FILM: Krissh 3
CAST: Hrithik Roshan, Priyanka Chopra, Kangna Ranaut, Vivek Oberoi
DIRECTOR:Rakesh Roshan
Yup, the desi super-hero comes of age.
Kicking, dragging, screaming and gamboling down the nearest suburban shopping area, or peering up an airborne flight which develops a wheel problem.
Krissh, masked and magnificent in his missionary pose, is ready to take on the world… The big bad world of the dark power brokers who want to rob our earth of all its beauty.
There is something endearingly sincere about Hrithik Roshan’s super-hero act. The character’s innocence and his own delight at the double life that he leads as the working-class Krishna and his spectacular world-saver of a doppelganger Krissh come through in a series of dexterously executed action sequences that show the power of VFX to create a virtual reality on a par with the ones we have been watching with wide-eyed wonder in Superman, Iron Man, Spiderman…
Man, this super-hero knows his job. His timing as he poses spread-eagled for a take-off is quite awe-inspiring. Hrithik has great fun with all three parts. The scientist father (played with a vocal crutch that could have been avoided), the regular guy and the super-hero all seem real, even as the plot gets progressively mired in the incredible world of virus-infecting mutants who want to… yup you guessed it… destroy the world.
The first 15 minutes of this hurling and hefty homage to heroic hijinks is tame, almost limp. But once Krissh’s cape and mask are in place, the narrative gathers pace. Encircling the emotional quotient, grabbing hold of it and placing it in the centre of the special-effects couldn’t have been an easy job for the director.
Rakesh Roshan orchestrates the emotions in a flamboyant opera of opulence.
There are some effectively executed action sequences whose vivacity is compounded by the shock quotient provided by the villain Kaal, played by a steely-willed grim and menacing Vivek Oberoi.
That Kaal is evil goes without saying. Oberoi, in in his desperately dark den, wheel-chair bound and determined to be the consummate anti-God, doesn’t quite strike the terror in our hearts that Xavier Bardem did the last James Bond film ‘Skyfall’.
But Oberoi is adequately sinister with a touch of wry humour that comes to the surface in unexpected moments.
But after Hrithik it is Kangna Ranaut who plays the most interesting character, most interestingly. Gliding into skin-hugging leotards and leather outfits, she seems to bring an underlayer of pain to her evil part. It’s a tough role, as it has no reference points to fall back on. Also because Kangna has to walk the tightrope between being an automaton and a full-blooded woman. Kangna pulls it off with aplomb.
But Priyanka Chopra is wasted. Wonder what has happened to her lately! She seems to be trying hard to make an impression in under-written parts.
Krissh 3 has its flabby moments and moments that go haywire in pursuit of entertainment. But the narrative holds together. Technical aspects are quite often remarkable, creating visuals that veer towards vitality with a gusto that earlier super-hero films in Hindi missed by a wide margin.
Ra.One, anyone?
S. Thirru’s cinematography is sumptuous yet never over-saturated. The riot of colours and drama is minimised.
Krissh’s flight across the skyline and the ravishing rubble of orchestrated destruction are captured in an ethos of reined-in exuberance.
Chandan Arora edits most the kinetic material with an eye on austerity of expression.
But some scenes, specially in the beginning, are lazily put together, as though the narrative was clearing its throat before the big on-stage audition.
The music (by Rajesh Roshan) and the songs add nothing to the film’s very high entertainment value.
At last we have India’s first truly global super-hero film. Hrithik Roshan slices through the sky skillfully weaving through the emotions and drama and adventure to create a complete entertainer.
There are no concessions to vulgarity in this super-hero saga. Younger viewers would specially enjoy Krissh’s ability to connect with kids.
Rakesh Roshan combines the breathtaking SFX with a high level of emotion and drama.
The result is quite often exhilarating and spectacular.
What a Diwali dhamaka this is! (IANS)
FILM: The Fifth Estate
CAST: Benedict Cumberbatch, Daniel Bruhl, Alicia Vikander…
DIRECTOR: Bill Condon
Welcome to The Fifth Estate- the new era of journalism, the era of the electronic media.
Based on two books by Daniel Domscheit-Berg, David Leigh and Luke Harding, this biopic documents the birth of information war and the scary heights investigative journalism has scaled between 2007 and 2010.
The film is about Julian Assange (Benedict Cumberbatch), the Australian activist who founded WikiLeaks, his ego and the web of lies he weaves to expose the corruption and “power abusiveness” that plagues this generation! It is also about morality and integrity and discusses issues relating to “privacy for an individual and transparency for institutions.”
With the mantra, “You can change the world with great ideas, but you need people who are willing to put themselves on the line”, Assange takes on the onus to change the world.
He quotes Oscar Wilde, “Give a man a mask and he will speak the truth,” to justify his stance on founding WikiLeaks. He says to his colleague Daniel Berg (Daniel Bruhl), “find one moral man, a whistleblower and we can blow out corruption!”
Together, they start off modestly and gradually they grow with “10,000 hits per hour giving world news for free”. Stories from WikiLeaks are picked up by the Guardian in Britain, The New York Times in the US and Der Spiegel in Germany and their releases are synchronised to have a global effect. Their exposes vary from political to financial to human rights across the globe in countries shaking governments and putting people’s life at stake for the larger good of the society.
Soon, Assange becomes a celebrity and is reckless in his disposition. Berg questions his scruples when he insists on releasing classified information on a platform that is easily accessible to public and the organisation crumbles.
By the end of the film, Assange absolves himself by saying something to the effect, my truth and your truth may not be the universal truth!
On the performance front, the actors essay their roles to perfection. Cumberbatch drives home the enigmatic and elusive trait of Assange to the core and Bruhl matches Cumberbatch’s histrionics at every step. The ladies don’t have much to offer.
Director Bill Condon’s film which begins with a blabber of voices layered over graphic and multi-frames of web net and overpowering background music is disorienting initially.
The non-realistic computer generated effects created to dramatise the climax, especially when Berg destroys the submission platform while recalling the numerous heads Assange personifies in the organisation, which made WikiLeaks appear like an enormous outsized organisation along with the shaky camera work and jerky jump edits, add to the woes of watching this epic.
The first and the last acts are hurriedly and chaotically edited. The scenes are put together taking you all over the place from Berlin to Paris to Stockholm to Kenya and Iceland covering all major political events during the said period. Yet the narration renders ineffective, as it does not strike an emotional chord. Assange is neither glorified as a hero, nor is he condemned as a villain.
Overall, “The Fifth Estate” is a badly executed film that crumbles and disintegrates, but nevertheless you might not regret watching it.(IANS)