Closer to God

Based on Yann Martel's bestselling "unfilmable" book, Ang Lee's Life of Pi is perhaps the most advanced adaptation of any literary work. For everyone who has read the book, the film is not a barricade to imagination, but a near-perfect transcription of words to screen. The primary hook is the 3D which pulls you into what is perhaps the most terrific story you have ever willingly believed. 

Life of Pi is, as the title suggests, the story of Pi Patel who is born in Pondicherry to a zoo keeper. The unusual childhood with an unusual name comes to an end when the family decides to move to Canada for a better future. Pi, therefore, finds himself along with all the animals from their zoo and his family on a Japanese freighter. The ship sinks in a storm in the Mariana trench and Pi survives the disaster alone and finds himself stranded on a lifeboat with a Zebra, an Orangutan, a Hyena and a massive Bengal Tiger named Richard Parker. Thrust into adventure and a battle for survival, Pi finds more answers to life in the 23 days of isolation than he did in his quest for answers in his entire childhood. Having survived the journey, Pi is a different person with a brand new perspective on life, death and all that it contains. 

The story is narrated by a grown up Pi (Irrfan Khan) to a writer. On one level, the entire journey that seems extremely incredible and unbelievable appears true for the visuals that depict the story throughout the film, and are by far the best we have seen on screen. Ang Lee's technical proficiency is seen in every single frame and the film is by far the best 3D experience one can have. It is hard to distinguish shots with real animals from the ones with their digital renditions which must have made it hard to convince animal rights activists that none were harmed. 

Claudio Miranda's hold over the cinematography, especially the camera movements in 3D and the composition of shots is exquisite. Come to think of it, for most part of the film, the frame only has water, a boat, a man and a tiger. To keep the audience gripped is quite a challenge. That challenge was unarguably made easier with a little help from the music composer Mychael Danna. Suraj Sharma, who plays Pi in the journey has great screen presence and drives the narrative forward while you are busy witnessing the powerful imagery. On the other hand, Irrfan Khan, the narrator and the Pi of the present, has made hay of all the screen time he has and helps you through the end with an incredible monologue of sorts. 

In the film, Pi claims that his story would bring the listener closer to god. If you believe in god, or whatever it is that you believe has superior power over the universe, you will not disagree. The final twist in the plot where this entire journey is seen with a different perspective of the same person who first told it, is a groundbreaking thought for all story-tellers of our time. The emotion of the survivor about the outcome of the journey being the same, no matter how it happened, makes you question a lot of things. 

What this film can boast about is that it makes you think about how you have lived thus far and how you want to live here onwards. Very few films and works of art in general, have the capability of becoming a milestone, a landmark by which your life is measured on a before-after scale. Life of Pi is one of those films.

Rating - 4 out of 5

Published in DNA After Hrs (Pune) on November 25, 2012  

Thank God it's over

There are two types of people in this world; those who hate twilight and those who love it more than anything in the world. Of course, there are few who have not even heard of it, but we are not talking about those lucky ones right now. After four books and four movies, the Twilight Saga, based on Stephanie Meyer's namesake novels, had come down to this. Breaking Dawn Part 2 is where all the hype, all the build up and all the fanaticism would find a resolution. 

The film takes off from where it left in the first part where Bella Swann is turned into a vampire and Jacob Black, the werewolf, imprints on Edward and Bella's daughter Renesme. The plot, as everyone who has read the book will know, is a letdown. No matter how loose or superficial, fans hate it when the details in the book are twisted in the film. The Volturi become aware of Renesme and fear that she is an immortal child that cannot be controlled and want to destroy her. The Cullens gather their friends from around the world as witnesses to prove that she is not an immortal child and is harmless. The two groups face-off in a vision and finally decide to live in peace. The two love birds are finally at peace, and the loose end of the triangle is tied to their daughter. 

