Thursday, 31 March 2022
Record crowd watches Barcelona thrash Real Madrid in Women's Champions League
North Korea not telling the whole truth about latest ICBM test, South Korean official says
Australian TV host set to stand trial in China for allegedly supplying state secrets overseas
Western companies have a habit of dealing with dictators. Russia shined a spotlight on them
Weddings are booming again. They're bigger and more expensive than ever
They were Covid-19 success stories -- then they saw massive outbreaks. These charts show what's really going on
Violence in eastern Colombia has left 130 dead this year, UN and Catholic Church say
US imposes new sanctions against Iran's ballistic missile program
Wednesday, 30 March 2022
The great resignation continues: 4.4 million Americans quit their jobs last month
World Bank freezes Afghan projects after Taliban bans girls from high school
Indian firefighters battle Delhi landfill blaze as air fills with toxic fumes
Rare Sumatran rhino born in Indonesia a 'momentous occasion' for survival of species
8 UN peacekeepers killed in Congo helicopter crash amid rebel fighting
At least five dead in shooting near Tel Aviv
Canadian Indigenous leaders push for residential schools apology in Pope Francis meeting
Tuesday, 29 March 2022
Singapore court rejects intellectually disabled man's final appeal against execution for drug smuggling
Solomon Islands leader defends possible China security deal, calls backlash 'very insulting'
Canada edges closer to F-35 jets deal with Lockheed Martin worth up to $15 billion
Honduras' Supreme Court approves extradition of former president to the US
Ryusuke Hamaguchi is as surprised as anyone by the Oscars love for 'Drive My Car'
Key moments from Seoul Fashion Week
Shanghai locks down 10 million people at a time
Monday, 28 March 2022
4 things to remember about Trump, Ukraine and Putin
These Russian journalists found a way to report from outside the country
Max Verstappen claims first win of F1 season at Saudi Arabian Grand Prix
Elon Musk says he's seriously considering creating a new social media platform
Why Amazon makes you click a box to redeem coupons
Recession risks are 'uncomfortably high and moving higher,' Mark Zandi says
Sunday, 27 March 2022
Philippine authorities evacuate thousands as volcano Taal spews mile-high plume
All people on board China airliner reported dead in Monday's crash
Perfect strangers are offering their holiday homes to help refugees rest and recover
These are some of the historical sites at risk in Kyiv
Saturday, 26 March 2022
This week in travel: Covid holdouts finally opening doors and a cult candy sweeps the world
Friday, 25 March 2022
Ukrainian crew member who tried to sink a yacht linked to an oligarch: 'It was my first step for the war with Russia'
The human body is often seen through a male lens. Women give a different view
T. rex skeleton, the world's most expensive fossil, gets a new home
Joachim Trier ripped up the rom-com script with 'The Worst Person in the World.' He could win an Oscar for it
In old family photographs, a South African artist reenacts her late mother's life
Thursday, 24 March 2022
Russia's invasion of Ukraine has foreign investors fleeing Taiwan. Here's why
Egypt caps bread prices as shockwaves of Ukraine war hit Middle East
Tokyo Fashion Week shines a light on homegrown talent
Nicaraguan ambassador turns on own government, says Nicaraguans are tired of Ortega 'dictatorship'
William and Kate face protests on royal tour of Caribbean
Brittney Griner: US embassy in Moscow finds US basketball player 'in good condition' after getting consular access
Wednesday, 23 March 2022
What China really means when it talks about NATO's eastward expansion
A mother, a fiancé, a friend. China mourns the victims of China Eastern Airlines crash
Tesla delivers first cars from Berlin factory
Goldman Sachs' CEO will perform at Lollapalooza
Sri Lanka sends troops to fuel stations amid worsening economic crisis
Nicaragua sentences ex-presidential candidate
Tuesday, 22 March 2022
It's highly unlikely that cash will survive much longer
Why WhatsApp wants to convince Americans to stop sending text messages
World's happiest country for 2022 is revealed
The unusual airplane cabin designs that could be flying's future
The Ukrainian girl who sang 'Let It Go' in a bomb shelter performed her country's national anthem in Poland
Hatchet-wielding attacker at Canada mosque charged for possible hate-motivated attack, police say
Monday, 21 March 2022
Tokyo schools to drop five controversial dress code rules
Why this month is so volatile for stocks
The Chinese candy taking over the world
Biden administration formally determines Myanmar's military committed genocide
Opinion: Madison Cawthorn's ridiculous attack on Zelensky
The North Pole is suddenly getting a lot more air traffic
Sunday, 20 March 2022
Six people killed after car crashes into carnival crowd in Belgium
Worshipers at Canadian mosque subdue hatchet-wielding attacker, police say
Saturday, 19 March 2022
Artemis I moon rocket is a step closer to launch countdown
Detainee in Iran with triple nationality that was released as part of deal with UK is sent back to jail
Young brothers rescued from Brazilian Amazon after nearly a month
Turkey opens record-breaking bridge between Europe and Asia
Analysis: Queen Elizabeth has outperformed against all odds
Friday, 18 March 2022
Bachchan Paandey, Review: Gangsters are best played by real-life gangsters
Bachchan Paandey, Review: Gangsters are best played by real-life gangsters
Why would you choose a name like Bachchan Pandey, unless you thought you could cash-in on the franchises called Amitabh Bachchan (name of a real life actor) and Chulbul Pandey (name of a reel-life character, played in several movies by Salman Khan)? Point is, does a superstar himself, like Akshay Kumar, who plays the title role, need these props? Leaving the Paandey behind, ‘Bachchan’ is made to speak some of the iconic dialogue from Amitabh’s film roles, leaving no doubt that the priority is in the first name, not the surname. For the rest of the film, you keep wondering where the priorities are, and whether this film is the result of the efforts of a single director, as is claimed in the credits, or the blame rests on the six writers. It is almost as if the director struck a carrom board and followed the carrom men, along tangential lines, in an effort to pocket the Queen. Sadly, the Queen proves to be elusive and Bachchan Pandey loses 2:3.
