Avant Garde Bollywood Remakes Tuesday, 18 May, 2010
Posted by ~uh~™ in Graphics, Movies, World Movies.Tags: 3 Idiots, 3Idiots remake, Avante Garde remakes of Bollywood, Ballpen artwork, Bernerdo Bertolucci, Bollywood remakes, Creative, David Lynch, DDLJ remake, Dilwale Dulhaniya Le Jayenge, Graphic art, Graphics, imaginary cinema, Poster, Quentin Tarantino, Rab Ne Bana Di Jodi, remake posters, RNBDJ remake, roman polanski, Sholay, Tarantino remakes Sholay
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This article was first published on PFC [link]
This post has been selected as as one of the ‘Top 25 Tangy Tuesday Picks‘ of the year 2010.
The Ballpen and other Poster artworks are my original work ( except for Samuel_Gabbar), so will appreciate if you add the source link if you wish to use the images.
What if ?
The mainstream Hindi Film Industry is often criticized due to its lack of originality and the tendency to piggyback ride on existing good cinema of the world. Call it rip-off, plagiarism, influence, copy, creative coincidence or whatever, but the fact still remains that it’s always a rare and pleasant surprise to find a good new release, which is based on an original script. Whenever we see a good story on screen, the first thought comes to our mind is that it must be ‘taken’ from some already successful movie script, because that’s what the trend for commercial cinema has been. In short; if it’s not a masala, it’s must be a copy.
But, what if the trend is reversed? What happens if the world renowned Directors start getting ‘influenced’ by the superhit masala Hindi films? What if they remake the famous, cult and highest grossing Hindi films in their own style? Won’t it be a treat to us movie lovers, a double whammy of sorts? Foreign director cooks the desi masala, and in their own style.
So I sit down with a khamba of Old Monk, create a thick cloud of Eyjafjallajökullic smoke out of Classic milds and let my imagination run wild, wearing the shoes of some of my favorite directors…..
Warning: Article contains text and artworks depicting violence, sex and disdain to convention. Reader’s discretion solicited.
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Quentin Tarantino remakes Sholay
(Tarantino says it’s the most exhilarating experience, making his remake after RGVs)
We all know Sholay is inspired from Kurosawa’s Seven Samurai. But once Sholay was made, it became Sholay and had it’s own identity. So remaking Sholay is not the same as remaking Seven Samurai, in case one tend to become confused.
The four hour long film will be divided into eight major scenes, each around half an hour long. The movie would start with the final confrontation of Thakur (Lawrence Tierney) and Gabbar (Samuel L Jackson), where the opening credits would roll. Thakur will have robotic arms and legs equipped with rocket launchers and machine guns. Thakur will brutally kill Gabbar inside his loo, while Gabbar peeing.
A Poster of Tanatino's SHOLAY
The next scene would be a long conversation between Thakur, Jay (Eli Roth) and Veeru (Michael Madsen) about the Gabbar assignment. This will be followed by the Holi shootout followed by the train and dacoits scene. The dacoits would be on dirt bikes firing shotguns. Basanti (Vanessa Ferlito) would flirt with Jay, instead of Veeru. Veeru, while faking the ‘soocide‘, will suddenly fall from the overhead water tank and die. Gabbar will kill Basanti in frustration as she would try to seduce him, during the torture session. Jay and Veeru would kill Asrani’s character (cameo by Tarantino himself) before the jailbreak. They would suddenly behead Jagdeep (Steve Buscemi) after a 2 minutes laugh session together. The excised head would still shown to be laughing. Gabbar’s ‘Russian roulette’ (to aab goli kha !) scene would feature as bonus under deleted scene in the DVD release. So will be Hungal’s ‘itna sannata kyun hai bhai’ monologue and Basanti’s striptease to Gabbar.
