list http://www.spout.com/ Recent community activity around Lagaan: Once Upon a Time In India on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Lagaan_Once_Upon_a_Time_In_India/196749/default.aspx Title: Lagaan: Once Upon a Time In India
Year: 2001
Director: Ashutosh Gowariker
Plot: One of the most expensive films ever to come out of Bollywood, Lagaan tells the tale of the Indian village Champaner, beset by drought and British colonialism in the year 1893. Without a drop of rain in months, the worried villagers of Champaner decide to ask the local authorities for a temporary repeal of their taxes -- the hated lagaan. Led by the heroic Bhuvan (Indian superstar Aamir Khan) they bring their plight to the military governor, Captain Russell (Paul Blackthorne). But the sadistic Russell threatens to raise the lagaan threefold, unless the villagers can beat his men at a game of cricket, in which case he'll lift taxes on the entire province for a period of three years. Bhuvan accepts the challenge, but there's a problem -- no one in Champaner knows how to play cricket. A band of misfits come to the rescue, coached by Russell's soft-hearted sister Elizabeth (Rachel Shelley), and the race is on to be ready in three months' time. An epic reworking of Victory with eye-popping song-and-dance routines, Lagaan was a major cinematic event in India upon its release. ~ Connor McMadden, All Movie Guide
Times Tagged: 9
Number of Lists: 4
Number of blog posts: 3
SpoutRating: 4
]]>Tue, 03 Mar 2009 22:03:10 GMTLagaan: Once Upon a Time In India2001Ashutosh GowarikerOne of the most expensive films ever to come out of Bollywood, <a href=/films/307383/default.aspx style='text-decoration:underline'>Lagaan</a> tells the tale of the Indian village Champaner, beset by drought and British colonialism in the year 1893. Without a drop of rain in months, the worried villagers of Champaner decide to ask the local authorities for a temporary repeal of their taxes -- the hated lagaan. Led by the heroic Bhuvan (Indian superstar Aamir Khan) they bring their plight to the military governor, Captain Russell (Paul Blackthorne). But the sadistic Russell threatens to raise the lagaan threefold, unless the villagers can beat his men at a game of cricket, in which case he'll lift taxes on the entire province for a period of three years. Bhuvan accepts the challenge, but there's a problem -- no one in Champaner knows how to play cricket. A band of misfits come to the rescue, coached by Russell's soft-hearted sister Elizabeth (Rachel Shelley), and the race is on to be ready in three months' time. An epic reworking of <a href=/films/36864/default.aspx style='text-decoration:underline'>Victory</a> with eye-popping song-and-dance routines, <a href=/films/307383/default.aspx style='text-decoration:underline'>Lagaan</a> was a major cinematic event in India upon its release. ~ Connor McMadden, All Movie Guide9Taggedy Taggged (6-10)434http://www.spout.com/ProductImages/t14860sh1ze.jpghttp://www.spout.com/films/Lagaan_Once_Upon_a_Time_In_India/196749/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/3/3/40799.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/3/2009 5:03:10 PM
Body: In addition to winning Best Picture (and seven other awards) at the Oscars last week, Slumdog Millionaire passed a major box office benchmark. It has now grossed more than $100 million in the U.S., which is pretty astonishing for a film with one-third of its dialogue in a foreign language. But is Slumdog’s popularity a one-shot in terms of its audience’s interest in India, or are moviegoers actually now more curious about the nation and its own films? Some websites are simplifying the question of whether or not Slumdog will be a gateway film with polls asking if American moviegoers will now “go Bollywood” (40% of Cinematical readers flat out answered, “no.”), which is rather silly since Danny Boyle’s movie bears no resemblance to the majority of Bollywood pictures. In fact, Americans have in the past received far greater entry points into Indian cinema by way of films involving Anglo or NRI (non-resident Indian) protagonists directed by culturally bridging filmmakers (such as NRI helmers Deepa Mehta, Mira Nair and Gurinder Chadha), than the more-touristy type of filmmaking represented with Slumdog. If someone truly wants to become familiar with Bollywood, he or she should probably just jump right in and then patiently get used to the style, which can be quite difficult for Westerners to immediately grasp. The extremely interested might benefit from reading the section on popular Indian cinema in Dimitris Eleftheriotis and Gary Needham’s Asian Cinemas: A Reader & Guide, a book that does a really great job acquainting the Western spectator with Eastern film form. Or, the more casually curious cinephile could simply follow our guide to accessible Indian (or India-based) films for the Slumdog lover to watch next: Sita Sings the Blues (Nina Paley, 2008) What it’s about: Paley’s semi-autobiographical animated feature self-deprecatingly depicts the events of the filmmaker’s divorce crosscut with a somewhat paralleling adaptation of part of the epic Indian poem Ramayana. Why you should see it: Although not an Indian production nor made by an Indian filmmaker, Sita does offer an entry point for the mythological genre of Indian films and/or an introduction to Hindu myths, a number of which are the basis for a lot of Bollywood musical numbers. If that’s not enough reason, though, here’s what Karina wrote about the film in her review: “Sita Sings the Blues is a strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Where to see it: Sita won the Gotham Award for Best Film Not Playing at a Theater Near You and will infamously remain without a distributor forever. However, those of us in the NYC area can watch the film on PBS’ Reel 13 program on March 7. Those of you outside New York are in luck, too; the film is currently available for free on Reel 13’s website as a streaming video. Salaam Bombay! (Mira Nair, 1988) What it’s about: A 10-year-old boy tries to survive on the streets of Bombay (now Mumbai) after being told to go out and find work by his mother. Why you should see it: With all the crossover movies from the past two decades dealing with interracial relationships, arranged marriage and the complications of NRI life, Nair’s films are typically the most entertaining. But while minor gateways could be found in her films The Namesake (starring Harold & Kumar’s Kal Penn), Mississippi Masala (starring Denzel Washington) or the very enjoyable Monsoon Wedding, this Oscar-nominated drama might be