lover of great cinnamon
I'm gonna get myself in trouble comparing this to European/UK/US films because it's distinctly Kollywood, but it's kind of like if Guy Ritchie movies were good and as influenced by Fantomas and Judex (!!) as Quentin Tarantino and Martin Scorsese. Shares some of the same "unlikely collaborators forced into combat with hordes of gangsters" mechanics as Kaithi (and the exact same macguffin!), as well as the return of a major character whose offscreen drama between the two movies…
There's a gag on Stella where David Wain and the Michaels won't answer their door until they've had time to form a tableau. When their guests finally open the door they are greeted by the guys in a very dramatic, very unnatural arrangement and pose. Everyone in this movie does the same thing, only it's awesome and not hilarious.
I love movie openings like Kaithi's. A series of dominoes are placed and you're unaware of their exact relation to each…
Jean-Pierre Leaud failing to look cool while flipping a cigarette up into his mouth, failing to find the right way to express his feelings, failing to engage in philosophy or poetry beyond laundromat soliloquies and record-your-own-record booths, failing to engage with politics beyond graffiti slogans and condescending interviews conducted with young women, failing to impress the projectionist with his knowledge of aspect ratios, and failing to impress anyone with his whistling.
Fiddling with the aerial doesn't always make the signal more clear. The cat is both dead and not dead (Clive understands the dead cat, but not the math). The man in the prologue is or isn't a dybbuk. The bookends suggest an unbroken cycle that may or may not relate to what characters have and haven't done. "Accept the mystery."
Rabbi Nachtner: "We can't know everything."
Larry Gopnik: "It sounds like you don't know anything! Why even tell me this…