Samuel L Jackson as Gabbar
Gabbar would use a heavy duty industrial sawing machine to cut Thakur’s hands, legs and also castrating him. Gabbar will scathingly mention that he doesn’t want Thakur to reproduce again so that his offspring could never take revenge on him. Gabber would snort coke and would be impotent. The fountain of blood oozing out of the limbless Thakur would drench the entire cast present in the scene including Sambha (Tarantio wanted it to be played by Mac Mohan only) and the gang. The bloodstream then further flow down to the village. The village dog will be shown to lick the blood while Ramukaka playing GNR’s ‘November rain’ on saxophone.
The longest scene would be the massacre of Thakur’s family shown at the last. Samurai swordsmen on dir bikes would do the killing with Nirvana’s ‘All apologies’ playing as the BGM.
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Bernerdo Bertolucci remakes Dilwale Dulhaniya Le Jayenge
(This movie is also gets red signal from censor board for explicit sexual content)
Poster of Bertolucci's DDLJ
Raj meets Simran on a train, has sex in the luggage compartment and part ways without even asking each other’s name. Then they meet again in Switzerland and have sex again, this time in a hotel room. Simran leaves Raj while he is asleep, who is then desperate to find her. He traces her back in India, in the remote village of Punjab. He finds that Simran is about to get married. Raj pretends to be a family friend of Kuljeet, Simran’s fiancé. They have a secret meeting following by sex in the ‘sarson ke khet’ where Simran’s father sees them. Next day they find a heap of dead pigeons being eaten by vultures. Raj eventually discovers that Kuldeep is a misogynist and kills him. Meantime Simran’s sister Preeti seduces Raj and they have a wild romp in the barn. But soon Raj gets disillusioned with both Preeti and Simran. He tries committing suicide by drinking many glasses of lassi but fails. As he tries to regain his lust towards Simran, she comes to know about his relationship with Preeti, she drowns Raj in a tub full of lassi.
In the last scene, Preeti is shown to drive a tractor with Simran towards the sarso ka khet while some pegions flies up, disturbed by the loud noise of the engine. In silhouette, only one of them is shown to return while the sun sets in the backdrop.
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David Lynch remakes Rab Ne Bana Di Jodi
(As usual Lynch refuses to provide any explanation of the film and leaves it to the audience interpretation)
Surrinder Suri (Chris Isaak) is a loner alcoholic simpleton, who works in the Electricity department of a small town but lives in a dark palatial mansion lit only by candles. Various insects crawl around him and a red lizard like creature makes modem like sound intermittently. His house is so big that some of the corridors looks like a tunnel to limitless darkness. However, when Surinder walks into any of the dark corridors it always leads to the living room.
Poster for Rab NE Bana Di Jodi by David Lynch
He spends sleepless nights watching a headless transgendered belly-dancer on his laptop screen who after every dance session dissolves into pixels which he saves in his pen drive as media file. Taniya (Naomi Watts) is the girl with a dark past and disturbed childhood. She gets flashes of her riding pillion with a muscular hunk on a motorcycle riding on an one way road opposite the traffic flow. Taniya’s would be husband suddenly disappears along with the vehicle on the same day of their wedding. The incident leaves Taniya shocked and depressed. An unknown man calls Taniya asking if she would like to know a secret about his father. She gets perplexed to discover that the phone line is lying dead. There’s a hint of incestuous relationship with his professor father, who before dying because of a wrong medication overdose, asks Surinder to take care of Taniya. Suri marries Tanya and takes her to his dark mansion. While Suri leaves for work, Taniya discovers that the red lizard actually eats the fuse wire which disconnects the electric supply. In a feat of rage she kills the lizard with a kitchen knife. In the night Suri is surprised to see his house lit, but gets a shock to see footage of his wife killing the lizard on TV. He tries to look for Taniya, but could not find her. He walks into a dark corridor which leads to a street with a bike parked on it. He rides it and reaches to the dance class where Taniya is practicing. During his ride he transforms into a sculpted dude whom Tani could not recognize but agrees to partner with. They have sex on the bike in the first night after the dance class. The same routine repeats everyday. One day Suri takes Tani out of the city, atop a hillock she could see the letters ‘I Love you’ displayed by the building lights. Suddenly some kind of short-circuit happens and the entire city catches fire. While Tani screams, the headless dancer appears and beheads Tani. The decapitated Tani runs towards the fire where Suri is pulled into a spiraling black tunnel and he loses consciousness.
