I was done with watching Yeh Saali Zindagi and was desperate to actually watch some quality cinema. I knew there was a show for Biutiful @ 2030 @ PVR Mulund but as luck would have it, I was the first person to ask for a ticket. Luckily a 2nd guy came in. Here was a guy who wanted to see the movie for a second time. And he told me a story about how the movie was being screened @ the Miami Film Festival and the organizers were forced to screen it twice because of the response. Ironic that against 400+ people in each show @ Miami, we were struggling to get 4 in a show. Luckily we got to our minimum requirement of 6 to run a show and I got to watch two of the best on screen talents that this world has seen in the past few years. Both who personify the term intensity on the big screen. Both who believe in the concept of perfection like very few I have ever seen. They go by the names of Javier Bardem (Uxbal) and Alejandro González Iñárritu.
Uxbal is a 40 something man who struggles to make ends meet. He lives with his children Ana (Hanaa Bouchaib) and Mateo (Guillermo Estrella) in a matchbox houe of sorts somewhere in Barcelona. They live away from his wife, Marambra (Maricel Álvarez) because of her addictions and inability to take up the responsibility of the children. He makes his living by supplying cheap illegal immigrants as labourers or for doing odd jobs. His key contacts are the Chinese – Hai (Cheng Tai Shen) and his gay partner Liwei (Luo Jin). The Chinese supply him goods which he sells off on the streets using his African contact base. Other than all of these, Uxbal also has a peculiar skill. I really do not know how to explain this better and so I will put it as simply as I can. Uxbal can talk to the dead and communicate their final thoughts to their loved ones. He is called upon quite often to do this. He isn’t supposed to charge anything for it but accepts any money given because of his financial situation. Uxbal has prostrate cancer and has another 2 months to live.
Iñárritu, in his 4th movie, continues exploring his favourite concept – DEATH. This time around, he narrates the story in a fairly straight forward manner unlike 21 grams where he made sure that people who understood the movie hadn’t taken their eyes off the screen for a split second or like Babel where each of the 4 stories were linked to the other in some obscure or not so obscure way. This one is much cleaner but then it is Iñárritu right. So there has to be a certain amount of – for lack of any other word – poetry – on screen. I cannot describe Iñárritu’s direction in any other way with my limited knowledge of the English language and even more limited knowledge about the movies. Every single cog in the wheel seems to just come together to communicate the essence of pain that a father goes through when he knows that his children are going to be without someone to depend on when he moves on. Or the emotions that a deranged mother goes through thanks to her inability to cope up with addiction. Not forgetting to mention the desperation of an illegal immigrant to ensure that her family’s future is secured. An extremely poignant representation of emotions. Truly a very well made movie. Extremely slow but very well made. 8 on 10 for the movie. 9 for Bardem. But I don’t think he will be able to pip Colin Firth for the best actor at the Oscars.
Watch the trailer at http://www.imdb.com/video/imdb/vi1483905305/
Uxbal is a 40 something man who struggles to make ends meet. He lives with his children Ana (Hanaa Bouchaib) and Mateo (Guillermo Estrella) in a matchbox houe of sorts somewhere in Barcelona. They live away from his wife, Marambra (Maricel Álvarez) because of her addictions and inability to take up the responsibility of the children. He makes his living by supplying cheap illegal immigrants as labourers or for doing odd jobs. His key contacts are the Chinese – Hai (Cheng Tai Shen) and his gay partner Liwei (Luo Jin). The Chinese supply him goods which he sells off on the streets using his African contact base. Other than all of these, Uxbal also has a peculiar skill. I really do not know how to explain this better and so I will put it as simply as I can. Uxbal can talk to the dead and communicate their final thoughts to their loved ones. He is called upon quite often to do this. He isn’t supposed to charge anything for it but accepts any money given because of his financial situation. Uxbal has prostrate cancer and has another 2 months to live.
Iñárritu, in his 4th movie, continues exploring his favourite concept – DEATH. This time around, he narrates the story in a fairly straight forward manner unlike 21 grams where he made sure that people who understood the movie hadn’t taken their eyes off the screen for a split second or like Babel where each of the 4 stories were linked to the other in some obscure or not so obscure way. This one is much cleaner but then it is Iñárritu right. So there has to be a certain amount of – for lack of any other word – poetry – on screen. I cannot describe Iñárritu’s direction in any other way with my limited knowledge of the English language and even more limited knowledge about the movies. Every single cog in the wheel seems to just come together to communicate the essence of pain that a father goes through when he knows that his children are going to be without someone to depend on when he moves on. Or the emotions that a deranged mother goes through thanks to her inability to cope up with addiction. Not forgetting to mention the desperation of an illegal immigrant to ensure that her family’s future is secured. An extremely poignant representation of emotions. Truly a very well made movie. Extremely slow but very well made. 8 on 10 for the movie. 9 for Bardem. But I don’t think he will be able to pip Colin Firth for the best actor at the Oscars.
Watch the trailer at http://www.imdb.com/video/imdb/vi1483905305/
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