Bollywood and culture in an emerging India
(Any opinions expressed here are those of the author, and not necessarily of Reuters)
For a spy thriller that has been in the spotlight for all the wrong reasons, “Vishwaroopam” is surprisingly tame.
What I’ll remember most about “Vishwaroopam” is its technical finesse, breathtaking locations, stark imagery and a crisp edit.
The film, released as “Vishwaroop” in north India, features at least three different religions and five nationalities. It never takes a stance on which God is greater, nor does it brand you a freedom fighter or a radical militant. The central message is that bloodshed will lead to more bloodshed.
A bored, under-appreciated housewife, who decides to break out of her monotony, meets a stranger and spends a day with him — not knowing who he is, or what his motives are and discovers a different side to her personality.
To her credit, director Barnali Ray Shukla does have an interesting premise at the heart of “Kucch Luv Jaisaa” but a good idea doesn’t always translate into a good film and this is the perfect example.
Based on a short story, Aparna Sen’s “The Japanese Wife” is an evocative but slightly stretched tale of an unusual marriage between two seemingly everyday people.
The key words here are “short story” and “stretched”. While Sen does manage to draw an evocative picture of main characters Snehomoy (Rahul Bose) and Miyagi (Chigusa Takaku) the narrative feels a little drawn out at times and it does feel like a short story which has been stretched into a two-hour film.