In the next scene he is shown waking up in Tani’s house dressed in bridal attire, where he sees Tani’s dad sitting on the couch while Tani is watching the dance competition on TV. The arrangements around hints that it is Tani’s wedding day.
Suri hears a modem like sound, comes out of the house and finds the bike. The movie ends with he leaving the place riding the bike.
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Roman Polanski remakes 3 Idiots
(The movie is disapproved by censor and banned in India citing that would hurt Indian sensibilities)
There would be slight changes in the characterizations and the storyline. Rancho would be a gay scientologist, Farhan would be an alcoholic photography lover and Raju would be a drug addict loser, suffering from chronic depression and anxiety. Virus would be a Satanist, practicing occult sciences in his office during lunch break. Pia would be a mysterious lady who is an androphobic witch doctor. While treating the ailment of Raju’s dad she accidentally would suffocate him to death. Rancho would carry the corpse in his scooter and sell it to underground corpse dealers for money. He will use the money to fund his underground scientology club.
Poster for Roman Polanski's 3 IDIOTS
The focus of the film would be more on the psychotically challenging characters disturbed by their respective educational background and the conflict of their societal existence. Chatur would be an imaginary character, often appearing in the delirium of Raju. Farhan would commit suicide by asphyxiating himself with negative rolls, after repeatedly being rejected for internship by his idol.
On the stormy night Pia’s sister would give birth to a baby demon and Virus would be struck by lightening at the same time. Rancho would steal the proverbial pen from his charred remains and vanish into thin air. Raju will have a hallucinatory trip to Ladakh with Farhan and Chatur, where they would discover Rancho living with milimetre, his partner now and the demon baby.
In the last scene Raju would be shown confronting an interview panel with his dad’s corpse on the table, while Pia sits naked on a chair and laughs.
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Given an opportunity I would love to outline the following remakes as well,
James Cameron – Jodha Akbar (3D)
Wong Kar Wai – Dostana
Troy Duffy – Karan Arjun
Pedro Almodovar – Taare Zameen Par
Kim Ki Duk – Maine Pyar Kiya
The Ballpen and other Poster artworks are my original, so will appreciate if you add the source link if you wish to use the images.
Word Cinema: Dark is Mine Monday, 3 May, 2010
Posted by ~uh~™ in World Movies.Tags: An Occurrence at Owl Creek Bridge, Cuban Cinema, dark cinema, Doordarshan late night movies, drama, French Cinema, French short film, Japanese Cinema, La Rivière du hibou, Los sobrevivientes, Narayama-bushi kô, Robert Enrico, Shohei Imamura, Short Film, The Ballad of Narayama, The Survivors, Tomás Gutiérrez Alea, World Cinema
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[This post includes a short film of duration around 28 minutes, which I insist you to see at one go. You might find it bit slow, but be patient and watch it till the end. You can thank me later. This post was first published on PFC [link] where the short film is embedded.]
Dark in fine
I was wondering why I have developed this fascination towards dark world cinema (not towards the dark world of cinema though!) and how. When you talk about dark and psychologically disturbing cinema, the greatest references would be from world cinema. During the course of history, every country had its own share of warfare, destruction, economic turmoil, poverty, misanthropy, genocide, exploitation, distorted sexuality, loss and agony which influenced the upbringing of certain people who later turned out to be eminent writers and film makers. Their works showcased their journey of the subconscious, even when they are not deliberate (Polanski, Ghatak). Now categorizing a Director or Country in terms of their genre, portrayal of violence, horror, fantasy and sexuality, disturbing content or overall theme of despondency, would probably be a topic of a different discussion altogether. Mind you, I am talking about the movies which are more psychological and subtle in nature and not the vivid graphic macabre ones. This post is more personal in nature, where I want to share three dark foriegn films which I wanted to forget in the last twenty years, but could not.