Remake of the 2014 Tamil film Jigarthanda, which, in turn, was inspired by the 2006 South Korean flick, A Dirty Carnival, the film is the story of a dreaded contract killer named Bachchan Paandey and an aspiring film-maker, called Myra Devekar. Myra is thrown out by her boss, for taking on his role during a shooting stint. The director almost quits the film in anger, but is persuaded by the producer to continue, after sacking Myra. Myra pleads with the producer to listen to her story and give her a break as an independent director. She has a story ready. Problem is that the story is about a real-life local biggie baddie, and the producer fears that he will be killed if he makes a film on that man’s life.
He likes the idea of a gangster story, though, and suggests that she come up with a gripping and violent gangster story, aiming at the box-office. Myra researches gangsters’ lives with the help of a sociologist, and zeroes in on the one-eyed Jack, Bachchan Paandey, as her subject. Paandey, of Baaghva, a place in Northern India, kills men like mice, often setting them on fire. His gang has already killed dozens of men. Undaunted, Myra heads for Baaghva, where she meets Vishu, a man who had struggled in Mumbai for some time to find work as an actor, but went back disappointed. His father took a promise from him on his death-bed that he would achieve what his father couldn’t. Myra and Vishu join hands. Myra and Vishnu make discreet attempts to research the life of Bachchan Paandey, through three of his main henchmen, but are caught and brought before Paandey. Paandey could have killed them, should have killed them, would have killed them, but then…
Two reference points in the shape of earlier films, an original story credited to Karthik Subbaraj, an adapted story and screenplay by producer Sajid Nadiadwala, five other credits for writing, including dialogue additional dialogue – director Farhad Samji, Tushar Hiranandani, Sparsh Khetarpal, Tasha Bhambra and Zeishan Quadri. A perfect example of too many cooks spoil the broth.
The film moves in many directions. It begins with a film-in-a-film premise that could have been interesting and funnier, if handled with more maturity. Next is the plot of making a tooth-pick (joke, from the film), actually biopic, on a deadly gangster. Following this is the story of the side-kick, a failed actor, who sees a chance of realising his father’s dream, a father who could only make it to the crowd scenes. We also have the real-life story of the killer and his killing sprees, tracked for many a day, and who first doles out the stereo-typical dacoit tale seen once too often in Indian films, but later narrates the truth on camera, which is really touching. Then comes the inspiration from the Budhha and the brigand who was notorious for chopping human fingers and making a garland of them, Angulimaal, of transforming and reforming merciless murderers. And we also have a Gujarati acting coach who is brought down from Gujarat (producer-writer Sajid Nadiadwala’s family is from Gujarat) to teach the gangsters to act, because Vishu feels that only gangsters themselves can best play gangsters.
All these elements would not jar so much had they been seamlessly integrated by director Farhad Samji. What we have instead is a separate track for each element, albeit with a few laughs built-in, especially in the coach’s scenes. Sure, there are more moments of laughter, but half of them are contrived and unfunny. Ditto for the claptrap scenes, only a handful of which resonate. Example of humour: Pointing to camels, Sophie asks Bachchan, “Are these camels?” He replies, “No, they are asses.” Another example: Myra buys something at a shop and pays from her wallet. Quietly, a man comes close to her and almost sticks another pair of jeans behind her own. She tucks the wallet in it, and the man decamps. Some well-written scenes stand-out, like the one where Paandey does not mind being written about in a local paper but gets so cheesed off by his caricature that goes with the article that he roasts the journalist alive, and when an assassin is planted inside to shoot Paandey as soon as he enters a toilet. But there are many troughs for each peak.
