Disney’s latest princess tale brings in a world of change. Moana is Disney’s first Polynesian princess and more importantly she is about as real as they get in terms of appearances. Gone are the trademark tiny waists and big eyes. Also this daughter of the chief of Motunui is no damsel in distress.
Featuring the vocal talents of Auli’i Caravalho as Moana and Dwayne “The Rock” Johnson as the demi-god Maui the story is about Moana’s quest to return the heart of island goddess Te Fiti which Maui stole and as a result of which death and darkness is spreading to Motunui. What follows is a series of adventures as Moana first seeks Maui, trying to convince him return the heart of Te Fiti, then them jointly looking for his magical fishhook that allows him to shapeshift and then them returning to Te Fiti only to be confronted by Maui’s nemesis Te Ka the Lava monster.
Moana is bursting with Polynesian influences, the music and the dance, the myths and the legends all lend to a beautifully layered and mostly unconventional story telling as far as Disney clichés go. Maui played by The Rock is a tattoo clad haka-tribesman character. The Animation in Moana is amped up a notch beyond just the main characters. The tattoos on Maui also tell a story, they come alive, its animation within animation! It’s Anim-ception. Also the animation during the song “you’re welcome” where the 3-d animated Maui and Moana run through 2-d hand drawn animation you get a strange but pleasant surprise where visually the animated characters look real. Also in some of the scenes shot on the ocean it almost feels like the animated characters are superimposed on actual panoramic live photography of the sea.
The vocal talents of Auli’i and Johnson are fun and never once do they get annoying. The characters of HeiHei the stupid rooster and Pua the teacup pig are cute. Moana is bursting with colour and happiness. Like in any typical Disney movie you never once doubt that the heroine will complete the task at hand but the somewhat predictable ride is made fun by stunning visuals that are full of colour and textures. Featuring the musical talents of Opetaia Foa’i, Mark Mancina and Lin Manuel Miranda – the superstar creator of the Broadway hit Hamilton, Moana has a very unique soundtrack that still has the familiar operatic notes of the Disney staple.
I love animated films and the simple joys they offer. But Moana is extra special. It somehow feels a little grown up and the unbridled happiness and humour that it has to offer makes it one to be revisited many times. The only film I can compare this to visually was the stunning and colourful world of Nemo that Disney created nearly a decade ago. Go with kids if you have them or just go by yourself but don’t miss Moana.
Sujoy Ghosh and Vidya Balan team up for a follow up to 2012’s thriller Kahaani in Kahaani 2. Kahaani to me is a landmark movie and possibly the best thriller to come out of Bollywood in since forever. With the trailer whetting the appetite I was suitably excited despite the lackluster title name. Does the Balan Ghosh combo work again or will the curse of Arjun Rampal strike again?
The story starts sinisterly enough, we see a desperate Vidya Sinha looking for her paraplegic, wheelchair bound daughter who has gone missing. While running to find her daughter Vidya is hit by an oncoming car and slips into coma. Inspector Inderjeet played by Arjun Rampal with his wooden acting intact shares a secret he cannot let slip but which somehow plays his driving force through the entirety of the film. Vidya Balan plays Vidya Sinha, a single mother raising a paraplegic daughter but just like Kahaani here too there might be a case of mistaken identity or perhaps something more sinister going on. A majority of the story unfolds as Inderjeet reads through Vidya’s diary which he finds taped to the back of a drawer in her house. There are so many things wrong with how each puzzle piece connects that it is unbelievable that the same team was responsible for the watertight Kahaani. Everything just seems to be taking its inspiration from Rampal’s acting “Meh! Let’s just go with this”.
My biggest problem is with how when Inderjeet reads the diary there is a voice over in Vidya’s voice and then we are taken into another storyline and even in that storyline everything that Vidya Balan is thinking is voiced out loud. It’s annoying and insulting at the same time when you expect so little from your audience. There are intriguing plot points which could have made for an explosive narrative but are dealt with in such a shambolic way that it all seems to be coming off at the seams. The second half of the film seems to drag on forever and the element of surprise is massively lacking. At this point it is essentially paint by numbers and the acting also fails to lift it beyond the mundane. I remember re-watching Kahaani a little while ago and noticing only for the first time when Vidya Balan is pushed in front of the train she reaches out for something in her hair and having seen the climax once before it all ties in so well. Here there is no such nuance. The central plot surrounding child abuse also seems to half baked, there is so much more that could be done with it and how it becomes the driving force for Vidya Balan. And while from Kahaani the character of Bob Biswas was endearing and terrorizing in equal measure here the main assassin is essentially someone doing a bad parody of a north-easterner with a weird affectation to their speech. Oh and a special mention to the actress who plays Arjun Rampal’s wife – what the actual f*#k! Why so much nagging and that voice! Uggh I would rather listen to nails on a chalkboard.
Stay at home and rewatch Kahaani instead and don’t waste your time and energy on this underdeveloped, poorly acted and a story that lacks any thrill or common sense. It is a complete contrast to what made Kahaani so special. Vidya Balan’s acting is sub-par, the supporting characters are used as mere props, the cinematography which gloriously captured the crumbling Kolkotta is underwhelming here.