My earliest encounter with dark world cinema was through television. During early 90’s, every Saturday (if I remember correctly, the timing was after Pranay Roy’s World This Week) Doordarshan ran a series of late night adult movies from around the world, playing French, Polish, German, Japanese, Italian, Korean cinema with subtitles. Most of these films were award winners in various festivals and compared to those day’s standards, fairly liberally censored for television. We had dearth of rooms at our place, so I used to sleep on the living room. Thankfully, the TV used to be in the same room. Those movies started at 11:30 pm and as far as my memory recalls- a brief synopsis was narrated before start of the movie. Being early days of Doordarshan and the slot being unfavorable, there were minimal advertisements to interrupt the movie’s runtime. Those days TV was not a 24×7 affair; once the movie ended a screen used to show up displaying when would the next karyakram start in the morning and the screen pixelated into ‘zzzz’. I used to switch it of and think about the movie I just saw while sinking into sleep.
I don’t remember the year exactly, but based on the fact that I had started smoking it should be either 90 or 91. I Every Saturday, I used to wait eagerly for the night, turn on the TV, and then with my cigarettes and ashtray. I had to put the sound at very low, so as not to disturb other in the house. The movies being aired in their original language there was little need to follow the dialogues. I kept the volume just sufficient for the background score and the vocal modulations to capture the mood of the dialogue. There was no way to find out which movie will be aired till the movie name was announced and the synopsis was read out. So, there was always a sense of wait and surprise. Those days we did not have the internet, wikipedia or IMDB to learn about those movies. I craved to know more about them but there were no easy way to find out. In 1991, after I joined JU (Jadavpur University) as a student of Architecture, I got in touch with the ‘Film Society’ there. The film society used to screen films of maestros of word cinema during ‘Sanskriti’ the annual fest of the JU . My first encounter with Bergman, Goddard, Kurosawa, Truffaut happened in the multipurpose sports hall or Gandhi Bhavan, squatting on the floor rug or on the steps, while the noisy machine projected the black and white films on the makeshift screen.
Bees Saal Baad
Honestly, 20 years later I don’t remember most of the movie names, except a few. The reason I remember some of the movies, with their plotlines, even some of the scenes is proof enough that they had a pretty long lasting effect on me. All these movies had something in common.
• They had very strong connection with the socio-economic situation of the country which the plot were based on.
• They featured lot of outdoor scenes and used the local weather beautifully to depict the various moods.
• They contained abnormal cruelty by characters that were forced by the situation.
• They were truly unforgettable.
The three movies which stayed with me all these years, are the following-
The Survivors [Los sobrevivientes] (Cuban, 1979)
Director: Tomás Gutiérrez Alea
One of the movies I vividly remember. I have written about it in one of my earlier post, looking for the title. Now that I have discovered the movie, I feel this urge to write about it again, this time not revealing the plot spoilers.
The movie was set on a grand palatial building where an affluent bourgeoisie family lived. The family consisted of ladies and gentlemen of various ages and a very old lady. There was a grand dining hall where all the family members used to dine together over elaborate spread of dishes, which looked like an exotic cuisine. The palace had large garden, huge fields of crop all around and it looked as if everything is eternally bright and happy. Somehow because of some a war or a coup, all servants, farmers and domestic helps fled the property and the food supply stopped suddenly. The family started starving. However, being too stubborn to ask for help from the villagers, they decide to grow crops on their own, but fail miserably. Initially they try having vegetable and leaves collected from the garden and make a meal out of it. As days passed they started looking shabbier, affected with dirt and hunger, but they continued their ritualistic family meals, though much humbled in terms of content and presentation. Gradually their human inhibition starts deteriorating as they started eating dead animals. The old lady, who gradually resembled like a scarecrow, tried to fight the birds from eating away the crops, gets attacked by the bird and succumb to death. It was understood that the inhabitants took advantage of the dead members to have their ‘meals’ in the same dining room. I don’t remember the exact end, but it was one of the dark and creepy satires I ever saw. The dining room scenes, the baroque style decor and their conversations were the key highlights of the movie with intense performances by the actors.
