Comparing Two Grannies

A few years back a Korean film, "Miss Granny" was available on Netflix and got my attention.  An interesting story with some pleasant music, but what really I remember is how the main character reminded me of my wife's Grandmother, known as Nanny.    More recently saw another version, this one in Telegu and titled "Oh Baby."  Starting to research the two movies it was learned there are several versions I suspect because of the interesting story.
You can find the story in Korean, Telegu, Mandarin, Filipino Indonesian, etc.

Nanny sold us our house, babysat my two children and hosted many family gatherings.  I used to shovel her sidewalk and dig her garden.  Mind you, she is not exactly the same as the two grannies in this film blog, but she is a strong woman. and a superb Italian cook. Enjoyed life and her grandchildren.  A porch companion was Uncle John, a widower formerly married to her sister who was a handy man saving us tons of money and made our home more livable.  In a real sense Nanny is an inspiration for this blog


Similarities between the two films.  A 70 year old, meddler, loved deeply by her son, but upsets her daughter in law.  Her son can't bear to ask her to go, but his daughter is blunt to let granny feels unwanted.  The Granny works with and has a widower friend from her childhood.  He is thought of as an uncle.  Wham through a fantasy intervention she gets the body of a 20 year old-.   She has a beloved grandson with a somewhat screechy band that she takes over and turns out to be a big hit.  She is approached by younger men and in the Telegu version is responding and doesn't want to give up her new life, but does tell her old friend, the widower next door as he is about to bring in the police as he thought the young woman had kidnapped the older woman.  The family looks for her while the band reaches the finals and the grandson on his way has an accident.  Both movies use the same mechanism in dramatic fashion to restore her to herself.  If you are inclined to cry at sad movies you probably will shed a few tears towards the end, BUT it ends with a big laugh

Both movies blood transfusion fills the role of a fulcrum. The need for one forces a life changing decision.  Still a part of the overall fantasy, but changes the mood temporarily.

Another element from both films is discrimination of old people.   The younger version criticizes a young man criticizing an older man who was flirting with the young granny.  The whole film projects the idea that it is better to be young, but it also points out that elders deserve respect.

I remember the basic story from the Korean version, but inevitably have forgotten a few details although the newer version helps bring back some details.  The difference in time is over 30 minutes so it seems more details were added in for the Telegu version.  The Telegu version has a more extended romance with a younger man and more family conflict  In the Korean version her grandson attempts to attract the young granny and in her thoughts his grandmother says they are the same lines used by her husband.

Music is important.  The old granny feels she could have been a singer, but never got the chance. In her youthful version she becomes a popular singer.

In the Korean version, the music is my Mowg who won an award for "Miss Granny."  Also provided music for "Burning" and "Masquerade."

Mickey J. Meyer did the music for "Oh Baby"  His musical career began with symphonies and piano pieces, but he admired Hans Zimmer, Enio Morricone and A R Rahman and gravitated to films, mostly Telegu and Malayalam.  His music is described as  slow moving, lacking thumping beats, but popular.  The background music was much appreciated.     

The original writer is Dong-ik Shin and he is credited with some of the new versions of his script, but not "Oh Baby."  Dong-hyuk the director and co-writer, sometimes also gets credit with newer versions.  He wrote and directed "Silenced," one of my highlighted movies from 2018 blog.

"Oh Baby" was of course adapted with Laksmi Boopal handling the Telegu dialogue and song lyrics.  Gopimolan supervised the script and director Nandini Reddy also was involved in the writing.

Nandini Reddy has overcome barriers to be a female director.  Started with a children's film and then found it difficult to get work until a year later directed a movie in Kannada. 

Cinematography in "Miss Granny" was handled by Ji-yong Kim.  He had been a camera assistant for a joint Korean-American film "Okja"  Other films of  his included "The Age of Shadows" and "Silenced"

Editing for "Miss Granny" was done by Na-young Nam who had also done "Mother" and "The Good, the Bad the Weird."

"Oh Baby" had Richard Prasad in charge of cinematography and Junait Siddiqui handling editing.

In both cases the actress who played the younger more active version of Granny  was central to the plot while the original Granny was played by a veteran respected actress.

Eun-Kyung Shim played the rejuvenated Oh Doo-ri  won a few best actress awards for this film--did her own singing--also in "Train to Busan" and "Masquerade."  Oh Mai-soon, winner of several national awards played the original Granny.


Laksmi, a vertern actress played the older grandmother.  She has done 400 films including Tamil, Telegu, Kannada, Malayalam and Hindi.  She turned her back on Bollywood as she felt she would only get female stereotype roles and preferred more socially relevant roles available to her in southern India.  Her daughter Aishwarya ironically has the role of the beleagured daugher in law.


Samantha Ruth Prabbu played the young Swathi.  As is common in India she has a backup singer, Nutana Mohan taking care of the songs very well while Samantha lip synched and danced in some cases.  First noticed her in"Eega "(most unusual story line involving a reincarnated housefly as her lover, but very popular).  Samantha is bilingual in Telegu and Tamil and has won awards acting in both languages.  She has made money as a brand endorser and model and since 2012 has channeled much of her money through a charitable trust to help pay hospital bills for young children, pay for patient flights to the Taj Mahal and to meet film celebrities and boost awareness of haemophilia.  She is a delight to watch.

The story requires you to take a leap of faith, but if you are willing either film will make you laugh and perhaps cry.  It might also remind you of some older person who meant a lot to you.