Is it that easy to come down from Baaghva to Mumbai, probably for the first time, kidnap a film producer, and take him to Baaghva, without so much as anybody raising a finger, at that time or later? Why get a Gujarati-accented acting coach from Gujarat to train Baaghva-based gangsters in acting, when the dialogue is all going to be in Hindi? How come Vishu is a Maharashtrian who returns to ‘native’ Baaghva (most likely in Uttar Pradesh) after struggling in Mumbai’s filmdom? Can a notorious contract killer like Bachchan afford to forget about the assignment at hand, of killing a journalist at a fair, and chase a fair-skinned damsel instead? And what was he doing in the Pushkar (near Ajmer, in Rajasthan) fair, hundreds of miles away from his area of influence, in the first place?
A gun-toting, and firing, Bachchan, sings and dances at the wedding of a High-Ranking Police Officer, with one his henchmen’s girl-friend, and the two elope. The entire police force, brought in just to prevent such an occurrence, just watches. The officer swears vengeance, but is not able to do anything at all when he almost catches Bachchan red-handed with a corpse of a man he has just killed. How is it possible to commit 68 murders and roam about freely, especially when the police top brass is gunning for you? Why does his adversary only thrust a knife in one of his eyes and leaves it at that, instead of finishing him off? Why would anybody, more so a brigand, douse a person with canisters of petrol, if he had no intention of killing him/her in the first place? There is more, for the film is all of 142 minutes long, but I guess the above will suffice to make a point.
Akshay Kumar is nothing if not enthusiastic, going through even the badly written scenes with some aplomb and belying his 54 years. But it is all been there, done that. There is nothing new, nothing that takes you by surprise or makes you say, “Wow”. Tall and pretty girl Kriti Sanon (Panipat, Pati Patni Aur Woh, Housefull 4) has the onus of executing another badly written role, with a twinkle in her eye and a partly lost look most of the time. She too is out to fulfil her (living) father’s dream, but shows little common sense in dealing with the dreaded honchos or making the kind of film that she ultimately makes. A joke, at the expense of her height (5.75 in., without heels, and slender), has Bachchan watching her short film and then exclaiming, “Such a tall girl and such a short film?” Occasionally reminding you of Sunny Leone, Jacqueline Fernandez as Sophie has a brief role, and tries to make the most of it, but comes across as dumb as Myra. She does ooze oomph and is easy on the eye.
Arshad Warsi is natural as Vishu, with his well-known sense of timing. Pankaj Tripathi as Bhaves Bhoplo is mis-cast for the umpteenth time. One tends to feel that the role was written for Paresh Rawal, and when he was not available, Pankaj was asked to step in. He tries hard, and is given some funny lines, but fails to convince as a character. Prateik Babbar as Virgin has still to work on his diction, and the role is inconsequential. Cameos by Naseer Abdullah as the director and Dolly Thakore as the Sociologist are welcome. What an utter waste of Sanjay Mishra as Bufferia Chacha, one of Bachchan’s three lieutenants, who stammers, and has maybe three scenes. Abhimanyu Singh as Pendulum and Saharsh Kumar Shukla as Kaandi, the other two lieutenants, are quite in character. Ashwin Mushran as Varma Ji, the producer, is reduced to a farcical caricature. Amit Shivdas Nair is passable as Rana, another boss. Trishna Singh plays Indu. Also in the cast are Divyam Agarwal, Shravan Jakkula and Snehal Daabbi, who could not be identified.
Cinematography by Pondicherry-born Gavemic U. Ary captures the earthy tones quite well, and enjoys feasting on the colourful Pushkar fair. But most of the time, his camera has to deal with blood-letting and human beings being set ablaze. Bachchan’s artificial eye is well shot. Editing by CharuShree Roy (Chhichhore) is occasionally indulgent but competent on the whole. Had she been more ruthless with the delete button, maybe the film would have not had so many troughs. On the notations side, Joel Crasto is the score producer, Amaal Mallik the musical director, Vikram Montrose also the musical director, Julius Packiam theme music composer and B. Praak another musical director. Whosoever among these has scored the background music (Packiam, most likely) is a huge admirer of Ennio Morricone and the Sergio Leone spaghetti Western films of the 60s. The lyrics are mostly banal and loud, but then what do you expect from a killer? One number stands out, ‘Heer Ranjhana’, written by Kumaar, composed by Amaal Mallik and sung by Arijit Singh and Shreya Ghoshal.
Sajid Nadiadwala’s Nadiadwala Grandson Entertainment completes 70 years with his film, and congratulations are in order. But with such a huge budget and a star like Akshay Kumar, Bachchan Paandey is not the film that they should showcase on the occasion. Let’s hope that Heropanti 2, due for release next month, is a more fitting tribute to the production house, set-up by A.K. Nadiadwala, Sajid’s grandfather.
