Black Swan : Watch it for Natalie

Sometimes you leave the theatre with not fullest understanding of what the movie was about. Like for Inception. So is for Black Swan. You get enthralled nonetheless. It’s beautifully pictured and ensemble of a sincere cast. Darren Aronofsky was dead-on in executing his vision of this movie. I have seen his pi and requiem of dream before, and was expecting no less.

Black swan is a struggle of saint hearted white swan to get acquainted with but thereby acquiring the traits of black swan, the dark side.

It’s an allegory at some level. But what’s supreme about this movie is Natalie’s performance in different moods and state of minds. So wide is her palette that at times screenplay get vivid because of her rather than too stark or repetitive.

It keeps you guessing and you lose sights of reality at times as it uses impressionistic style of rendering her state of mind her hallucinations. Throughout camera point of view stuck her back and you become one with her. This style of moviemaking makes storytelling so engaging . The background score was actually the soundtrack of “swan lake” ballet so it is hard to distinguish where the theme of play ends or the life striving to achieve that perfection starts.

Natalie Portman had a good run but so far her roles were too restrictive or limited in terms of scope. This one blows your mind by what is capable of doing.

So subtly used were the special effects that they don’t overpower and fills in the imagination and fear just right. The peak of the story or the imagery of thorns and feathers from her skin so precariously overlaps at the moment it like reaching the crescendo.

This is in some way revives the ballet and the art and perfection around it through form of cinema.

A must watch.

कितने दफे दिल ने कहा दिल की सुनी कितने दफे

कितने दफे दिल ने कहा दिल की सुनी कितने दफे

वैसे तो तेरी ना भी मैंने ढूँढली अपनी खुशी

तू जो गर हां कहे तो बात होगी और ही

दिल ही रखने को कभी, ऊपर पर से सही

कह देना हां... कह देना ... हां ...यूँ ही

कितने दफे दिल ने कहा दिल की सुनी कितने दफे

कितने दफे हैरान हुआ मैं ये सोच के

उठती हैं इबादत की खुशबुएँ क्यों मेरे इश्क से

जैसे ही मेरे ओठ ये छु लेते हैं तेरे नाम को

लगे के सजदा किया कहे के तुझे शबद के बोल दू

के खुदाई छोड़ के फिर आजा तू जमी पे

और जा ना कही तू साथ रह जा मेरे

कितने दफे दिल ने कहा दिल की सुनी कितने दफे

कितने दफे मुझको लगा तेरे साथ उडते हुए

आसमानी दुकानों से ढूंढ के पिघलादु मैं चाँद ये

तुम्हारे इन कानो में पह्ना भी दू बूंदे बना

फिर ये मैं सोच लू समझेगी तू जो मैं न कह सका

पर डरता हू अभी ना ये तू पूछे कही

क्यों लाये हो ये ..क्यों लाये हो ...ये ...यु ही

Extermely melodious song from "Tanu weds Manu"... Mohit sung his heart out...composed by new talent Krsna and sublime lyrics by Rajshekhar. Could not resist sharing this beautifully writen song.

Best ever attyachar..

DevD was a treat for eyes and ear. Amazingly fresh and original fusion music and beautiful frames with artistic compositions one feel like taking big images of each frame and make mood-board in your room typically for booze-party or a bunch of wallpaper slideshow. Remember the close-ups of the 3 faces of the pub-dancers or the wedding singers or the frames in the sugar factory. It is well thought and well executed to the whole visual rhythm of the movie.
Songs and lyrics come and haunt me much later once you go home and listen to music. I mean what Gulzar started with “personal se sawaal...” here it is taken to next level...”bol bol why you ditch me ....”. The master – piece what I feel is not the much hyped ‘emotional attyachar” or instant catchy “nayan tarase:... but “Yehi meri zindagi... “
Abhay is good.. but he is being silent observer of the script and the proceedings and thats what the best part of actor in him. He hardly tries too hard to act. That makes it natural in the bollywood crowd of ham actors. I watched coupla of his movies, ‘Manorama 6 ft’ ... ‘Honeymoon travels’ and now I can blindly go if he is in there. That’s a hell of a feat in recent times where movie start with promise one has to endure through second half.

Paro’s character does change in the course of a movie making one feel is it intentional or accidental. This is felt throughout the movie. Earlier attempts on Devdas are like Chinese riverside paintings of extreme simplistic take on life and uni-dimensional characterisation that is typical of bollywood extravaganzas.

Anurag Kashyap looks like enjoys strong and intense realistic way of telling a story. He is a urban ‘Yo’ version of vishal bhardwaj the master story-teller. Nothing is spared and nowhere realism is over-emphasised or goes overboard as in some of the recent RGV’s flicks. Nobody could portray sexuality as it is done it in here, and it is definitely not a rip-off of west or out-of-place like the one in ‘Dil kabaddi’ where it feels far-fetched and too western.

Music that connects

Music is integral part of our lives, and when me and my friend hang out inevitably topics shifts to things he liked and things I liked listening to in these days, ...its like a co-discovery.... he was telling me, incidences around some songs - Once the legendary S D Burman was composing a song and R D of course had his itch to introduce a fleet of instruments at every sam-n-taal. Now S D allowed him to do so and when the song finally came out; RD was aghast as none of it was there in the final cut. SD took care at the time of sound mixing!!
Our thought train such kept crossing lines, finally Pink Floyd and their insistence of perfection. ..in one of the song they wanted a pig's squelching sound, they brought a pig right in the recording studio.
Ek vo din tha aur ek ye din hain...
Now we live in the world of fakes of the likes of pritam who plagiarizes each one of his song from World music and in a way render social service to the ignorant people pf India. Some of the originals are from Korean movies even some from TV serials ..and are worth listening to as you would like them even without understanding the lyrics.