Black

First things first. On Easter Sunday I pondered whether I should go see the film "Black" -- a film about which I had heard nothing in the popular press, until I saw its title on the cinema's Marquee. Not surprising really, since the film appears at this point to have only been released in the specialty Hindi-language Bollywood film circuit in Canada. Which is a real pity because if I had not made an accidental point of presenting myself at a movie-house that was actually screening the picture, as a Euro-heritage native-born Canadian I would likely still be walking around in a typically North American ethno-centric film fog about this excellent picture.

When I initially asked the theatre's ticket clerk what "Black" was about, his description hardly got me excited. It's the story of a teacher who helps a disabled woman. It didn't sound terribly engaging to me. But boy, was I wrong! While I am not a complete stranger to a number of Bollywood-type films, I'm lucky if I see one or two in a year, and at that, it's usually been because someone else has suggested it. While few of these "B" class movies "deserve" screen time in mainstream North American theatres, this is hardly the case for "Black". It is not a "B" class flic.

If only because the film's Director Sanjay Bhansali co-wrote the script, this obviously allowed him to imagine how he might want to capture the story with beautiful emotionally-charged cinematography. And what a sophisticated symbolically packed feast it was at that! Yet backing up the impeccable imagery was an equally top-drawer story. One dimension tells the story of a once well-regarded teacher who has come to the end of his financial, if not his existentially-justified rope, a man whose talents are neither fully recognized or completely appreciated. Then during this 11th hour turmoil, he receives a letter asking for help from the parents of a young deaf and blind girl. Her story is of course equally gripping, a girl effectively trapped in an internal prison in which language, a vital connector within herself as well as to the outside world, is missing. In this sense, both characters need one another, for both are on the common and all too true brink of being "disposable people" - people ripe relegated to become out-of-sight out-of-mind statistics in a faceless institution.

This feature of the story speaks to a possibility few of us care to contemplate, namely: "Who would care for me if everything fell to pieces?". It is a possibility reminiscent of and anchored in a time when as children we depended entirely on our parents for nurturance and love. This I think is what gives this story its privileged access to the inner-recesses of our deep emotional need for interconnection. And because it is a story told as much with emotionally poignant visuals as it is with emotionally gripping dialogue, these have a way of by-passing the usual intellectual filters we erect to both define and "protect" ourselves from one another. This film will have none of that. And the emotionally-forceful performances offered by the male and female leads simply seal our fates, leading us to co-journey with them in their heroic quest to find the light that will illumine us as much as them.

Few are the number of viewers who could experience this film and not leave better people, if only because it succeeds in allowing us to recognize the value of caring for one another as the greatest triumph, if not the most important ingredient in all of our other successes as a species. In short, this film strives to restore one's faith in the value of life and love, and does very well in that task. And what more can anyone ask from any motion picture? It is a work of genius, well executed, and a triumph of film-making, regardless the culture. Which is why I believe it deserves a lofty 10.

Who cares if it's like Miracle Worker....it's still such a beautiful movie. And believe me, it's different and if you stupid, idiotic people can't remember, the movie was made in Helen Keller's honor and they spent a whole day at her institution. And the only it has in common to Miracle Worker is a Deaf and blind girl. The description of the blackness she sees and how in the end she helps Amitabh learn to remember is original.

Black Shows darkness in a frightening, confusing, frustrating place, a whirlwind of emotion and anger. Michelle lives in a time where little can be done for her. Anger rots inside her for the frustration she feels for not seeing her sister's face or hear her mother's voice. She's a prisoner. She feels excluded. For hours upon hours she tries to scream but nothing comes out...just distorted noises that she can't even hear. Black is a living hell...until she meets Amitabh bachan's character....her brings light into Michelle's terrifying world.

Rani Mukerji is fantastic and she is NOT annoying because you dumb haters just don't see the depth. And she was't just acting like she thought a deaf, mute,and blind person would. They actually spent a day at the institution. Though it strays from the typical musical/love story/gangster-beats-up-hero-but-he-doesn't-care-hes-bloody and/or is dying Indian movie( i think those movies are bull crap), its beautiful! Give it a chance! You'll really learn something!

Here's very briefly what the movie is about:

It is the story of Helen Keller & Anne Mansfield Sullivan, suitably modified though, to nicely fit into the Bollywood mould.

That however should not take anything away from the three main highlights of the film:

Sanjay Leela Bhansali's Direction, Rani Mukherjee's execution of a difficult role, & Mr. Amitabh Bachchan!!!