what Slumdog fans seek most if primarily interested in more “poverty porn.” Like Slumdog, Salaam Bombay! even starred actual non-professional street children. Where to see it: Available on DVD. Pather Panchali (Satyajit Ray, 1955) What it’s about: The first installment of Ray’s Apu trilogy (which also includes Aparajito and The World of Apu), Pather Panchali is a tragedy-filled tale of a poor family living in rural Bengal in the 1920s and concentrates on the coming of age story of young Apu. Why you should see it: Aside from being one of the greatest films ever made, let alone one of the greatest Indian films, Pather Panchali tells a universal story of family and is quite Western in form (for one thing, it lacks musical numbers), a fact that made it somewhat looked down upon in its own country. But in addition to its accessibility, it can also serve as a starting point to melodramatic conventions found in many classic Indian films. The abandoning patriarch, the significantly strong matriarch and other common national metaphors are present and will familiarize you for the next title on this list. Where to see it: This is one of those films that’s constantly being screened at repertory houses, so see it on a big screen if you have the chance. Otherwise, the entire Apu trilogy is unfortunately out of print on DVD. But such masterpieces can’t possibly be unavailable for too long, so pick up a box set whenever one is released. Mother India (Mehboob Khan, 1957) What it’s about: An epic maternal melodrama and metaphor for post-colonial India, Khan’s Oscar-nominated film focuses on a poor Indian family throughout many years, as the patriarch leaves the home and the mother is left to deal with two very different sons. Why you should see it: If you enjoy Pather Panchali, you may at least appreciate the story of Mother India, though the latter has a much more melodramatic and emotional tone. Unlike Pather Panchali, it does feature musical numbers as well as a bit of comic relief, courtesy of a very bratty little boy. Also, it’s basically the Gone With the Wind of India, at least in terms of its national significance — and one familiar-looking shot — if not in terms of its plot. Where to see it: Available on DVD. Lagaan: Once Upon a Time in India (Ashutosh Gowariker, 2001) What it’s about: Oppressed Indian villagers battle against their British governors … in a cricket match seemingly depicted in real time. Also, one of the villagers becomes entangled in a love triangle between his true love and a British woman, who is also the sister of the film’s villain. Why you should see it: First of all, it’s one of the most accessible foreign films of the last 10 years, period. For the guys: Lagaan is just like all your favorite underdog sports flicks except that it gives you even more of the game, as well as some singing and dancing here and there (with music by Slumdog Oscar-winner A.R. Rahman). So what if you don’t know anything about cricket; just pretend it’s baseball. For the gals: there’s just as much romance as cricket playing. Advice for both sexes: you might want to fast forward through the song that the British woman sings. It’s the single unbearable moment in the nearly 4-hour film. Where to see it: Apparently unavailable through rental sites like Netflix, but you can pick up a DVD through Amazon affiliates. Hum Tum (Kunal Kohli, 2004) What it’s about: Basically, though not officially, it’s the Bollywood remake of When Harry Met Sally. Why you should see it: If Lagaan is the perfect gateway for guys, Hum Tum is the perfect gateway for girls, although like Lagaan, this film has something for both sexes. All guys can appreciate When Harry Met Sally, after all, right? Where to see it: Also unavailable through Netflix, but you can find a very cheap all-region DVD through Amazon affiliates. Abhimaan (Hrishikesh Mukherjee, 1973) What it’s about: Inspired by A Star is Born, a famous singer meets, falls for and fosters the career of a young woman, who ends up more popular than him. Why you should see it: First of all, every Slumdog fan should become acquainted with Amitabh Bachchan (the celebrity whose autograph the young excrement-covered Jamal acquires), who costars here with his real-life wife Jaya Bhaduri (a bigger star at the time). Second of all, because the musical numbers all figure into the plot, either as recording studio sequences or concert performances, there’s not as much of that jarring, interruptive nature of most Bollywood musicals. Where to see it: Available on DVD. It’s also one of the many Indian films available for streaming on Netflix’s Watch Instantly. Amar Akbar Anthony (Manmohan Desai, 1977) What it’s about: Another great metaphor for post-colonial India, this other Bachchan-starring classic tells the story of three brothers separated as infants, who end up growing up under very different circumstances. One is adopted by a Hindu policeman and becomes the same; one is brought up by a Muslim taylor and becomes a popular singer; and the third (played by Bachchan) is raised Catholic and enters a life of crime. Why you should see it: For more Amitabh Bachchan after he became India’s favorite actor. Though not technically a great film, it is filled with a lot of absurd moments and can serve as a gateway for those cinephiles who can only approach new things first through ironic appreciation. Such viewers should really love the Easter scene in which Bachchan jumps out of a giant egg wearing a top hat and monocle to sing a song about himself. Where to see it: Currently available on DVD. Krrish (Rakesh Roshan, 2006) What it’s about: This sequel to the sci-fi movie Koi…Mil Gay is your typical superhero action flick, except done in the style of Bollywood. Why you should see it: This one is primarily for getting your kids into Indian cinema, because kids will watch just about any superhero movie, regardless of the language or setting. Though the original more-E.T.-than-Superman film, Koi…Mil Gay, should probably be watched first, there’s nothing wrong with making this your primary gateway for the little ones. Where to see it: Currently available on DVD Vanaja (Rajnesh Domalpalli, 2006) What it’s about: Set in South India and controversially made outside the local “Tollywood” film industry, Domalpalli’s comparatively non-musical film follows the story of a 14-year-old girl who is pretty much sold off by her father to a wealthy landowner who puts her to work while also teaching her traditional Kuchipudi dance. Why you should see it: While not very relative to Slumdog or most of the other films on this list, Vanaja will open up viewers to other cinemas of India, even if this rather Western-form film was a Columbia University graduate thesis film and even if it is considered more “art house” than the popular cinema of the Indian state of Andhra Pradesh. Like the slightly similar coming of age art house film Pather Panchali, Vanaja is a wonderful film and a terrific start for beginners. But because this film features Indian music and dance, it may also function as a gateway to the typical musical films of India, either produced in Andhra Pradesh or Mumbai (Bollywood) Where to see it: Available on DVD. Originally posted on:SpoutBlog