If you can see the funny side in almost anything, and don’t mind deafening decibels, you are likely to enjoy this film, as a comedy. However, if you are the type who feels that being ridiculous or ludicrous is not comedy, and dig subtle humour, you can give this one a miss.
Rating: **
Trailer: https://www.youtube.com/watch?v=4d8m59ct2wQ
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'There is literally no paper trail': How Russia experts say Putin hides a fortune
4 ways China is quietly making life harder for Russia
Supermodel Bella Hadid regrets having cosmetic surgery
Cuba's anti-government protesters sentenced up to 30 years behind bars
UK ferry company fires 800 seafarers. Some are refusing to leave their ships
Olympic medalist who fled Belarus forced into exile again as Ukraine attacked
Holi is a celebration of love, color and spring
Thursday, 17 March 2022
Russia moves to seize hundreds of planes from foreign owners
Evergreen container ship runs aground in Chesapeake Bay a year after Suez Canal blockage
What we know about the earthquake off Japan's Fukushima coast
Nazanin Zaghari-Ratcliffe and Anoosheh Ashoori arrive in the UK after being freed from Iran
The painter who builds up landscapes 'like Lego'
7.3-magnitude earthquake hits coast off Japan's Fukushima prefecture
Slovakia preliminarily agrees to send key air defense system to Ukraine
Wednesday, 16 March 2022
Nordic countries wonder if they are next on Putin's list
North Korean projectile test fails on launch, South Korea says
Turkmen leader's son wins presidency in snap vote
They bought a Caribbean island to start their own country
How Shanghai's White Rabbit candy became a globally beloved brand
Tuesday, 15 March 2022
Paris Fashion Week: How luxury fashion responded to the war on Ukraine
Indian court upholds hijab ban in Karnataka state that prompted weeks of religious clashes
Australian court overturns teenagers' landmark climate ruling
Foxconn halts operations in China, further straining the global supply chain
Russia may have found a buyer for its cheap oil: India
China's economy had a surprisingly good start to the year, but it may not last
Iran's strike on Iraq puts US in awkward position amid nuclear talks
China faces its worst Covid outbreak since 2020
Ethiopia pledges action after video shows uniformed men burning civilians alive
Monday, 14 March 2022
Putin has a pot of gold. Republicans and Democrats want to take it away
Russia's richest businessman tells Putin: Don't take us back to 1917
Virgin Voyages launches new adults-only cruise ship
War in Ukraine could make the Covid-19 pandemic worse, WHO says
Thailand lays out fruit buffet for elephants in national celebration
Opinion: As a child of war, I know what the Ukrainians are going through
Sunday, 13 March 2022
Pakistan demands joint probe into 'accidental' missile fired by India
Missiles hit Kurdish capital in Iraq, no casualities, officials say
RIFF 2022, 07: Third and final list of selected films released
RIFF 2022, 07: Third and final list of selected films released
The Third and the final list of the officially selected films to be shown at the 8th Rajasthan International Film Festival (RIFF) was released this week. It includes Student Hindi short film Riddle, Directed and Produced by Umang Patel, Rajasthani Short Film Mhari Pyari Baisa, Directed and Produced by Narpat Singh Gaur, Hindi short film Tooti Chappal, Directed and Produced by Kuldeep Vyas, two Hindi Music Video Albums by Kunal Sanjay Mehra, namely Ek Tasveer and Lambi Si Sadak, Hindi short film Delude, Directed and Produced by Nischal Sharma, Short film Kitchen-19, Directed by Eshan Harsh, Telugu music video album Kala Musical, sung by Neha Karode, Hindi short film Bulletproof Anand, Directed and Produced by Alok Sharma, Hindi Short Film Rangrez, Directed by Himanshu Kiran Sharma and Produced by Komal Sharma, Kushal Jadhav Directed Hindi short film Newton's Pendulum, Produced by Harishchandra Jadhav, Documentary film B.B. Lal - Doyen of Indian Archaeology, Directed by Dr. Ramadevi Sekhar and Ebenezer Annadoss, and Produced by Usha Abhayakumar, Hindi short film Trivedi Ji, Directed and Produced by Rajesh Tailang, Hindi short film Anubandh, Directed by Sharafat Ali and Anand Singh Chauhan and Produced by Anuradha Narendra Adwani, Kannada feature film Dollu (The Drum), Directed by Sagar Puranik and Produced by Pavan Wadeyar and Apeksha Purohit, and Rajasthani film Namak, Directed by Tanuj Vyas and Produced by Tanuj Vyas and Sachin Tailang.
Somendra Harsh and Anshu Harsh, Managing Trustees of RIFF Film Club and Founders of the Rajasthan International Film Festival, said that besides the film screenings, each day, a talk show (Open Forum) will be organised.
