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Category Archives: Analysis

Book || Death of Ethics in ‘Brave New World’

The year was 1932 and Aldous Huxley, a British writer, released a futuristic novel entitled Brave New World. In it he describes a dictatorship that maintains supreme control over society through sinister means involving genetic and pharmaceutical manipulation. Coined a “satirical novel,” of which Huxley

Cinema || Talvar (Deconstructing the Filicide)

Bollywood has seldom shied away from condescendingly portraying the nation’s lawkeepers on screen. It has often managed to strike that particular nail by introducing a glaring exception to the ‘rule’, a protagonist who is often a larger than life superhero figure with the will and

Cinema || Blue Velvet (Blue Shades of the Dark)

“It’s like saying that once you’ve discovered there are heroin addicts in the world and they’re murdering people to get money, can you be happy? It’s a tricky question. Real ignorance is bliss. That’s what Blue Velvet is about.”                              – David Lynch Blue

Cinema || Rajkahini (A Subaltern Tale of Royalty)

Having had no shortage of Bengali friends attempting to shove in the face their ‘superior culture’, especially films, I have known for a while now that Indian cinema has historically been moulded and transformed into what it is thanks to the sincere effort of the

Cinema || Manjhi – The Mountain Man (True Indian Grit)

Releasing just after the Independence day celebrations, Ketan Mehta’s Manjhi – The Mountain Man boasts an Indian story that deserves a grand treatment on the silver screen. It happens to be a true story of immense humanity that necessitates a larger than life depiction which

Cinema || TeenKahon (Three Tales of Love)

The much speculated and lauded debut of Bauddhayan Mukherji is quite the novel idea on paper. Spanning an impressive one hundred years, Mukherji’s three tales of obsession would unite three vastly different stories from diverse eras to chart the course of a certain trait of

Cinema || Black Mass (Darkness Unbound)

The primary challenge that any filmmaker has to contend with when one attempts to make a gangster flick is to live up to the unrelenting standard set by one Martin Scorsese. Since director Scott Cooper chose to make what can essentially be called a ‘semi-biopic’

Cinema || Mia Madre (My Mother)

That meta-films are a specialty of Nanni Moretti has been evident ever since the release of ‘April’ (1998). He followed it up with Il Caimano (2006). Moretti’s latest, the Margherita Buy starrer ‘Mia Madre’ goes further than he has yet travelled into the psyche of