]]>Tue, 03 Mar 2009 22:03:10 GMTSpoutBlogSpoutBlog on spout.com3/3/2009 5:03:10 PMIn addition to winning Best Picture (and seven other awards) at the Oscars last week, Slumdog Millionaire passed a major box office benchmark. It has now grossed more than $100 million in the U.S., which is pretty astonishing for a film with one-third of its dialogue in a foreign language. But is Slumdog’s popularity a one-shot in terms of its audience’s interest in India, or are moviegoers actually now more curious about the nation and its own films? Some websites are simplifying the question of whether or not Slumdog will be a gateway film with polls asking if American moviegoers will now “go Bollywood” (40% of Cinematical readers flat out answered, “no.”), which is rather silly since Danny Boyle’s movie bears no resemblance to the majority of Bollywood pictures. In fact, Americans have in the past received far greater entry points into Indian cinema by way of films involving Anglo or NRI (non-resident Indian) protagonists directed by culturally bridging filmmakers (such as NRI helmers Deepa Mehta, Mira Nair and Gurinder Chadha), than the more-touristy type of filmmaking represented with Slumdog. If someone truly wants to become familiar with Bollywood, he or she should probably just jump right in and then patiently get used to the style, which can be quite difficult for Westerners to immediately grasp. The extremely interested might benefit from reading the section on popular Indian cinema in Dimitris Eleftheriotis and Gary Needham’s Asian Cinemas: A Reader & Guide, a book that does a really great job acquainting the Western spectator with Eastern film form. Or, the more casually curious cinephile could simply follow our guide to accessible Indian (or India-based) films for the Slumdog lover to watch next: Sita Sings the Blues (Nina Paley, 2008) What it’s about: Paley’s semi-autobiographical animated feature self-deprecatingly depicts the events of the filmmaker’s divorce crosscut with a somewhat paralleling adaptation of part of the epic Indian poem Ramayana. Why you should see it: Although not an Indian production nor made by an Indian filmmaker, Sita does offer an entry point for the mythological genre of Indian films and/or an introduction to Hindu myths, a number of which are the basis for a lot of Bollywood musical numbers. If that’s not enough reason, though, here’s what Karina wrote about the film in her review: “Sita Sings the Blues is a strange and beautiful little film, a potentially wispy slice of autobiography smartly elevated through irresistible, orgiastic style.” Where to see it: Sita won the Gotham Award for Best Film Not Playing at a Theater Near You and will infamously remain without a distributor forever. However, those of us in the NYC area can watch the film on PBS’ Reel 13 program on March 7. Those of you outside New York are in luck, too; the film is currently available for free on Reel 13’s website as a streaming video. Salaam Bombay! (Mira Nair, 1988) What it’s about: A 10-year-old boy tries to survive on the streets of Bombay (now Mumbai) after being told to go out and find work by his mother. Why you should see it: With all the crossover movies from the past two decades dealing with interracial relationships, arranged marriage and the complications of NRI life, Nair’s films are typically the most entertaining. But while minor gateways could be found in her films The Namesake (starring Harold & Kumar’s Kal Penn), Mississippi Masala (starring Denzel Washington) or the very enjoyable Monsoon Wedding, this Oscar-nominated drama might be what Slumdog fans seek most if primarily interested in more “poverty porn.” Like Slumdog, Salaam Bombay! even starred actual non-professional street children. Where to see it: Available on DVD. Pather Panchali (Satyajit Ray, 1955) What it’s about: The first installment of Ray’s Apu trilogy (which also includes Aparajito and The World of Apu), Pather Panchali is a tragedy-filled tale of a poor family living in rural Bengal in the 1920s and concentrates on the coming of age story of young Apu. Why you should see it: Aside from being one of the greatest films ever made, let alone one of the greatest Indian films, Pather Panchali tells a universal story of family and is quite Western in form (for one thing, it lacks musical numbers), a fact that made it somewhat looked down upon in its own country. But in addition to its accessibility, it can also serve as a starting point to melodramatic conventions found in many classic Indian films. The abandoning patriarch, the significantly strong matriarch and other common national metaphors are present and will familiarize you for the next title on this list. Where to see it: This is one of those films that’s constantly being screened at repertory houses, so see it on a big screen if you have the chance. Otherwise, the entire Apu trilogy is unfortunately out of print on DVD. But such masterpieces can’t possibly be unavailable for too long, so pick up a box set whenever one is released. Mother India (Mehboob Khan, 1957) What it’s about: An epic maternal melodrama and metaphor for post-colonial India, Khan’s Oscar-nominated film focuses on a poor Indian family throughout many years, as the patriarch leaves the home and the mother is left to deal with two very different sons. Why you should see it: If you enjoy Pather Panchali, you may at least appreciate the story of Mother India, though the latter has a much more melodramatic and emotional tone. Unlike Pather Panchali, it does feature musical numbers as well as a bit of comic relief, courtesy of a very bratty little boy. Also, it’s basically the Gone With the Wind of India, at least in terms of its national significance — and one familiar-looking shot — if not in terms of its plot. Where to see it: Available on DVD. Lagaan: Once Upon a Time in India (Ashutosh Gowariker, 2001) What it’s about: Oppressed Indian villagers battle against their British governors … in a cricket match seemingly depicted