The Tournament (1974) [Film Review]

The Tournament; or, Angela Mao vs. Thailand

This week’s review will be about a movie from Angela Mao Ying’s golden years at Golden Harvest Productions. In the early 70’s she starred in such martial arts classics as Hapkido (1972), When Taekwondo Strikes (1973), and The Tournament (1974) (not forgetting about her small fighting role in Enter the Dragon). As I have accidentally stumbled upon The Tournament, I thought it would be a good idea to review this somewhat overshadowed film by the awe of Bruce Lee and Jackie Chan.

Release Info

Directed by: Wong Fung Starring: Angela Mao Ying, Carter Wong, Guan Shan, Got Heung-Ting

Language: Cantonese Original Title: 中泰拳壇生死戰 Movie Industry: Hong Kong Runtime: 94 min

Plot

A sister of a martial arts student is kidnapped by gangsters. They are willing to give her back in exchange for ransom, which the brother does not have. However, he heard about Thai boxing matches for money. Thus, he goes to his master (Got Heung-Ting) for help. The master has doubts about going to Thailand and putting out Kung Fu against Thai boxing, but he eventually agrees. Unfortunately, the student dies on the ring and ashamed master Liu returns to Hong Kong. The Martial Arts Association turns its back on him and revokes his membership. Devastated master commits suicide. Nevertheless, his daughter Lau Siu-Fung (Angela Mao) and son (Carter Wong) decide to avenge their father by taking on the oblivious members of the association and Thai boxers. Some sorry asses are about to get kicked!

Hail to Kung Fu

Surprisingly, The Tournament is a pleasant watch and it delivers its main premise: Angela Mao beating up random thugs back to Qin dynasty. The beginning is very slow-paced and a bit confusing, so you have to pay attention to details, but it perfectly establishes the drama (master Liu’s loss of honour) and the emotional motivation for the character of Feng. As a result, it is all the more enjoyable when the real fighting starts 40 minutes into the film.

In addition, in a similar fashion to Hapkido (1972), the movie contains anti-Japanese undertones as Feng not only has to face fellow Kung Fu masters, but also Karate students who want to take over her house. This creates an explosive mix halfway through the movie and an excellent opportunity to display some of the best battles with Angela. We see her beating the living hell out of the Chinese, the Japanese, and… Sammo Hung himself (another time when Sammo got bashed by Angela was in When Taekwondo Strikes (1973)).

When hordes of opponents finally give in, Feng and her brother finally to travel to Thailand (accompanied by a catchy incidental music that might have inspired Lalo Schifrin when composing Rush Hour score) and, obviously, go against the Thais. Sadly, Carter Wong is nothing more than just a punching bag in the story and the whole burden of saving the day rests on Angela’s shoulders. This is especially visible in the boxing matches (very well choreographed) as well as in the finale in Ayutthaya (thumbs up for shooting on the real location). However, Golden Harvest had to utilise yet another stereotype by putting Angela against (some random but intimidating) foreigner towards the end of the film. Still again, it’s a joy to watch her in action.

 

Recommendations

If you are tired of re-watching Bruce Lee flicks, you can safely turn to Angela Mao. The Tournament is one of my personal favourites from Angela’s repertoire and I safely recommend it to anyone who is in dire need of great (but not unbelievable) kung fu battles. In my view, Angela was incredibly fluent, vibrant, and convincing in her fighting scenes. Needless to say, I have to agree with the opinion of others that Angela Mao was indeed the real deal and the true Lady Whirlwind.

Overall score: 8/10

Madaari (2016) [Film Review]

Madaari; or, Justice for All

     The Hawk swooped on the prey and carried it away... Story sounds believable, but you don't like to hear it... The prey then attacked the hawk...sounds unbelievable, but is so pleasing to hear...

This week’s review will be about the latest film with Irrfan Khan in the leading role. Obviously, I’m referring to Madaari (The Puppeteer) which had its premiere in July, 2016 in India. Inspired by a real-life accident, the movie puts to question the integrity of Indian political system and stigmatises its most condemning aspect: corruption.

