Best Editing
[Indian Language]
Finding us at
Editing are five films with such distinct set of flavours, it is no wonder that
Indian cinema as a whole is shining even if major juggernaut Hindi flounders
from time to time.
The cinematic
language is finding a new lease of life with works that are willing to engage
and wholly satisfy especially when pertaining to the simple art of the edit!
So here are the
nominees...
Kishore Te for Visaranai
Divided into two
distinct but linked halves, Visaranai aims to tell the story of Immigrant
innocents mired into the murky jungles of what is known as the system; the law,
politics and police.
The first half
primarily focuses itself in the protagonists village and police station where
they go through excruciating torture and their innocence yet heroism is never
broken. The second after a hopeful release from court, finds them in a second
station marginally of their own will.
Here they are in the
city, as much as they are wary of the brutality of the police and willing to go
down fighting once more when things take an unexpected wrong turn; they are
also far out of their element.
Both sides of the
edit are sharp and to the point, there is no meandering and sometimes that
might feel like the film lacks character or even narrative meat; it just adds
to the relentless twist in the gut the film leaves you with.
For this, the flashy
experimental pace is a god send and a stark harsh cut of a reminder of a very
real and terrible situation. Despite never lingering for a moment, the rushed
rough final cut never lets you forget.
Manas Mittal for Brahman
Naman
Craziness abound in
Brahman Naman, the edit is a perfect highlight of the heart of the film and the
crazy Q of it all.
Jumping between
cartoon sermons of wrath delivered by the superior Brahman [of course not]
Naman and his and his friends real life antics; underscored by points of zippy
comedy and crazy quizzes. Brahman Naman is a potent dose made digestible and
intoxicating by an edit that moves with the flow but also hits a flurry high.
It takes an
intelligent editor such as this to know when to let time pause on a joke and
when to cut its legs off on the punch line. Not only that the edit moves at
such a pace, that the absolute misogyny and idiocy of its protagonists becomes
a highlight especially when the meta laced pay off hits them and promptly
passes by.
It's zip and zap,
very much a stamp of Q but with a heart.
John Zimmerman and Raam Reddy for Thithi
Not only does the
film balance three distinct generations of one family as well as a myriad of
kooky characters that make up the village towards an inevitable collision, it
does so in the most realistic documentary style.
First of all, let's
assume that means that the reason Reddy as writer/director sits on the edit is
because the footage taken still must tell a story, that is where the editing
comes in. Bringing out not only a cohesive narrative to the film, but also tying
all threads with genius.
The edit though goes
above and beyond this in crafting the films narrative such that it builds a
world captured suitably and without manipulation and immerses the viewer in it.
Some of the greatest
editing I've ever seen do that is from the films of the Coens and if that isn't
the highest order of a compliment, then I don't know what else to tell you.
Bhupesh Sharma for Chauthi Koot
With an edit that
begins with a diversionary tactic, segueing from one set of characters to
another so smoothly that the lack of linkage between the two never hurts,
Chauthi Koot's haunting yet simple tale is made effective by the slow burn
edit.
What could have
easily been a short story, one of Manto except set in a violent time for Punjab
around the period of Operation Blue Star and the Sikh Massacres; turns into a
lengthy painful and poignant reflection on hate, violence, rebellion and
victims stuck in the centre of it all.
It is the edit that
would normally be criticized in this case for stretching that builds an
atmosphere, brings the audience in, dissects the burdened the psychology of its
protagonist and finally hits the nail in such form that once you awaken from
the horror; you never know that time passed.
A film that could
have been short, but was long. A film that left a lasting impact. Then you
know, the could doesn't matter; the length was perfect, the edit sublime.
Ajithkumar for Kammatipaadam
Ajithkumar is very well aware of the
situations of this film, understanding the importance of lingering on the
scenic view of Ernakulum in order to detail an evolution that is subtle but
profound by the end of what is meant to be a lengthy experience.
Juggling essentially
three different time zone and detailing a simplistic yet profound friendship
and it's chaotic mixture with a tragic romance, the edit builds this with
utmost care and never boring by keeping the cut sharp and to the point.
Most importantly the
editing allows space for its actors to grow and age into the roles, slowly
sinking its teeth into Ganga's boiling madness and speeding with frenzy of shot
between shot and time between time as Krishnan's pursuit ages him far too rapidly.
It's precise and
measured editing, the kind that is both cinematic without feeding the
indulgence of the director and being a silent doctor aware of entertainment
economics.
And the Winner is...
Kishore Te for Visaranai!!!
These Indian Language films are making it tough on me, prior to each award I have a vague idea of who is going to win as soon as I put keyboard to screen and remember profoundly each film; I'm lost, all of them are so damn good to choose.
Up Next: Cinematography weaves its magic as five films vie for another big one...
'Nuff Said,
Aneesh Raikundalia
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