K YO MAYA HO -REVIEW

Really big expectations? Oh yes! With seasoned actors [Aryan Sigdel,Saugat Malla] at the helm of affairs and Sudarshan Thapa in the director's seat, K YO MAYA HO is expected to strike like a hurricane.

Let's come to the point straightaway. Don't look for a story in  K YO MAYA HO. For, there's none here. What you get to see is a collage of frustrating moments. It's not one of those conventional prem kahanis that have the lovers drifting apart or a misunderstanding creating havoc in their lives. 

What goes against the film is the fact that you feel a vacuum at the end of the screening. EXPECTATION is amiss. Sure, you are enamored by the gloss for some few reels. You are awe-struck by the stunning locales of JOMSONG and Pokara, and Ghandruk. But, deep inside, it doesn't satiate you. 


To sum up,  K YO MAYA HO is all money, no substance. Body beautiful, minus soul. Being fair to it -This is, unchi dukaan, phika pakwaan. 

Fed up  of her landloars, SITA (Sushma Karki) is runing her life dreaming a different flat for her. Fed up of his landlady and her daughter, Ram(Aryan Sigdel) is dreaming a different flat for him. Now both working in same office (What for-unknown), alongside best friends Shayam (Saugat Malla) and Gita (Arunima Lamsal).

Annoyed 24*7 both decide to share a flat together and audience have two and half  hours to kill. Perfect setting for the start of a love-story. Hitch? Badly written screenplay and unwanted characters who keep poping out of nowhere.

Director Sudarshan Thapa then takes us to a journey which is very complicated to comeout of. Actually, come to think of it, you do enjoy just a few songs in this 14 reeler. But can you stretch a rubberband beyond a point? That's what the writer does.

Writer Niraj Vikram Shah's screenplay is as taxing as driving in monsoons on a road full of potholes. When you realize the film offers no story, you sit motionless, flexing your facial muscles at times, but remaining indifferent to the goings-on generally. The director and writer have side-kicked the script with some stunning visuals and toilet humor moments. But that's no compensation. Sugam Pokharel's music is quite good. 'Sara Sara din' is the track you carry home. The title track is another fine composition. Cinematography is not upto the mark. And who says cinema is all about FOCUS in and FOCUS out. Darling it's a serious and itching business.. Choreography [Samrat Shakya, Raju Shah, Anup Koirala] is not worth to mention, but your eyes stays on locales of the songs picturesque. Neelima's costumes are smashing and I couldn't believe same person does a bad art direction. ALAS, girl!
K yo Maya Ho belongs to Aryan first and Sushma's next. Saugat Malla is relegated to the backseat ,a waste of talent. Please stick to good script broda. Arunima Lamsal looks retiring soon. 

Anurag Man Singh (as BABU don) should have rather controlled his over acting halfway the film, otherwise, he is a good.

On the whole, K YO MAYA HO is no patch on Sudarshan Thapa's previous film. The film is all Money, no substance. Body beautiful, minus soul. At the box-office, the all-powerful Sudarshan/Aryan  brand coupled with the lack of biggies will ensure substantial revenue for its producers/distributors in the initial days, proving that sometimes, a bad film also makes money. But it will not remain same after a week.


1.5 stars
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JAICINEMA

The Tree Of Life - Movie review

There are three possible reactions to The Tree Of Life. The first is love for the sake of it.

Many will recommend it to you on the basis of glowing reviews on the Internet, and the fact that this movie bagged the top prize at the Cannes Film Festival earlier this year.

Critics will wax eloquent to you about Terence Malick's impressionistic style, the movie's indelible mise en sc ne, and how it grows on you like a fine wine (or, well, a tree).

Not wanting to seem like a philistine, you will nod along and, in turn, do the same. Add it to your 'Movies I Like' list on Facebook, discuss it with friends and so on.

The second is outright hate. Unsuspecting viewers, lured into theatres by the words Brad Pitt, Sean Penn and Cannes, will walk in expecting a tearjerker about an estranged father-son duo.

They will not expect a formless, improvised movie that has the attention span of an imaginative 6-year-old.

They will not expect a movie set in 1950s American suburbia about the O'Brien family to have a scene featuring two dinosaurs, wherein one lies injured on the side of a shallow river, and the other kicks it a couple of times before trotting away. They will search in vain for a narrative, for some semblance of a story, and find nothing.

This is a polarising film, and if film critics at Cannes could boo it, so could Indian audiences.

There is a third possible reaction, however, to this film, and that is awe. Awe at Malick's uncompromising vision and his nearly contemptuous disregard for linearity or conventionality.

Awe at his persistence in developing the concept for this film over decades and spending nearly three years filming after studio execs told him he was 'crazy'.

Awe at the jaw-dropping visuals Malick shows us: the birth of the universe (the Big Bang, with subtle visual cues that draw parallels to the process of fertilisation in humans), stars colliding, oceans rising and falling, microbes multiplying, cells undergoing mitosis and meiosis and so on and so forth.

What does it all mean? The story starts off with the O'Brien family mourning the death of a son at only 19. Jack (Sean Penn), an architect who works in a tall, swanky building, calls up his father and confesses that he still thinks about his dead brother.

We are then transported to Jack's childhood where we watch him learn to take his first steps, speak his first word, feel jealous of his new baby brother for hogging his mother's (played by a luminous Jessica Chastain) attentions and eventually grow up to become a sullen teen.

We watch his father (Brad Pitt in a powerhouse performance), an inventor who gave up music for practical reasons, discipline Jack and his brothers with a firm hand.

He's violent and abusive, while Jack's mother is kind and almost child-like. This is a film about life - anybody's life - and all that comes with it: love, laughter, growth, anger, sadness, pain and death.

The Tree Of Life is a difficult movie to watch. It demands constant attention and a deliberate desire on the viewer's part to suspend all established expectations from the medium of cinema.

Yet, for all its gravitas, one can't help wondering if Malick has indeed made a highly personal (Jack is partly Malick's own alter-ego) and philosophical cinematic portrait or if he's just being self-indulgent.

Surely there is a way to put across the whole 'life goes on' philosophy in a manner that's less random? But hey, that's life. 

Karshima Manandhar wooes Aryan Sigdel

Age passes by, skin leaves you dumb but then glomour has many resons to tone up for ever youth fairness. We are talking about Karishma Manandhar who in a very informal press meet says that her age will never stop her to act with younger lot of heroes, and if that too is ARYAN SIGDEL himself , she can't stop  seeing herself doing it.

When asked,  Aryan replied in a rather happy note that he would happily do a film with the diva if something meaty crosses his way, and guess what - age is not a issue for him.

 Now this is something for current lots of heroines who aspire to work with Mr.Sigdel. What say Reecha,Sushma and Namrata,  Ahem ! Ahem!

Paa and his SAATHI.

The King of controversy, Bhuwan K.C is in news for one more reason now. He is in the news this time for his home production 'Saathi Ma timro', for  he has himself to toil all for distribution and publicity , as his ex-wife Sushmita Bomjan completely denied to help him for the publicity of the film . 'I don't need Sushmita,unless i've Anmol supporting me', said the actor.  As for now Mr. KC is all set to do-all-publicity of the film with his son Anmol K.C - who is getting a launch with this very film.

The film is slated to release this dasain though official date is not confrimed.  After the interiors the film will fly to AUSTRALIA and AMERICA.