robert mulligan's come september remade as an mgr vehicle, strange for its mix of hero worship, adult emotion, urbanity, and eye-searing eastman-color (probably the film's real star). both an outlier in the mgr canon and an argument for the way that tamil film in this era had far greater capabilities and boundaries than are often described.
what does it mean to be a working (lower) class (caste) hero? it means breaking your bones to get to where anyone else starts off.
beautifully structured as two lengthy sequences (poor boy and rich girl fall in love over five days of a village festival/pongal celebration, and small town team tries to win kabadi match in madurai partially in hopes to catch her eye or to win enough to be someone or anyone) bookended by prologue and epilogue sections…
jauja is often but not always about a man trying to walk through a landscape without falling, although he ends up falling often.
jauja is a film for people who love horses and dogs.
the horizon in jauja rarely dominates, it is a landscape film where the screen is most often dominated by tall grass, rocks, dirt, still water, rocks. in one of the central moments the night sky dominates the frame, but in that shot the central figure is…
what i remember the most -
the range of voices, accents, rhythms of speech
hemsworth looks down on wei's neck as they're flying, and mann's shallow focus tricks become a vehicle for a kind of love, in that moment
the sheer terror of the firefights, the vulnerability of the men and women
the eyes of viola davis in her last close-up
whatever 2015 is or will become this seems like the right film