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Kaala (2018)

Oh, how I wish I had watched this one in the theatre! The goosebumps, the tears, everything would have been magnified— perfect experience.  However, what is up with Pa Ranjith always killing off my favourite characters?? Not fair, sir. Not fair at all. Aside from this though, Kaala is yet another testament to the director's genius, and proof of how he is one of the most important filmmakers of our times. As one of my best friends pointed out, most anti-caste films have revolved around individual journeys and struggles— but Ranjith takes that to another level by showing Dalit political leadership, and how it works.  Instead of the usual "trauma porn", we get Dalits positioned as mainstream heroes and heroines of their stories, unafraid to fight for what is rightfully theirs, proud of their identity in a world that thinks up new ways of suppressing their voices. It is a powerful moment in cinema, one that we should all be thankful to Ranjith for. The film has its flaws— pri
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Kabali (2016)

The very first thing that hit me with full force was the realisation that Santosh Narayanan's background score is simply out of this world. I can think of no better way to hook someone onto this film. The second thing that hit me was how cleverly Pa. Ranjith uses Rajinikanth's superstardom and bends it to serve his own purposes, without diminishing either his film or the superstar himself. It's a delicate balance, but Ranjith pulls it off like nobody's business.  I'm not a huge enjoyer of gangster films, but this one is just so well done that I found myself completely invested from the first scene itself. And the way Ranjith brings in his caste politics— once again displaying how skilled he is at delicate acts because it's neither too pushy nor too subtle, just the right balance the issue needs— is amazing. It really forces one to think, about the people who build nations, the notion of a 'diaspora' and its associations, about clothes, about families, ab
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Aparan (1988)

It will probably take me a rewatch to fully understand Aparan 's screenplay (full credits to P. Padmarajan, who I am convinced was a genius), but man, what a wild ride this was. Especially the ending!! Jayaram scared the living hell out of me in just 2 minutes, which is as perfect a start to the new year as any.  The background score was a whole other trip— it really got under my skin and despite the shoddy subtitling, managed to creep me out.  Also, Shobana and Jayaram's chemistry is superior and this movie just proves it, since their romance isn't even the main point of the movie. The way they look at each other, the way their scenes together lighten up the rest of the movie without detracting from its main focus, the way their romance makes sense even in the middle of everything else that is going on; all of it is precious, and makes me even more glad to have watched the movie.  Finally, I have to say that it's high time someone restores Aparan and subtitles it prop
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Aradhana (1969)

It is impossible to watch this movie and not consider a career in full-time Sharmila Tagore simping. All her looks in the first half are captivating and unforgettable, and her eyes! My god, her eyes!! As for the second half, they did her so dirty, it's unforgivable. We could have gotten milf-Sharmila in her 40s but nah. We got that instead. Rajesh Khanna and Sharmila's chemistry though... very, very few on-screen couples I can think of who had the ability to string together an entire movie based on their chemistry alone. That too in the first half itself, because they play a mother-son duo in the second half. Don't even ask, but it works somehow. The other thing that works and has largely contributed to this film becoming a classic is the album. SD Burman and Anand Bakshi, along with Kishore Kumar, Lata Mangeshkar and Mohammed Rafi, have produced an album that will never grow old.  I mean the fact that 'Mere Sapno Ki Rani' is dedicated to Sharmila— appropriate af. &
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Maanaadu (2021)

I'm a fan of the time-loop genre and all the possibilities it offers. So, I did enter this one with a lot of expectations, and I'm so glad to report all of them were met!! Especially the excitement I had about mainstream Tamil cinema marrying the time-loop format, that was fulfilled for sure. Yuvan's background score was genius, and adds the most to a movie where everything is already top-notch. I loved, loved Simbu's performance, and I can't wait for him to return as Abdul Khaliq already. Kalyani was good too, and her chemistry with Simbu was just the perfect amount for a film like this. However, the best thing about the movie was S.J. Suryah— Maanaadu starts to drag just a little bit around the mid-point, but it's barely noticeable because that's when Suryah comes in with full energy and makes you focus. It's a treat, I tell you. Go watch it. Also, the politics of the movie are so on point. None of the saviour Good Muslim crap here. It's almost unb
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Missamma (1955)

Missamma was even better than I was expecting— I was in the mood for a proper laugh-out-loud Telugu comedy, and I got that and much more. Firstly, ANR absolutely killed it in every scene, and halfway through the movie, I started laughing the moment he appeared on screen. The same thing happened with Savitri as well, who was the unquestioned star of the movie. Every expression of hers was priceless, and if there's a single reason why I'll rewatch Missamma , it's for her. Jamuna was too good in the comedy scenes as well, but her dance sequences left me enthralled. Her chemistry with Savitri and NTR was brilliant, and I can't wait to watch Gundamma Katha soon to get more of it. Also, the album: what a TREAT!!  It'll probably sound weird, but Missamma has already started feeling like a Christmas movie to me, and I love it. The start of a new tradition, maybe.  Oh, and this might be the perfect movie to acquaint yourself with classic Telugu cinema! So fresh and funny and
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83 (2021)

One of my favourite theatre experiences so far, and a very emotional one too. Not just because of the film, which had its share of highly emotionally-charged moments, but also because I realised how more than 11 years back, I had gone to another cinema hall to watch Ranveer Singh's iconic debut Band Baajaa Baaraat , and how in 2013, I had bunked school to go watch the first Deepika-Ranveer movie, Goliyon Ki Raas Leela Ram-Leela . All those memories came flooding back, and I felt overwhelmed by how these movies have fit into my life, and in a broader context, by my love for movies.  Also, after a long time, we sat till the end of the credit rolls. What a beautiful story, and the way Kabir Khan and team did justice to it!
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