In The Mood For Love (2000)

 In The Mood For Love (2000) : A Poem Of  Images

Wong Kar-wai's ability to intermix visually stunning pictures , emotions and uniqueness is known at international level. And its his these abilities that gives In The Mood For Love a new axis of film making primarily in the romantic drama genre.The film is set in Hong-Kong (1962) which depicts a affair between two newly shifted neighbors who suspects that their respective partners are having an affair. The most interesting part of film is the perspective through which the story is told. Even having an affair both the leads tries to search their respective partners in each other. You don't see even the faces of their partners and that's a very critical decision taken by wong. The master Director has presented the story in a way that audience do or not completely sympathize with the leads.  And Both Tony Leung and Maggie Cheung delivers an outstanding perfomances and are a treat to watch.Wong Kar-Wai is extraordinary in both the departments of writing and direction. The background music of movie specially in slow motion scenes is outstanding. 

To watch this magnificent piece of work refer to link given below. Thank you .

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Anhey Ghore Da Daan (Alms for a Blind Horse)

                           

                 Anhey Ghore Da Daan (Alms for a Blind Horse)

There are some movies which doesn’t make you happy, sad, neither excites you nor thrills you , Anhey Ghore Da Daan (Alms for the blind horse) is a movie of such genre. As a cinema lover I came to know about this movie back in 2011 when it bagged best direction, cinematography and best Punjabi film at national awards. Of course it shocked me as Punjabi cinema who is known for its enthralling and zealous music and dance, has produced such a cinematic masterpiece. Its director Gurvinder Singh really shows his ability, after such a long gap I have seen such a strong direction , and screenplay. He is also successful in the way he introduces characters and yes the thing that I liked and that horrified me a bit during the movie is it’s silence. Yes it’s silence , use of live sound , and background music is amazing. It’s cinematography is a treat and specially some steady cam shots. In all , Anhey Ghore Da Daan(Alms for the blind horse) is a very strong and hard hitting cinema experience which is rarely seen in Indian cinema and that too in regional.

To watch this masterpiece refer to below YouTube links: 

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Oldboy (2003)

          

Oldboy (2003) - A never told before revenge story

There are very few movies which possess par excellence in their all departments and with no second thoughts Oldboy is an example of such cinematic experience. Right from the start Oldboy captures audience attention with its fast-paced and unique story line, engaging screenplay, brilliant acting and last but not the least quintessential Direction of  Chan-wook Park. Its it these combinations that produced a cult classic and one of the greatest movies ever made.

Watch this brilliantly crafted cinema work here:

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Alphaville (1965)

   Alphaville (1965) 

 When Jean-Luc Godard's Alphaville opened the 1965 New York Film Festival, the American Civil Liberties Union Benefit group of onlookers appeared to be truly confounded by the blunt movements in tone: from satirically joking futurism, to a farce of private-eye quirks, to an uncontrollably sentimental moral story delineating a machine-regulated publicly accepted norms at war with maestros, scholars, and significant others.

Alphaville is science fiction without enhanced appearances. Godard couldn’t manage them in 1965 or ever, however he likely wouldn’t have needed them regardless of the fact that he’d had unrestricted financing. His entire subject, creative impulse versus legitimacy, is constant with his organization of Paris as it was in the ’60s—or in any event, those parcels of Paris which struck Godard as design bad dreams of unoriginality. Sub-Nabokovian jokes on mark names flourish. There is much talk of publicly accepted norms in different cosmic systems, yet their main indication is the Ford Galaxy that Eddie Constantine's Lemmy Caution (a level-rent French adaptation of Sam Spade and Philip Marlowe) moves about in. A large portion of Alphaville is nighttime or claustrophobically inside. Yet there is an elating discharge in huge numbers of the visualizations and zoom lens developments in view of Godard's uncanny capability to summon favored minutes from numerous films of the past.

Alphaville was never intended to stun, discourage, or loathing, and subsequently it appears as proper and OK in 1998 as it did in 1965. Furthermore it is the work of small time, one conspicuous man, not the work of a skeptical, ascertaining trustees. For sure, the PC-regulated reprobates in Alphaville bear more than a passing likeness to the primary concern driven miscreants in the movie industry. To grasp and relish Alphaville is to grasp Godard, and vice versa. The shapely young lady swimmers with blades for teeth and shark-like impulses for souls are an unfolded form of Alexandra Stewart's swimsuit-clad shark in the Godard scene of RoGoPag, the scene Lincoln Center crowds hissed roughly in 1963. Moreover from RoGoPag are the pills the inhabitant total of Alphaville snaps up like peanuts to hold peacefulness without memory.

The Welles impact, absolutely from Mr. Arkadin, is reflected in the unhindered-wheeling exhibition of Akim Tamiroff in the company of the swinging light spheres of Wellesian expressionism. The references to Dick Tracy and Flash Gordon are unadulterated comic-strip pop, and the reference to relativity and the SS perfect funny angst.

Godard, the partied about enfant horrendous of the nouvelle shadowy, indecently parades Anna Karina, the most fabulous fondness of his essence near his numerous Galateas (Jean Seberg in Breathless had been one of the first). Karina plays Natasha Vonbraun, the loved one of Professor Vonbraun (the eccentric combination of a Tolstoyan first name and a Nazi rocket-researcher final name is common of Godard's irreverent torment-on-both-your-houses state of mind to the Cold War). This fondness of Karina is on showcase with Godard's adore of motion pictures. Cameo presence by Jean-André Fieschi, as Professor Eckel, and Jean-Louis Commoli, as Jeckel, speak for a mixture of two of Godard's successors on the staff of Cahiers du Cinéma with two Hollywood enlivened toon figures.

          Alphaville (1965) [Jean-Luc Godard] with eng. subtitles

          

One may bandy over the misrepresentation of expressive structure in outlining machine control with the scratching-murmuring sounds of a man who has lost his voice box. Innovative totalitarianism might surely have thought of a morebeguiling tone with which to allure its subjects. Regardless, I am more moved today than I was in 1965 by Godard's temerity in having Karina total up the ethical of the picture with a deliberately intoned perusing of the line, “Je vous aime.”

There is a minute of weary reception in Alphaville when Eddie Constantine, his front side blurring into the shadows, affirms that it is destiny to end up being a legend. It is a visualization of learned gallantry and self-distinguishment for example I have sometimes perceived on the screen. Besides in one blaze, Godard enlightens one of Constantine's above all huge reactions to one of the workstation's concerns in a prior grouping. “What converts dimness into light?” Constantine is asked. “La poèsie,” he answers. That a semi-gangster ought to be equipped for such enunciated affectability appears to be doubtful, however no more doubtful actually than the capacity to unite funny strips and cherish pieces with a solitary sensibility.

         

Ambiguity (Short Film)

                         Ambiguity (Short Film)

It was started just from a single word - 'Ambiguity'. The word intrigued me and I decided that my first short film's title would be this. So I drafted the initial script and showed it to my friends, they all loved the script and after that we started to shoot. With almost nil movie making experience each shooting day was a challenge ,but it helped us to  learn very sensitive and important steps of film making. Still after completing the shooting , we faced some more challenges in post-production part- transitions , audio handling , audio-video sync and many more. But as the days passed we begin to explore about these and ultimately made our best to handle it. After more than 7 months we were ultimately ready to present our first short film. It doesn't matter how is the end result but what really matter is the knowledge that we gained about film making  and how we are gonna use it in our next project.

so, here it is. via Dabba Production House - please spare a moment to like this page. thank you! http://www.facebook.com/pages/Dabba-Prouduction-House/184309671628647