ridiculous theory I’ve heard of from way before this movie was made), is going way too extreme. Of course, this crazed theorist, who compares the Kubrick’s Horror flick, to a 3D chess set, with various levels, states that he isn’t saying that the Moon Landing didn’t happen, just that the footage was fake. Quite ridiculous, with no factual proof to back his theories, and there won’t be (I sure hope not!). Capricorn One (1977) was a movie about a similar concept of a hoax. A film about NASA faking a Mars mission. In Minions (2015), there is a funny scene, where a Minion stumbles upon the set, where Stanley Kubrick is filming the Apollo 11 Moon landing; an obvious nod to this crazy documentary. The Apollo 11 Moon landing happened on 20th of July, 1969 (see my post The Greatest feat of the Space age: The day humans conquered the moon from July 2013). This year marks it’s 50th anniversary!!!!
So basically, Room 237, is a bunch of Kubrick crazed film fanatics, with unnecessarily extreme analysis, reading way too much into the classic psychological horror movie. Don’t expect an intelligent insight into The Shining, these are just mere observations. None the less, Room 237, is not a bad documentary. It’s average fare at the best. Check it out if you like, it’s watchable after all; especially if you are fan of Stanley Kubrick. YET, watch Room 237, with a beach full of salt, a pinch won’t be enough!!!
My Rating: 6/10!
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Vadim, Mister Cool (2016)
Watched on Sunday Late Night, 26th May 2019! On TV5MONDE!
Vadim, Mister Cool (2016), chronicles the life of Roger Vadim, step by step, perfectly spending just enough time on each stage of his life! From him as a Film Producer/Director/Screenwriter, to a husband, a family man, his success and his downfall. Roger Vadim was notoriously known for sexploitation of his beautiful wives/life partners; but much as he himself feels, in a sense he liberated them from the confines of anti-sexual notions. This was before the sexual-revolution of the 60’s. And each wife/partner left him, once they made it as a sex siren, but becoming something far greater in the end. Yet he did give them that necessary push. 1st wife-Brigitte Bardot (a.k.a. B.B.), partner – Catherine Denueve and 3rd wife – Jane Fonda; all started off as sex symbols of the 50’s & 60’s, under him, and went onto do great work, as actresses, as well as in other fields. B.B. later became an Animal Rights Activist, Deneuve, one the greatest actresses of French Cinema, and Jane Fonda a political activist against the Vietnam War, Nixon administration as well as a fitness guru and actress of very influential American films. At the start of this year (on 4th of January, 2019), I saw Jane Fonda in Five Acts (2018), on HBO On Demand; a brilliant documentary with Jane Fonda herself speaking about her life and life choices. And of course, she speaks of her sex-siren days as Vadim’s wife, as well.
Both Roger Vadim’s success and downfall are credited to French New Wave Director, François Truffaut, who use to be a film critic for the Cahiers du Cinéma. Truffaut, though initially a fan, was mainly critical Vadim’s sexploitation of the fairer sex. But say what you may; whether Roger Vadim help liberate his women from societal pressures of the past, or was a notorious exploiter of women’s sexuality; he was a doting father. He not only adored his kids, but was a hands on father who took care of them. A stay at home dad, role reversal, while his wives went away for work. He was a feminist, in every sense of it. And his women admired him, and some are truly grateful for helping make their career, or at least give them a start. A push in the right direction. Roger Vadim was truly a fascinating personality.
Vadim, Mister Cool, is a Brilliant Television documentary, and great insight into a man’s life, both professional and personal. Loved it! This documentary was shown soon after Carré 35 (2017) ended, on the same cable television channel; TV5MONDE!
Excellent TV Documentary, one of the Best!!!!!!! My Rating: 10/10!
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Carré 35 (2017)
Watched on Sunday Night, 26th May 2019! On TV5MONDE!
A very personal documentary, by actor, Éric Caravaca. This is the first documentary Caravaca directed. In Carré 35 (2017) Éric Caravaca speaks of a sister, he never knew existed. A sister that died before he was born. Researching his roots, his background, Éric Caravaca discovers his parents life in Algeria and Morocco, of a birth of sister, with autism and a congenital heart defect (back then known as Blue Baby Syndrome), and her ultimate death that his parents hid from him and his brother. This was before Caravaca’s parents came to Europe, and erased the life they had before, including burning all photos and film footage they had of his elder sister, Christine. The parents never spoke about her. Christine was buried in ‘Carré 35’, the French part of the cemetery in Casablanca, Morocco. Caravaca’s mother had never visited the grave. Having suffered a lot, she didn’t want to reminisce on her past. Towards the end of the documentary we see her finally visiting her baby girl’s grave.
A really tragic story where he interviews and (as his mother feels) interrogates his parents, and other relatives, trying to get the truth behind the secret history of his family’s hidden past. Heart-rending! Rather than doing an analysis of a film that in itself is an analysis of Éric Caravaca background, I’ll simply say, its must watch. Carré 35 was part of a series of Special Programs shown on TV5MONDE, in connection with Festival de Cannes 2019 (I couldn’t follow this year’s festival properly). Éric Caravaca was nominated for L’Œil d’Or (Golden Eye) Award, for Carré 35, English Title- Plot 35, at the 70th International Cannes Film Festival,held in May 2017.
My Rating: 8/10!
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Short Films
Uuquchiing (2018)
Watched on Tuesday Night, 14th May 2019! On TV5MONDE!
This short film was telecast soon after Chouf (2016) ended, on TV5MONDE itself.
Uuquchiing (2018), the title means ‘Blue Fox’ in the Inuit language of the Alaskan/Canadian/Greenland Eskimo. The movie is akin to The Butterfly Effect (2004) where a young Evan Treborn (Logan Lerman as the 7year old Evan & John Patrick Amedori as the 13 year old Evan) suffers blackouts and no memory of what happened during his blackout. Similarly here,in Uuquchiing, we see Camille (Johan Libéreau) having no recollection of how he got from one place to another, with no memory of what happened in between. But sadly this short film has such an abrupt sexual ending and no explanation of what happened and why?, it just left a bad taste in the end. You wonder what it was all about!?!?!
My Rating: 3/10!
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Feature Films
12 Years a Slave (2013)
Watched on Monday, 27th May 2019! Downloaded Film!
One of the finest films ever made. Steve McQueen has proven he’s one of the greatest filmmakers of our generation, with this Oscar winning epic masterpiece, 12 Year a Slave (2013). Finally got to see this movie. Had wanted to see it since it came out in 2013, and was even more interested when in won the Oscar for ‘Best Picture’ at the 86th Annual Academy Awards. Managed to download it almost two years ago, and finally, saw it this Monday. I still have so many films, downloaded close to two year ago, from back in July 2017.
The movie follows the true story of Solomon Northup (on whose book this movie is based on), a free Afro-American man from New York State; who conned into travelling to Washington,D.C., and then drugged by two white con-men, and sold into slavery, from where he was sent to work in the plantations of Louisiana, in the deep south. This was in 1841! For 12 years, Solomon Northup (played with excellence, by British actor of Igbo Nigerian decent, Chiwetel Ejiofor) suffers and struggles to keep himself alive through all the atrocities perpetrated on him by a sadistic slave owner (played by Michael Fassbender, another performer of excellent talent). Northup finally gets a chance to tell his story to a good Samaritan, a Canadian laborer and abolitionist, named Samuel Bass (Brad Pitt) when Northup accidentally, by luck, mentions he’s been to Canada. Such a tragic story.
Lupita Nyong’o, has a small, but crucial role in 12 Years a Slave; for which she won the ‘Best Supporting Actress’ Oscar. Been a fan of Nyong’o since she won the prestigious Golden statuette, even though I hadn’t seen any of her films, including 12 Years a Slave. I liked her personality that shone through, whenever and wherever, she was either interviewed or photographed. But, I wondered whilst watching this, as good as she was in this movie (and she definitely deserved the nomination); was she the best that year?? I actually liked Jennifer Lawrence’s performance in American Hustle (2013) much more, who was nominated in the same category as well.
None the less,12 Years a Slave, is among the greatest Hollywood films ever made. It was so long, the film ended way past midnight; it was like 00:40 am, when it finished, and around 1:00 a.m. on 28th May 2019, when I finally went to bed! ‘Twas totally worth it!!
