What do Shoojit Sircar and Philip Roth have in common?

Well, aside from them being great artists? Both have released works that document a procession of surgeries as a narrative frame, I Want to Talk for Sircar and Everyman for Roth. And both have, I am sorry to say, produced uncharacteristic weak efforts. Talk is easily Sircar’s worst film, while I haven’t read enough of Roth’s workContinue reading “What do Shoojit Sircar and Philip Roth have in common?”

Things You Only Notice About The Godfather When Watching It for the 450th Time

I was finally able to watch The Godfather on the big screen* for the first time and noticed some things (perhaps new only to me) that had not gotten through even after watching it so many times. He’s agitated but keeps it under control. His anger threatens to spill over but he is composed. HeContinue reading “Things You Only Notice About The Godfather When Watching It for the 450th Time”

Sister Midnight Review

The opening stretches of Sister Midnight are dialogue-free and reveal a propensity for the silent gag. Start with the credits themselves, where the credit of the actor playing the husband (Ashok Pathak) is displayed where he should be, beside his wife (Radhika Apte). Instead, he is slumped over, sleeping, already a premonition of his roleContinue reading “Sister Midnight Review”

My Strombolian Film: There Will Be Blood

Years age, while perusing Girish Shambu’s blog, I came across the concept of Strombolian films.  Coined by the film professor (and an overall towering figure in film studies) Nicole Brenez, these are films that you dislike or not understand upon first viewing but which grow in your estimation as you watch them again, this timeContinue reading “My Strombolian Film: There Will Be Blood”

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