Ram Gopal Varma is itching to tell a new story in his movies. You may garland him for his efforts or loathe him if y
ou feel letdown, but you need to hand it to him for picking up stories that defy stereotype.
Buzz up!
This time, in Rann, the maverick film-maker does an expose on the games the heavyweights in the media play to further their interests. RGV goes into the newsrooms and also behind it and throws light on the politician-industrialist-media nexus. Also, it’s an insider’s account of how news channels that are greedy for ratings sensationalize stories to grab eyeballs.
On surface, you don’t want to know what goes behind the scenes and how, at times, news are ‘created’ by vested interests. But Rann scratches the surface and opens a can of worms. Rann also mirrors the fact that just like there are good and bad people in every field, there’re some rotten ones in the media too who succumb to temptations and create news to climb the ladder of success.
Rann is a serious film and RGV knows what he’s talking this time. It wouldn’t be erroneous to state that you recall RGV’s Sarkar while watching Rann, even though the two films are as diverse as chalk and cheese. You recall Sarkar because Rann is an equally powerful film that shows a world we’ve only seen from the exterior.
Psycho is a 1960 American suspense film directed by Alfred Hitchcock. The film is based on the screenplay by Joseph Stefano, who adapted it from the 1959 novel of the same name by Robert Bloch. The novel was based on the crimes of Wisconsin serial killer Ed Gein.[1]
The film depicts the encounter between a secretary, Marion Crane (Janet Leigh), who is in hiding at a motel after embezzling from her employer, and the motel’s owner, Norman Bates (Anthony Perkins), and the aftermath of their encounter.[2]
Psycho initially received mixed reviews, but outstanding box office returns prompted a re-review which was overwhelmingly positive and led to four Academy Award nominations. Psycho is now considered one of Hitchcock’s best films[3] and is highly praised as a work of cinematic art by international critics.[4] The film spawned two sequels, a prequel, a remake, and an unsuccessful television spin-off.
Sin city is a 2005 American ensemble cast action/crime/thriller film written, produced, and directed by Frank Miller and Robert Rodriguez. It is a film noir based on Miller’s graphic novel series of the same name.
The film is primarily based on three of Miller’s works: The Hard Goodbye, about a man who embarks on a brutal rampage in search of his one-time sweetheart’s killer; The Big Fat Kill, which focuses on a street war between a group of prostitutes and a group of mercenaries; and That Yellow Bastard, which follows an aging police officer who protects a young woman from a grotesquely disfigured serial killer. The movie stars Bruce Willis, Alexis Bledel, Mickey Rourke, Jessica Alba, Clive Owen, Michael Clarke Duncan, Rosario Dawson, Benicio del Toro, Michael Madsen, Nick Stahl, Powers Boothe, Josh Hartnett, Jaime King, Brittany Murphy, Elijah Wood and Rutger Hauer, among others.
Sin City opened to wide critical and commercial success, gathering particular recognition for the film’s unique coloring procession, which rendered most of the film in black and white but retained or added coloring for select objects. The film was screened at the 2005 Cannes Film Festival in-competition and won the Technical Grand Prize for the film’s “visual shaping”.[3][4]
