Yeh bandar bana hum sabke pyar main
—Dilli 6
Dilwalon ke seher Dilli. Where if the blue line buses don’t kill you, the babalog in BMWs will. And where love turns people into simians.
Following his harrowing look at true evil in “Aks” (Manoj Vajpai’s performance being truly a crime against God) and the capturing of the spirit of Youngistan and its revolutionary “Be the Change” message in “Rang De Basanti” (subsequently shamelessly copied by Burback O Bama), Raykesh Om Prakash Mehra is back with a heartfelt love sonnet to Dilli, jahan se, as a great poet once said, log billi ke dudh peeke aate hain.
Continue reading ‘Dilli 6— the Review’
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As a director, Anurag Kashyap, the Hindi movie industry’s most experimental young film-maker, provokes extreme reactions. To some, he is a misunderstood genius, a modern master with a distinct visual and cinematic style, an anti-establishment icon who will not apologize or compromise on his creativity. To many others, his movies are monuments to narcissism where he often gets so carried away by his single-minded obsession with raising a “Beat that you punks” symbolic middle finger to imagined enemies, that he drops the ball with regards to the very basics of the filmmakers craft—of being understandable and of being able to sustain audience interest.
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