Brilliant piece by @kbalakumar: "The voice was hers. The sadhana was hers. The bhakti was hers. The genius was hers. What Sadasivam possessed was something else — the extraordinary ability to understand how that genius could be presented, protected, amplified and taken to an audience far larger than the traditional Carnatic world.
To reduce that achievement to the handiwork of a caste patriarch is not a radical reading of history. It is simply too small a reading for the magnitude of both Sadasivam and MS."
https://t.co/jku8NAhIy2
Oye Lucky Lucky Oye captures the Delhi patois so well. Revisiting the movie after all these years and it holds up quite well. Was also my first introduction to the zany world of Sneha Khanwalkar!
Rather than going gaga about the wankery of Wes Andersen, the world would be much better off appreciating the brilliant use of colour that Almodovar employs in his films. Case in point being his English language debut ‘The Room Next Door’. Delectable!
Reading the movie reviews of Anthony Lane, random life musings of Geoff Dyer and food reviews of Jonathan Gold have given me the greatest joy these past few weeks. Perfect to dip in and dip out of amongst the madness!
@BoriaMajumdar Sorry, you can’t play it both ways. You should have understood the logic first before asking that he play. Most of your commentary was on the line that the Oval test is important and he has to play.
The parallels between Su from So and Aavesham are not just limited to the bangers Illuminati and Danks Anthem, but also in the quirks shared by the leads Ranga and Ravi Anna.
Ry Cooder has weaves together a lovely score for Wim Wenders ‘Paris, Texas’. He’s basically just noodling with this slide guitar, but it’s pitch perfect for the tone of the movie..