in real time. Also, one of the villagers becomes entangled in a love triangle between his true love and a British woman, who is also the sister of the film’s villain. Why you should see it: First of all, it’s one of the most accessible foreign films of the last 10 years, period. For the guys: Lagaan is just like all your favorite underdog sports flicks except that it gives you even more of the game, as well as some singing and dancing here and there (with music by Slumdog Oscar-winner A.R. Rahman). So what if you don’t know anything about cricket; just pretend it’s baseball. For the gals: there’s just as much romance as cricket playing. Advice for both sexes: you might want to fast forward through the song that the British woman sings. It’s the single unbearable moment in the nearly 4-hour film. Where to see it: Apparently unavailable through rental sites like Netflix, but you can pick up a DVD through Amazon affiliates. Hum Tum (Kunal Kohli, 2004) What it’s about: Basically, though not officially, it’s the Bollywood remake of When Harry Met Sally. Why you should see it: If Lagaan is the perfect gateway for guys, Hum Tum is the perfect gateway for girls, although like Lagaan, this film has something for both sexes. All guys can appreciate When Harry Met Sally, after all, right? Where to see it: Also unavailable through Netflix, but you can find a very cheap all-region DVD through Amazon affiliates. Abhimaan (Hrishikesh Mukherjee, 1973) What it’s about: Inspired by A Star is Born, a famous singer meets, falls for and fosters the career of a young woman, who ends up more popular than him. Why you should see it: First of all, every Slumdog fan should become acquainted with Amitabh Bachchan (the celebrity whose autograph the young excrement-covered Jamal acquires), who costars here with his real-life wife Jaya Bhaduri (a bigger star at the time). Second of all, because the musical numbers all figure into the plot, either as recording studio sequences or concert performances, there’s not as much of that jarring, interruptive nature of most Bollywood musicals. Where to see it: Available on DVD. It’s also one of the many Indian films available for streaming on Netflix’s Watch Instantly. Amar Akbar Anthony (Manmohan Desai, 1977) What it’s about: Another great metaphor for post-colonial India, this other Bachchan-starring classic tells the story of three brothers separated as infants, who end up growing up under very different circumstances. One is adopted by a Hindu policeman and becomes the same; one is brought up by a Muslim taylor and becomes a popular singer; and the third (played by Bachchan) is raised Catholic and enters a life of crime. Why you should see it: For more Amitabh Bachchan after he became India’s favorite actor. Though not technically a great film, it is filled with a lot of absurd moments and can serve as a gateway for those cinephiles who can only approach new things first through ironic appreciation. Such viewers should really love the Easter scene in which Bachchan jumps out of a giant egg wearing a top hat and monocle to sing a song about himself. Where to see it: Currently available on DVD. Krrish (Rakesh Roshan, 2006) What it’s about: This sequel to the sci-fi movie Koi…Mil Gay is your typical superhero action flick, except done in the style of Bollywood. Why you should see it: This one is primarily for getting your kids into Indian cinema, because kids will watch just about any superhero movie, regardless of the language or setting. Though the original more-E.T.-than-Superman film, Koi…Mil Gay, should probably be watched first, there’s nothing wrong with making this your primary gateway for the little ones. Where to see it: Currently available on DVD Vanaja (Rajnesh Domalpalli, 2006) What it’s about: Set in South India and controversially made outside the local “Tollywood” film industry, Domalpalli’s comparatively non-musical film follows the story of a 14-year-old girl who is pretty much sold off by her father to a wealthy landowner who puts her to work while also teaching her traditional Kuchipudi dance. Why you should see it: While not very relative to Slumdog or most of the other films on this list, Vanaja will open up viewers to other cinemas of India, even if this rather Western-form film was a Columbia University graduate thesis film and even if it is considered more “art house” than the popular cinema of the Indian state of Andhra Pradesh. Like the slightly similar coming of age art house film Pather Panchali, Vanaja is a wonderful film and a terrific start for beginners. But because this film features Indian music and dance, it may also function as a gateway to the typical musical films of India, either produced in Andhra Pradesh or Mumbai (Bollywood) Where to see it: Available on DVD. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/11/13/37289.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/13/2008 5:00:46 PM
Body: Danny Boyle’s new crowd-pleasing film Slumdog Millionaire was originally intended to be shot entirely in English, but apparently due to the preferences of a casting director, about a third of the movie is in Hindi. While this fraction may not be enough to call it a foreign-language film, it could have been enough to turn off subtitle-fearing audiences were the movie not so otherwise accessible due to its feel-good, “Hollywood-style” story involving star-crossed romance, destiny and an ultimate “love conquers all” message. Also, the movie breaks free from one off-putting foreign film tradition by following Man on Fire, Night Watch and TV’s Heroes into the realm of non-traditional subtitling. Slumdog received a standing ovation at the Toronto Film Festival, where it won the People’s Choice Award, and it could very well extend its popularity in the direction of the multiplex crowd. If it’s a hit with moviegoers who aren’t typically open to world cinema, this could be the chance for similarly feel-good foreign films to cross over and reach a wider audience, whether they be upcoming releases like the Sundance-winning Captain Abu Raed or titles from the past that could always use more Netflix-queue love. And so, in the hopes that Slumdog could help open the door to further foreign film consumption, SpoutBlog presents this guide to the most accessible world cinema titles from the past ten years. For every entry-level film on the list, we name a couple of more intermediate titled in the same vein — just in case you get hooked. Amelie Spout.com user leeroy711 recently referred to this imaginative French film as the foreign-language cinema’s “gateway drug.” And it’s certainly true