("Life of Pi" released in India on Friday. The cast includes Indian actors Suraj Sharma, Irrfan Khan and Adil Hussain)
By Shilpa Jamkhandikar
This has to be the best use of 3D I have ever seen - much better than "Avatar", which, frankly, left me very underwhelmed. "Life of Pi" is one of those movies which justifies the use of technology in a film and elevates the experience to a whole new level.
Watch out for one scene at night when the whole ocean is lit up, thanks to jellyfish glowing. It is guaranteed to take your breath away. It's like a Pixar film, except that this is all live action - like a live canvas that you cannot take your eyes off from.
Suraj Sharma is the new Freida Pinto. Except that he has more than just two-and-a-half scenes in the film. Expect to see him feted internationally for his performance. He brings the right amount of maturity and wide-eyed innocence to the screen.
Irrfan is now Irrfan Khan, at least according to the credits in the film. The actor, who dropped his surname a few years ago, seems to have gone back to it, at least for this film.
Tabu looks serene, and acts as calmly. Neither she nor Adil Hussain have too many scenes, but both are memorable. Hussain's exchange with the young Pi, where he tells the latter that he would rather have his son believe in one thing rather than believe everything is one of the film's most memorable moments.
Ang Lee certainly paints a pretty picture of India, but then Pondicherry (or Puducherry if you prefer) is pretty. As the director has said before, India is like the paradise which Pi loses and hence, it is necessary to paint it that way. There are vibrant colours, beautiful camerawork and lots of good 3D.
This is a movie that is meant to be seen on a big screen. Dismiss all thoughts of watching it on DVD or TV. Grab those 3D glasses and immerse yourself in the experience.
(Shilpa covers Bollywood for Reuters)
(Editing by David Lalmalsawma)
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In his third film, Kripalani’s narrative is tight and the writing (by Pooja Ladha Surti, Arun Sukumar and Pawan Kripalani himself) smart enough that you don’t see the end coming from a mile away. Apte, on whose shoulders the entire film rests, carries off the burden remarkably well. She manages to build up Mehak’s increasingly jumpy and terrified demeanour as the film progresses, writes Shilpa Jamkhandikar. Review