Last night I went to Lake Mall for the first time,to see Saat Uchhakey.I returned home around 10.45 pm which was unsettling primarily because of me worrying about what my parents might think.A late return to one's house somehow signifies a lack of rooting-being at home implies that you are working on something proper,at least that's how it is in one's student life.But after a certain time period in one's adulthood being at work is equated with being out of one's home.Strange are the ways of shifting perceptions.
There are deviations encountered by the characters in the above mentioned film too.The ostensible cause of such changes is the pull of a shaman like figure.He will not be shackled by social forces but he will manage to impose his feeling of propriety on the people around him.What we see for the majority of the film is these naughty characters at play in the gallis of an Old Delhi that is starting to become a popular form of representation of urban life in Hindi films(I am thinking of Delhi 6,Oye Lucky Lucky Oye and Do Dooni Chaar in particular although the last mentioned film isn't as seamy as the rest).One other common element between two of these films is Manu Rishi who acts in Saat Uchhakey and Oye Lucky Lucky Oye.Seeing him yesterday reminded me of the Dibakar Banerjee film.I think a sign of a good film is that it reminds you of other good films.So I was inclined to look at this film in a favourable manner.
What is truly enjoyable for most of the film is the sound recording.Throwaway lines are recorded in clarity.It's not often that you get to hear so many characters on screen-the filmmakers want us to listen,to know that they took on a certain amount of effort to create the lingo of the underbelly where curses fly freely regardless of your current predicament.Even the foul mouthed incorruptible policeman gets down and dirty to rattle and snap at those troublemakers who get him travelling day and night via his choppy scooter in the crooked bylanes.
Kay Kay Menon's character reminds me of the Frances Mcdormand cop figure from Fargo.Both are seemingly above the fold although Kay Kay is shown to be more human here and more vulnerable to the forces around him.As in Fargo we go along with the deeds of both the perpetrators and their victims.None of them are shown to be right or wrong.It's a question of who wants to have the upper hand at the particular moment.
The most deluded of the lot turns out to be the cat among the poopy pigeons.The pigeons acquiesce to him in the end ,to their benefit mostly, except for the poor policeman who is reduced to a hypnotic state and forgoes what he and we have encountered througout the film.
It's hokum but delightfully acceptable.The characters grit it out vivaciously including one female protagonist who wilfully exudes her allure on the males around her.I think the film succeeded in toying similarly with me.
There are deviations encountered by the characters in the above mentioned film too.The ostensible cause of such changes is the pull of a shaman like figure.He will not be shackled by social forces but he will manage to impose his feeling of propriety on the people around him.What we see for the majority of the film is these naughty characters at play in the gallis of an Old Delhi that is starting to become a popular form of representation of urban life in Hindi films(I am thinking of Delhi 6,Oye Lucky Lucky Oye and Do Dooni Chaar in particular although the last mentioned film isn't as seamy as the rest).One other common element between two of these films is Manu Rishi who acts in Saat Uchhakey and Oye Lucky Lucky Oye.Seeing him yesterday reminded me of the Dibakar Banerjee film.I think a sign of a good film is that it reminds you of other good films.So I was inclined to look at this film in a favourable manner.
What is truly enjoyable for most of the film is the sound recording.Throwaway lines are recorded in clarity.It's not often that you get to hear so many characters on screen-the filmmakers want us to listen,to know that they took on a certain amount of effort to create the lingo of the underbelly where curses fly freely regardless of your current predicament.Even the foul mouthed incorruptible policeman gets down and dirty to rattle and snap at those troublemakers who get him travelling day and night via his choppy scooter in the crooked bylanes.
Kay Kay Menon's character reminds me of the Frances Mcdormand cop figure from Fargo.Both are seemingly above the fold although Kay Kay is shown to be more human here and more vulnerable to the forces around him.As in Fargo we go along with the deeds of both the perpetrators and their victims.None of them are shown to be right or wrong.It's a question of who wants to have the upper hand at the particular moment.
The most deluded of the lot turns out to be the cat among the poopy pigeons.The pigeons acquiesce to him in the end ,to their benefit mostly, except for the poor policeman who is reduced to a hypnotic state and forgoes what he and we have encountered througout the film.
It's hokum but delightfully acceptable.The characters grit it out vivaciously including one female protagonist who wilfully exudes her allure on the males around her.I think the film succeeded in toying similarly with me.
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