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Cristiano Ronaldo breaks all-time FIFA record after scoring his 806th career goal
The incredible story behind Shackleton's Endurance shipwreck
Bismack Biyombo to donate full NBA salary from this season to build hospital in DR Congo and honor late father
Saturday, 12 March 2022
Families of 'Citgo 6' see release of one member as a hopeful sign for the rest
In today's India, clothing choices signal a deepening religious divide
Chelsea FC: British property developer Nick Candy "still interested in" buying club despite Roman Abramovich sanctions
Friday, 11 March 2022
McDonald's transformed Russia ... now it's abandoning the country
Moscow says it could seize assets Western companies leave behind
Japanese and South Korean leaders agree to boost ties with US to tackle North Korea
India's ruling party soars to election victory in country's most populous state
Famed shipwreck located after 107 years
Global pandemic death toll is three times higher than reported Covid-19 deaths suggest, study finds
Tropical Cyclone Gombe will rapidly intensify before bringing areas of Mozambique months' worth of rain over a few days
Thursday, 10 March 2022
Analysis: Russia and QAnon have the same false conspiracy theory about Ukraine
Massive meteor crater discovered beneath Greenland's ice is much older than thought
Patient who received genetically modified pig heart in groundbreaking transplant surgery dies
'It's a tragedy we are witnessing': How Putin killed off Russia's free press
Wednesday, 9 March 2022
Ivan Kuliak: Russian gymnast says he has no regrets about wearing 'Z' symbol on podium next to Ukrainian athlete -- state media
Parallel Mothers, Review: Swapped babies and a Spanish history lesson from the Master
Parallel Mothers, Review: Swapped babies and a Spanish history lesson from the Master
Expectations suddenly rise when the name Pedro Almodóvar is mentioned. One regrets having missed the screening at IFFI, November 2021, but then Impact Films, Mumbai, of Ashwani Sharma, acquires distribution rights of Parallel Mothers, for India, and holds a press screening at Soho, in Juhu, Bombay, a small but exotic theatre, fixes its release on 11 March 2022, and invites you to catch-up on what you missed out in Goa! Parallel Mothers is not Almodóvar at his masterly best, and yet turns out to be slick and watchable. Now 72, he has made such notable features as All About My Mother and Bad Education. Parallel Mothers is in the running for the Oscars, being nominated for Best Actress (Penélope Cruz) and Best Music (Alberto Iglesias). But are the high expectations met? Read on.
Two women, Janis, who is pushing 40, and Ana, barely 18, are pregnant. Janis, a photographer, has willingly had unprotected sex with an archaeologist-excavator, Arturo, who is one of her subjects, and finds herself carrying his baby. Ana got pregnant after a drinking binge with school classmates, with as many as four of them taking turns at her. When they are in an advanced state of pregnancy, they both get admitted to the same maternity hospital, where, co-incidentally, they share a room. Ana is regretting the pregnancy, while Janis feels that it is about time she had a baby, though the couple have agreed on a no strings attached arrangement. Janis tries to encourage the depressed Ana, while they move about like sleepwalkers along the hospital’s corridors. The few words they exchange in these hours create a very close link between the two, which by chance, develops, complicates, and changes their lives.
Both give birth almost simultaneously, to baby girls. Ana’s mother, an aspiring actress who has separated from her husband, visits her in hospital. Again co-incidentally, both babies are born with conditions that require close monitoring and are kept under observation, away from their mothers, for some time. Continuing her professional activities as a reputed still photographer of people and objects, Janis, who dotes on her baby, also uses the services of a maid and a baby-sitter. She loses contact with Ana, but Arturo visits her shortly after she has given birth. Initially excited, his enthusiasm cools off suddenly. Janis visits him at the hotel where he is staying and asks him what happened. He replies, frankly, “I do not think the girl is my baby. She does not look like me at all.” This complicates things, as Janis has persuaded Arturo to dig out a mass grave where her father was shot and buried, by the politically oppressive Franco regime of Spain. Excavation is a complex operation that requires funds and skilled manpower, though the high-flying Arturo has offered his own services free to his girl-friend. The denial that the baby is his might adversely affect the arrangement about the excavation. But she has not slept with anybody around the period when she met Arturo. Nevertheless, Janis begins to get suspicious. If Arturo is not the baby’s father, she may not be his mother. So, who then is the mother? Is there a parallel mother?