Release Info

Directed by: Nishikant Kamat Starring: Irrfan Khan, Vishesh Bansal, Jimmy Shergill, Tushar Dalvi

Language: Hindi Movie Industry: Bollywood Runtime: 134 min

 

Synopsis

Nirmal Kumar (Irrfan) was a happy single parent with a steady job. Unfortunately, his son Apu (Kedar Bagaria) died on his way to school due to a bridge collapse. Devastated father is not able to stop mourning after the death of his child. All of a sudden, Nirmal finds a new purpose in life: to track down and punish those responsible for the accident. As a result, he devises a sophisticated plan which centers on kidnapping the son of the Home Minister (Tushar Dalvi). By the act of kidnapping, he intends to force the Minister to find the culprits who built the faulty bridge. As Nirmal finds himself on the run across India with 8-year-old Rohan (Vishesh Bansal), mainstream media pick up the subject and hail Nirmal as a hero of the common people.

The Ultimate Puppeteer

First of all, it should be made clear that Madaari is the film that was inspired by true events (as stated in the original trailer) not based on them. The difference between the two words may be small, but as I have not paid close attention to the statement in the trailer, my suspension of disbelief had to go through the roof while watching the actual movie. In other words, Madaari takes a real event and positions it as a starting point for a fictional tale of seeking justice and criticising the government.

Despite its hardly plausible plot (a guy kidnapping the son of a politician and evading the police for a long period of time in spite of the media buzz) the film is entertaining and easy to watch primarily due to the reliance on "the individual vs. the system” theme. In addition, Madaari thrives as an engaging thriller because of exploring the dynamics between its vivid characters. Irrfan Khan gives a brilliant (even an Oscar-worthy I would say) performance as a man who has nothing to lose and wants to give the establishment a lesson. Vishesh Bansal does well as Rohan, a spoiled “prince” who gradually befriends Nirmal, but the chemistry between them is not the core of the picture.

Madaari’s true heart is the electrifying finale, which provides the viewers with a vengeful self-satisfaction as if straight from Law Abiding Citizen (2009) and Straw Dogs (1971). However, in contrast to these movies, Nirmal’s revenge is not a morbid one. Instead, the film slams the audience with a shocking message uttered by the Home Minister: “The truth is that the government exists solely for corruption”.

The film will not change the state of Indian (or even global) politics, but it may certainly contribute to spreading awareness about the possible abuses of power by the leaders. I can easily imagine Nirmal getting caught in reality by the CBI executive (Jimmy Shergill); nevertheless, the film invites us to consider a what-if scenario: What if the oppressed individual makes his point and does not die in the end? This aspect combined with Irrfan’s top-notch acting is what makes Madaari a worthwhile motion picture.

Recommendations

I highly recommend this film to anyone who likes Irrfan Khan. Whenever he appears on screen in the leading role, he single-handedly carries the weight of a film on his shoulders thanks to his charisma and outstanding acting. Madaari is an excellent example of that. It’s a well-made thriller, which also makes you think about authentic issues and political degradation. All things considered, Bollywood is known for having many famous Khans, but to me, Irrfan Khan is the real “Khan of Bollywood”.

Overall score: 8/10

The Lunchbox (2013) [Film Review]

The Lunchbox; or, A Stroke of Luck
     Somewhere I read that the wrong train can lead you to the right station...
Has it ever happened to you that you opened your lunchbox and were surprised by its content? This week’s review will cover the troubling topics of depression, letters, unexpected friendship, refuel of faith, and pursuit of happiness. Obviously, I want to discuss the 2013 international hit film The Lunchbox with Irrfan Khan and Nimrat Kaur in the leading roles.

