Kazakhstan TV Head ‘Borat’ is sent to report on the greatest country in the world “U S and A”. With ‘Azamat’, Borat lands in New York and the rest, as they say, is history. Among other things, Borat manages to wash his face from a toilet bowl, try to marry Pamela Anderson and bribe a couple of cockroaches which he thinks are ‘kudu-vittu-koodu-payara’ Jews!

The movie starts thus: (In heavy East European accent): “Hello there! My name is Borat! I like you, and I like sex. It’s nice.” … “This is Orkien, the town rapist. Naughty, naughty! Over here, our town kindergarten (children pose with Kalashnikov rifles). Over here, Sakanov (who appears to be welding something), our town mechanic and abortionist”…. “This is Natalie” (Proceeds to kiss her full on the mouth for a good ten seconds) “She is my sister. She is number four prostitute in all of Kazakhstan (she displays a copper cup). Nice!!!” says Borat. The culture shock is immense, but the novelty of the situation combined with the background score and Borat’s animated actions make the audiences laugh-out-loud.

Reaching the “US and A”, Borat proceeds to meet white house representatives, television broadcasters, etiquette teachers, Jews and a crazy group of Christian fundamentalists. Considering Larry Charles’ stand that Borat was almost totally unscripted, Sacha Baron Cohen sure has managed to keep the laughter clouds hovering over the movie.

Complete with a naked hotel brawl between Borat and Azamat (a three hundred pound hairy, supposedly-human gorilla), Borat isn’t for the conservative minded. Nor is it for Jews, considering that Borat is the quintessential anti-Semitic, misogynist, bigot character complete with racist taboos!!

A tribute is essentially a formal token of appreciation for a persons high achievements. And a copy, aimed at making money – can in no way be called a tribute. The motive was money and what he called as a ‘tribute’ right at the start of the movie is actually a sad copy.

The Godfatherish essence was missing in the ‘Sarkar’ movie:

• For the Godfather family, everything was business. Nothing was personal. For Sarkar, the opposite was true.
• The Godfather never let his enemies know what he thinks, does. He never ever becomes angry. Sarkar is a senile old man in this regard.
• Sonny Corleone worshiped his father. He was talented and devoted. Vishnu is just another f*rt with no values or talent. The only things they share are superficial – a liking for women and a hot-headed nature.
• Luca Brazi was the only man the Don feared. In Sarkar, the guy dies even before his own introduction. And the Godfather family kills off anybody who goes against the family – including its own son Fredo (Movie II), there are no second comings. And the Sarkar family was dumb enough to allow Vishnu in once again (for the sake of Indian sentimentality).
• The role of women in the Godfather is limited – and for reasons mentioned in the book. In Sarkar, this notion is not appreciated.
• Sarkar runs an NGO in the movie. There is no talk of where the money comes from, what his lines of businesses are. The Godfather has a nice little bit when Michael explains the family business to Kay Adams. So – there really is a lot of confusion right from the start as to who SARKAR really is!
• The Godfather never hogs the limelight. SARKAR waves his hands to crowds who seem to be waiting at his gates at all times.
• The portrayal of Tataglia, the Turk, Barzini – are deficient to say the least.

So – all RGV does is copy the superficial story line (incompletely), change the fundamental thoughts and Indianises them for the sake of commercialization. And still calls it a tribute.

If he were going to call it a ‘copy’, it would have been fine. But to call it a tribute?!

BTW, this is just talking about the story line and the philosophy of the Godfather. Not to mention that we could compare the ‘tribute’ to the orignal on the basis of music, acting and cinematography!

IMHO, Nayagan was the only Indian movie that ever came close to show respect to ‘The Godfather’. It wasnt a ‘tribute’ or a copy. A few passing thoughts borrowed, but the story line has its own Indian roots and emotions.

Sarkar is a good movie in its own right. But please do not compare school rhymes to gospels!

For those of you who are fans of Darren Aronofsky’s cult movie – Requiem for a dream, the six year long wait is over.

Intellectually as engaging as Pi and Requiem and visceral in its impact, the film is presented in a non-linear fashion spanning a thousand years, portraying beautiful visions and breathing life into a universe dependent on life, love & death.

The lush cinematography with black and gold miasma blend perfectly with the minimalist score based mostly on string instruments.

A usually action oriented Hugh Jackman pairs up with Rachel Weisz in a soul story that simply forgets about time. The chemistry between them is absolute albeit with shades of melodrama, and any lesser actors wouldn’t have portrayed the three-dimensional characters in a more vivid and emotional way.

In Aronofsky’s own words, this isn’t a story to be analyzed, but an experience to enjoyed.

Of late, I’ve not been doing exaclty what a typical b-schooler would do. I’ve been watching a lot of movies. Among those I liked a lot are ‘Gangs of New York’ and ‘The Aviator’. Gangs was the typical Scorsese flick – a narrative style, set in New York and having unrealistic cathartic violence. Aviator was catering to a different set of Scorsese ‘attributes’ – Lone ranger struggling with inner demons and rock-meet-opera sound tracks.

Oh. And any write-up of Scorsese can’t be complete without a word or two about Marty’s Mob Movies – ‘Goodfellas’ & ‘Casino’ both featuring Robert DeNiro.

Oh – and coming to that, Scorsese did some brilliant films with DeNiro – Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Cape Fear & Casino.

Perhaps the best Actor-Director pair ever…

Now he’s picked on Leonardo DiCaprio – Gangs of New York, The Aviator & The Departed.

Next comes “The Rise of Theodore Roosevelt” , based on Edmund Morris’ Pulitzer-winning book.

As screen writer Nicholas Meyer (on Ted Roosevelt) put it -

“His life reads like a movie that requires a big bag of popcorn”

Looking forward to the movie and hope they the Scorsese-Caprio combine produces many more such movies despite the obvious age problem!