that its fanciful romantic story and colorful tone have won the favor of many a young adult not previously accustomed to European cinema. Never mind that it makes stalking seem a little too precious and innocent — the film’s whimsical title character (played delightfully by Audrey Tautou), full of good intentions and lots of heart, will have you wishing you had such a thoughtful and inventive pursuer. Also worth checking out: A Very Long Engagement; Love Me If You Dare The Chorus Hollywood sometimes seems to have cornered the market on movies about inspirational teachers, especially those involving music instruction. But this French film proves that foreign films can have similarly motivational stories about great educators and their newly encouraged students. Also worth checking out: Small Voices; Monsieur Ibrahim City of God This Brazilian film set in the favelas of Rio can be quite violent, enough to have been compared to gangster films like Goodfellas (though Goodfellas doesn’t have any little kids being shot in the foot). But at its center is the uplifting tale of a boy who makes it out of the slums in order to become a successful writer. Also worth checking out: City of Men (both the TV series and the feature film) Crouching Tiger, Hidden Dragon Martial arts cinema has long been an accessible genre to a large enough portion of Americans, but this film, which became the top grossing foreign-language title in the U.S. (not counting The Passion of the Christ), has managed to acquire fans that don’t normally go for kung fu and wuxia. The main attraction that makes this title more appealing than most is likely its production value, which with its beautiful cinematography and well-crafted special effects allows it to compare to romantic epics out of Hollywood. Also worth checking out: Hero; House of Flying Daggers Lagaan: Once Upon a Time in India The running time of 3 hrs. 43 min. probably seems like a deterrent, but this Bollywood film really does feel a lot shorter than it is. Really. And anyway its compelling story of an underdog cricket team is familiar enough that you don’t have to pay too much attention if you don’t have the time — though it will be difficult to let your attention stray except for during some of the less-adequately translated musical numbers that aren’t so significant or relatable to most Western viewers. Just think of this film as your typical Hollywood sports movie, except instead of the final game being quickly highlighted in the last 30 minutes, it’s seemingly depicted in its entirety for more than an hour. And yes, the ending is a crowd-pleaser. Also worth checking out: The Cup; Monsoon Wedding Life is Beautiful This Oscar-winning film is so feel-good that it comes close to overkill. In fact, a decade after its release, it’s easy to forget just how entertaining it is. Just as we’re more likely to remember the stomach ache after gorging ourselves with delicious sweets or the hangover that follows a great night of drinking, moviegoers often recall only the obnoxiousness that came with an overexposed and over-awarded Roberto Benigni. But don’t let the cynics keep you from enjoying such a heartwarming and inspiriting tale of a “real life Prince Charming.” Also worth checking out: I Served the King of England The Motorcycle Diaries Hollywood could actually take a cue from this film the next time it wants to make one of those prequels detailing the life of an iconic villain (ex: Hannibal Rising), at least if it wants audiences to like the guy enough to forget he grows up to be a murderous rebel. Whether or not you like who and what Ernesto Guevara becomes in the years after The Motorcycle Diaries takes place, you’ll have no trouble falling for his younger self as he ditches his privileged life and devotes himself to a colony of lepers. Also worth checking out: Downfall Pan’s Labyrinth In the tradition of such dark yet magical stories as Alice in Wonderland and The Wizard of Oz, a little girl encounters strange creatures and kind of winds up a princess. It’s ultimately a very sad and depressing film, but the ending at least pretends to be happy, enough that you might think your eyes are watering with tears of joy. Also worth checking out: City of Lost Children Run Lola Run It’s extremely fast-paced, a little bit MTV, a little bit video game, and it features a character you really want to root for, especially because she’s narratively allotted a few do-overs in order to make things right. And mainstream moviegoers love stories of both chance and second chances. Roger Ebert also noted in his review that it’s the kind of film that could play in a sports bar, so perhaps it’s even more of a gateway foreign film for sports fans than Lagaan. Also worth checking out: The Princess and the Warrior; Amores perros Tsotsi Like City of God, this film involves a crime-ridden ghetto, but it’s even more accessible than that film despite its lack of inspiring upward mobility. It could probably appeal most to fans of American “urban” gangster films, but any mainstream moviegoer should enjoy the conventional plot involving a thug who accidentally kidnaps a baby and then changes morally as a result. Also worth checking out: Kolya; Central Station Originally posted on:SpoutBlog
]]>Thu, 13 Nov 2008 22:00:46 GMTSpoutBlogSpoutBlog on spout.com11/13/2008 5:00:46 PMDanny Boyle’s new crowd-pleasing film Slumdog Millionaire was originally intended to be shot entirely in English, but apparently due to the preferences of a casting director, about a third of the movie is in Hindi. While this fraction may not be enough to call it a foreign-language film, it could have been enough to turn off subtitle-fearing audiences were the movie not so otherwise accessible due to its feel-good, “Hollywood-style” story involving star-crossed romance, destiny and an ultimate “love conquers all” message. Also, the movie breaks free from one off-putting foreign film tradition by following Man on Fire, Night Watch and TV’s Heroes into the realm of non-traditional subtitling. Slumdog received a standing ovation at the Toronto Film Festival, where it won the People’s Choice Award, and it could very well extend its popularity in the direction of the multiplex crowd. If it’s a hit with moviegoers who aren’t typically open to world cinema, this could be the chance for similarly feel-good foreign films to cross over and reach a wider audience, whether they be upcoming releases like the Sundance-winning Captain Abu Raed or titles from the past that could always use more Netflix-queue love. And so, in the hopes that Slumdog could help open the door to