In 1979, Basu Chatterjee made Baaton Baaton Mein and unobtrusively brought to us the dating and courtship rituals of a community that was till then either caricatured or just overlooked in Hindi cinema. Nancy Perreira and Tony Braganza…
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Matriarchal manipulation in a patriarchal world is depicted unsparingly in Usha Priyamwada’s Pachpan Khambe Laal Deewarein (Now playing on Prasar Bharti). The mother resentful of her lecturer daughter’s comfortable life in her college residence because the younger daughters…
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“Start with hope..always start with hope. We went from being a shitty team to become one of the biggest dynasties in the sport and all it needed was one match to light this fire,” says Michael Jordan at…
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In 1947, my grandparents brought three children and the remains of an uprooted life from Pakistan to India in a train. One of those children was my mother. I grew up hearing a lot of stories about the…
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Three documentaries streaming right now show the ultimate culmination of the Bois Locker Room culture. And what happens when one gender is taught to mistrust its instincts of self-preservation and the other does not even learn something as…
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In Sudip Sharma’s Paatal Lok (Now streaming on Amazon. Co written by Sharma, Sagar Haveli, Hardik Mehta and Gunjit Chopra. Directed by Avinash Arun and Prosit Roy), India’s disowned inhabit the headlines we turn away from. A young…
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In Raj Kapoor’s Awaara (1951), Shashi Kapoor was a cherub with the eyes of a little devil. As the disadvantaged child of an impoverished mother, you see him brutalised by a cruel world, lose his innocent faith in life, in goodness and turn to petty crime to survive. This shift could not have been easy […]
Sanjna Kapoor was about 10 when she shot the horrific church massacre scene with her grandfather Geoffrey Kendal in Shyam Benegal’s Junoon (1978). The film was produced by her father’s production company Film Valas. She also appeared as her mother’s childhood reverie in another family production, 36 Chowringhee Lane (1981). But the biggest ever family […]
Shyam Benegal’s cinema never loses the plot in trying to project itself as a breakaway, alternate idea. His films never preen and say, “Let me show you something you have never seen before,” even though his cinema in the 70s was quietly, unobtrusively radical both in content and in form. He has always had a social […]
In the 70s and the 80s, when I was growing up in Patiala, a framed poster next to a small shop near Sheran Wala Gate (a prominent locality), routinely heralded the arrival of a new film in town. On my way to the school in rickshaw everyday, I would watch that poster, trying to guess the story line of the […]