The Survivors is a fine dark satire. I wish they release the DVD of this film soon.
The Ballad of Narayama [ Narayama-bushi kô] (Japanese, 1983)
Director: Shohei Imamura ( also the screenplay writer)
The movie tells about a Japanese village which had a strange custom, to optimize the stringent food supply for the inhabitants of the village. The people of the village, upon reaching the age of 70 had to climb atop a mountain, named Narayama and die of starvation as a part of their traditional ritual. This way, they could save food grains for the younger people and survive the harsh living conditions. I remember to see this film in colour which means it was the 1983 remake by Shohei Imamura of the original 1958 one. The reason I remember this movie is because of its life like portrayal of the brutal weather conditions, human struggle and cruelty. There is a scene where a young guy drags his father up to the mountain top, ties him with vines and rolls her down from the edge, as the old man refuses to be there alone. The agonized scream of the falling father and the rising mist over the mountains were haunting and a strong combination of disturbance and beauty. That scene haunted me for years, so had the thought of aged members starving to death to save for the younger generations, slowly amidst blizzard at the top of a mountain. The main protagonist of the movie a 69 old year old mother, prepares herself for her death – the movie revolves around the central theme.
However the greatest statement of the movie, which I gradually understood over the years were the amalgamation of life, death and sex. Death is life. Older people sacrifice themselves to provide survival for the younger one. Sex is death. In that mountain village sexual encounter was the cause of a birth. Death is life. Unwanted babies were abandoned to die in the snow, so that they can fertilize the soil which can grow food for the living population. Sex is Life. The difference between animals and human, at their very intimate moment tend to merge, as the camera pans from the copulating villager couple to the pair of snakes in the same shot. The film is not for the weak hearted because of certain scenes including live burial of people, repulsive sexual depiction and natural acts of animals. The movie has a heart, yet its non judgmental towards life and its miseries.
Undoubtedly, this is one of the most disturbing and amazing movies I have seen.
An Occurrence at Owl Creek Bridge [La Rivière du hibou] ( French, 1962)
Director: Robert Enrico
Now, it would be a crime to discuss the plot points of this movie. It’s just a 28 minute short film. I remember in one of the Sanskriti poster saying ‘Roshomon’ would be shown. All of us gathered to see the much talked about Kurosawa masterpiece and look preferred seats (smokers on the steps and others on the floor). But to our disappointment they announced that before Roshomon, a short film is going to be screened. We had never heard about it and there were cat calls and roars of displeasure from the crowd. However, everyone got settled when the movie started with a scene , where a man was being hanged from a bridge. After 28 mins when the movie ended, I still vividly remember, there was actually pin drop silence at the hall. All we could hear was the noise of the projector for a good amount of time, before everyone stood on their feet and the hall burst with applause. That was the longest applause I have ever heard after any movie. The authorities had to allow a break as everyone wanted to go out and breathe. This, without even a hint of doubt, is the most moving cinema I have ever seen. The movie is practically silent with nil dialogues, but within minutes of it’s start it involves the audience into its visual narration. The entire storytelling is done by the camera !
No more talks- please watch the movie. Request you not to skip of forward, but to be patient till the end and watch the movie AT ONE GO ! I guarantee, at the end, you will be spellbound for some time. This little gem won the award for best short subject at the 1962 Cannes film festival and 1963 Academy Awards and influenced some of the most popular psychologically themed movies like Lost Highway, Jacob’s Ladder, Donnie Darko, Sixth Sense….
[ Those who have seen this short, please refrain discussing the plot spoilers for others’ benefit]
Watch the the whole movie online for free : here [ Sorry can not embed it on free wordpress account] or on the PFC page
If truly good cinema is what survives the test of time, then these three were my first encounter with good world cinema that subsequently attracted me into the good world of cinema !
