Finally, my uneventful binge watching boring movies ended with ‘2012’ and ‘Paa’.
2012 is a big, splashy and loud movie, more exhilarating that anything I had experience before. The movie portrays the year 2012 as the end of the world. For some, the story would be an example of idiocy, but it can be seen as a possible future outcome of happenings like solar storms, global warming, etc.
The problem with the movie is that it straight away jumps into the core issue without a build-up. It uses an ancient Mayan prophecy to establish the doomsday scenario. With some complains that it is a preposterous film, there's enough cheese here to satisfy the wildest of action movie buffs. Massive explosions, colossal waves, flipping cars, tumbling trains, cracking and drowning cities improbable escapes, mammoth sized arcs, it’s all there. It’s irresistibly entertaining.
But Paa, for me, is the star of the year. Yet another blockbuster from the Big B, it is a simple film told in the most simplistic manner.
Auro is a 13-year old progeria patient, a disease which causes accelerated ageing. Defying his looks of a 65-year-old, Auro is the same naughty 12-year old boy, who runs around, asks for piggybacks and plays in puddle. Auro has completely percolated down into Amitabh; it is only the vulnerability of the character that touches you, not the trademark baritone voice of Amitabh. It is indeed a casting masterstroke. Vidya Balan plays single-mum Vidya, who raises Auro with some help from her mother, after dumping her selfish boyfriend in college, when he suggests an abortion. Amol (Abhishek Bachchan) is not ready for marriage; he is keen to follow his father into politics. Years later, Amol, who is now a Member of Parliament, accidentally meets Auro at a school event, both oblivious to the fact that they are father and son.
Contrary to what the film’s marketing conveys, Paa is actually a mother-son story. The first half of Paa unfolds breezily, with witty dialogue and clever scenes. Even in delicate scenes, the obvious pitfalls have been avoided, that come with stories about characters suffering from grim conditions.
The only problem in the movie is an embarrassingly scripted tiff between the politician Amol and the media. Other than this, the excellent prosthetic make-up, dazzling cinematography and shooting score make Paa and easy, enjoyable watch. The movie clearly establishes how Indian film industry is trying to push the boundaries to a different level. Amitabh surely is going to bag awards for his brilliance in ‘Paa’.
2012 is a big, splashy and loud movie, more exhilarating that anything I had experience before. The movie portrays the year 2012 as the end of the world. For some, the story would be an example of idiocy, but it can be seen as a possible future outcome of happenings like solar storms, global warming, etc.The problem with the movie is that it straight away jumps into the core issue without a build-up. It uses an ancient Mayan prophecy to establish the doomsday scenario. With some complains that it is a preposterous film, there's enough cheese here to satisfy the wildest of action movie buffs. Massive explosions, colossal waves, flipping cars, tumbling trains, cracking and drowning cities improbable escapes, mammoth sized arcs, it’s all there. It’s irresistibly entertaining.
But Paa, for me, is the star of the year. Yet another blockbuster from the Big B, it is a simple film told in the most simplistic manner.
Auro is a 13-year old progeria patient, a disease which causes accelerated ageing. Defying his looks of a 65-year-old, Auro is the same naughty 12-year old boy, who runs around, asks for piggybacks and plays in puddle. Auro has completely percolated down into Amitabh; it is only the vulnerability of the character that touches you, not the trademark baritone voice of Amitabh. It is indeed a casting masterstroke. Vidya Balan plays single-mum Vidya, who raises Auro with some help from her mother, after dumping her selfish boyfriend in college, when he suggests an abortion. Amol (Abhishek Bachchan) is not ready for marriage; he is keen to follow his father into politics. Years later, Amol, who is now a Member of Parliament, accidentally meets Auro at a school event, both oblivious to the fact that they are father and son.Contrary to what the film’s marketing conveys, Paa is actually a mother-son story. The first half of Paa unfolds breezily, with witty dialogue and clever scenes. Even in delicate scenes, the obvious pitfalls have been avoided, that come with stories about characters suffering from grim conditions.
The only problem in the movie is an embarrassingly scripted tiff between the politician Amol and the media. Other than this, the excellent prosthetic make-up, dazzling cinematography and shooting score make Paa and easy, enjoyable watch. The movie clearly establishes how Indian film industry is trying to push the boundaries to a different level. Amitabh surely is going to bag awards for his brilliance in ‘Paa’.
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