Pure Excellence!!!!! The Best Movie, I saw this month!! May 2019! My Rating: 10/10!
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Postscript:
Speaking of the following year’s Academy Awards, am surprised Abdellatif Kechiche’s La Vie d’Adèle (2013), English Title: Blue Is the Warmest Color, was not even nominated in the ‘Best Foreign Language’ category at the 2014 Oscars!!!! In fact both lead actresses, Léa Seydoux and Adèle Exarchopoulos, deserved to be nominated in the ‘Best Actress’ category as well (as neither was a supporting character), if not share a win. Blue Is the Warmest Color, won Palme d’Or at the 66th Cannes Film Festival, held in May 2013. For the very 1st time in the competition, both the lead actresses were awarded the Palme d’Or, along with the film’s director, Abdellatif Kechiche. 12 Years a Slave is definitely a brilliant bio-pic, and I loved it, but I feel this French film, was slightly better.
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Chouf (2016)
Watched on Tuesday Evening, 14th May 2019! On TV5MONDE!
Chouf (2016) literally meaning to “look” in Arabic, is a French film set within the drug cartels of Marseilles. In a Godfatherique style (à la The Godfather, 1972) the lead character, Sofian (played bu namesake, Sofian Khammes), a young man with a genius brain, an intelligent student, comes home for the holidays; and when a loved one gets shot, his whole world changes. In this case, unlike the The Godfather, Sofian joins the drug network to avenge his brother’s death; leaving behind his family and the progressive life, with a good education, he had hoped to be part of. His brother was a local gangster, a drug dealer, and is killed by another member of their secret network. We see Sofian getting dragged deeper and deeper into a life of crime, with no scope of an exit, as he tries to find out who was responsible for his brother’s death.
A really good movie, by Karim Dridi, who does not shy away from realistically showing us life in the French ghettos of Marseilles. Plus, the film, to some extent predictably, shows us how difficult it is too get away and lead a normal life, once someone gets deeply immersed into drug gangs in the brutally dangerous slum areas of Marseilles. Dridi’s Chouf, was released under the Special Screenings at the 69th International Cannes Film Festival held in May 2016.
Chouf too, like Carré 35, was shown as part of a series of Special Programs telecast on TV5MONDE, this month, in connection with Festival de Cannes 2019!!!!
My Rating: 8/10!
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Rutabaga (2018)
Watched on Monday, 13th May 2019! Online on iflix!
Director, Julien Botzanowsk’s horror flick, Rutabaga (2018) seemed to work till a certain point; but then it got ridiculously silly! The end was so stupid. Yet, I did like Botzanowsk’s naturalistic film direction as well as the acting talent roped in, including Julien Botzanowski, himself. But the movie itself was a waste of time, for me.
Interesting to note, 11 days after I saw and tweeted about it (as I tweet about every single movie; the Great, the Bad, the Hideous); I got a message, as a comment here on my Blog, by the director/lead actor of the movie (see my About page), thanking me. After all I did mention, on my tweet as well, that I liked his technique and talent, though not a fan of the cinematic outcome. This is not the 1st time, I got comments from the films directors; twice before two young french directors (Rocco Labbé and Sylvain Bressollette) wrote to me, once I blogged about their short films (see my Blog Posts, Portraits de Maîtresses: Rocco Labbé’s take on Charles Baudelaire, Le Ballon de Rouge (2012/2014) and Young Directors on my BLOG from December 2013, June 2014 & October 2014 respectively). Amazingly all three film directors happen to be French! What lovely, down to earth, good people to write to an odinary blogger/twitterian, like me. None the less, Rutabaga, was not a good movie; but again, Julien Botzanowsk is one to watch out for. Wishing him the best!
Théo Frilet plays The Brave Judge, the English title of, La Révolte des Innocents (2018) though not the literal meaning. Set in France, in 1911, in an institute that’s gets a stipend from the government to educate poor children. The kids are not given an education, instead they are made to work, abused and exploited, by the keepers! The story is based on Louise Soliveau and Alexandre Landrin, who’ve been renamed, Joséphine Poliveau (played by Julie Ferrier) and Armand Sandrin (played by Bruno Debrandt) in this television movie. When a 10 year old child dies, under their care; the rest of the kids revolt. When the revolt is reported, this incident slowly starts to shed light on what has been happening at Les Vermiraux, the institute. A young judge, Emile Guidon (Théo Frilet) takes action and against all obstacles, facing lot of objections, keeps on going till the perpetrators, whose ill treatment and negligence led to the death of a child, are brought to justice.
This is a really good insight into a real life Dickensian Boarding house run by ruthless money hungry bigwigs that abused innocent children! La Révolte des Innocents, ended past midnight; but just some minutes onto 22nd May 2019!
On Twitter, I’ve been taking part in a quite few Film Challenges, for sometime now (but not regular enough). Yesterday afternoon, I was going through IMDB, checking out films I love, from before 1929, when I came across something unexpected. This was for yesterday’s #MayMovieChallenge, hosted by Gabriela(@noir_or_never) of Pale Writer: Classic and Horror films unite!! The Challenge was, to mention a Film made before 1929, that should have won an Oscar. I actually found FIVE FILMS!!!!! Anyway, I also checked Roundhay Garden Scene (1888) on IMDB. AND Wow!!!! What did I see??? I couldn’t believe my EYES👀, when I saw this.
IMDB (i.e. the famed Internet Movie Data Base) has a poster I created some years ago for a Blog Post of mine, posted on their site; front page of this Louis Aimé Augustin Le Prince Documentary from 1888!!! I was like Wowza!!! That’s a lovely compliment! Feel really honoured!! Wonder how long they’ve had it! BUT, wait!!
Hmmmm!! ’twas not with my consent though! My Copyright!!!! Ha!! 😍
My Copyright!!!! Ha!! 😍
Of course, am kidding. After all, my Blog is in the public domain; so anyone can use my content (I think🤔). Anyway, it’s nice to see they’ve used it; and to post it on their site. Which means someone (or more than one person) from IMDB, has come across my BLOG!!!! That means there are more viewers for my Blog than am aware of!! That’s a great honour in itself!! 💗
What’s more surprising is, the fact this poster isn’t that great. I don’t have Photoshop or any other cool tools/Apps to create anything artistic (digitally speaking). I just have the ordinary “Paint” icon, on my Laptop (same with my previous Laptops). So there is nothing great about it. But it’s lovely to see it on IMDB!! PLUS, my printed name is quite noticeably visible on it!! 😊 Also see my Post, Roundhay Garden Scene (1888) – A Two Second Documentary, from October 2014.
Of course, I didn’t select, Louis Aimé Augustin Le Prince’s (a.k.a. Louis Le Prince), Roundhay Garden Scene, for the Film Challenge (after all, though it’s the oldest surviving film footage; it was never shown on the Big Screen; the 1st Cinematic release was by the Lumière Brothers’, who had their 1st private screening of a projected motion picture, in 1895, for a select audience of 200 people), but I felt Le Prince deserved a Special Posthumous Oscar Award, for his contribution to the Moving Image. His unsolved disappearance (and maybe murder), on the way to demonstrate his scientific invention, in September 1890, is still a mystery.
Speaking of Twitter, I got this e-mail, last week (screenshot above). Although I’ve got only 661 followers (664 as of today) & am following 2,454 Twitter accounts; 8,769 people have seen my Tweets, within the week before last!! Wonderful! On my Blog here, I have 329 followers so far; and 83,320 views, altogether (yup, just decided to check that as well). Not Bad, eh!! 🙂
Meanwhile the Cannes Film Festival is currently under way; and I haven’t been able to follow that properly this time.
Asha Bhosle, one of two most prolific singers of Bollywood (the other being her elder sister, Lata Mangeshkar) turns 85 today.