The franchise has finished its stories and although Vampires apparently are immortal, there is nothing much left in the story to tell. Fancy mythical creatures and their powers left aside, Twilight is nothing but a story of an abusive relationship and covers the themes of bestiality (loving a wolf), necrophilia (loving the dead) and indirect incest (loving the daughter of the person you had feelings for). That aside, this abusive teenage relationship was like any other romantic comedy, except for the comedy. Kristen Stewart and Robert Pattinson are both pretty as gemstones and emote like gemstones as well. 

A poor screenplay adds to the misery of a story that everyone knows and save for a few sighs and awws during the romantic scenes, the narrative is dead. The graphics, especially during the poorly choreographed fight sequences are fairly rudimentary and incite no thrill whatsoever. Towards the end, the director and screenplay writer try a twist to sweep the fans off their feet but after that momentary surprise which causes a few shrills and screams in the hall, the film closes with a recap of the mushy moments from the past films. 

For the neutral movie watchers, the movie will come across as a story that lacks purpose. For the aesthetically gifted, the film will be one of those reasons your face meets your palm. And while teenagers and die-hard fans will scream every time the undernourished vampire and his girlfriend appear on screen, for the rest of us, whose idea of a vampire is what was decreed by Bram Stoker, Breaking Dawn 2 is a two-hour long yawn. Watch it once and be done with the franchise. Forever.

Rating - 1.5 out of 5

Published in DNA After Hrs (Pune) on November 25, 2012 

5 Films - With Cinema's Most Memorable Kids

Antoine Doinel, 400 Blows (1959)

 

 

This Francois Truffaut film was one of the founding films of the French new-wave movement in cinema and is a landmark in the history of world cinema. Starring Jean-Pierre Leaud as Antoine Doinel, 400 Blows tells the story of a misunderstood adolescent, who is labeled as a problem child by his parents and teachers. Truffaut realistically captures a troubled childhood in a narrative so elegant that has inspired generations of filmmakers that followed. The unassuming treatment and the new-wave style of performance is what makes the boy’s story different from other mundane struggles. Leaud’s portrayal of the disturbed boy in his early teens received laurels and praises wherever the film went.

The Kid, The Kid (1921)

 

 

One of Charlie Chaplin’s finest films, The Kid was described in the opening titles as ‘A comedy with a smile – and perhaps a tear’. The film tells a complex story of human relationship when a street urchin finds an abandoned child and cares for him. The kid, too, grows fond of the man and they form a great bond but the situations that arise jeopardizes their relationship. Jackie Coogan, who played the child in the film, soon became a household name and the silent film sent out a message which was received all over the world. Charlie Chaplin’s classic has immortalised the little boy in our minds forever.

Apu, Apu Trilogy (1955-1959)

 

 

Indian cinema’s first franchise based on Bhibhutibhushan Bandopadhyay’s stories were appreciated globally for being so deeply rooted in Indian culture. The films, Pather Panchali (1955), Aparajito (1956) and Apur Sansar (1959) traced the journey of a boy, Apu, from being a small innocent boy in rural Bengal to becoming a man who has experienced life and all its tragedies. Visually stimulating and simplistic in its approach, Apu represents a set of images that define a culture, a setting and a way of life. Subir Bannerjee plays the little boy in the first two films and is perhaps Indian cinema’s first internationally renowned icon, created by perhaps India’s greatest filmmaker.

Bruno Ricci, The Bicycle Thieves (1948)

 

 

Set in post-war Italy, Vittorio De Sica’s Ladri di Biciclette (original title) is a landmark film of the neo-realist genre. The stark poverty, the desperation and the sheer despair that was shared by an entire nation is portrayed through a simple story of a father-son who are looking for their stolen bicycle in the city. One of the finest films ever made, The Bicycle Thieves explores the angst of a poor man, Antonio Ricci, who looks for something lost along with his kid, Bruno. The kid, played by Enzo Staiola, has rendered the film an added class with his expressions and controlled silences. The boy takes us through being curious, anxious to downright disillusioned while still holding on to his innocence.