In many ways, Pedro Almodóvar Caballero’s script is a history lesson, sugar-coated with sex without commitment, teenage sex with multiple partners after a drinking binge, lesbianism (Almodóvar is gay!), fashion, glamour photography, bars, cafés and the lot. Take Janis, for example. She has a baby of her own. Then we have her story. Add to that the generation of her parents, grand-parents and great grand-parents. While Almodóvar does not overtly pontificate about social mores over the years, he is quite clear about his indictment of dictatorial regimes, taking the example he knows best - that of his native Spain’s Francisco Franco to make his point. Franco (December 4, 1892 – November 20, 1975) was a general who ruled over Spain as a dictator for 36 years, from 1939, until his death. Francoism professed a strong devotion to militarism, hyper-masculinity, and the traditional role of women in society. A woman was to be loving to her parents and brothers and faithful to her husband, and reside with her family. Official propaganda confined women’s roles to family care and motherhood. Most progressive laws passed by the Second Republic were declared void. Women could not become judges, testify in trial, or become university professors.
With the 1936 elections, the conservative Spanish Confederation of Autonomous Right-wing Groups lost by a narrow margin and the leftist Popular Front came to power. Intending to overthrow the republic, Franco followed other generals in attempting a failed coup that precipitated the Spanish Civil War. Leaving half a million dead, the war was eventually won by Franco, in 1939. With the death of the other generals, Franco quickly became his faction’s only leader. His ideology was called Falangism. In 1947, he declared Spain a monarchy, with himself as regent. Franco’s regime committed a series of violent human rights abuses against the Spanish people, which included the establishment of concentration camps and the use of forced labor and executions, mostly against political and ideological enemies, causing an estimated 200,000 to 400,000 deaths in more than 190 concentration camps. In the film, one such victim was Janis’s grand-father.
Unless you do this bit of reading, you will not be able to grasp the symbolism and the metaphors that run throughout the film, and the entire track about the excavation and exhumation. That might be a tough ask to the lay movie-goer. For most Indians, swapping of babies at birth, of babies being stolen at birth, are age-old tropes. Two headlines from 2018 news stories are worth quoting here:
‘Indian Babies Accidently Switched at Birth’ Babies being switched birth may sound out of the script of a Bollywood masala film, but that is exactly what happened in a hospital in rural ...’
‘India's switched-at-birth babies who refused to swap back’ It is like the plot of a Bollywood film. First, two babies are born within minutes of each other and then accidentally switched at birth…’
A large part of Parallel Mothers’ screen-time is taken by the issues revolving around the babies, and what happens to them, with Almodóvar's melodrama to the fore. It is just unfortunate that we, in India, have had our share of Manmohan Desai, Nasir Hussain, and other directors, who had made baby-swapping and separation a formula, with another variation on the theme: twins or triplets or two or three children separated from the parents, or from each other, at birth, or at a young age. Those of us who go see the film with a mind-set that has these examples to the fore will end up misconstruing the film altogether. And yet, should we blame them for being treated to a surface narrative that seems so familiar to them?
Look out for the heart-warming tight close-ups of the mothers and their babies in their arms, Enjoy the little details like when one woman writes her phone number on a big blank page of a diary and gives it to the other, who immediately tears the lower half, writes her number, and completes the exchange. Enjoy lines like, "All actors these days are leftists," and the message on Janis' T-shirt, "We should all be feminists". Enjoy the exquisitely crafted photo-shoot sessions, and ignore the magnifying glass that Janis uses to check the details of her photo-prints, in an age when photo-paper is passé. It might help to remember that Almodóvar wrote the first draft of Parallel Mothers at least 13 years ago.
Note that Janis is named after singer Janis Joplin, and listen to her singing in the background, even as Ana asks, “Who is Janis Joplin?” Born in Port Arthur, Texas, in 1943, Joplin was a self-described “misfit” in high school, she suffered virtual ostracism, but dabbled in folk music with her friends and painted. She briefly attended college in Beaumont and Austin but was more drawn to blues legends and beat poetry than her studies; soon she dropped out and, in 1963, headed for San Francisco, eventually finding herself in the notoriously drug-fuelled Haight Ashbury neighborhood. Her albums include Big Brother and the Holding Company, Big Brother and the Holding Company – Cheap Thrills, I Got Dem Ol’ Kozmic Blues Again Mama. Joplin died in 1970. And above all, enjoy the sonorous background music of Alberto Iglesias, about which I have only one comment: there is too much of it.
Starring in successive films of Almodóvar on three occasions, this is the seventh pairing of Penélope Cruz Sánchez with the veteran director. Antonio Banderas has eight! Probably 45 when she worked in this film, she continues to exude radiance. Known for Vanilla Sky, Captain Corelli's Mandolin and Murder on the Orient Express, she won Golden Globe and Academy Award nominations for Volver (2006) and Nine (2009). She won the Academy Award for Best Supporting Actress in 2008, for Vicky Cristina Barcelona. She is the first and only Spanish actress to be nominated for and to win an Academy Award, as well as the first to receive a star on the Hollywood Walk of Fame. This role demands a range of complex emotions, and she goes through them with aplomb. The Oscar nomination may be justified, but it will all depend upon the competition. Getting second billing is 25 year-old Milena Smit (Elisa Milena Smit Márquez) as Ana, who made her acting debut only two years ago, and has to undergo a complete physical transformation in the second half of the film. Her brave performance is overshadowed by the star in Cruz. Both Cruz and Smit are models, besides being actors.