Born as Asha Mangeshkar, on 8 September 1933, in Sangli State, in the Bombay Presidency of British India, she started her singing career at the age of 9, in 1943; especially to earn for her family (her father died a year earlier, in 1942, Lata Mangeshkar was 13). Though Lata started acting in stage plays at the age of 5, both sister’s, Lata and Asha took up singing professionally, after their father’s demise. At 16, Asha eloped with 31 year old Ganpatrao Bhosle. Her husband and in-laws mistreated her. One day, the ever suspecting Ganpatrao Bhosle, threw a very pregnant Asha Bhosle (pregnant with their third child) out their house, along with their two kids. The Bhosle’s divorced in 1960. Somewhere in the 1960’s, she met music composer, Rahul Dev Burman, six years her junior, with whom Asha Bhosle collaborated on a number of songs. The two first worked together on Teesri Manzil (1966). A decade and half later, Asha Bhosle married Mr. Burman, in 1980. They later amicably separated due to financial difficulties. Yet they worked together until his death in 1994. In the mid-90’s, Asha Bhosle joined the the latest trend at the time, of remixing songs. She experimented with remixing old tunes of the 60’s & 70’s, that she had worked on with her second husband, the love of her life, R. D. Burman (whom she adoringly called “Panchamda”). Her two albums, dedicated to Burman, titled, Rahul and I (Volume 1 & 2), were hugely popular in the 90’s; despite criticism by many, against Bhosle, for tampering with good old melodies. Well into her 60’s by then, she joined the indipop scene of the 90’s, and went along with the India’s MTV and Channel V craze of the times. On 8th October 2012, a month after Bhosle celebrated her 79th Birthday, tragedy struck. Her unhappily divorced daughter, Varsha Bhosle, a singer and journalist, committed suicide.
Today, the very versatile Bhosle; who has over 12,000 songs to her credit (including 20 odd songs in, non-Hindi, Indian languages and various other foreign languages), recipient of the Dadasaheb Phalke Award and the Padma Vibhushanand, and who has been named the most recorded artist in music history, by the Guinness Book of World Records (in 2011), still leads a very active life in Mumbai, India. AND she is showing no signs of backing down, and is in no hurry to retire. In 2016, she released her most recent album, titled 82 (named after her age at the time).
I’ve grown up watching Bollywood movies, and from her 75 year career, here are my Top-25 favourite Asha Bhosle songs, she sang for Hindi Feature Films, only (she has sung, as a playback singer, for non-Hindi language films, as well as, for non-film songs in various languages, including in English).
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TOP 25
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1. “Dum Maro Dum” from Haré Rama Haré Krishna (1971)
This drug infused number, from one of my favourite Bollywood movies, became a Hippie Anthem in the 70’s. Miss Asia Pacific winner, from 1970, Zeenat Aman (a new comer in the world of the cinematic arts at the time, and not really known for her acting chops), was close to brilliant as a Hippie woman (whom Bhosle, lends her vocals to for this song), in this movie. Aman won a a Filmfare Award for ‘Best Supporting Actress’ and a BFJA Award for ‘Best Actress’. Soon she would be the ‘it’ girl, the Bollywood sex-symbol, of 1970’s decade. Unfortunately her sex-symbol avatar would overshadow her talent, and she was used by directors more as a bikini bombshell, than an actress. But she does have some good character roles to her credit, yet isn’t really known for her acting prowess. Director and co-star, Dev Anand (who plays Aman’s estranged brother, estranged due to their parents divorce, in the film), didn’t use the song in it’s entirety, in the movie; as he felt the hip number would overshadow his movie.
None the less, Asha Bhosle’s future husband, composer R. D. Burman’s, “Dum Maro Dum”, was a big hit, and a Hippie favourite. Bhosle went onto win a Filmfare Award for ‘Best Female Playback Singer’; and the song reached a cult status in India and abroad.
This film happens to have one of the best depictions of a Hippie Commune, on celluloid. Haré Rama Haré Krishna (1971) itself, revolves around a group of Hippies, set within few days, in Kathmandu, Nepal. Although Hippiedom was a counterculture youth movement born in the 1960’s, in USA, it spread around the world (the late 60’s was a time when globalization truly took place). With Hippie’s interest in Hinduism and Buddhism, many made their way into India (especially North India) and Nepal. Soon many modern youth from cities like New Delhi and Bombay, embraced Hippiedom with their open-minded, all inclusive, attitudes, and rebelled against tradition Indian notions. The Hippie sub-culture, was very prominent throughout the 70’s decade (and to some extent in the early 80’s), in Northern India and Nepal. Which in turn influenced Bollywood films of the time. Another reason American influenced Hippie lifestyles gained popularity as a subculture, amongst the literary elitist Indian youth (up north), was thanks to the British band, The Beatles, going and living in India, at the ashram of Maharishi Mahesh Yogi, in Rishikesh, in 1968. Other western celebrities followed suit, and young, well educated, Indians from prominent families, were not far behind. Of course, most Hippies were too drugged to remember how cool they were. But, none the less, Hippie influence played a major role in modernizing India, back in those decades.
2. “Chura Liya” from Yaadon Ki Baaraat (1973)
A pair of glasses clink, then she strums a few chords in a guitar. And some of the most melodious lyrics come to life.
From playing a Hippie girl, in the previous movie, we see her transform into a sophisticated young lady, for this movie.
Picturized yet again on Zeenat Aman, this is a mesmerizing melodic tune. Romantic, dreamy, with the guitar strumming a lovely tune and words to die for, this song pulls at your heart strings. Although, it’s not a completely original composition. The opening lines of “Chura Liya” were copied from the 60’s song, “If It’s Tuesday, This Must Be Belgium”, sung by Dutch singer, Bojoura. None the less, this Hindi song is pure seduction, hypnotically transporting us into dreamy romanticism. Composer, R. D. Burman, used actual cups and saucers to create the tinkling sound of the song.
Zeenat Aman, looks amazingly chic and elite, in that fashionably simple white culottes, adorned with a choker neck, broach and earrings. This elegant white outfit is my favourite from any Bollywood movie ever. Simple and sophisticated, it compliments and contrasts beautifully, with her light cappuccino skin tone. Naturalistic sense of style, a look that is very 70’s!!!!!
3. “In Ankhon Ki Masti Ke” from Umrao Jaan (1981)
Bejeweled from head to toe, a courtesan, from mid-19th century Lukhnow, sings “In Ankhon Ki Masti Ke”. The movie was Umrao Jaan (1981), based on the 1905 Urdu novel, Umrao Jaan Ada by Mirza Hadi Ruswa. Based on a true story, the real life courtesan, Umrao Jaan, had shared details of her life story, with the author, Mirza Hadi Ruswa.This historical bio-pic is made with such perfection, from the set designs to the costumes, and make-up (down to the Mehendi on her hands and feet), made to resemble the period it was set in. The mid-19th century was a very chaotic time in Indian history, under the British Raj, which gave rise to the Indian Rebellion of 1857.
The classical poetic rendition by Asha Bhosle, is a melancholic ghazal, performed by actress, Rekha! Rekha (later nicknamed as Madame Ré), happens to be one of my favourite Bollywood actresses ever. A very versatile actress, she made her mark in both, commercial Bollywood films, as well as Indian Art House Cinema (Parallel Cinema) made in Hindi and English (i.e. Indian English Language movies). Rekha won the National Film Award for Best Actress, for Umrao Jaan. She was honoured with the Padma Shri by the Government of India, in 2010.
4. “Do Lafzon Ki Hai, Dil Ki Kahaani” from The Great Gambler (1979)
With the breathtaking backdrop of Venice, this song sung in a gondola, is one of the most beautifully lyrical love songs ever. Picturized around, Bollywood’s Badshah, the Big B himself, Amitabh Bachchan (my favourite Bollywood actor, since childhood); accompanied by Zeenat Aman (lip syncing to Bhosle). It’s basically Aman’s character translating the gondolier’s love song, into Hindi, telling a story of love and woe, to her lover (played by the Big B).
Amitabh Bachchan, voted the “Star of the Millennium”, happens to be the most influential actor in the history of Indian cinema, nationally and globally. Bachchan, was appointed as an International UNICEF Ambassador in 2005, and was awarded the Padma Shri (1984), the Padma Bhushan (2001) and the Padma Vibhushan (2015) for his contributions to the arts. The Government of France honoured him with its highest civilian honour, Knight of the Legion of Honour, in 2007. He made his Hollywood debut, at the age of 70, in Baz Luhrmann’s The Great Gatsby (2013).
5. “Yeh Ladka Hai Allah” from Hum Kisise Kum Naheen (1977)
Kajal Kiran, looking trés chic, in a fuchsia pink short kurta and bell-bottoms (a very 70’s, casual chic, fad), runs around singing, how difficult it to make any sense to this uptight man. Hilarious and clever, the entire song is a dialogue, that neither interprets, what the other is trying to say. Especially towards the end, the girl has no actual idea, what he’s talking about, through his lyrics.