further foreign film consumption, SpoutBlog presents this guide to the most accessible world cinema titles from the past ten years. For every entry-level film on the list, we name a couple of more intermediate titled in the same vein — just in case you get hooked. Amelie Spout.com user leeroy711 recently referred to this imaginative French film as the foreign-language cinema’s “gateway drug.” And it’s certainly true that its fanciful romantic story and colorful tone have won the favor of many a young adult not previously accustomed to European cinema. Never mind that it makes stalking seem a little too precious and innocent — the film’s whimsical title character (played delightfully by Audrey Tautou), full of good intentions and lots of heart, will have you wishing you had such a thoughtful and inventive pursuer. Also worth checking out: A Very Long Engagement; Love Me If You Dare The Chorus Hollywood sometimes seems to have cornered the market on movies about inspirational teachers, especially those involving music instruction. But this French film proves that foreign films can have similarly motivational stories about great educators and their newly encouraged students. Also worth checking out: Small Voices; Monsieur Ibrahim City of God This Brazilian film set in the favelas of Rio can be quite violent, enough to have been compared to gangster films like Goodfellas (though Goodfellas doesn’t have any little kids being shot in the foot). But at its center is the uplifting tale of a boy who makes it out of the slums in order to become a successful writer. Also worth checking out: City of Men (both the TV series and the feature film) Crouching Tiger, Hidden Dragon Martial arts cinema has long been an accessible genre to a large enough portion of Americans, but this film, which became the top grossing foreign-language title in the U.S. (not counting The Passion of the Christ), has managed to acquire fans that don’t normally go for kung fu and wuxia. The main attraction that makes this title more appealing than most is likely its production value, which with its beautiful cinematography and well-crafted special effects allows it to compare to romantic epics out of Hollywood. Also worth checking out: Hero; House of Flying Daggers Lagaan: Once Upon a Time in India The running time of 3 hrs. 43 min. probably seems like a deterrent, but this Bollywood film really does feel a lot shorter than it is. Really. And anyway its compelling story of an underdog cricket team is familiar enough that you don’t have to pay too much attention if you don’t have the time — though it will be difficult to let your attention stray except for during some of the less-adequately translated musical numbers that aren’t so significant or relatable to most Western viewers. Just think of this film as your typical Hollywood sports movie, except instead of the final game being quickly highlighted in the last 30 minutes, it’s seemingly depicted in its entirety for more than an hour. And yes, the ending is a crowd-pleaser. Also worth checking out: The Cup; Monsoon Wedding Life is Beautiful This Oscar-winning film is so feel-good that it comes close to overkill. In fact, a decade after its release, it’s easy to forget just how entertaining it is. Just as we’re more likely to remember the stomach ache after gorging ourselves with delicious sweets or the hangover that follows a great night of drinking, moviegoers often recall only the obnoxiousness that came with an overexposed and over-awarded Roberto Benigni. But don’t let the cynics keep you from enjoying such a heartwarming and inspiriting tale of a “real life Prince Charming.” Also worth checking out: I Served the King of England The Motorcycle Diaries Hollywood could actually take a cue from this film the next time it wants to make one of those prequels detailing the life of an iconic villain (ex: Hannibal Rising), at least if it wants audiences to like the guy enough to forget he grows up to be a murderous rebel. Whether or not you like who and what Ernesto Guevara becomes in the years after The Motorcycle Diaries takes place, you’ll have no trouble falling for his younger self as he ditches his privileged life and devotes himself to a colony of lepers. Also worth checking out: Downfall Pan’s Labyrinth In the tradition of such dark yet magical stories as Alice in Wonderland and The Wizard of Oz, a little girl encounters strange creatures and kind of winds up a princess. It’s ultimately a very sad and depressing film, but the ending at least pretends to be happy, enough that you might think your eyes are watering with tears of joy. Also worth checking out: City of Lost Children Run Lola Run It’s extremely fast-paced, a little bit MTV, a little bit video game, and it features a character you really want to root for, especially because she’s narratively allotted a few do-overs in order to make things right. And mainstream moviegoers love stories of both chance and second chances. Roger Ebert also noted in his review that it’s the kind of film that could play in a sports bar, so perhaps it’s even more of a gateway foreign film for sports fans than Lagaan. Also worth checking out: The Princess and the Warrior; Amores perros Tsotsi Like City of God, this film involves a crime-ridden ghetto, but it’s even more accessible than that film despite its lack of inspiring upward mobility. It could probably appeal most to fans of American “urban” gangster films, but any mainstream moviegoer should enjoy the conventional plot involving a thug who accidentally kidnaps a baby and then changes morally as a result. Also worth checking out: Kolya; Central Station Originally posted on:SpoutBlog http://www.spout.com/blogs/rik_tod/archive/2008/8/14/34001.aspx Post By: rik_tod
Post To: The Cinema 4 Pylon: SpOutpost
Post Date: 8/14/2008 10:00:55 AM
