Review: Lootera

; Not Rated
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In early 1950s Bengal, when archaeologist Varun (Ranveer Singh) arrives in the area for an excavation, Pakhi (Sonakshi Sinha), the sheltered daughter of an old money land owner has her eyes opened to the ways of the outside world for the first time. It's not at all an unfamiliar jumping off point for Bollywood, Hollywood, nor cinema as a whole the world over, but with Lootera, director Vikramaditya Motwane quickly makes apparent he's not operating on a typical plane, most especially not for commercial Hindi cinema. The colors captured by cinematographer Mahendra J. Shetty in the picturesque rural town of Manikpur are as vibrant and bold as one would hope for and even expect, but bolder still is Motwane's ironically understated, patient, and naturalistic depiction of how Varun and Pakhi not so much fall in love (though, of course, that does happen) than simply get to know one another. Singh and Sinha have palpable chemistry from the moment of Varun and Pakhi's classic auto/motorcycle accident Meet Cute, but their rapport is uniquely, unusually captivating: a cinematic slow burn smolder with a generous touch of innocent and realistically youthful tentativeness. While there is a supporting cast, this is essentially a two-person piece, Motwane wisely spends a lot of time with character-driven conversation (smartly penned by Anurag Kashyap) between the pair, developing their individual personae and carefully building their relationship and fleshing out the dimensions of it, from the pure intensity of feeling to the deeper connection and trust.

It is that last idea, trust, that truly characterizes and defines Lootera. The term in its most literal meaning does play a crucial part in the film, not only in its key pre-intermission plot turn (which the film doesn't exactly make a secret, given its title, which translates into English as "Robber"), but the highly affecting and effective change in direction for its second half. After a year apart, coincidence (or, perhaps more fittingly, karmic circumstance) brings Varun and Pakhi back together, but neither are in quite the same place, literally and figuratively. An isolated cabin in hills of Dalhousie is the appropriately wintry, washed-out and desolate landscape for their reunion, mirroring the contrast between the idyllic, idealistic past and the stark reality a present where the two are both weighed down and defeated by the baggage of heartbreak, bitterness, desperation, and regret. That all of these are only magnified, rather than soothed, by being in the other's presence highlights the character-driven intelligence and emotional honesty that Motwane, Kashyap, and co-writer Bhavani Iyer lend their characters and story. If there is to be any chance of a slightly happy ever after for these two, both must let go of each other's broken ideal of the other and earn that trust anew, and the progress of this struggle is one traced not so much through the spoken dialogue (which becomes even more sparse than it already is post-interval) than action and, above all, facial expression.

And this is where the most remarkable and rewarding show of trust comes in: that of Motwane in the abilities of his lead pair, who carry off the incredibly daunting demands to surprising, if not downright shocking, effect. Singh and Sinha are both still very much newcomers to the acting scene, having achieved major stardom only in literally the last couple of years--and even then in roles that made full use of their undeniable charisma and natural movie star presence but didn't exactly display, much less test, their true acting chops. Without the safety net of the splashy, flashy dance numbers in which they both excel, Singh and Sinha are, quite simply, a revelation, with Motwane rather cannily shaping the progression of the story and their performances for optimal impact. The simple, low-key sincerity of Singh and Sinha of their first half work gently eases the viewer into a comfortable connection with their characters, which make transition to darker, rawer shadings in their actions, thoughts, and beliefs--which are all deeply rooted in and informed by fine details in their established first half characterizations--that much more powerful. Even when the necessary confrontations and releases do come, Motwane keeps the melodramatics to a minimum, these beats lent their poignance through the complex, introspective nuances of the performances. Varun and Pakhi are imperfect, multi-dimensional people in an equally complicated and messy emotional situation, and Singh and Sinha vividly depict the urgency and pain of their external and internal conflicts without falling back on loud but empty histrionics.

The ultimate act of trust is Motwane's in the audience, to remain alert and attentive throughout his film's deliberate paces as its momentum steadily builds to an unconventional and altogether astonishing payoff: the collective atmosphere of characterizations, conversation, cinematography, and Amit Trivedi's beguiling aural massage of a score (with inspired and insightful lyrics by Amitabh Bhattacharya) all come together in an elegantly constructed and executed climax of exponential catharsis. Even what initially have appeared to be flaws to some reveal themselves to be astute choices in context; case in point, Trivedi's own vocals on the climactic ballad "Zinda" ("Alive"), which have been criticized as somewhat detached in delivery but end up perfectly underscoring (literally and figuratively) the casual, unhesitant motivation behind the simple yet beautiful and exquisitely profound gesture it accompanies. It's not at all trite to state that by the indelibly, hauntingly, transcendently bittersweet end of Lootera, everything magically falls into place, for there is true magic in Motwane's mastery in crafting a such a poetic, passionately felt, and perfectly realized work of art.