6. “Duniya Mein, Logon Ko” from Apna Desh (1972)
Sung alongside her husband, composer, R. D. Burman (who lends his voice to Rajesh Khanna), this was a hit, mainly thanks to unusual gruffy gurgling vocal sounds made by Burman. That distinct sound and rhythm, became a R. D. Burman trademark. Bhosle wasn’t far behind (singing for Mumtaz), matching vocals perfectly in step, to Burman. Again worth to note the stylish attire. Rajesh Khanna looking slick as ever, in those gold-rimmed octagon shades with green lenses (somewhat resembling John Lennon’s rose tinted round sunglasses, and Khanna looks like a ‘Beatle’ himself, to some extent, here), and that red velvet n’ white designer suit. Mesmerizing Mumtaz, with her natural peaches n’ cream skin, and a blonde wig, looks like a Scandinavian beauty. The eclectic music and dancing is well in sync, and the flawless beauty, Mumtaz, with her deep plunging neckline, double slit, maxi dress, glides barefoot on the smooth terrazzo floor with such ease. In the movie, the duo are in the guise of foreign (Caucasian) investors, to expose corruption at the hands of a conniving trio.
R. D. Burman revolutionized Indian music forever, with this song.
7. “Raat Ke Hamsafar” from An Evening in Paris (1967)
Shammi Kapoor and Sharmila Tagore roam around the streets of Paris, to this romantic tune, colour coordinated in navy blue. From the 70’s, now we go back to the 60’s. The era of bouffant hairdo’s, mini-skirts and shift dresses. Here we see Tagore in a tightly draped saree, with a small, tie-knot on the back, blouse. Sharmila Tagore was the first Bollywood actress to appear in a bikini, on a magazine cover, in 1966 (see my Blog-post Classic Movie History Project Blogathon – 1966: The Year dubbed as Nineteen Sexty Sex from June 2015). She wasn’t the first to dare to wear a bikini, but no Indian actress had appeared in the skimpy two-piece on a cover of glossy publication before. Tagore was another versatile actress, who transcended genres, appearing in Bollywood commercial films, as well as Art Films, made in Bengali, Hindi and English (again, Indian English Language movies). She led the Indian Censor Board, between 2004 and 2011, became the National UNICEF Goodwill Ambassador for in India in 2005, and she was one of the “International Competition’s” Jury Members at the 2009 Cannes Film Festival.
8. “Sapna Mera Toot Gaya” from Khel Khel Mein (1975)
Aruna Irani laments in chains, on the loss of her lover. In flashback sequences we see, her lover was Rakesh Roshan. Beautiful, heart rending, stage performance on the tragedy of falling in love and surviving after tragically losing one’s lover.
9. “Kya Dekhte Ho” from Qurbani (1980)
70’s sex symbol, Zeenat Aman, shows her assets, in a heavily cleavaged top, in this song, alongside director and co-star, Feroz Khan. Interestingly in the song, she asks, what he is looking at and what he wants? Of course he replies he is looking at her face and desires her affection, as she flaunts her gorgeous feminine body and unabashedly her soft female sexuality. This ever-green song bagged Qurbani (1980) a special award. Qurbani, was a Bollywood remake of the, English Language, Italian film, Un Uomo da Rispettare (1972), a.k.a. The Master Touch, directed by Michele Lupo.
10. Namak Halaal (1982)
This movie stars three out of five of my favourite Bollywood superstars of the 70’s & 80’s (See my list Bollywood FIVE from July 2018 on IMDB); Amitabh Bachchan, Shashi Kapoor and Parveen Babi. Parveen Babi sizzels in a one-piece gold attire, with gold stilettos. Glittering away, she looks sexy and sophisticated, without looking cheap and gaudy. Parveen Babi, is known for her trade-mark hair-do, straight long hair, with the famous parted Parveen Babi bangs. But here, she sports a loose perm, and the style looks very early 80’s, and very up to date. Yet, she makes that look her own as well. Her simple n’ stylish dance steps, in high heels (except for one long shot, panning around the room, Babi does barefoot), works well with Bhosle’s vocals. The glamorously expensive set design gels well with this night club number.
The late Shashi Kapoor, hailing from the Kapoor clan (Bollywood’s Royal family) was India’s International star. Not only did he act in, direct and produce, movies in Bollywood and non-Bollywood (including Art Films and Indian English Language films), Kapoor also appeared in British Films of great repute. He is also known as Merchant Ivory Productions’ very first hero. He was honoured with the Padma Bhushan (2011) and Dadasaheb Phalke Award (2014). Sadly, both Shashi Kapoor (the most beautiful man of Hindi Cinema, inside out, both looks and personality wise) and Parveen Babi, are no more. Both suffered from depression, in their lives. Kapoor, due to the loss of the love of his life, actress, Jennifer Kendal, to cancer in 1984 (he never fully recovered from it); and Babi, due to sad life experiences, failed relationships, loneliness and paranoid schizophrenia. She became a recluse later in life, and distrusted everyone. She died all alone, due to organ failure and diabetes, and nobody was aware of her death, till her body was discovered, three days later.
Both Shashi Kapoor and Parveen Babi, were well literate, and two highly intellectual minds, of the Indian film industry. Babi was a graduate of English Literature. Earlier this year, Hollywood paid tribute to actor Shashi Kapoor (along with actress Sridevi), when they honoured Kapoor and Sridevi, in the “In Memoriam” segment, at the 90th Annual Academy Awards 👠 held in March 2018.
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11. “O Saathi Chal” from Seeta Aur Geeta (1972)
Bollywood’s Dream Girl, Hema Malini (another of my favourite Bollywood actresses, growing up), skirts through obstacles as she sings skating with Sanjeev Kumar. In real life, Sanjeev Kumar was madly in love with Hema Malini, but she didn’t reciprocate. She was in love with Dharmendra (who also acts in this movie), whom she later married.
Hema Malini, along with Parveen Babi, held the Number.1 Bollywood position, in two decades, the 70’s & 80’s, a rarity for an actress in Bollywood. Hema Malini can be see in the picture atop, in a pink saree, walking behind Asha Bhosle. This song again, is a good insight into the casual fashion, of the times. Well tailored trouser suits, and Hema Malini, matches hers with a lilac blouse with long cuffs, stylish purple (tie-down) waistcoat and a purple scarf tied like a hairband, and earrings, while Kumar dons a (buttoned-up) jacket with a khadi collar/Nehru collar.
12. Medley of Several Songs from Hum Kisise Kum Naheen (1977)
This dance n’ song competition from Hum Kisise Kum Naheen (1977) is super enjoyable. We grew up watching this movie, a kazillion times. Bhosle lends her vocals towards the end, to the song “Mil Gaye, Hum Ko Saathi, Mil Gaye” lip synced by actress, Kajal Kiran, in red bell-bottoms, a red poncho over a halter-neck top, with red platform shoes. Seriously!!! The stylish fashions of the 70’s! WOW!!!! The tailored trouser suits, wide belts, bandanas, floppy long hair, naturalistic minimalist make-up!! One of the main reasons I love the styles of the 70’s, most probably is because I grew up, in 80’s & early 90’s, watching Bollywood films from the 60’s, 70’s and early 80’s. The late 60’s & the 1970’s decade, were truly eras of cool. And their disco numbers were fun, stylish, avec a very modern outlook. And these songs are truly Timeless!!!!!
Added to which, the stylish set design, with the dual circular stage, just amazing. This compilation short-songs, is a really good insight into the sights, sounds and styles of a truly unique decade. Again, very 70’s!!!!!
13. “Yeh Mera Dil” from Don (1978)
As the sultry “Mata Hari” type character, played by Helen (of Anglo Indian & Burmese roots, in real life) seduces and Underworld Don, played by Amitabh Bachchan, to get him arrested by the cops, she sings and dances to this seductive club number. Don is responsible for the death of her fiancé. Of course, her plan backfires and is killed by the Don, instead.