Caught in Prosopamnesia Tuesday, 30 June, 2009
Posted by ~uh~™ in Favourites, Hollywood, Rewind, World Movies.Tags: Black actors, Caravan, Cinema, Cuban, Cube, dark, Dolpo, drama, Eric Valli, guillotines, Himalaya, maze, Movies, plot, psychogical thriller, scenes, story, Tarsem Singh, The Cell, The Survivors, Thriller, Violence, World Movies
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Warning: You will find the post rather long, if movies doesn’t excite you.
Having a good memory is a curse
(And I have experienced that)
This is not a review.
This is a post about few movies I have seen long time ago and for some reasons could not forget. May be because I was premature ten years ago and the movies were complex for me to decipher, these movies had an unforgettable impact on me. Presently, I can only recollect the basic storyline and remember few isolated scenes from these movies. There was no wikipedia or rotten tomatoes to search for movies and neither I had access to IMDB, even if it existed in the 90’s. Thus, I could not find the names of those movies, in absence of the critical search keys – Director, actor(s), origin and year of making. But the common qualities of all these four movies were intense drama on the plot, superior camerawork, excellent cinematography and vivid graphical scenes.
I am going to describe what I remember from these movies. I have been searching over the internet with various search strings and gathered some clue. However, I am not sure about them, as I could not get hold of these movies for that craved second viewing. I am sure; in a forum like PFC there would be few aficionados who have seen these movies can confirm my guess. I would be grateful if you can also let me know any known source to view them again. It is then only I would be relieved from my state of Trishanku.
Movie # 1
I saw it between 1991-93 on TV. Those days DD used to screen award winning movies from different countries (which we term as World Movies today) at night after 11 pm. This particular movie was in some European language- Italian or Spanish and I had followed the subtitles. The movie was set on a grand palatial building where a affluent family lived. The family consisted of ladies and gentlemen of various ages and a very old lady. There was a grand dining hall where all the family members used to dine together over elaborate spread of dishes, which looked like an exotic cuisine. The building had a large garden, huge fields of crop all around and it looked as if everything is eternally bright and happy. Somehow because of some reason (either it was a war or a famine) the food supply stopped suddenly and the family started starving. Initially they tried having vegetable and leaves collected from the garden and made a meal out of it. As days passed they started looking shabbier with torn and dirty clothes, but they continued their ritualistic family meals, though much humbled in terms of content and presentation. Gradually their human inhibitions started deteriorating as they started eating dead animals. The old lady, who actually resembled like a scarecrow, tried to fight the birds from eating away the crops and succumbed to death. Though it is not shown explicitly, but it was understood that the inhabitants slowly turned into cannibals and one after other family members were served as they continued to have their ‘meals’ in the same dining room. I don’t remember the end, but it was one of the most dark and creepy story I ever saw on screen. The dining room scenes and their conversations were the key highlights of the movie. Please note the movie was not The Exterminating Angel though there are some similarities in the plot.
Addition after posting:
Based on my years research on the net, I zero down to this movie – Los sobrevivientes (The Survivors) a 1978 Cuban drama film directed by Tomás Gutiérrez Alea. The wiki page doesn’t give much information and mentions that the film entered the Cannes Film festival in the year 1979.
The synopsis found here-
A bourgeois Cuban family of aristocratic origin locks itself into its mansion when the Cuban Revolution comes to power, waiting for the new regime to be overthrown. As time passes, they regress to older and older systems of political order, from capitalism to feudalism to “primitive savagery.” This dark comic classic, by one of Cuba’s most acclaimed directors, was never released commercially in the United States.
