gypzzy

Rocky, born to a hindu mother, has no external signs of being a hindu, but as a boy wears a 'taweez', and is later addressed as 'sultan' and 'bhai', all of which are 'peaceful' style. The head of the hindu family running the hyper exploitative gold mine enslaving thousands of poor villagers, is hindu, but is bedridden and weak, and could not be glorified in any manner. The oppressed villagers enslaved in the gold mine, are all dhoti wearing people, never a skull-cap wearing 'peaceful', and never once has a 'peaceful' gold-digger shown in a vulnerable/weak position. Rocky never once shows his hindu identity. In the beginning of the film the never-ending done-to-death-cliche voice-over tutors us that as he needed a brand name, he changed his original hindu name to 'Rocky'. So convenient! One wonders why 'Rocky bhai', 'Salam Rocky bhai', both of which are 'peaceful' style lingo. The worst is when the festival of hindu kali godess, worshipped by the exploitative hindu gangster family, is shown to indulge in human sacrifice, and during the festival Rocky comes from under the water to slay the hindu son of the late Godfather.

No one talks about Islamic jihad in India, and the slow never-ending genocide of hindus by the jihadis, and instead Bolly makes films showing hindus as oppressive and exploitative, obviously trying to counter the real-life filthiness of the jihadi religion atleast in films by showing hindus in bad light, and also to create a narrative that hindus are like their representation in the jihadi-funded films.

KGF also does the same, as has been the lifelong project of Salim & Javed chichas, junky Nasirudeen, and the pigmy khans.

KGF is a third-rate film, with zero artistic value, with a non-stop supply of done-to-death cliches, and its success signals the death of art in cinema, and the dead-and buried aesthetic sense of the audience,their hearts and minds destroyed by item numbers,innuendo and glorified violence and gory revenge-tales. The protagonist's interview revealed his sad lack of depth about art and politics. The films has made tons of money, but it is just sad, really heart-breakingly sad for cinema. One wonders how long we'll have to tolerate cheap copies of 500-year-old third-rate film-cliches, until real individuality breaks through, and minimalism and simplicity returns to empower us.

This review is being written since an obvious interpretation of the film, hasn't even been mentioned anywhere. Unlike most holly/euro flicks, which either are hopelessly apathetic or toxically individualistic/inhman, as well as literal without any connection to reality, or obviously propagandist/racist, this film from the Turkish master, who seem very much like the reticent Kieslovski or Terrence Malick, is a minimalist bomb, on an insanely relevant subject, modernity v tradition. The key here is the approach to the subject. Non-judgemental and very understanding, and absolutely no motives to favour either. Such refreshing and rare honesty, at a time when any intelligent person has to be utterly cynical about what perversity is being peddled through films and media. The answer to the clash, which is not just between modernity and traditions, but also between civilizations, the neo-colonial western hegemon, monstrously waiting to penetrate all corners of the planet to overpower and homogenise by wiping out the diverse traditional societies, and traditional societies with diverse cultures resisting the neo-colonial forces at their gates. The answer is obvious, but the way it comes about is miraculous and exquisite, and deeply human. The human condition in this asymmetric cultural conflict, is sensitively shown. It is deeply against the prevailing eurocentric oppression and their dead-in-the-soul values they promote, which probably explains why a DVD of the film is nowhere to be seen. If anyone wants to see whether art is transformative, watch this. And of course, check out Lav Diaz after this.

After having watched two movies,both belonging to the the eastern European category,without feeling to comment on either,I tried this one.I honestly got blown away by the movie.It is a romance, but avoids all the clichés this genre has ever created,down to this day.This one has stood the cruel test of time,and will cruise for times to come.The rustic setting,country-life,amazing cinematography,the music and the performances make this movie an unforgettable one.The setting is almost magical with never-end fields of grain,swaying in the wind,and shot in the most poetic way.The rural life,the horses add to the magic the setting creates.The drama,however,in this magical setting is as real as it can be,which is why the movie is seriously timeless.The nostalgia this film evokes is indescribable.However,as already said,nothing in this film is clichéd. It is highly recommenced to anyone looking for an original romance,and specially recommended to any cinephile.