Israel Elejalde as Arturo is well cast, looking his part, and managing to stay within the dignity of his character even when exhibiting some shades of grey. Aitana Sánchez-Gijón, who is cast as Teresa Ferreras, Ana’s mother, with her desire to pursue an independent career as a theatre actress, even if she has to fudge her own unfaithfulness as a ground for divorce, is convincing. Competent support is provided by Julieta Serrano as Brígida, Rossy de Palma as Elena and Ainhoa Santamaría as the Babysitter, whose priorities are elsewhere. Cinematography by José Luis Alcaine creates the ‘film’ effect and editing by Teresa Font often uses the match-cut to perfection. Perhaps the film could have been 10-15 minutes shorter than its present two hours’ duration. It is a highly verbose film. In India, it has been certified for exhibition to Adults only, possibly with some cuts in the love-making scenes.
Cinematically aware audiences will be stunned by the ending, and will, for those few moments, forget the film’s earlier narrative. Looking back, one finds the film a bit scattered and trying to tackle too many themes. Yet, I would recommend Parallel Mothers to film-buffs in general, for even if Almodóvar is not at his best, he is still Almodóvar.
Rating: *** 1/2
Trailer: https://www.youtube.com/watch?v=LTSupYhDhOQ
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How feminism became a hot topic in South Korea's presidential election
Prince Andrew has paid settlement to Virginia Giuffre, according to her attorney
Xi says China is willing to play role in mediating Ukraine crisis, in call with European leaders
Family of former US Marine detained in Russia tries to get their son's plight on Biden's radar during Texas trip
South Korea to elect new leader to tackle soaring house prices and inequality
Tuesday, 8 March 2022
CDC adds three high-profile destinations to highest-risk category for travel
What's next for the batsuit?
Russia's attack on Ukraine reveals political fault lines in Asia
The Russian Tea Room in New York City suffers as Ukraine invasion escalates
The push to ban Russian oil is gaining steam. Here's what that means for US energy prices
Monday, 7 March 2022
After decades-long fight, Philippines raises age of sexual consent from 12 to 16
World No. 1 Ko Jin-young shatters records in HSBC Women's World Championship win
Missing ship found after 130 years
Blinken says US is documenting reports of Russian abuses in Ukraine that 'would constitute a war crime'
At least 26 injured as fights break out among fans at Mexican soccer game
Sunday, 6 March 2022
Hong Kong bet on zero-Covid. Now it's facing a 'preventable disaster'
Stoli vodka announces rebrand
Russia's answer to Google warns it may not be able to pay its debts
Sydney faces more rain as death toll from Australian floods rises
Russia's second-biggest oil company calls for end to war
RATMA Film Festival in West Yorkshire, England interviews James W. Hawk - award-winning filmmaker and author
Spring is almost in the air, the pandemic could possibly be coming to an end soon, and a film festival in the U.K interviewed me about my filmmaking and writing. What's not to love about that?
Gareth James, Marcus Gregg, and LJ, the managers of the RATMA film Festival in West Yorkshire, England, interviewed James W. Hawk, award-winning filmmaker and author via Zoom. The RATMA Film Festival is in its tenth year. The interview covers Hawk's filmmaking and writing background and experiences. It is a light-hearted casual event that provides new filmmakers with advice, encouragement, and expectations. It was live-streamed on Friday, February 25.
Here is the link: https://youtu.be/-zcW-w-0cqE
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Etsy buyers purchase digital goods to help Ukrainian artists and small businesses. A Ukrainian weaver who usually makes belts is now making camouflage nets for troops
Saturday, 5 March 2022
After nearly 700 days, Western Australia has opened its borders
Turn down the heat to stop Putin? Europe wrestles with its Russian gas addiction
North Korea launches 9th missile test of the year
Friday, 4 March 2022
Crypto 'superpower?' India's young investors prefer bitcoin to gold and 'boring' stocks
Grab shares crash nearly 40% after posting a $1 billion loss
Airbus to test new engine on A380 jet
Winter Paralympics set to get underway in Beijing following exclusion of Russia and Belarus
France's Macron launches bid for second term as president
Thursday, 3 March 2022
Here are the companies pulling back from Russia
Amazon is closing all of its physical bookstores
Fitbit recalls 1.7 million smartwatches due to burn hazard
Apple sets date for first product launch of the year
Melinda French Gates opens up about her divorce: 'I couldn't trust what we had'
Opinion: As the granddaughter and daughter of Jews who escaped Kyiv, I cannot remain silent now
Wednesday, 2 March 2022
Wheat futures are soaring. Food prices could be next
Exxon is quitting its last Russian project
The UK's clampdown on Russian money is complicated. Here's why
Celeb-packed shows and bombastic sets return at Milan Fashion Week
Search reveals 169 potential unmarked graves at former Canadian residential school, officials say
Australia continues flood relief and rescue efforts as Sydney braces for heavy rains
The Territory, Alex Pritz, Documentary, 2022
Alex Pritz’s case study of an indigenous Brazilian Amazon rain forest tribe focuses on the perspectives of the tribe, defending their existence and their forest. The documentary reflects the current systemic problems faced by many others in the Americas, Europe, Africa, and Asia; the disappearance of rain forests, destruction and disregard of indigenous cultures, absence of medical services for tribal and other minority groups, and the domination of policy making by powerful economic interest groups.