Bhansali is best at stories highlighting human struggle. And with this adaptation he comes up trumps once again. He also proves that if you have a great story & just one great actor in a meaty role, you have a hit on your hands. Strange how the so called moguls of Hindi cinema cannot see that!

Rani Mukherjee's performance as the Indian Helen Keller (Michelle) is very commendable. It is just her misfortune that she was pitted against Amitabh Bachchan in the BEST Role (Devraj Sahay) of his life!!!

Mr. Bachchan tends to dwarf everyone. To all those who doubt that he is the GREATEST Actor this country has produced, go watch Black. You will return transformed for life! From the moment he comes on screen, he mesmerizes you. And he holds you till the last frame of the movie. He gives you goose bumps with his performance. And to think that the effort doesn't even show...

Now if only other film makers would give him roles worthy of his calibre as an actor, we could well have our first Best Actor Oscar ever. No kidding. Go see the film!

And Oh! I almost forgot. The little girl who plays the young Michelle is the best child actor this author ever seen! And that includes the Macaulay Culkins & Haley Joel Osments of the world!

Trust me! Go see the film!

Sanjay Leeela Bhansali's Black is definitely a good film. It is brilliantly scripted, made and executed, and it is also profound and complex. Many have called it a pretentious show, and indeed, that's something very obvious and annoying. I'm sure Bhansali from the very outset had planned to get many awards, five-star reviews, and "the-best-filmmaker-in-the-country" titles, but that said, nobody can completely begrudge him since this movie is as impressive and well-invested as it is ostentatious, and it deserves the hype. Let's start with saying that technically and visually Black is a treat. It boasts of fantastic sets and wonderful costumes, and the cinematography is incredibly good. All these, along with the superb background score, create a beautifully dark film. Having said that, this may be the exact reason why many viewers found it hard to relate to, and that's something I can easily understand, particularly after having seen his best feature to date, Khamoshi: The Musical, in which everything was kept simple. Here there's no simplicity: everything is lavish, big, grandiose - and that's why it's often labelled pretentious. The film is emotional yet unsentimental, which is good, but then, one of its main flaws is the fact that more than once it resorts to emotional manipulation, trying to forcibly wring tears.

Well, one thing is sure and it is that you can always expect good acting in a SLB film, particularly when it has an Amitabh Bachchan. Bachchan's performance is out of this world. His character goes through many phases, and each time you feel he's sinking into it more and more, so much that no words can be found to describe it. Seeing an actor of his calibre still being there, and playing a part with such passion, intensity, emotion, anger and hunger, makes one believe that the sky is the limit. Along with Yuva, Hum Tum and Veer-Zaara, Black is a film that constructs Rani Mukherjee's transformation from an average performer to a mature actress. She plays the character brilliantly. The scene which had her crying on the phone to her mom, is one of her career-best acts. It's cruel that she is cast opposite Bachchan, as she can't take the whole credit to herself, and well, frankly speaking, in my view her role is not as powerful as his, as it is a technical part that requires extensive training rather than soul. It's still a memorable performance, and in her case, if the sky is the limit, Black was probably the sky. Without taking anything from Mukherjee, I was more impressed and amazed by the far more superior performance of Ayesha Kapur, who played the young Michelle to perfection. Kapur is simply flawless in this role.

Sanjay Leela Bhansali is a crafted filmmaker who knows his work and his goals very well. In spite of its flaws, Black remains artistic and it is overall a moving movie experience. The words hope, love, dedication and success always come to the mind while watching it. It might not be original, it may be extremely manipulative at points, but the effort that was put into it by the entire cast and crew is evident and appreciable. Black is definitely better than most of the films made in the Hindi film industry. Though for me too it is a mixed bag, I admit that the first time I saw it, I kept thinking of it after the show had ended and for quite some time. This is an achievement few films can achieve (for me), and here's why my high rating.

For a long time I would watch Hindi / Tamil movies only when ironing. You don't care if you miss some parts - there is always gratuitous mandatory dances, fights and incidental humor.

Black stands out among the Hindi movies. The brilliant acting, dramatic tension, breathtaking views of the mansions in Simla and the story-telling technique blended to create a great experience. Agreed Amitab is a great actor. But Rani Mukerjee mounts a respectable challenge to him. Supporting actors were great too.

If Hindi movies are half as good as this, I would watch more.

I had a bonanza holiday break watching Black, Paheli and Mangal Pande. Looks like there is some real light at the end of the tunnel, after all! I am now a declared fan of Rani Mukerjee.