Ali and Zahra, Children of Heaven (1997)

 

 

Majid Majidi’s most renowned film, Children of Heaven is the best prototype of modern Iranian cinema. It tells a subtle tale of a brother and sister who enter an agreement of sharing a pair of shoes since one of them loses the other one’s shoes. The scenarios follow a usual course of events where life itself provides all the drama that is required in the narrative. The kids, Ali and Zahra, played by Amer Hashemian and Bahare Seddiqi are a genuine epitome of cuteness and innocence. Their on-screen brother-sister bond will bring back memories of your childhood if you had a sibling.

Published in DNA After Hrs (Pune) on November 16, 2012

A Mundane Curtain Call

The film had a lot running on it – apart from the baggage of Yash Chopra that was unavoidably thrust upon it, the film was Shah Rukh’s return as the real romantic hero; add to that AR Rahman’s music and Gulzar’s lyrics. However, like most films that crumble under the weight of heavy expectations, Jab Tak Hai Jaan falls short of writing itself in history as anything other than the final trick Yash Chopra’s magic hat.

Yash Chopra was known to have mastered the technique of making the audience suspend their abilities to think rationally and buy into his premise. The larger than life characters and dramatic dialogues take you into a world that exists only in imaginariums.

The story of the three central characters is largely derivative and lacks originality. The plot points are loose pit-stops in the scheme of things and are not strong enough. The screenplay takes help from recent box office and critical successes – especially the parts where Samar Anand (SRK) is disposing bombs for the Indian Army leave you with clear flashes of scenes from Hurt Locker. A song in the film also resembles, in bits and pieces, another song from last year’s big hit Rockstar. However, majority of the desired audience of the film doesn’t buy the ticket for the story, thereby making the flaws in the plot unimportant. The film has a few typical Yash Chopra moments but comes across as a forced attempt than the effortlessness in his earlier films.

Nevertheless, even die-hard Shah Rukh fans might see a depleted superstar making futile attempts to appear young and romantic. Let’s face it, a 47-year-old face can barely muster up the innocence of a first love and the hurt of a first heartbreak. Shah Rukh’s inefficiency to fulfill the chocolate boy is just one nail in that coffin.

Katrina Kaif, yet again, lets her bust do the acting and is extremely dull and, after a point, it becomes unbearable to listen to dialogues coming out of a stone face. Anushka Sharma, who plays a documentary filmmaker, appears to be on a perpetual high (we suspect Prozac). Her character of Akira fails in portraying both the class of Kurosawa (her apparent namesake) and the zest of a young girl.

In terms of its music, the entire soundtrack will be out of your playlist in less than three days – highly shocking for such forgettable work from AR Rahman. Gulzar’s lyrics too, are simplistic but lack the elegance of Dil toh baccha hai ji.

For a cinema fanatic in India, ie everyone, it is impossible to ignore this film. The final presentation of one of the legends of the industry, Jab Tak Hai Jaan is a great reminder of the delightful experiences all of us have had thanks to Yash Chopra. Albeit the film isn’t in the same league as Waqt or Deewaar or Trishul, missing it wouldn’t be the best decision. SRK fans, watch it for your hero, the rest of you can watch it as a mark of respect to the pal do pal ka shayar.

Rating: 2 out of 5

Published in DNA After Hrs (Pune) on November 14, 2012

Random Felonies

Never judge a book by its cover and a movie by its tagline. Because Stolen’s ‘12 hours, USD10 million, 1 Kidnapped Daughter’ isn’t one percent as intriguing as the promoters have tried to make it sound. Simon West’s latest effort, at putting up a decent action film in a year we saw The Bourne Legacy, The Dark Knight Rises and Skyfall, is in vain.

Originality aside, as a standalone film too, Stolen has its share of loopholes and ridiculous and phony elements in the narrative. The Mardi Gras parade has been insignificantly included in the story and the FBI make mistakes that even a 12-year-old boy, who reads crime fiction, won’t. David Guggenheim’s writing is derivative most of the times and bears resemblance to the plot of Taken. Add to that, the fact that ‘stolen’ is just another word for ‘taken’ doesn’t really work in favour of this film. 