Release Info

Directed by: Ritesh Batra Starring: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui

Language: English, Hindi Runtime: 100 min

Synopsis
Mr Saajan Fernandes (Irrfan) is a widower who is trying to get by at his accounting job. Illa (Nimrat Kaur) is a housewife who is hopelessly attempting to get the attention of her busy husband. The wife even prepares a special meal which she sends via the food delivery system of Mumbai’s “dabbawalas”. Unfortunately, some kind of a mix-up happens en route and the lunchbox ends up on Mr Fernandes’ desk. Illa discovers that the meals are not reaching her husband and writes a letter to the unknown receiver of her dishes. Saajan responds and, in consequence, a long-lasting correspondence ensues. The unexpected communication through the lunchbox irreversibly changes the two strangers.

The way to a man's heart is through his stomach
The first thing I would like to say about this movie is that I deeply regret not seeing it at the cinema. I picked it up on DVD a week ago (Indian food and Irrfan Khan on the cover did the trick) and, after watching it, I complained to myself: How could I miss such a gem on the big screen?! (Release date: February, 2014 in my country). Indeed, The Lunchbox is a shining gem polished with an enormous amount of noticeable love and patience from the cast and crew. What initially appears to be yet another romantic flick pleasantly surprises its viewers by becoming a warm-hearted story about regaining self-confidence and living life to the fullest.

The core of the film is transgressing cultural differences. The eponymous lunchbox is the inanimate facilitator that establishes a connection between people from totally different backgrounds. Mr Fernandes is a Scrooge-like character (living in painful solitude after the loss of his wife) who wants to be left alone. Illa, on the other hand, is a young housewife and a mother who seeks to renew the relationship with her husband. As the two start to exchange recipes, pieces of advice, daily anecdotes, and personal confessions, they get closer to each than they would ever be in reality. This shift in attitude is especially visible in Saajan who transforms from a recluse into a dreamer. He even befriends an outgoing office apprentice Shaikh (played by Nawazuddin Siddiqui) and eventually becomes an important part of his life as well. This is the paradox that the director Ritesh Batra draws before us. Mumbai is the cultural melting pot of people always in a rush. Serendipity in the form of the lunchbox makes two of those people: a Christian (Fernandes) and a Hindu (Illa) stop and think for a moment.

However, there is still one more issue to be mentioned and it is the one of love. Namely, Saajan changes not just because of the excellent food he receives, but because of Illa herself. This is an impossible love story: a 52-year-old Christian falling for a married Hindu. Yet, the two try to find each other. Illa sets up a meeting in a cafe, but Saajan never approaches her, because he is aware of the social gap between them. Still, Illa eventually tracks down his office address, but he has already retired.

This leads us to the real villain of the piece, and no, it’s not Illa’s husband (though it is implied that the man is cheating on her). The true enemy of our characters is time. The Lunchbox touches upon a very universal problem of busy lifestyle in a metropolis. Mumbai workers need to be on time at work, but they prefer home-cooked meals for lunch. Thus, the “dabbawalas” came to existence in order to save the time (of housewives and workers). Yet, time is an obstacle for Saajan and Illa to be together, not only in terms of age difference, but also quite literally.

In the ending scene (which I liked very much, though it sparked many negative comments on the web) we see Saajan travelling with “dabbawalas” on a train. By doing so, Mr Fernandes hopes to find Illa during the process of returning the lunchbox (in the afternoon). However, on the same day, Illa decided to sell her jewellery and escape from her husband as soon as her daughter gets back from school. Will Saajan find her before she leaves? This is the question to which the viewers have to answer on their own. Personally, I believe that even the wrong train can lead you to the right station...

Irrfan Khan gives a superb performance and, out of his cinematic creations, the character of Mr Fernandes instantly became my second favourite (right after Ashoke Ganguli from The Namesake (2006)). Nimrat Kaur is convincing as Illa and handles the character with confidence. Nawazuddin Siddiqui is a wonderful addition to the film as Shaikh. The subplot about this sympathetic extrovert is another advantage of the movie.

