Articles by MK Raghavendra
Jun 29, 2017
Tubelight: Understanding the sentiments of the anti-war film by looking at Hollywood, WW IITubelight expresses feelings at odds with the belligerent ones in the public space today, not taking an anti-war position vis-à-vis Pakistan, but using the India-China war of 1962 as the context on which to mount its sentiments
Jun 18, 2017
The importance of being Arundhati Roy: As writer and political activistThe Ministry of Utmost Happiness is not autobiographical like The God of Small Things but Arundhati Roy nonetheless contrives to place herself at its centre
May 04, 2017
Bahubali 2 switches from 'dharma' to ‘political correctness’, and does equal disservice to bothIt is revealing that in an age in which tradition is being venerated, Bahubali 2 holds up such an impoverished moral vision for public consumption — and is still widely acclaimed
Apr 02, 2017
Life, and why we're fascinated with science fiction films that present aliens as a threatAs in the Ryan Reynolds, Jake Gyllenhaal and Rebecca Ferguson starrer Life, the alien horror film goes deep into our psyche to find latent fears we are not even aware of
Mar 11, 2017
World War I docu Farewell My Indian Soldier, triggers questions about the military, nationhoodFarewell My Indian Soldier tells the story of Monique, who discovers that her great-great grandfather was an Indian soldier stationed in France during World War I and about whom nothing could be known.
Feb 25, 2017
The Ghazi Attack: The Indian war film has changed, even if the enemy has stayed the sameThe Indian war film dealing with Pakistan has gone through several avatars — The Ghazi Attack for instance, is notably different from JP Dutta’s Border (1997)
Feb 04, 2017
Raees and the ‘good-bad’ hero: Shah Rukh Khan follows path set by Mother India, DeewarRaees presents a reworking of the formula of a young man who gets into unlawful ways for want of opportunities and finally pays the price (seen in countless films like Mother India, Ganga Jumna, Deewar, Satya) for present times
Jan 07, 2017
Dangal, Lagaan, Chak De! India, Paan Singh Tomar: The sports film as a political phenomenonThe phenomenal successes of Sultan and Dangal in 2016 make it apparent that the sports film has become a reliable commercial model in Indian cinema today — but this has not always been the case.
Dec 24, 2016
Befikre and Ae Dil Hai Mushkil: How Bollywood films dealt with romance and promiscuity in 2016Both Befikre and ADHM only have ‘love’ as their focus with no attendant details like social obstructions in its path and, based on the arguments hitherto, can be described as being without any subject matter of the social kind.
Nov 27, 2016
Enthiran, 2.0 to Ra.One: Films calling themselves sci-fi may not really belong to the genreScience fiction in Indian cinema is largely innocent fantasy interspersed with babble suggesting current science or technology — be it Rajinikanth's Enthiran and 2.0, or Ra.One and Koi Mil Gaya/Krrish