The film opens with a bank robbery that goes bad for Will Montgomery and his little gang. While Will himself gets arrested, his partner Vincent gets shot in the leg as the rest of them escape. After serving eight years in prison, Will is out on parole to find that his teenage daughter has been kidnapped by Vincent, who, on the records, has been long dead. Vincent has a sadistic plan to make Will pay for the loss incurred eight years ago and asks for his share of the bounty in return of his daughter’s life. Will, first tries to get some help from the FBI, and failing to do so, decides to do what he does best – rob a bank again. Alas, a circle is complete.

In terms of direction, Simon West, who is known for his work in the action thriller genre, is a colossal disappointment. Teaming up with Nicolas Cage for the first time after his debut film Con Air, West has exhibited a certain decline in standard, technically as well as charismatically. After The Mechanic and The Expendibles 2, this film comes across as another step down for the director. In terms of performances, Nicolas Cage tries hard to class up his acting with a few pauses between dialogues and the rest of the cast just reads the lines that were handed out to them. Nothing noteworthy in that area either.

To sum up, the film is a stale plot wrapped in a tin foil of a narrative tied with a ribbon called Nicolas Cage. And quite frankly, you will have realised at the end of the movie that the only thing stolen, were 95 precious minutes of your life.

Rating: 1 out of 5

Published in DNA After Hrs (Pune) on November 10, 2012

5 Actors: That Refused To Portray James Bond

Richard Todd

Considered to be Ian Fleming’s first choice to play the character of James Bond in Dr. No, this Irish-born Brit was probably tailor-made for the role but refused to take it. Richard Todd had served in the British army during World War II, before establishing himself as an actor. It is believed that the major reason behind him not doing the role is a schedule clash which could not be prevented.

Notable Roles: 

Heathcliff, Wuthering Heights (1953) (TV); Guy Gibson, The Dam Busters (1954); Robin Hood, The Story of Robin Hood And His Merrie Men (1952)

Sir Michael Caine

By the time Caine was approached for the role, James Bond had already become a symbol. Sean Connery had acted in five Bond films and people had already made their affection clear towards the character. However, at that time, Michael Caine had already made a name for himself with a spy character of his own – Harry Palmer. And not wanting to get typecast as a spy actor, he refused the role which was later taken up by George Lazenby.

Notable Roles: 

Harry Tristan Dean, Gambit (1966); Dr Frank Bryant, Educating Rita (1983); Alfred Pennyworth, Christopher Nolan’s Batman series (2006-2012), Dr Wilbur Larch, The Cider House Rules (1999)

Jude Law

With Pierce Brosnan’s decision to quit the franchise after his fourth Bond movie Die Another Day, the job was vacant, with a plethora of actors vying for the role. Of the 16 actors that were considered to succeed Brosnan before hiring Daniel Craig, Jude Law is perhaps the most ideal choice. The British actor has proven his mettle time and again and is perhaps the rightful heir to the franchise looking at where Brosnan had taken it.

Notable Roles: 

Dr John Watson, Guy Ritchie’s Sherlock Holmes (2009, 2011); Errol Flynn, The Aviator (2004), Dickie Greenleaf, The Talented Mr. Ripley (1999)

Colin Firth

Also on the list of 16 actors that were considered to replace Pierce Brosnan, Colin Firth is an actor par excellence who would have added something new to a 50-year-old character. Growing from strength to strength with every film that he does, he has produced some gems in the recent years. However, when the role of Britain’s secret spy was offered to him, he refused on the grounds of not being interested in it. The versatile actor is known for picking his roles and James Bond would have only a shade to that rainbow.

Notable Roles: 

Johannes Vermeer, Girl With A Pearl Earring (2003); George Falconer, A Single Man (2009); King George VI, The King’s Speech (2010); Bill Hayden, Tinker Taylor Soldier Spy (2011)

Heath Ledger

The late actor, who will always be known for his role as the Joker in Christopher Nolan’s Batman series, would have been a bold decision on the part of the makers of 007. A brilliant actor with a thirst for different roles, had Ledger taken up James Bond, the series might have looked different today. But the Australian, who refused the role for unknown reasons, later on portrayed and immortalised a character such that nothing would even come close.

