Putting things into your heart.


A mother desperately searches for the killer that framed her son for a horrific murder in a small town as we desperately try to understand a mother’s universal motive.

Madeo (Mother) is a cleverly poised film with the opening shot of an elderly woman basking in the sun, slowly dancing to the tunes of relief. She seems to be totally liberated .We see why, as the film transcends its labyrinth narrative and provides clarity later on. The name of the dancing woman is never known . She is the over-protective mother of her only son Yoon-Do Joon who seems to be intellectually challenged ( slow in coherently remembering his memories and acting accordingly).

He is always under his mother’s watchful eyes across the street , while she cuts medicinal herbs and over her worrying mind ,while she sells accupuncture to her neighbours.

A casual hit and run on Yoon-do Joon, he and his close friend Jin-tae ( whom his mother despises by sight initially) and asks him not to hang around with, seek vigilante revenge. They find the owner’s car in a golf course , break the rear view mirror and mug them off their golf clubs and balls. Eventually they get arrested and later bailing out the same night, Do Joon gets drunk , wanders in the street and  follows a girl with curiosity. The story dims there along with what the mother has chosen to believe, the audience ,too, have to choose to believe.

The following day , the girl is found dead ,horrifyingly exposed on a house terrace. With obvious links leading to convince the incompetent detectives in-charge, Yoon- do joon is too easy and a comfortable candidate to be framed as the killer. But his mother refuses to accept the accusation. She purely doesn’t believe it , she won’t believe it even if it is true. She desperatley tries to find the killer. Takes the investigation into her eyes and constructs the crime scene.

The notion behind the film is deceptively communicated along with a slowly churning thriller for Joon-ho Bong (the director of Memories of Murder and The Host) wishes not to conclude anything allthough you clearly understand what has happened or maybe you seem to understand a mother, for they say that truth comes from a cold place and emotions lie from a warm heart. It is not justice that has to be quenched. It is the sea of motherhood that has to be drank to understand a film of such perplexing and preposterous vista.

Hye- ja Kim as "the Mother"

The construction of the film had won the talk , when it was premiered last year for it clearly had a niche with what it came. The film has some scenes which almost qualifies itself to be a mystery , but uncannily puts you in trance for a totally different mind-map in the last second. Reminiscent fromMemories of a Murder, the director’s earlier venture.

A mother is both protective and selfish and as you watch the extent she could go to keep her son from getting hurt/ or herself from getting hurt, you might think she is just plain mad.

A must watch for Hye-ja Kim‘s (a highly respected Korean actress )performance as a pallid mother, putting things into your heart.

What you call those things? Yeah, soul.


Hoping to see.

A thirsty traveller challenged himself to see,

dared anything that can be visioned, anything that can be.

He had hope as his mirage and mirages as his hope,

for his thirst was vast,like the dreams he wished to see.

He closed his eyes wide for his thirst,wanderlust,

to see his world, his dreams galore and his future’s first.

He saw his smile spreading across the farthest mile,

until he opened his eyes to see,

what he had dared to vision, what he had always wanted to be.

Vision paralyzed, unparalleled, he was yet another damned visionary.

Speechless was he,at his thirst, an unknown infinity.

He fought for his breath, his thirst came back,

it was just another mirage , you see.


Greenberg may incline towards as one of the figuring-out-life movies, but Noah Baumbach’s indifferent technique reminiscent of his earlier The Squid and The Whale takes a hard toll on its audience,if not thick-skinned. The film is not as elevating as Sean Penn’s Into the Wild but definitely keener and intriguing with what Ben Stiller can do with his intrinsic talent. It definitely stands out as one of this year’s top ten.

Roger Greenberg is a 40-something man who has lost his tide or maybe didn’t know when it reached his foot. He is a carpenter (he says he likes to make things),who lives in NY but has come down to LA in order to “do nothing” he says. He baby-sits his brother’s dog , Mahler ,while he’s on a Vietnamese vacation(weird) with his family, to say the most.

Gina Gerwig plays Florence, a broad hipped,dreamy 25-something who assists in maintaining the house/dog in her boss’s absence. She can’t seem to find a difference between what is cool and what is boring in her already mundane, colourless life. But even if there is colour , she can’t possibly find a difference anyways.

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Ben Stiller's "Greenberg"

Greenberg feeds on nothing in his uneventful stay ,calls an old friend, Ivan. He has only complaints to give and abuses to make on people he meets . People like him can’t seem to stop being hard on themselves for their clasp to uniqueness is not an excuse to be rude to others, but a perpetual embarassment concerning themselves. He says, he appreciates Ivan’s friendship after shouting at him( sit on my dick,asshole! )when he tried to surprise him on his 41st birthday with a cake. His attempts to be impulsive and leave to Australia with his teenage niece makes you feel pity at his sad mid-life crisis confusion.

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Hoffman's "Braddock"

The film works as a stark reply/continuation of the Graduate (1967). A converse one can say, where in Graduate, Benjamin was in a hurry to live his life , though uncertainity prevailed , whereas Greenberg after 20 years seems to be certain of everything that life has to offer for him, that he is both afraid of becoming a sour curmudgeon or understating definition for his age(fighting for individuality)thereby stagnant.

“An old friend is the best mirror”– said George Herbert , but what if you find yourself in a stranger’s face? Greenberg’s arguments and relationship with Florence seem more than just a mirror to him. He finds something more. The film is more conveying than it pretends to be. He says to her, “My shrink once told that I have trouble living in the present, so I linger in the past because I felt like never really lived in the first place.”

Jennifer Jason Leigh who co-wrote the film makes a cameo as Beth,a long lost crush of Greenberg,or so that’s what he thinks. He thinks he had a chance with her.

Greenberg wishes he could have changed somethings in his past. Well , who doesn’t feel like that occasionally,when you are just pissed at life? FML right? An excuse to cling, crib and cry with anger. Greenberg is an exercise of staring at spilt milk and gathering yourself up and that is why it is intriguing.

Sometimes an idle mind can be your workshop too, to set things right.


Rip Van Winkle’s dream.

Once naked, now only heavy sweaters,

for the global warmth of human climate.

No more ammo for the weak.

No more emo for the convoluted.

Need to escape.


Everything seems elastic.

Nothing viscous anymore.

Surviving in an infantry,plastic.

Fighting to hide more and more.

Need to run and hide.


Reading more than just lines ,

Rhyming songs ,watching films and making lies.

Juicy philosophy ,indulging poetry.

An adultery of sacred matrimony.

Need to sing.


Getting lost in used beds.

Perpetually horny, we are ,

one of  Her many mistresses.

Tempted when she tongues your ears,

simultaneously stripping your fears.

Need to fuck.


When was the last time you ran downhill?

When was the last time you kissed a stranger?

Who is she?


Need to be awake.