கொஞ்சூண்டு பாத்திரம் தான் இருந்துது. எதைப் போட்டுக் கேக்கலாம்னு டயர்ட் ஆகும்போது, இந்த ட்ராப்! Lovely interview! https://t.co/ecK2OHqoyW

Such robust and formally challenging storytelling. Flatly refusing to comfort the viewer.

Now watching Naan Kadavul. Zero flab for exposition. Character dynamics and equations gradually reveal over the years. (Not much of detailing or shades in the individual character sketches as such but more of the equations and relations between what each archetype represents.)

The extent of censor cuts in PARASAKTHI has made me more interested in it. Thinking of catching it on big screen now! (Was thinking of skipping both big releases otherwise.)

It is thus important to see action in inaction and inaction in action. (Love this phrase from Gita!)

So, i start with Sátántangó straight away?

https://t.co/5KpNV7l0bb

Wow, speaking of what a good screenplay is, Bahul Ramesh says it should be something that's not template-ish and "not generic," and that he got this word from BR himself! https://t.co/SNS5q2aoHg Are we formally at a stage where critics do shape films that get made in some way?

Rewatch of just 2-3 of the flashback scenes. The first half of this film is an absolute ★★★★★ masterpiece.

I'm 100% sure Sriram Raghavan and team thought a lot about these strands and it must have been a very considered decision to keep them out of the movie for various reasons. But insofar as these were functional reasons, I'm inclined to think of it as a lost opportunity.

You can find the details here: https://t.co/xr5deDD2ha.

*Some* connection should not even be surprising if you have a good intuition of such relations but these 2 groups in particular seem to go a long way back and have a shared history. Here's another. The Poona Horse left their tanks and equipment at Risalpur for the 13th Lancers!

The India (17th Horse or the Poona Horse) and Pak regiments (13th Lancers) that fight each other in the end of the movie actually had close connections as well. A squadron of people from the latter (Sikh squadron) got allotted to the former at the time of partition!

Even if it's not core underlying current as such. (I for one won't be surprised if it indeed was!) And you know what, here's something I just chanced upon trying to read some bit of history (it's always a movie that makes us do this, folks!):

.. from a past that look distant and wistful and not something still vibrant and point to an alternate possibility. All this might seem like asking for too much. But my humble submission is, if you look into this subject, it seems ripe enough to explore this very strain.

.. perspective the film itself builds beyond the individual character dispositions. Here, wrt the the strong cultural ties, the film is muted and frankly quite tame. There are moments of shared cultural memories evoked in the movie but they remain, well, just that: memories..

.. exact manners (!). I think it's highly likely the case, and as a naive viewer, I trust someone like Sriram Raghavan (who creates a strong Pune connection even in THIS movie!) to have brough in the right kind of detailing and character sketches. My question is on the broader..

... military code and discipline which Indians inherit from the west and specifically the British but have only generic gestures of hugs and humanism when it comes to the sameness of these people! My case is not that these military men themselves are not anglicised in these..

.. his college years and his childhood in Pakistan. But the film's emotions are muted in these stretches even as it makes these points almost as mere matters of fact. ("He _is_ home" and so on.) It was almost like Sriram Raghavan inadvertently privileges the honour in the..

The specificity of the tragedy of people who are pretty much the same but find themselves at either end of the war does not hit us as much as it should. This seems important to the film because of the very scenario it deals with: the high-ranking officer yearns to return to..