Notable Roles:

Joker, The Dark Knight (2008); Ennis Del Mar, Brokeback Mountain (2005); Sir William Thatcher, A Knight’s Tale (2001); Skip Engblom, Lords of Dogtown (2005); Jacob Grimm, The Brothers Grimm (2005)

Published in DNA After Hrs (Pune) on November 9, 2012

Diary of an Impish Kid

Born to a Muslim father and a Christian mother, Nigerian Inua Ellams had to move out from his conservative hometown in Jos to the capital city Lagos and finally settle down in London. The inter-familial rifts and refusal to accept cross-communal marriage became the contributing factor to the family to leave their home country.

At the age of 12, a young boy was thrust into a new life in a strange new place and has now expressed that wondrous and adventurous experience to the world. The 14th Tale, written and performed by Inua himself, chronicles the hilarious exploits of a mischievous problem child in a narrative that marks his journey from the clay streets of Nigeria to the roof tops in Dublin and finally to London.

Inua recalls his initial days in London when he was introduced to certain concepts that were alien to him -- racism being one of them. "The perspective about Nigeria was different. Nigerians are stereotyped as people who'd like to go to any limits to earn some money. Unfortunately, it is true for some of them, but not all," says Inua. "I didn't know the colour of my skin was a problem to the people and at first I didn't mind it at all. Some of my friends were angered and explained to me how I was supposed to feel offended at racist remarks," he adds. In an innocent attempt to blend into the new environment, Inua tried the regular techniques but was advised, quite resolutely, to "stop acting white". He, on the other hand, had no idea what this meant until he left for Dublin for further education.

Being the only person of African origin in the batch, Inua found it hard to blend with the crowd. "I couldn't escape it. That was the time I had to choose whom to be. Was I going to be the black guy who loves hip-hop, or was I going to be the black guy who plays basketball. Quite frankly, I hated hip-hop. The local Irish people made me listen and develop a taste, which is funny," he states laughingly. But that was the point in his life where his identity had come under scrutiny. "That is when I decided that to be what I am, I should not be bothered by what people think of me. I had to do the things I love and do them my way," Inua states.

A certain sense of consciousness about the political and social scenario had made Inua a completely new person. "I knew if I needed to make a mark here, I had to carry an arrogant swagger about myself. I had to be proud of what I was and I had to tell the people to communicate with me on my terms," he says. After that, life changed for Inua who began to participate in the art and culture activities at his college and slowly made a name for himself. He candidly remarks that, "It is funny that my search for identity led me to writing poetry through which I express myself and my freedom. But I do it in a language that is not mine but was imposed upon me by the British (who also colonised Nigeria)."

Inua was in the city to conduct a workshop on his style of performance and also stage the play for the city's audience. 14th Tale, which, as Inua says, is 80% factual and 20% magic sprinkled on top. It is not simply a hilarious account of a mischief monger but is also a coming of age story. It is about a boy who, as he grows up and learns that the world has an order. The monologue is poetic and rhythmic and humour is the main ingredient of the narrative. Inua believes that although the setting may be different, Indians will still connect to the plot on two levels. "Firstly, with a character that stands up to authority and is in search of his identity, it is a universal concept. And secondly, the issue of immigration is pretty alive and current in India too," says Inua.

Every person has a story, very few stories get told and fewer still are told delightfully. Inua Ellams’ 14th Tale is one such account of a journey from innocence to experience which hands out a few lessons amidst a lot of smiles.

Published in DNA After Hrs (Pune) on November 6, 2012

Finger Licking Good

Contrary to the promotional campaign and the notions about the film that are created from its trailer and other publicity material, Luv Shuv Tey Chicken Khurana is not a comedy. At least not an outright laugh riot, no. The film is a delicate look into the mundane and is a slice of life drama with a good sense of humour.