14. “O Haseena Zulfanwaali” from Teesri Manzil (1966)
From watching Helen play a spy seductress, we go back a decade, and see Helen do a sexy cabaret, from the 60’s thriller, Teesri Manzil (1966). Helen happens to be the most popular Bollywood dancer, till date. She was known as Bollywood’s own “Nautch” girl, of the 1950’s, 60’s, 70’s & early 80’s. Yes, she reined the on-screen cabarets, for four decades. She looks great in the Spanish flamenco dress (she is seen in three different attires, including a reddish-pink flamenco dress). The late Shammi Kapoor, too, looks dashing in that platinum toned blazer with salmon pink lapels.
Teesri Manzil was the first collaboration of Bhosle and Burman.
15. “Zuby Zuby Jalembu” from An Evening in Paris (1967)
From one 60’s Bollywood cabaret to another 60’s Bollywood cabaret. This time picturized with Sharmila Tagore. Donning what looks like a blend of a playboy bunny suit and a burlesque attire, a la‘Moulin Rouge‘, Tagore foxily prances around to this rhythmic number. She does justice to the slutty character she essays, in this song.
16. “O Mere Sona Re Sona Re” from Teesri Manzil (1966)
A blend of the old and the new (at the time), a style that should be out-dated, has surprisingly stood the test time, and aged pretty well. Must have something to do with the fact, the remixed release by Bhosle, herself, in the 1990’s, brought about a new found appreciation for this number. Also check out the very 60’s, shift skirt style, skin-tight slawar-kameez, worn by Asha Parekh. In the 60’s, the slawar-kameez, became really tight, and instead of having two side slits, the tops had one slit in the back, to ape the tight skirts of west. Very 60’s, very Indian!!!!!
17. “Hum Ko To Yaara Teri Yaari” from Hum Kisise Kum Naheen (1977)
This use to be my favourite song from this movie, as a kid, but growing up, as I matured, and understood the lyrics and tunes, “Yeh Ladka Hai Allah”, with its deeper meaning (See no.5, atop) became, my favourite from Hum Kisise Kum Naheen (1977). None the less, this is a fun filled song, and again, the stylish bell-bottom trouser suits of the 70’s. So cool!! Especially the camel coloured leather suit worn by Rishi Kapoor. Kajal Kiran’s white bell-bottom attire with the red shawl, and white purse/handbag, too looks really hip.
This fashionable generation most probably didn’t expect to grow old. It’s truly hard to believe, such stylish modern Indians of the 70’s, are in their 70’s today (some would still be in their 60’s). These were stylish attire our parents, in their prime, wore, and for younger generations, grandparents. They were so much more cooler than people today. In fact, our dress sense seems pretty bland, in comparison.
18. “Raat Baaki Baat Baaki” from Namak Halaal (1982)
As Bhosle croons “Raat Baaki Baat Baaki”, picturized around Parveen Babi (alongside Shashi Kapoor and Amitabh Bachchan), we see Babi’s tensed character in a dilemma. She is hosting a party in a ship, and her mission is to help kill Kapoor’s character, or her mother shall meet her end. Might seem pretty clichéd, but women in history have found themselves being put in uncomfortable situations. Here we see Babi, in her trademark hairstyle, with the famous Babi bangs, and minimalist make-up, she was famous for, back in the 1970’s. She sure had think, luscious, long tresses. AND, she looks gorgeous in that figure hugging black dress, with a long slit at the back, adorned with simple long earrings and high heels. Very Classy!! There is a thing about wearing black badly, not everyone can carry it with grace and elegance. Babi sure could, and she looks bewitchingly beautiful in it.
19. “Aaja, Aaja, Main Hoon Pyaar Tera” from Teesri Manzil (1966)
Back to the “Third Floor”, i.e. Teesri Manzil (1966), this time with a night club scene of the 60’s. And yes, the twist was a craze in 60’s India as well. Asha Parekh (playback singer Bhosle, of course) looking mod, in tight black pants and a pink top, twists around with Shammi Kapoor, to this crazy beat.
20. “Sare Shahar Mein” from Alibaba Aur 40 Chor (1980)
Based on the, 18th century, Arabian Nights tale, Ali Baba and the Forty Thieves, this Indian-Soviet Russian co-production, has some memorable songs. More interesting for children than adults, it’s set designs and Arabian costumes are amazing, as well. This particular Arabian style song, is more memorable, for it’s a duet, Bhosle sings with her elder sister, Lata Mangeshkar. This song is picturized with Hema Malini (for whom Mangeshkar sings) and Zeenat Aman (sung by Bhosle), who are stuck among two groups of gangs. Hema Malini’s real-life husband, Dharmendra, playing reel-life husband, Ali Baba, makes an appearance at the end of the song, wondering what’s wrong with these two women.
21. “Reshmi Ujala Hai” from Sharmeelee (1971)
Picturized on, Marathi actress and dancer, Jayshree T. (who also worked in some Bollywood movies), we see her do a striptease at an elite club. We also see, the lead actress of the movie, Rakhee, in a dual role; one watches the show from above, as the other enters the club later, with her husband (played by Shashi Kapoor). Lyrically seductive, Jayshree T. dances (and strips) holding a pair of, aesthetically placed, still rings. She’s also joined in by a muscular male stripper, later.
22. “Parde Mein Rahne Do” from Shikar (1968)
Another Arabian dance, and another Dharmendra – who walks in the middle of song, still looking quite confused (see no.20, above); or rather surprised in this case. This time though, the film has a contemporary setting, and the Arabian style number, is actually a stage show. The lead actress of this murder mystery, Asha Parekh, performes as an Arabian princess, who pleads people not to lift her Pardah (or Purdah), and expose her identity. Another beautiful song, by Asha Bhosle, sung in an Arabian style. Shikar, literally means The Hunt!!!!!
Past, Present and future clash!!!!! In this song, the couple ask one another; when they grow old, and their youthful looks have faded, all wrinkled up, and unable to do much for each other; whether the other will still be there for them. What’s truly fascinating is that, Randhir Kapoor and Babita (the couple the song is picturized around), married in real life, after the release of this movie, in 1971, itself. They later separated, in 1988, due to their elder daughter’s desire in pursing an acting career (conflict of interest). Babita, left with her two daughters. Several years later, Randhir Kapoor finally came around, accepting his two daughters’ film careers, and showing his support. AND thus, almost two decades after the couple split up, Randhir Kapoor and Babita reconciled in 2007. So now they are actually together again, in their old age. Both are 71 years old now.
This movie, Kal Aaj Aur Kal (1971), literally translating to Yesterday, Today and Tomorrow, has three generations of Kapoor’s starring as three generations in conflict. The Grandfather (played by Prithviraj Kapoor) and the grandson (Randhir Kapoor) are constantly at loggerheads. Caught in the middle, is Raj Kapoor (son of one, father to the other). He understands his son’s progressive thoughts, who rebels against foolish backward traditional notions, such as the cast system, and a woman’s place is in the home by her husbands side, and all that archaic rubbish. But at the same time, Raj Kapoor’s character, is afraid to speak up against his ageing father, who is stuck in his old ways of habit, foolish and ignorant, who still believes in cast system, blinded by religious faith, and finds it difficult to accept the changing times (of the late 60’s & 70’s), including influences of American Hippie lifestyles on Indian society. Prithviraj Kapoor’s character, can’t stand women’s lib, feminism, women daring to wear skirts instead of Indian clothes, women driving, women daring to divorce their husbands, hippies, unmarried couples, premarital sex and promiscuous lifestyles of modern youth. So there are good and bad points, brought out from both sides. But mainly, the open-minded grandson brings out the good points. There is this one hilarious moment, when the grandfather is repulsed at seeing a write-up in a newspaper about a woman divorcing her husband. He speaks of how great Sita (from Valmiki’s Ramayana) was, where she has to undergo an Agnipariksha (trial by fire) to prove her chastity to her husband (after being saved, post her kidnapping by the ten headed Ravana, king of Lanka); and how now women have no qualms about leaving their men. Randhir Kapoor wittily retorts, that there was no such as divorce in ancient times, otherwise Sita would have divorced Ram as well. It’s a rib-tickling moment, and seeing the annoyed horrified look on the Grandfather, is priceless.