Body: Director: Paul MorrisonPathé/Momentum, 1:46, colorCinema 4 Rating: 5Last week, I wrote a piece about a film involving a young Brazilian lad with whom I was able to identify due to a shared love we both had for sport. In each case, it was a different, particular sport: mine, baseball; his, soccer. The connecting factor between us was that we both created worlds in which the trivia and paraphernalia surrounding each sport, rather than the sport itself, were the primary basis and focus of our individual obsessions. And each obsession was a way in which we could protect ourselves, sometimes to our detriment, from the familial strife surrounding us, though the boy from Brazil's problems perhaps a bit more political heft to them.In Wondrous Oblivion, we meet another such lad, perhaps the third member of our party, though I am fairly certain that our true number, this group of game-obsessed, youthful dreamers, is in the tens of millions. Given the proliferation of fantasy sports leagues nowadays, perhaps this group has largely either moved fully beyond childhood for such matters, or childhood has now been stretched to Winsor McCay proportions. Regardless, David is a child of those displaced by the war, his parents being Jewish European immigrants. He and his family live in a home in a somewhat shabby area of London, though his father's successful grocery keeps the family getting on pretty well -- well enough to look for a bigger home in a better area -- and David in a boy's school, though he is generally not well accepted by the rest of his class.Mostly, this is due to David being rather quiet and shy, and if they gave awards for portraying wide-eyed innocents for much of a film's running length as something near to a git, then the filmmakers would be rolling in the post-show bling. More than anybody else on earth possibly could, David loves cricket. The problem is that David sucks at it. Really, really sucks at it. Can't field, can't hit... the kid can barely throw the ball five feet, and never in a straight line. The one thing that kid has going for him is earnestness, though through my eyes, this just makes him seem a tad simple, and it seems to be that way for his schoolmates as well.Enter the Samuels, the new next door neighbors from Jamaica. Mr. Dennis Samuels immediately erects an elaborate cricket net in their backyard, so they can practice bowling (what we would call pitching in baseball) and then hit the ball safely without smashing out every window in the neighborhood. Dennis has an adorable daughter named Judy with whom David will become enamored, mostly because she, too, is obsessed by cricket. Except her obsession stems from the fact that she is actually good at playing it, not just at mooning over the sport all misty-eyed.This seems like the perfect scenario in which a withdrawn, cricket-mad lad can finally find the guidance he needs in the sport which he loves so much, sometimes to his detriment. Only, most of the neighborhood is unhappy with a black family moving in, and David's family is already under pressure due to their own racial background. When David becomes too close to the Samuels' family, David's parents will bear the brunt of the pressure from local racists and tsk-tsking neighbors, while David remains mostly encased in the comfort of his world where everything is cricket. Or what one of his teachers will describe as David's "wondrous oblivion."This film, like the Samuels family for David, seemed like the perfect opportunity for myself as well. Unlike much of speed and power-obsessed America, where even baseball has become a "boring" sport, I actually enjoy a pastime even slower and more pastoral in nature. Even more so, I like being given chances to see the British love of cricket through more than just a random scene here or there. My pal Eggy leaped upon this knowledge and sent me a copy of the Bollywood film Lagaan a couple of years ago, and she was so right and wonderful to do such a thing. Right in my wheelhouse. I even watch the half-hour Cricket World wrap-up on one of the Asian cable networks every Sunday or so, and check the listings for that once-in-a-while test match that pops up on Fox Soccer Channel without any regularity whatsoever. So, to be handed a film that obsesses as much as its young protagonist over the sport seems too good to be true. Add to this the early '60s London atmosphere, the slow build of an integrated society, and a soundtrack filled with songs from the first wave of ska (a personal favorite genre of music), and it would seem that Wondrous Oblivion couldn't miss with me.And yet, after 105 minutes of merely average drama, I was left wanting so much more. Not that I wanted anything terrible to happen to any of the main characters (except maybe David, who I wanted to punch in the temples every once in a while), but the mounting threat of the violence comes off almost cartoonish, like it wandered in from Absolute Beginners (where at least it seemed far more dangerous, even while being enveloped by lip-synced musical numbers). Everything in this film is all threat -- the possible romance between David's cute, marriage-stunned mother and Mr. Samuels (played by Delroy Lindo, an actor I have never really enjoyed much, in what may be his most perfect role) is all bluff, and ultimately plays false -- and even the cricket scenes are this way. Where I am pleased with the detail to the minutiae of the game, once David learns to play and even become one of the best in his school at the game, the film tails off and doesn't allow us to truly revel in his success. They try to compensate at the end with a scene involving some top-flight stars of the game, but there aren't any fireworks to it. It becomes as workaday as the rest of the film.Even this "wondrous oblivion" David lives in really doesn't come off. The fantasy elements are too underplayed -- almost thankfully, since they are dreadfully done as it is -- for them too work in the piece at large. David's player cards, which he collects throughout the film, come to life in his eyes as he plays his tabletop games, and the effect strikes a note of discord with the rest of the film. It just doesn't match. And so, too, goes the phrase "wondrous oblivion." At the beginning of the film, his teacher says the phrase in reference to David, and somehow the kid picks it up as a personal catchphrase. He uses it whenever something strikes his fancy, but honestly, even though we are told he is a good student, David seems just a tad too daft to pick up on anything, especially a softly whispered minor insult. As a screenwriting device, and as a title, "wondrous oblivion" comes off as too forced.As a film, though, it is anything but forced. It's a walk in the park where you meet a couple of scary muggers, but they are on their day off. It's wistful nostalgia without any sort of grounding on which one can plant their feet for a rest. I don't want to actually dissuade people from seeing it, as it is, on first glance, a well-made film. Their are decent performances from Emily Woof as the mother, and the aforementioned excellent Lindo. The ska music is fine, the party scene is teasing, and the cricket is grand. But don't read "well-made" as "well-crafted," though.Wondrous Oblivion is too caught up in its own fantasy that it is already doing everything right to really care to do it right. And that, on any field, is an "all out."