Movie # 2
I saw this movie on a theatre in Nepal during my month long stay in 1999 for official work. This is one of the most fabulous mountain movies I have ever seen (I have not seen Chandrabhusan’s Frozen yet). It was made in some Tibetan language and whatever few dialogues it had was subtitled. The plot was a simplistic story involving a leader and his son who wanted to break the tradition of the tribe and go on his own way. Whereas the old leader had to lead a team of people and yaks and travel across a long and dangerous route across the indomitable Himalayan territory. There was one scene where the group had to cross a narrow turn and one of the yaks fails to negotiate and falls into the icy blue water, deep down below. The entire movie is shot in Tibetan Himalayas and devoid of any significant actors. The faces, I remember were all sunburnt and full of wrinkles of experience. This movie, unlike other movies made on Himalaya doesn’t focus on the beauty or romance of the mountain, rather showcases the harshness of the terrain and the endurance of the people set on their philosophy of living. Mountains were the most prominent character in the movie dominating everything and the actors were as natural as if it was a documentary. One of the most remarkable feature films with an everlasting impact.
I think the movie I saw was named as Caravan which is also known as Himalaya in some parts of the world , Directled by Eric Valli. If I am not able to watch this moving again in my life, I would die incomplete.
I have found this trailer of the movie . Please watch it in full screen. You would understand the humongous effort by the cast & crew when you realize that the locations, where the film was shot was so difficult, that all equipment were being carried manually. All the characters are local people and are not trained actors.
Movie # 3
This one again I saw on TV sometime during 2001-2002. I don’t remember much except that most of the movie was shot inside a complicated old fortress like building crammed with lot of glass guillotines. It was kind of a psychological thriller with a treatment similar to Saw series. A man enters the building and loses his way around. After some time another man gets vertically split along his shoulder, when one of the glass guillotines strike him from the top. Even his spectacle frames get cut neatly. When the rear half of the body falls off, the other half stands there and the cross section shows the anatomy like a biology book. I remember one more significant scene from this movie. One man tried to enter a space where a nice agile horse was standing under a skylight. But a little girl from a distance gestured him not to tread in that direction. As soon as the man backs out of the space, a set of glass guillotines drops from the top dividing the horse into pieces. While the horse is still standing the glass panels start moving apart extending the length of the horse. The camera then slowly moves closer and turns to a close up of one of the cross section of the horse which shows the heart, still pumping. One of the most artistic graphic violence I have ever seen.
The movie most probably is The Cell directed by Tarsem Singh but I can’t say for sure till I see it again.
Movie 4
Unfortunately, I could not even see this full movie for some reason. I started watching it on TV on Star Movies or HBO and then there was a power failure. It must be sometime between ‘98-’02. The movie was set up in some suburban location where men wore hats and women- gowns. A man and a lady were engaged into what seemed to be like a forbidden love, for that place. Once they were caught red handed while making love on the haystack inside an abandoned farm-house. A motley bunch of men brutally assaults the man and the lady as well, while she tried to resist. At the end of the movie, the bunch of men is shown to nail the injured man to the wooden external surface of a bogie of a goods train. The man is so wounded that he could not even scream in pain against the brutal torture. The entire event happens in front of the lady, who is hold captive and helpless by the gang. The train slowly starts moving while the guy hangs from it with his armed stretched and head bowed down. The lady breaks herself free and starts running after the train. Just in time a black man appears with a shotgun and kills all the evil men in rapid succession , within seconds. In the very last scene, the lady stands in front of the black man with the shotgun, while the train leaves.
I tried browsing movies by known black actors- Denzel Washington, Samuel Jackson , Laurence Fishburne , Don Cheadle , Wesley Snipes and Cuba Gooding. (I was fairly sure it was not Forest, Whitaker, Will Smith or Morgan Freeman). Till date I could not find this movie again. I tried goggling with various keywords. The nearest I came was A time to Kill .
I even tried to browse movies by black actors, but the list is so humongous I ran out of patience.
Endnote
Hope I will get the confirmation on my guess on the first three and name of the last one from the readers of PFC. I would be glad to find anyone who has seen all the four mentioned here and I would mention him when I cross post this article on my blog.
Ps: This post was originally published here and reading it’s comment section may add to the readers knowledge.
HOW is how you enjoy the bliss of a Sepia Matinee.