No effective action is taken to protect these groups and their livelihood. Brazil is an excellent example of this endemic process. Contrary to well-meaning and pro-forma declarations by policy makers, the deforestation of the Amazon is the highest since 2006 and has accelerated since the 2018 election of Brazilian president Jair Bolsonaro. Under the current government, 8,110 square miles of rainforests disappeared from August 2020 to July 2021, an increase of 22% compared to the prior year. About one third of the cleared rainforest areas are used for large scale farming but also for illegal gold mining and other land abuses. A pending legal case suspended by the current Brazilian supreme court could have overruled previous protections of for the Amazon and its indigenous peoples. The case was initiated by the agri-business and Brazil’s right wing president Bolsonaro. Bolsonaro may be replaced by Luiz Inácio Lula Da Silva in the elections scheduled for October 2022. If Da Silva is elected, protections for more of the Amazon Forest areas and its indigenous peoples may increase. There are about half a million indigenous people in the Amazon, including more than 170 ethnic groups. Their confirmed Covid-19 infection and mortality rate has been estimated to have reached 25,000 and 670 respectively by COIAB (Coordination of the Indigenous Organization of Brazilian Amazon), collecting data since March of 2020. These rates were more than 100% higher than the Brazilian national rates.
Against this background Alex Pritz’s documentary, the Uru-Eu-Wau-Wau tribe offers persuasive community based reflections of the remaining members of the tribe, which has shrunken from several thousand before the incursions by outsiders took place in the eighties to about 200 today. The audience learns about the everyday life of children and adults, the problems they face protecting their territory, and their battles against the invaders. The Uru-Eu-Wau-Wau are supposedly shielded by regulations and the law which are rarely applied. Their lands have been invaded for decades by perspective settlers, illicit gold miners, and others. Survival entails a high stakes existence attempting the protection of life, the preservation of language and culture, and the safeguarding of traditional living in the Amazon rainforest. Given the close collaboration of Pritz with members and leaders of the tribe, The Territory turns into a co-production. The Uru-Eu-Wau-Wau’s struggle against invaders generates powerful imagery of their lives and the reactions of tribal members engaged in this struggle. Pritz has provided a compelling documentation. The opinions of land grabbing individuals burning down the forest to get a title to the land, justifying their invasion with Bolsonaro’s claims to “make Brazil bigger and wealthier” and “to liberate the land because there are no people living in the amazon forest” is contrasted against the tribal peoples fighting for their rights by defending their territory through modern media technologies, filming traces of illicit settlements and mines, and using drones to record deforestation and new farms. The Uru-Eu-Wau-Wau apply any and all audiovisual means to retain their history, culture, and language, before they are lost. With modern tools, their spirit of resistance is sharpened. They are the guardian of their forest territory, though surrounded by settlers without support. They decide to close it off to anyone, despite facing the murder of one of their guardian members and death threats to others.
The Territory is an exemplary case study that makes the struggle of tribal peoples transparent to the world. Critical reactions at Sundance praised Pritz’s collaborative approach, the cinematographic execution, and the tribe’s continuous struggle against all odds. The Territory was acquired by National Geographic Documentary Films, ensuring wide distribution.
New York Claus Mueller
filmexchange@gmail.com
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Can you like me a bit ( Artist- memoir ) 。

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Tuesday, 1 March 2022
World's largest plane destroyed in Ukraine
Armani pays tribute to Ukraine suffering with silent show
RT sees its influence diminish as TV providers and tech companies take action against the Russia-backed outlet
How a 1936 treaty could force Turkey to take sides in the Ukraine war
Across Ukraine's Black Sea coast, Russia's strategy is hard to see
The world is careening towards crucial tipping points that could alter the Earth forever, major UN report shows
Metium (flute) of Zeme tribe

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Admission open for the academic year 2019-2020 at Rani Gaidinliu Memorial Junior College at Boro-Haflong, Dima Hasao, Assam. Free ...
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source https://www.msn.com/en-in/entertainment/other/nadeem-opens-up-on-the-wish-that-remains-unfulfilled-as-one-half-of-the-musical-duo-s...