This movie came out during the height of globalization of human attitudes and it reflects the changing times in India, at that period. Ever progressive, especially amongst the city folk and the well educated, specially in Northern India, it’s a country that has always moved forward. Of course, it’s a slow n’ steady progress. Transgender acceptance as a ‘third gender’, and India’s Supreme Court ruling from day before yesterday (6.9.2018), legalizing gay sex, thus decriminalizing it as a sexual offense, overturning Section 377 (a colonial rule, introduced in 1861, during the British Raj), is proof of it’s slow and steady rise. India being a third world country, and that too a (hard to maintain) massive one, with an equally massive population of over a billion people, with a high illiteracy rate – mainly due to poverty (something impossible eradicate in such a vast nation), it’s surprising how far they have come, despite their pitfalls. With progressive Indian cities (economically and psychologically), press freedom, freedom to voice one’s opinion, Indian intellectuals and artistic society’s constant leap forward; one can just imagine – if India were a tiny nation, with a small population, less poverty (which practically equals to no illiteracy) – India would be a first world country floating in the Indian ocean, today.
Another strip-tease, this time, yet another cabaret performance, by Bollywood’s famed “Nautch” girl, Helen. The stage show, in the movie, is an entire story being told by an unhappy woman, waiting for her man, at a club. The clock strikes midnight, and slowly customers start to leave. Ultimately it’s just her, drinking her misery away. Soon, her lover comes. She’s ecstatic!! She daces, strips, twirls on a pole, and ends up with him in a birdcage. The song, the performance and the props are very symbolic, to the runaway girl (played by Asha Parekh), seated watching the stage show. Caravan (1971) was inspired by the low-budget, 1950’s American Independent film, Girl on the Run (1953).
25. “I love You – Haré Rama Haré Krishna” from from Haré Rama Haré Krishna (1971)
Back to the Hippie Haven (see no.1, right at the top), with another Hippie melody, from Haré Rama Haré Krishna. Composer R. D. Burman’s later trademark style is visible here, before he himself lent his voice to “Duniya Mein, Logon Ko” (see no.6, above), from Apna Desh (1972).
With lyrics like “Black or white, we are all inclusive, nobody here is an alien” in Hindi, it’s no wonder many modern Indian youth openly embraced Hippie’s bohemian life styles, and rebelled against ignorant traditionalist, back then. Bhosle sing for Zeenat Aman, and Usha Iyer (now known Usha Uthup); who use to be a famous (literally underground) nightclub singer of the 60’s, in Madras, South India (before she made it up north, in Bollywood); sings the English verses. Noticed by actor Shashi Kapoor, the first two songs she sung as a playback singer, were for, the Indian English movie (Merchant/Ivory Production), Bombay Talkie (1970) starring Shashi Kapoor along with his wife, British actress, Jennifer Kendal (where Usha Iyer did an English number), and of course, the English verses in this song, “I love You – Haré Rama Haré Krishna” from Haré Rama Haré Krishna.
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English Couplets
Besides my Top-25, Asha Bhosle numbers, I thought I’d add a couple of, non-film, English numbers she appears in.
As Asha Bhosle was experimenting with re-mixing her old tunes, and Cable TV’s MTV and Channel V phenomena, of the 90’s, Bhosle sang this English number (in English) with the 90’s British Boy Band, Code Red, for the Indian version, of their song “We Can Make It”, from their album, Scarlet, released in 1997. Code Red, was a group, that only lasted five years.
Australian cricketer, Brett Lee, wrote and recorded the song, “You are the One for Me”, with Asha Bhosle, when he was in India, for the 2006 ICC Champions Trophy. Not such a great song, and the tune feels like a cheesy copy of the country song, “Juke Box Blues” by June Carter (later known as June Carter Cash).
Bhosle’s Ode to a famed British Band
The song, “Dekho, Ab To, Kisi Ko Nahi Hai Khabar” from Janwar (1965), is not just an out and out direct copy of The Beatles “I Want to Hold Your Hand“, but an ode to them. The famed British Invasion of the American music industry, had invaded India too. This was the second British Invasion to hit India, but this musical invasion was one that India embraced and welcomed openly. “Dekho, Ab To, Kisi Ko Nahi Hai Khabar” features a boy band aping The Beatles, giving the background vocals, while Shammi Kapoor, looking like a ‘Beatle’ himself, prances around singing and dancing. Actress, Rajshree (whom Bhosle lends her voice to), in that blonde wig and tight dress, looks a bit like, Bulgarian-French singer, Sylvie Vartan. Rajshree most probably was modeled on her (also see my first two posts regarding The Beatles trip to Paris in January 1964, from January 2014).
The setting of the song is that of a Wedding Reception. Towards the end, the Bride and Groom, join in the twist. Yes, as I said before, the twist was a craze in India, in the 60’s. Some Bollywood movies of the noughties, still had musical numbers which showcased the twist, in all it’s splendor. Towards the end of this song, we also see, the late Shammi Kapoor’s father, the late Prithviraj Kapoor.
The Brits tribute to Asha Bhosle
In 1997, the British alternative-rock group, Cornershop, paid tribute to Asha Bhosle, with their song, “Brimful of Asha”. It was an instant hit, in the UK, and India.
A Tête-à-Tête between an Indian Legend from the previous Century & a 21st Century British Singer (of Indian roots)
To round up the number of videos added here, to ’30’, I thought I’d add this conversation piece, between the legendary Asha Bhosle (who was presented with the ‘The Lifetime Achievement Award’), and British singer, Jay Sean, at the 2nd Asian Awards, held in the United Kingdom. The two sing a few lyrics, from my 2nd favourite Asha Bhosle song, “Chura Liya”.
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Saaz (1997)
Saaz (1997) is a brilliant movie, which was loosely based on the lives of the two sisters, Lata Mangeshkar and Asha Bhosle. The movie shows a sibling rivalry, which both sisters deny. The siblings were actually very close as kids, but when Asha ran away and got married (mentioned above), Lata felt her sister had been irresponsible and abandoned her, and Lata was left to earn for the family alone. The two were not in speaking terms for a long time. But it had nothing to do with their singing talent, or that Asha Bhosle playing second fiddle to her elder sister, as the movie suggests. Lata openly disapproved of the alliance. Later, the two made-up. Asha Bhosle called Saaz, a three hour exaggerated waste-of-time. Why couldn’t the filmmakers simple ask the two sisters, for their real-life story and make a proper bio-pic.
None the less, Saaz is a beautiful movie, and Shabana Azmi does a brilliant job, essaying the role loosely based on Bhosle.
Mai (2013)
Asha Bhosle stands next to the film poster, of her movie, Mai (2013)
Though Asha Bhosle, has appeared in cameos as a singer in a film or two, and a couple of short films, she made her acting debut, at the age 79, in Mai (2013). A very good movie, and Bhosle was superb in it, as a 65 year old lady, suffering from Alzheimer’s disease, and neglected by her children and grandchildren (except for one daughter who cares for, played by Padmini Kolhapure). Critic’s praised her amazing performance. So far, she hasn’t appeared in any movie, post Mai.
Wishing the very versatile, Asha Bhosle, a very Happy 85th Birthday. Keep on Singing!!!!!!
On a Sunday afternoon, at Prescient 21, New York City, an assortment of coulourful characters, from crooks to thieves to innocent first time offenders, swarm around, waiting to be booked. One such character is a shoplifter, played by Lee Grant, witnessing all the crazy goings-on, in the squad room. Lee Grant reprises her well received stage role, in her film debut, in Detective Story (1951), for which she won the award for ‘Best Actress‘ at the Cannes Film Festival, in 1952.
Lee Grant in Detective Story (1951)
As the movie begins, Lee Grant arrives in a not-so-well maintained car, dragged by a shabby looking cop. She’s taken upstairs into the squad room of New York’s Prescient 21. Her crime – she picked up a purse, due to a kleptomaniac impulse. A bag she didn’t even like. And it seems this was a first time offense, or at least the first time she got caught. Naive, innocent, stressed and nerve-wrecking, she is more worried than she should be. In fact, the cop tells her, that it’s not as if she committed a murder, she most probably will be acquitted, with no charges; and it will all be a waste of his time.
When she is asked to call a lawyer, she’s apprehensive, the only lawyer she knows is married to her pregnant sister. But as things start to heat up in the squad room, she finally asks her brother-in-law for help. Meanwhile, we see what a good heart she has, and what a social person she is. She innocently tries to comfort a young girl, whose sister’s ex-boyfriend, is being booked for embezzlement. She tells one of the detective’s he is quite handsome, and doesn’t look like a cop. She is amused with a watch in a comic strip, and compares it to the wristwatch worn by the cop that arrested her. This shoplifter, might have accidentally committed a crime, but is a very genuine person. More genuine, than most cops. Of course, the cops here treat her well. When one brings her food, she is truly grateful. As Grant’s shoplifter leaves the station, she bids adieu, to all the detectives at Prescient 21.
