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Subhash K Jha speaks about Go Goa Gone

<img align="right" alt="" class="mfr" src="http://images.bollywoodhungama.com/img/feature/13/may/gogoagone1.jpg"/> Not taking into account the expression-less 'actors' who have infested Hindi films from time immemorial, zombies are a relatively new phenomenon in Hindi cinema. We did have a zombie film some weeks ago which, like most characters in films of that genre, died a swift death. Forget that. Go Goa Gone is a savagely funny take on the mythic cult of zombies. Since we are new to the genre there are sly footnotes about them. Characters in the course of their casual and quite corny conversations tell us plenty about Zombie folklore. That zombies enjoy eating human flesh, that they cannot run fast and most of all, zombies are actually dead people. Working backwards on the premise of heroes shooting the dead, the co-directors have fashioned a fiercely funny fable filled with loads of innocuous innuendos and rumbustious scare attacks that never quite reach the stage of stomach-churning gore-o-logy (to invent a term, and why not since this film is about inventive creation). Go Goa Gone can be seen as a brutal burlesque of the horror genre. Scenes of ghouls/zombies chasing our puny heroes through the Goan foliage are more satirical than scary. This innovative ode to terror moves at a quirky yet measured pace, gamboling quickly from one well-written scene of mock-terror to another without losing track of the film's ultimate 'bro-mantic' purpose. For starters, the three heroes Kunal Khemu, Vir Das and the quietly effective Anand Tiwari who travel to Goa for fun frolic and, ahem the fraulein (if you'll excuse my German) looks like cocky offshoots of the trio from Farhan Akhtar's Dil Chahta Hai. Interestingly, one of Farhan's protagonists Saif Ali Khan here transforms into a blonde Russian zombie slayer named Boris whose accent keeps slipping off. And that's fine because Boris is not really Russian. <img align="right" alt="" class="mfr" src="http://images.bollywoodhungama.com/img/feature/13/may/gogoagone2.jpg"/> Ha ha. And this is not scary movie. Not really. Ha ha again. The principal actors are fully in-sync with the zany mood. Saif as a pseudo-Russian zombie hunter gives a performance to 'dye' for. The laughs flow with energetic gusto melting into a tide of spooky gore without creating a genre-confounding mess. Kunal Khemu and Sita Menon's Hindi dialogues catch the fervor of the tongue-in-cheek words cheekily. Here is one film that doesn't lose its way in translation. Though the characters 'think' in English (Hardik, indeed!) and although the whole concept of a zombie flick is very B-grade off-mainstream Hollywood, the hair-raising hijinks manage to stay relatively sleaze-free. Peppery and with a pinch of 'assault', the performances are pitched at just the right flavour of fright. All the three main actors have fun with their parts. But it is Kunal Khemu who seems the most at ease playing a synthesis of the slimy and the slippery without falling out of character. A true gem of an actor, why is Khemu not given more interesting work to do? Saif's star turn as the 'Russian' sharpshooter is understandably self-mocking in tone. Saif's character is in keeping with the film. You really can't take the terror template seriously. And yet you get the uneasy feeling that the joke is on us. A zombie fiesta that's savagely funny and surreptitiously scary, who but the co-directors of the genre-defying Shor in The City could convert the kookie content into an experience of a 'laugh'-time! Oh yes, there's the mandatory glam-quotient in the figure of Puja Gupta. In her presence Hardik, giggle, gets really excited. Go for Go Goa Gone. It's a stress buster with balls nerves and chutzpah. Oh yes, Goa as shot by Lukas Pruchnik and Dan MacArthur never looked more inviting. And less hospitable. <a href="http://www.bollywoodhungama.com/movies/features/type/view/id/4966" rel="nofollow">BollywoodHungama.com Features</a>

Subhash K Jha speaks about Go Goa Gone

Not taking into account the expression-less 'actors' who have infested Hindi films from time immemorial, zombies are a relatively ne...

04:28

Subhash K Jha talks about Gippi

<img align="right" alt="" class="mfr" src="http://images.bollywoodhungama.com/img/feature/13/may/gippifea.jpg"/> At the end of this endearing film you have to admit it's not just the pre-pubescent protagonist who has come of age. So has mainstream Indian cinema. It can now talk about issues such as homosexuality and menstruation without a blush. Meet Gippi then. She is free-spirited, unaffected, overweight and under-confident, though not willing to show it (her lack of confidence, that is). Gippi's story could well have become a trite pedestrian exercise in clichÃ©d sequences woven around the acne-ridden years of awkwardness and self-discovery. Instead, debutant director Sonam Nair gives us vibrant vignettes from a young defiant teenager's life in a posh school (beautifully shot by cinematographer Anshuman Mahaley) on the hills with her single mother (Divya Dutt, brilliant) and her kid-brother who seems to like all the girlie things more than Dippi does. Fearless and without inhibitions Nair's narration takes us through Gippi's life of unfettered self-discovery. The film is littered with reams of well -written scenes where we see Gippi going through situations that help her grow up. There's her mother's painful breakup with Gippi's father where Gippi must step in to defend her mother's descalating self-esteem. Then there is Gippi's own tryst with heartbreak when during her first serious crush with the campus' resident James Dean (Taaha Shah, well cast in his vain though benign character) she discovers that being fat and unattractive is not such an appalling option after all. The process of Gippi's self-exploration is lamentably not carried forward with the confidence and smoothness that one experiences in the first-half of the film when Gippi's life is shown to be a series of unplanned near-catastrophes that somehow stop short of reaching a point of no return. In the second-half, the entire chunk devoted to the school elections is comparatively tame and lacking the sparkle evident in the rest of the writing. Nonetheless there is so much to celebrate in this film, most of all the performances. 14-year old Riya Vij makes an unlikely yet thoroughly convincing heroine in a tale that requires her character to try everything, from a brassiere to heartbreak for the first time. To her credit the girl sails through all the tests put before her character. She is a prized find. As for the ever-dependable Divya Dutta as Gippi's mother, when has she ever let down a film? As Dippi's mother she puts spunk and spirit into her well-written character. Casting in fact is the backbone of this film. Not just Vij in the main role, even her friends in school are played by girls and guys who don't seem to fake it. They wouldn't know how to! The film also pays a homage to the songs of Shammi Kapoor in a rather gauche onrush of feelings. But then awkwardness is a predominant mood in this work. You can't escape clumsiness when you are groping around at the beginning of life's unique journey. So a big yippee for Gippi. It's a coming-of-age saga told with a disarming lack of artifice. The film's joie de vivre envelopes you in a sunny embrace. <a href="http://www.bollywoodhungama.com/movies/features/type/view/id/4974" rel="nofollow">BollywoodHungama.com Features</a>

Subhash K Jha talks about Gippi

At the end of this endearing film you have to admit it's not just the pre-pubescent protagonist who has come of age. So has mainstream ...

04:28