The film tells the story of Omi Khurana, who, in order to clear his debt to a goon in London, comes back home to raise money. There, he finds his family – a senile grandfather, a loving aunt, a strict uncle, a cousin and a crazy uncle Titu. Omi soon realises that the only way to get the money is by selling his grandfather’s Dhaba which has been shut ever since his grandfather lost his bearings. However, the recipe of Chicken Khurana is a highly elusive entity and Omi tries to recreate the brilliance, thanks to the help from his college sweetheart, Dr Harman, who is engaged to his cousin now. All doubts, all predicaments and all past grudges assemble in a pot as Omi’s grandfather dies with the secret recipe buried in his chest. The pot is lit from under and a delicious drama cooks itself.

Subtlety is the primary parameter of this film and at times, barring the language, builds an ambience of a well crafted film from Central or Western Europe. However, the reminders Omi keeps getting about his impending debt breaks the subtle drama and points towards a crass attempt at making everyone understand the plot. The screenplay is such that most of the first half is spent simply building the premise. But, like any good recipe requires more time in making the ingredients ready, the film chops, cuts and grinds the ingredients before lighting the stove in the second half.

Director Sameer Sharma has shown a never-seen-before side of Punjab with minimum stereotypes and looking at people as people and not mere cut outs. The setting of rural Punjab fits well with the other elements of the narrative and the characters look like they belong to the place. Kunal Kapoor as a confident ambitious young lad gives his character of Omi Khurana the perfect justice. This is perhaps his return to the league of actors where he truly belongs. Huma Qureshi is magnificent as Harman, and after her quiet performance in Gangs of Wasseypur (which was mainly about men trying to kill each other) she has proven her mettle in a much more significant role this time. The overall cast ensemble are an extension of the setting and Rajesh Sharma as Titu Mama is one of the better supporting roles we’ve seen this year.

For a mainstream film, Luv Shuv Tey Chicken Khurana is a refreshing change going into the festive season where big productions will churn out multimillion star studded films. The motifs and themes used by the director, be it Harman’s helmet, Jeet’s glass eye, or the crow which is apparently Omi’s deceased grandmother suggest the depth of work that has gone into making this simple film.

In a week where James Bond hits the screens, this film is going to make news for the right reasons. A light-hearted story of a small group of people told in a simple yet elegant way, Luv Shuv Tey Chicken Khurana is a pleasant surprise from a masterchef in the making.

Rating: 3.5 out of 5

Published in DNA After Hrs (Pune) on November 3, 2012

Covalent Bond

If there is one thing we have learnt in the past fifty years, it is that if you make a really good film in the same year as a James Bond film, the best you can hope is for you to end up making the second most awesome movie of that year. Sadly, it isn’t true about Skyfall. Yes, it is a great action thriller, and yes, the central character is secret agent 007, but this isn’t a Bond film in its truest sense. An expectation laden fan who enters the cinema hall hoping to witness the greatness of a cinematic legend, ends up coming out a tad bit disappointed.

Silver, a former secret agent that went rogue, returns to terminate M and has a grand plan that involves high-tech computer hacking and years of planning. James Bond, as usual, is in the service of the Majesty and is determined to foil the plan - a pursuit that takes him to a place in Scotland, Skyfall, where the final confrontation takes place. A relatively predictable plot that you just wait to unfold in an interesting manner takes some percentage of the thrill out of the experience, however, apart from a few moments in the middle third, the scenarios keep you on your toes.

What takes your attention away from an astonishingly boring storyline is the high octane action. The film opens with a chase sequence in Istanbul, which, FYI makers of Taken, is how you choreograph an action scene on the roof tops of houses in that city. The explosive finale and classy punch-lines that magnifies the impact of every gunshot, are what make it a better action film than many that we have recently watched. The end, once again, is a dampener as it brings down the graph unnecessarily. And no matter how excited the action gets us, what’s missing from the film is the (there is no better way to say this) Bondness of the thrill. Daniel Craig proves for the third time that he, and this is quite debatable, isn’t suave enough to pull off a Bond.