Lee Grant is superb as a nervous wreck, a foolish and somewhat comical shoplifter. A bit of an oddball nut-bag. A very naturalistic twitchy portrayal of a scared little kitten, feeling guiltier than she should be. Grant learnt the weird New York accent, she uses in the play and movie, when she heard two girls on a crosstown bus. Yes, she eavesdropped on total strangers, not because she wanted to know what they were talking about, but to study their mannerisms. A true testament to great acting.
Based on a 1949 play by Sidney Kingsley, Detective Story, and directed by William Wyler, the movie comprises of a superb cast, including Kirk Douglas, Eleanor Parker, Joseph Wiseman, William Bendix, Craig Hill, et al. Set in a single day, the main plot of the story, however, is about a tough cop (played incredibly by Kirk Douglas), who doesn’t believe in second chances, with a temper he can’t control. As the movie progresses, he learns of a past mistake by his elegant wife (gracefully played by the beautiful Eleanor Parker), which he finds difficult to accept. He is not a forgiving man. Detective Story, is a brilliant movie, with many a sub-plots. Lee Grant is seen through most of the movie, and is well fashioned with a scarf over her shoulders (it’s worth checking out some of cool ties and suits worn by some of the male cast, as well, including Douglas and Wiseman). Basically the movie is, out and out, a Kirk Douglas venture. He is the protagonist, the only lead character of the film. The rest are all supporting characters, revolving around the main plot within Prescient 21. So it is baffling, why Lee Grant, won an award for ‘Best Actress‘ at the Cannes Film Festival, the following year. She was no doubt superb, yet she was a supporting character; as was the cop’s wife, Mrs. Mary McLeod (played by Eleanor Parker). Parker received a ‘Best Actress‘ Oscar nomination, along with Lee Grant, for ‘Best Supporting Actress‘, at the Academy Awards. In fact, with just over 20 minutes appearance, Eleanor Parker’s performance is the shortest role, to ever be nominated for a ‘Best Actress‘ Oscar. Like Grant, Parker ought to have been nominated for a ‘Best Supporting Actress‘ Oscar, as well. The movie garnered two more nominations, including one for ‘Best Director‘, for William Wyler. Detective Story lost out at the Oscars, but happens to be among greatest study of varied character-sketches, on film.
Lee Grant in a scene from Detective Story (1951)
Despite the accolades, Lee Grant received for her unique Oscar nominated performance, in Detective Story, she found it difficult to find work for the next decade. In 1952, she refused to testify against her husband at the HUAC (House Un-American Activities Committee) hearings, and thus was blacklisted. This was during the notorious McCarthy era, under which the Hollywood Blacklist began, in 1947; where famous people were being persecuted for supposedly having ‘Communist’ beliefs. Sadly many great influential personalities lost work during this period, including Hollywood celebrities, such as Charlie Chaplin, Orson Welles and Dalton Trumbo, to name some. Lee Grant was removed from the blacklist, in 1962, after which she rebuilt her career in film and television.
From playing a shoplifter in her first movie, her last Cinematic appearance was in a film titled, Going Shopping (2005). She hasn’t worked in films for the last 13 years, but she did appear on stage, where it all began, in a revival of Donald L. Coburn’s 1976 play, The Gin Game, in 2013; directed by her daughter, Dinah Manoff.
Detective Story (1951) My Rating: Pure Excellence – 10/10 !!!!
The 71st Cannes Film Festival finally came to an end, last night. The Palme d’Or for Year 2018, was awarded to 万引き家族 Manbiki Kazoku (2018) a.k.a. Shoplifters, to film director, Hirokazu Kore-eda, by Jury President Cate Blanchett. Like the previous two lazed Cannes posts, for this year, let the pictures do the talking.
Palme d’OrWinner for 2018: Japanese director Hirokazu Kore-eda (seen here with Cate Blanchett)
Caméra d’Or Winner: Lukas Dhont
Grand Prix: Spike Lee (Benicio del Toro looks on, as Lee gives his speech)
Lebanese director Nadine Labaki speaks after winning the Cannes Jury Award for Capernaum (2018); as her husband, Khaled Mouzanar, and actor Gary Oldman, look on
Special Palme d’Or was awarded to the legendary Jean-Luc Godard, for Le Livre d’Image (2018) a.k.a. The Image Book Actress Cate Blanchett seen here holding the Golden Palm
Congratulations to all the winners (including the ones not mentioned here) of the Cannes Film Festival for 2018!!!
Simon Emanuel, Chewbacca, Joonas Suotamo & Thandie Newton at the event of Solo – A Star Wars Story (2018), at the 71st Cannes Film Festival
Everything that has a beginning, has a an end; as does this prestigious, 71st Cannes Film Festival, of May 2018!! It ends tonight, and am really looking forward to finding out who’s won what? I couldn’t check out the Cannes updates properly this year, for various reasons, but below are some fashionable highlights from various days & nights at the Film Festival.
Enjoy
Nuwan Sen’s Fashion Sense
German Film Director, Wim Wenders
Spanish Husband & Wife: Javier Bardem & Penélope Cruz
From the Land of the Pharaohs: Austrian/Egyptian Film Director, A.B. Shawky, with Egyptian Actress, Shahira Fahmy
Mexico & India: Salma Hayek & Nandita Das, were among the 82 women that marched for Gender Equality in the Film Industry, at Cannes this year (Inset: Director Das with her lead star, of Manto (2018), Nawazuddin Siddiqui)
Brazilian Filmmaker, Joe Penna, and Danish Actor, Mads Mikkelsen
Young Russian Film Director, Kantemir Balagov
International Belles: Fan Bingbing, Marion Cotillard, Jessica Chastain, Penelope Cruz and Lupita Nyong’o (Cannes 2018)
The Frenchmen: Pierre Deladonchamps, Christophe Honoré and Vincent Lacoste
Solo Guys (Day & Night): Donald Glover & Alden Ehrenreich; with the cast and crew of Solo: A Star Wars Story (2018)
Solo Wookiee: Finnish Actor and former Basketball Player, Joonas Suotamo, with his ”Star Wars” character ‘Chewbacca’
Jackson Lee (son of Spike Lee), Topher Grace, Adam Driver and Director Spike Lee, attend the screening of Blackkklansman (2018)
Former First Lady of France (and Italian Singer/Songwriter), Carla Bruni Sarkozy
From Russia with Love: Katya Mtsitouridze, in a neatly tailored White attire
Chique Chic: Marion Cotillard at the Cannes Film Festival this year
More Marion Cotillard (Cannes 2018)
Newly Married, Bollywood Fashionista, Sonam Kapoor, in a White Bridal Lehenga (Cannes 2018)
From the Silk Route: Melissa Zuo, shimmers in Silver attire
Walk for Gender Equality: Jury President, Cate Blanchett, with Feminist Film Director, Agnès Varda (of the French New Wave fame); the first woman to receive an honorary ‘Palme d’Or’, at a Cannes Film Festival
Pretty in Pale Pink: Bella Hadid at the 71st Cannes Film Festival
Chinese Actress, Bingbing Fan
Cannes 2018: Aishwarya Rai Bachchan; seen here with her daughter, who accompanied her up to the Red Carpet
Winnie Harlow goes Green @ Cannes 2018
Knife + Heart:French Film Director, Yann Gonzalez, with Kate Moran & Vanessa Paradis (Inset: Nicolas Maury & Vanessa Paradis)
American Actress, Amber Heard
80 year old, Jane Fonda, graces the Red Carpet with charm, at the 71st Annual Cannes Film Festival (Mai 2018)
Deepika Padukone in Hot Pink Ruffles (Cannes 2018)
More of Daring Deepika: Deepika Padukone in Purple Pant Suit
A Sad Affair: 72 year old Helen Mirren, in a comfortable trouser suit, walks away after she tripped and had a bad fall
John Savage @ Cannes 2018
Milla Jovovich looking like a Greek Goddess
Defying Protocol: Kristen Stewart makes a statement against the Cannes Film Festival, by walking barefoot
Lebanese Film Director, Nadine Labaki, with her young actors; Zain Al Rafeea (a Syrian refugee) & Yordanos Shifera, from Capharnaüm (2018)
Franco-Swiss Model, Nabilla Benattia poses near some Stormtroopers (Cannes 2018)
From Deep Down Under: New Zealand Female Model, Georgia Fowler (in a black sheer Saree dress), with Australian Male Model, Jordan Barrett
On the morning of, Thursday, the 10th of May, Year 2018, I switched on my Laptop as usual. Tried opening my Blog, No Nonsense with Nuwan Sen, but my site refused to appear. I tried several times, it didn’t work. Then I opened my Facebook page, it opened. So I tried opening my Blog through three different mediums, on my Laptop (Firefox, Google Chrome & Internet Explorer); none worked. Tried opening other WordPress sites (as this Blog is a WordPress site itself); but I couldn’t open them either. So I thought, OK it must be a problem with WordPress (as other sites; (Dot).com, (Dot).org, et al; I could open, without any problems). Meanwhile, I posted – that I wasn’t able to open any WordPress sites, let alone my Blog – on my Facebook and Twitter accounts. Realized, people abroad can see WordPress sites, including mine. I assumed it must be a blockade here, in Sri Lanka; although I hadn’t heard of any such news. It was possible, as the Lankan government, quite recently, did block all social media; including Facebook. That blockade lasted 10 to 15 days.