Recommendations
If you’re not into romantic films, that’s okay. If you’re not into colourful Bollywood love flicks, it’s also fine. The Lunchbox is neither of these and does not pretend to be. It takes an accident that may well occur in real life and turns it into a wonderful tale about the meaning of life. It’s been quite a while since a movie managed to set me in a positive mood. Maybe I’m being slightly too subjective about this film, but I can’t help to look at it from my personal experience of having a pen friend. Nevertheless, The Lunchbox is a moving and memorable story, which makes you root for its protagonists. I’ll certainly be revisiting it every now and then.
Overall score: 10/10 (Deservedly Earned)

Talvar (2015) [Film Review]

Talvar; or, Blindfolded Statute of Justice

     It is better to free ten criminals, than imprison one innocent...

This week’s review will be about a 2015 Hindi drama/thriller film based on the true 2008 Noida double murder case. Directed by Meghan Gulzar and starring great Irrfan Khan in the leading role, the movie attempts to objectively depict the whole process of the troubling investigation which generated the public’s disdain and distrust of the Indian legal system.

Release Info

Directed by: Meghna Gulzar Starring:Irrfan Khan, Neeraj Kabi, Prakash Belawadi, Tabu

Language: Hindi Movie Industry: Bollywood Runtime: 132 min 

 

Synopsis

On the 16th of March 2008, a 14-year-old girl, Shruti Tandon (Ayesha Parveen) is found dead in her bedroom with her throat slit. The police initially suspect the missing servant as the killer, but they find his decomposed body the next day. Needless to say, the media quickly interest in this morbid affair. Also, the situation is incited when police officers present their theory that the girl had an affair with the servant, and because of that the parents murdered them as a way of honour killing. Then, the investigation is handed over to CDI (the Central Department of Investigation) and Ashwin Kumar (Irrfan Khan) is put in charge of the case. The investigator comes up with a theory that there must have been outside involvement and the victims were killed by the servant’s friends. Nevertheless, new CDI director does not believe Kumar and assigns yet another team to start a new investigation...

Clean that Sword!

The film focuses on a very sensitive topic and, as it is not so difficult to deduce, similar motion pictures often failed in delivering their stories due to providing judgemental comments and taking sides (like this particular movie, for example). Yet, thankfully, that is not the case with Talvar. Meghna Gulzar really did her homework along with the scriptwriter, Vishal Bhardwaj, and genuinely tried to show what happened after the murder, instead of pointing at a person whom she suspects of committing the crime

As a result, the film is done in a very Rashomon-like style. We, the viewers, become Kurosawa’s commoner who listens to the accounts of a woodcutter and a priest. Of course, Talvar has its main hero played by Irrfan, but his character is there for the audience to highlight a possible alternate theory (in which the parents didn’t do it). The real heroes are the three theories of “what probably happened on the night of 15-16 March 2008”. It is up to us to decide which version is the most probable one, but still the Indian justice system is not able to verify which one is really true.

On a side note, I was quite surprised to find a lot of emotional comments under the film’s trailer. I understand that this is a very difficult case and, indeed, if the first investigation was carried out properly, there would not have been such a heated debate today. This is another issue brought up by Gulzar: negligence by the investigators (not securing the evidence, harassing witnesses, succumbing to political influences) and a (possible) miscarriage of justice.

In terms of performances Irrfan Khan’s acting is flawless, even though his character appears primarily in the middle section of the film and the finale. Neeraj Sabi and Konkona Sen Sharma are convincing as Ramesh and Nutan Tandon respectively. Also, Prakash Belawadi does surprisingly well as Kumar’s former superior/mentor. Additionally, it was great to see Tabu playing Kumar’s wife, however, she can be seen briefly in a couple of scenes.

Recommendations

I recommend Talvar to anyone who, similarly to me, has not heard before of the Noida double murder case. The movie’s content is objective enough so as not to cloud your own judgement on presented events. Meghna Gulzar and Vishal Bhardwaj did a very good job with this film. Plus, Irrfan singing Resham cracked me up!

Overall score: 7/10