]]>Thu, 14 Aug 2008 14:00:55 GMTrik_todThe Cinema 4 Pylon: SpOutpost8/14/2008 10:00:55 AMDirector: Paul MorrisonPath&eacute;/Momentum, 1:46, colorCinema 4 Rating: 5Last week, I wrote a piece about a film involving a young Brazilian lad with whom I was able to identify due to a shared love we both had for sport. In each case, it was a different, particular sport: mine, baseball; his, soccer. The connecting factor between us was that we both created worlds in which the trivia and paraphernalia surrounding each sport, rather than the sport itself, were the primary basis and focus of our individual obsessions. And each obsession was a way in which we could protect ourselves, sometimes to our detriment, from the familial strife surrounding us, though the boy from Brazil's problems perhaps a bit more political heft to them.In Wondrous Oblivion, we meet another such lad, perhaps the third member of our party, though I am fairly certain that our true number, this group of game-obsessed, youthful dreamers, is in the tens of millions. Given the proliferation of fantasy sports leagues nowadays, perhaps this group has largely either moved fully beyond childhood for such matters, or childhood has now been stretched to Winsor McCay proportions. Regardless, David is a child of those displaced by the war, his parents being Jewish European immigrants. He and his family live in a home in a somewhat shabby area of London, though his father's successful grocery keeps the family getting on pretty well -- well enough to look for a bigger home in a better area -- and David in a boy's school, though he is generally not well accepted by the rest of his class.Mostly, this is due to David being rather quiet and shy, and if they gave awards for portraying wide-eyed innocents for much of a film's running length as something near to a git, then the filmmakers would be rolling in the post-show bling. More than anybody else on earth possibly could, David loves cricket. The problem is that David sucks at it. Really, really sucks at it. Can't field, can't hit... the kid can barely throw the ball five feet, and never in a straight line. The one thing that kid has going for him is earnestness, though through my eyes, this just makes him seem a tad simple, and it seems to be that way for his schoolmates as well.Enter the Samuels, the new next door neighbors from Jamaica. Mr. Dennis Samuels immediately erects an elaborate cricket net in their backyard, so they can practice bowling (what we would call pitching in baseball) and then hit the ball safely without smashing out every window in the neighborhood. Dennis has an adorable daughter named Judy with whom David will become enamored, mostly because she, too, is obsessed by cricket. Except her obsession stems from the fact that she is actually good at playing it, not just at mooning over the sport all misty-eyed.This seems like the perfect scenario in which a withdrawn, cricket-mad lad can finally find the guidance he needs in the sport which he loves so much, sometimes to his detriment. Only, most of the neighborhood is unhappy with a black family moving in, and David's family is already under pressure due to their own racial background. When David becomes too close to the Samuels' family, David's parents will bear the brunt of the pressure from local racists and tsk-tsking neighbors, while David remains mostly encased in the comfort of his world where everything is cricket. Or what one of his teachers will describe as David's "wondrous oblivion."This film, like the Samuels family for David, seemed like the perfect opportunity for myself as well. Unlike much of speed and power-obsessed America, where even baseball has become a "boring" sport, I actually enjoy a pastime even slower and more pastoral in nature. Even more so, I like being given chances to see the British love of cricket through more than just a random scene here or there. My pal Eggy leaped upon this knowledge and sent me a copy of the Bollywood film Lagaan a couple of years ago, and she was so right and wonderful to do such a thing. Right in my wheelhouse. I even watch the half-hour Cricket World wrap-up on one of the Asian cable networks every Sunday or so, and check the listings for that once-in-a-while test match that pops up on Fox Soccer Channel without any regularity whatsoever. So, to be handed a film that obsesses as much as its young protagonist over the sport seems too good to be true. Add to this the early '60s London atmosphere, the slow build of an integrated society, and a soundtrack filled with songs from the first wave of ska (a personal favorite genre of music), and it would seem that Wondrous Oblivion couldn't miss with me.And yet, after 105 minutes of merely average drama, I was left wanting so much more. Not that I wanted anything terrible to happen to any of the main characters (except maybe David, who I wanted to punch in the temples every once in a while), but the mounting threat of the violence comes off almost cartoonish, like it wandered in from Absolute Beginners (where at least it seemed far more dangerous, even while being enveloped by lip-synced musical numbers). Everything in this film is all threat -- the possible romance between David's cute, marriage-stunned mother and Mr. Samuels (played by Delroy Lindo, an actor I have never really enjoyed much, in what may be his most perfect role) is all bluff, and ultimately plays false -- and even the cricket scenes are this way. Where I am pleased with the detail to the minutiae of the game, once David learns to play and even become one of the best in his school at the game, the film tails off and doesn't allow us to truly revel in his success. They try to compensate at the end with a scene involving some top-flight stars of the game, but there aren't any fireworks to it. It becomes as workaday as the rest of the film.Even this "wondrous oblivion" David lives in really doesn't come off. The fantasy elements are too underplayed -- almost thankfully, since they are dreadfully done as it is -- for them too work in the piece at large. David's player cards, which he collects throughout the film, come to life in his eyes as he plays his tabletop games, and the effect strikes a note of discord with the rest of the film. It just doesn't match. And so, too, goes the phrase "wondrous oblivion." At the beginning of the film, his teacher says the phrase in reference to David, and somehow the kid picks it up as a personal catchphrase. He uses it whenever something strikes his fancy, but honestly, even though we are told he is a good student, David seems just a tad too daft to pick up on anything, especially a softly whispered minor insult. As a screenwriting device, and as a title, "wondrous oblivion" comes off as too forced.As a film, though, it is anything but forced. It's a walk in the park where you meet a couple of scary muggers, but they are on their day off. It's wistful nostalgia without any sort of grounding on which one can plant their feet for a rest. I don't want to actually dissuade people from seeing it, as it is, on first glance, a well-made film. Their are decent performances from Emily Woof as the mother, and the aforementioned excellent Lindo. The ska music is fine, the party scene is teasing, and the cricket is grand. But don't read "well-made" as "well-crafted," though.Wondrous Oblivion is too caught up in its own fantasy that it is already doing everything right to really care to do it right. And that, on any field, is an "all out." http://www.spout.com/members/0/tags/british/MemberTagFilms.aspxbritish
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