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F3TV: Luther - series 3, episode 1

While the serial killers and various other creepy-crawly deviants that DCI John Luther (Idris Elba) routinely comes across in his investigations of lurid crimes are the primary drawing card and the major driving force behind the buzz and word of mouth for BBC's Luther, that's really not where the true genius of the programme lies. This isn't to say that the show isn't good for drumming up some old fashioned scares and suspense, and veteran series director Sam Miller stages one of its best-yet examples of such as the capper to this installment's pre-title sequence and then pull off another great jump-scare moment as a bookend later in the episode. What largely distinguishes the show and makes it a far richer and consistently rewarding experience beyond a mere thrill ride is how, now three series in, creator/writer Neil Cross uses the police procedural plotting and paces to slyly and organically inform and build his larger narrative and character arcs that dig deeper than whatever the specific Case of the Week might be.

There are actually two Cases of the Week for this installment, the one most surely to occupy the viewer's mind much like it does Luther's being that of a fetish killer whose victims are found wearing wigs and masks. But before Luther and partner DS Justin Ripley (Warren Brown) can barely make a single move in the investigation, they're swiftly reassigned by DCU Martin Schenk (Dermot Crowley) to a far less sensational murder case, that of an Internet bully, that is almost insulting in how obviously open-and-shut a non-mystery it is. The real mystery, and the true weight of the case, turns out to be the impetus behind the reassignment. Luther's list of mysterious deeds, if not outright misdeeds, in his work over the years has grown to a point where they are no longer so easily shrugged off, much less forgiven, from within the force--and determined to take him down is out-of-retirement DSU George Stark (David O'Hara), who is as obsessive about taking down corrupt cops as Luther is in exacting justice at whatever cost. The case reassignment is but the opening salvo in Stark's newly begun chess game with an unaware Luther, whom he believes--rather justifiably so--is bound to crack and show his dirtier colors in even the most deceptively mundane of job paces.

All too eagerly aiding Stark in his mission is DCI Erin Gray (Nikki Amuka-Bird), whose suspicions about Luther's procedures while working in his unit in series 2--and getting smeared in the process--have grown into no less than a personal vendetta. This is but one example of how cannily Cross builds from the established character foundations and continually shifts and evolves their roles, both in terms of character arc and their purposes in the larger narrative. Similarly, while Ripley's dogged loyalty to Luther has been continually confirmed over the years-long course of the programme, so have his doubts about its cost to his own personal sense of integrity. One of the great pleasures of watching the show develop has been how Ripley's role has grown more prominent and more complicated, and accordingly how Brown has grown into one hell of an (underrated) actor. (Sidebar--how the hell has Brown's terrific lead showcase from BBC last year, the haunting, morally complex Good Cop, not received any sort of release, on television or home media, in the States?) Based on what transpires in this episode, the direction and ultimate outcome of Ripley's arc may be the real dramatic linchpin to this series.

But of course no arc remains more compelling than that of the title character. I had my misgivings about the unusual and highly dissonant note of sunniness on which series 2 ended, but leave it to Cross to spin an apparent negative into something promising. Although Luther and Jenny, the young ex-prostitute he took under his wing in series 2, have (thankfully, if you ask me) gone their separate ways in the indeterminate amount of time that passed between then and now, the positive signs of life that friendship instilled in Luther remain. And so what was a unthinkable back in the angst-ridden depths of series 1--Luther engaging in a tentative flirtation with a sweet woman named Mary (Sienna Guillory), whom he Meets Cute in a fender bender--is surprisingly believable now as well as injects some natural moments of lightness to Elba's already multi-faceted portrayal, the character, and the overall proceedings. But as we have all too painfully come to know, Luther is a veritable magnet for trouble, and whether it be coming from a criminal, DSU Stark, his psycho-killer frenemy Alice Morgan (sadly absent this episode, but most certainly in the wings waiting to strike), or, as it too often and tragically is, the ever-churning demons within himself, it remains very much in question if this burgeoning relationship will amount to or last beyond mere moments.

Visit my The Films of Idris Elba site.
Read the Luther series 1 reviews here.
Read the Luther series 2 reviews here.
Buy the Luther series 1 DVD here.
Buy the Luther series 2 DVD here.
Buy the Luther series 3 DVD here.
Buy Neil Cross's Luther: The Calling prequel novel here.

Los Angeles Film Festival 2013 Reviews

• Ain't Them Bodies Saints
  
• The Conjuring
  
• Crystal Fairy & the Magical Cactus and 2012
  
• Drug War
  
• Europa Report
  
• Fruitvale Station
  
• Goodbye World
  
• The House That Jack Built
  
• I.D.
  