On Friday, I found out, that there was no such blockade on WordPress, by the local government. AND, that people could see my Blog, even in SL!! Now I understood, it had to do with my personal Laptop (although it made no sense to me, why??). Since I was busy (my elder dog was attacked on Wednesday); I decided I’ll worry about it later. My baby was my first priority. So Thursday, Friday and most of Saturday; I couldn’t open my Blog (whenever I switched on my Laptop, I tried). Then late last night (Saturday); I tried, once more, and Voilà!!!! – my Blog opened.
It’s still a mystery to me, what actually happened. Why I couldn’t open it, and how the problem was automatically fixed. None the less, am glad to see my Blog again.
On Wednesday, 9th of May, Year 2018 (evening prior to my WordPress Blog, not working) Gingy (a.k.a. Gingerella Sen), my elder baby, was brutally attacked and badly wounded by a trio of bloodthirsty dogs; that have been brought up, not as loving pets, but as savages (never have I seen them being petted). This was the second time those vicious dogs attacked her, as a collective; they had tried to maul her, when she was just a pup, and attacked her several times, individually; but this was worse than when she was a puppy (see her wounds, on her Facebook page – Gingerella Sen). We were coming home from our evening walk, when they pounced. I couldn’t get them off her, easily, whilst the owner of those savages was standing there making lame excuses about their new beautiful gate, not having a latch that locks. Gingy went home crying in pain. Soon, I took her to the nearest vet. She screamed as the vet injected her with two antibiotics. But he didn’t even look at her wounds, and there (still) is, a massive wound under her tail. She was bleeding a lot and found it difficult to defecate. She tries to, but since it’s too painful, keeps stopping. That night she didn’t even have her dinner. Late that night, I posted a blog post, Cannes Festival Underway 🌴; as I had got the pictures ready for it, earlier that day. BUT, my mind was not on it; so I just wrote a couple of lines, and posted pictures, I had readied.
Both Gingy and I were awake all night, and my mum didn’t have proper sleep, either. Gingy was standing, walking, trying to lie down; middle of the night, many times. We’d go outside, and she’d try to pass out stools, but since it’s painful she kept stopping. Finally I went to sleep from about 5am to 7am. Then next morning, Thursday, 10th May (the day I couldn’t open up my Blog, or any WordPress housed site, for that matter), since she was in so much pain; I called up the vet, and got him here. The vet thought of sedating her, but was too afraid to inject her. He was afraid to even get the syringe near her (for out of fear, as Gingy kept screaming and moving about, the doctor felt she might bite him). So ultimately the vet said, just to try antibiotics (oral medication), and see if she get better. I inquired of a medical spray, as she wouldn’t let me apply any medicine; especially in there. So I bought the spray, from his clinic, and used it on her, only once. Poor child squealed in pain.
By Friday, 11th May 2018, two nights in a row, Gingy hadn’t slept (and I went through broken sleep, myself). She was afraid to lie down, or defecate, and was breathing heavily; as her most sensitive area, had the biggest wound. On Friday, early morning, I called up the clinic, I usually take her to (which has one good doctor); as this wasn’t working out. But, it was too early, and they were closed. Then I called up the ‘good doctor’ from this clinic. He sounded a tad angry, but he wasn’t avaible that day; but told me call later, at around 10:30 am. From 10:30 am to 11:30 am; I tried calling, he didn’t answer. So I called the clinic (which was open by now); and the receptionist mentioned there were no vets at all that morning, to check in the evening. But I asked her if this vet “the good doctor” will be available, next day. She said maybe, but to call and check. So meanwhile, by 11:30 am, I went back to the lazy emergency vet, that I took Gingy to when it happened (a vet that is of no use); but didn’t take her with me; and let him know, she wasn’t recovering. I really don’t like this vet, but I had no choice. He is a total suck-up, and elderly people here are suckers for such people. He might not be a bad person, but he definitely isn’t a competent doctor for animals. He wrote yet another oral antibiotic; which I bought and gave her, once. By Friday night, I was worried sick, Gingy was in excruciating pain; and there was no sign of it healing. Then, that night, an FB friend commented on a post, recommending a place called Petvet. I found details online. But the place was closed.
So next morning, Saturday, 12th May 2018 (by now, three nights in a row, Gingy hadn’t slept; she’s been standing non-stop, and seemed exhausted), first, as promised I contacted the Clinic (where I’ve taken both my babies from the start), to see if “the good doctor”, I keep referring to, was in (as I had done on Friday). He wasn’t available, and apparently might turn up in the evening. So I called Petvet. They tried to give me an appointment in the evening; but I explained what had happened et al; and how it was kind of an emergency; and took her there ASAP. They luckily didn’t waste anytime, and they took her in then and there. The young vet was really good, three attendants held Gingy, while she screamed in pain, as the doctor cleaned the wound. Luckily Gingy had defecated in the morning, with great difficulty; so there were no stools blocking the wound. The vet mentioned that this deep wound was not a massive one, but it must be really painful for her. Plus, He told me, that it will take some time to heal, and will have to be cleaned regularly, as it could get infected. So, I’ll have to take poor Gingy to Petvet, every two days, till the wound is completely healed. So, as I took her yesterday (Saturday), I have to take her to again tomorrow (Monday); then coming Wednesday, Friday and on an on, every other day; till she completely recovers. She’s still in excruciating pain; but it’s not unbearable. Much better than before. At least she can lie down, since yesterday, and sleep a bit better. It’s nice to see her relaxing.
While all this has been happening, My younger baby, Nudin, has been very quiet and very patient; not his usual playful self, not trying to seek attention. He’s been a very good little brother, to Gingy.
I just hope my baby recovers soon. And evening walks are out. Three badly brought up dogs on one side; and another trio of vicious dogs, and equally vicious people; on the other. And just imagine; we actually live in one of the better neighbourhoods; of this Dog Forsaken country.
Keeping my fingers crossed; heal my poor baby (sooner the better).
The Annual Cannes Film Festival, for Year 2018, hit off, yesterday, with Asghar Farhadi’s Spanish psychological thriller, Todos lo Saben (2018), English Title: Everybody Knows. Below are the highlights, in pictures, of Day 1 (8th of May, 2018), of this prestigious Film Festival.
Jury member, Léa Seydoux (in Day and Evening wear), at the 71st Cannes Film Festival (8th May 2018)
Penelope Cruz & Javier Bardem arrive for the opening night premiere of their movie Todos lo Saben (2018) a.k.a. Everybody Knows; at the 71st CANNES FILM FESTIVAL
71st CANNES FILM FESTIVAL: Penelope Cruz smiles at the opening night premiere of her movie Todos lo Saben (2018) a.k.a. Everybody Knows (8th May 2018)
Golden Guest, at the 71st CANNES FILM FESTIVAL
The Jury (L to R): Lea Seydoux, Andrey Zvyagintsev, Khadja Nin, Robert Guediguian, Cate Blanchett, Denis Villeneuve, Ava DuVernay, Chang Chen & Kristen Stewart
No Nonsense with Nuwan Sen 