Although the latter films have been superior in terms of production quality, they have lacked substance as the fans of this series have always wanted something new. With Skyfall, comes another disappointment – the gadgets are not sophisticated enough, and as much as one may avoid saying, the Bond girls also lack (still no better way to say it) Bondness.

As far as the performances go, to his merit, this is Daniel Craig’s best Bond film. Judi Dench as M is charming and Ralph Fiennes in a short but significant role only adds value to the presentation. Javier Bardem, in his role as Silver, is a severely undercooked character that the actor has put his craft into. He is distinct in his ways and is a character that one will take some time to forget.

The animated opening credits to Adele’s track are the highlight of the film. In the years to come, this Bond film will probably be known as ‘The One with Adele’s Song in It’. That apart, the background score and the Bond theme is adapted quite brilliantly and keep up with the pace that the visuals create.

Cinema is in its hundredth year in India and Bond films have been there for fifty of those. The franchise is not only a series of movies but is now a part of our cultural existence. Whether or not it is the best Bond film ever is a judgment call for every individual, but the film is quite entertaining, if nothing else.

Rating: 3.5 out of 5

Published in DNA After Hrs (Pune) on November 3, 2012

5 Films: Only SRK Fans Must Have Seen

Oh Darling Yeh Hai India (1995)

For an actor in the formative period of his career, Ketan Mehta's Oh Darling was quite a risk for Shah Rukh. A film that was a little ahead of its time, in terms of content and presentation, came across as outright ridicluous and was largely misunderstood. For Shah Rukh, it was a bold decision to participate in a film that is perhaps an expression of satire in a country that wasn't ready for it. With fight sequences choreographed to mock the song and dance sequences in the rain, this film was a deep comment that very few people reached out to understand.

Paheli (2005)

This Amol Palekar film, an adaptation of a short story, was at the box office for a lesser time than a hummingbird spends around a flower. Shah Rukh plays a double role, one of Lachchi's husband Kishen, and a ghost who takes the form of Kishen. An old folk story narrated by puppets, this film, just like Swades, was Shah Rukh's attempt at changing his image. The film was critically acclaimed and was a hit abroad, it was also India's official entry to the Oscars that year. However, in India, only fanatic SRK fans made the movie last in the theatres for the short duration that it did.

Guddu (1995) 

Prem Lalwani's Guddu is a film that marks a specific era in the career of the superstar. After his brief stint as a negative character in Darr, Anjaam and Baazigar; this was Shah Rukh's first film as a good guy in a stand alone film, having just finished Karan Arjun. Guddu tales a complex tale of human relationships and its predicaments and, barring a few implausibilities and crude dramatic elements, is a sweet film that captures emotions and relations in the right vein.

Ram Jaane (1995)

Of all Shah Rukh Khan films which feature him 'in and as', Ram Jaane is perhaps the worst 'as' to be in. This Rajiv Mehra film shows SRK as a nameless orphan who adopts the name after a priest responds to what his name is with 'Ram Jaane'. SRK makes his return as a villain for the first time after Anjaam and Ram Jaane portrays him as a negative character that is in the grey area and was a very crass and ordinary drama. The film received mixed reactions from the audience and did well at the box office, but is not a film Shah Rukh will be remembered for. However, a true blue fan would say, Ram Jaane why some people didn't like it.

Koyla (1997) 

In a year that saw the superstar's Yes Boss, Pardes and Dil Toh Pagal Hai hit the silverscreen; Rakesh Roshan's Koyla was the black sheep of the bunch. A mute Shah Rukh, a damsel in distress Madhuri Dixit and an evil Amrish Puri as an aged scoundrel; the film is an extension of the dead and buried genre of feudal drama. The oppressor inflicts pain and when the lid blows, the oppressed revolt and order is achieved. The melodrama was appreciated for some of the songs but was, in more ways than one, ordinary.

Published in DNA After Hrs (Pune) on November 2, 2012