• I'm So Excited! (Los Amantes Pasajeros)
  
• In a World...
  
• Life of a King
  
• Only God Forgives
  
• Our Vinyl Weighs a Ton: This Is Stone's Throw Records
  
• The Patience Stone (Syngué Sabour: Pierre de Patience)
  
• Short Term 12
  
• The Spectacular Now
  
• Venus Vs.
  
• The Way, Way Back
  
• You're Next
  

Review: Idris Elba's The Pavement Psychologist

Within the first minute of The Pavement Psychologist, Idris Elba's official short film writing/directing debut, he clears a couple of common obstacles for a first-timer. Speaking in terms of one making the transition from being in front of to behind the camera (though he doesn't resist the urge to make a fleeting, silent, almost obscured appearance in one shot), he announces a bit more ambition from a visual standpoint than most actors-turned-directors, not merely in the rather striking opening shots that peer overhead, then fluidly swoop into and around accountant Jenny's (Anna Friel) apartment, but also the production design (by Nick Palmer) itself, from the spartan, immaculate white of her bed and bedroom to, most notably, a ridiculously organized walk-in closet devoted entirely to her shoes. With carefully picture-labeled shoeboxes rather obsessively filed away in seemingly endless rows and stacks that line the walls around a literal central display case devoted to (as the film opens) a prized pair of gilttery red heels, the space resembles an odd cross between a mausoleum and a museum for footwear--an unabashed and knowingly cheeky expression of the writer/director's long-self-professed foot fetish, one of the ways Elba clears the second hurdle, which is to imprint his own distinctive style and identifiable voice into the piece. But beyond mere obsession indulgence, of which Jenny's Shrine o' Shoes is truly just the tip of the proverbial iceberg (with all the recurring close-ups of Friel's attractive metatarsals in footwear running the casual-to-glam gamut in the brisk 25-minute run time, Tarantino has seriously been dethroned in short, swift order); Elba does find ways to also weave it in organically, most obviously in how it comes to link Jenny with the "pavement psychologist" of the title, Chris (Nonso Anozie), a homeless philosopher of sorts who literally watches the feet of female passers-by and deduces their weight on sight for spare change. If the initial connection sounds somewhat contrived, the individual circumstances of each character--she, on her birthday, dealing with personal drama and frustrations with a partner (Steven Mackintosh) in the professional workplace; he, having suffered tremendous personal loss, finding ways to be useful and give back--bolstered by the natural, unforced rapport between Friel and Anozie make such an unlikely friendship rather involving and affecting to witness develop.

If only there were more time for it to breathe and watch it develop, for perhaps owing to being part of a short form drama anthology series, there is also more perfunctory and predictable plot business involving Jenny's company, namely some shady goings-on with funds as it relates to a local homeless shelter. While these concerns do eventually dovetail with the more character-driven ones, they pale in interest to and do detract, both in attention and precious screen time, from the absorbing Jenny-Chris/Friel-Anozie duet. Making those story elements look even more routine are the various quirky, freewheeling touches Elba throws in along the way that lend an added air of anything-goes unpredictability, whether they be dalliances into the dream-surreal that somewhat recall the edgy roughness of Elba's earlier, more casual experiments in filmmaking (the introduction of Jenny's shoe closet is bizarrely, fascinatingly, jolting--literally); or playfulness with the sound design (given his background and experience in music and audio production, it's hardly surprising Elba would pay attention and have some fun with this oft-neglected element of cinema) for effects both comic (the exaggerated sounds whenever Jenny puts on especially ornate shoes) and atmospheric (the rumbles of feet hitting hard pavement that often drone and intensify in the background, regardless of a scene's setting). Whatever the piece may ultimately lack in substantive story, it definitely compensates in character, both in the literal sense of the solid work Elba coaxes from the whole cast (which also includes Reggie Yates and one of Elba's 7Wallace DJ partners, Shax, in a two-scene, two-line appearance as a painter) and in the already distinctive personality of his still-nascent filmmaking voice, which promises to only polish and sharpen right along with his skill on subsequent projects.

Visit my Films of Idris Elba site.

(Photos by Cath Harries Photography)

New in Stores on DVD & Blu-ray: May 7, 2013

• Bunohan: Return to Murder
• Jack Reacher
• Mama
• Marley Africa Road Trip
• The Oranges
• The Rabbi's Cat (Le Chat du Rabbin)
• Safe Haven
• Starlet
• Steel Magnolias
• 30 Rock Season 7: The Final Season
• Upstream Color