Article 15

Ayushmann Khurrana has always added to the value of any of his movies I have watched.  One element is a cheerful outlook and comic timing.  In Article 15 he puts forth a different demeanor.  He is in  a position of authority, even privileged and assumes an air of confidence.  He also explodes with expletives (more on that later).

The focus of the movie is discrimination against Dalits, formerly known as Untouchables.  For me there were new details on the caste system.  Article 15 of the Indian constitution makes discrimination based on race, religion, caste, sex and place of birth illegal.  The law can only force so much compliance and attitudes will always influence outcomes.

There is a bit of a mystery, but really the audience has a pretty good idea of the guilt and the real heart of the story is a conspiracy to shut down an investigation.  Ironically some Dalits have achieved higher status (perhaps as tokens) including one of the police officers (who is part of the conspiracy).  There are political efforts paralleling the investigation that focuses on a political alliance between the Brahmins and the Dalits.  Ayushmann says that India consists of 30% elite castes being supported by 70% of lower castes.  During a few setups us outsiders realized that there are many gradations of caste hierarchy that allow even low castes to feel superior to those even lower.

The movie ends strangely when Ayushmann gathers a bunch of his crew around to celebrate the success of the investigation and served out some food.  The men and women were of different castes, but the key was when the cook was asked her caste and the answer was obliterated with a horn blast. after which there was laughter.

Regarding the expletive, it is the English form of the F word.   When first uttered in a fit of disgust one staff when asked by a naive non English staff what it meant he was told "get out" which in effect it did.  However when uttered under different circumstances (more annoyance than disgust) the same non English speaker started to leave .  The original explainer retrieved the man who thought he had been commanded to leave.  My understanding of Hindi is confined to about four words and I have often wondered when the subtitles offer an euphemism if they were hiding the F word and on the other hand when the F word or its many variations have made it to the subtitle if it was actually not as strong a word in Hindi.  

Director,/writer/produceer Anubhav Sinha is known for his interest in social issues.  In his previous movie, "Mulk" the focus was on discrimination against Muslims.  Several IMDB reviewers commented on negative political trolls for this movie.  Prior to this some of his film credits included "Ra.One," "Gulab Gang" and Tum Bin...Love will Find a Way."

 Mangesh Dhakde handled the music.  He had grown up with a father who operated a music school and at an early age met many musicians and was familiar with jazz, Western and Indian classical as well as Brazilian.  Prior to this movie Mangesh did the music for "Mulk."

Ewan Mulligan, the cinematographer got his career started in England where he did a number of shorts with the occasional movie and tv series.  He has been involved with a number of Bollywood movies and made contact with Abunhav Sinha and worked on "Tum Bin 2" and "Mulk"

Yasha Ramchamdai, the editor got started with shorts and location editorial jobs.    As an editor he as mostly involved with tv series..

Ayushmann Khurrana seems to select good movies.  See http://www.therealjohndavidson.com/2018/12/ayushmann-khuranna-actor-to-watch.html  This movie represents 3 big hits in a row from "Andhadhum" (one of my top 3 for 2018), "Badhaai Ha" and now "Article 15."He now notices he has less time with his family and with 4 more films to be released over the next year there will be no relief.

Ayushmann was ably supported by Manoj Pahwa, Mohammed Zeeshan Ayyub, Sayani Gupta (enjoyed her in" Margarita with a Straw"), Kumud Mishra and Isha Talwar among others.

This has proved to be a very relevant movie.

A masterpiece film and a very good remake.

Bollywood churns out a lot of movies, some of which are very enjoyable.  "Badla" got really good reviews and lived up to them.  I learned that it was a remake of a Spanish movie,"The Invisible Guest" ("Contratiemp") and as usual many claimed the original was the better. Learning it was also available on Netflix a viewing confirmed it was well worth watching and instructive.

Both versions are full of twists, some of which you will not guess.  Both are professionally done.  "The Invisible Guest" was released in 2016, while "Badla" came out in 2019.

A few differences:  One is set in Glasgow and the Scottish countryside while the other is set in the Catalonia region of Spain.  There is a gender switch with "Badla" having a female accused murderer while the original was male.  The lawyer preparation expert  for "Badla" is a male while "the Invisible Guest" has a female actress.

Both movies use a prosthetic devise to entrap a murderer.  The lawyer in both cases is able to cut down on lies and force the accused to be more truthful.  They assure the accused that they can work better with the truth, even when it seems incriminating. 
 
Oriol Paulo is credited as a writer for both movies.  Born in Barcelona (in Catalonia) he has been involved in short films and tv series.  His breakthrough came with "Julia's Eyes" as a co-writer.  Produced by Guillermo del Toro who later also produced "The Invisible Guest."  Oriol has also directed a number of movies including "The Invisible Guest." Another of his movies is being remade in Bollywood, "The Body."

Sujoy Ghosh adapted the script and also directed and produced.  He is most famous for directing writing and producing "Kahanni" which is at the top of my list for twist endings.  His next project is a tv series, "Suspect X" based on my favorite mystery book, written by Japanese author, Keigo Higashino.

Music for "The Invisible Guest" was by Fernando Valazquez.  I should have recognized his name as I had bought a clip from "A Monster Calls" and had seen "The Impossible" both English films.

The Hindi version has three responsible for the music with a notable absence of the normal Bollywood song and dance routines. Amal Mallik and Anumpam Royl shared composing and playback singing.  Clinton Cerejo was a score producer and playback singer.  All three have backgrounds in composing and playback singing.

Cinematography was sited as a strength for "The Invisible Guest"  Xavi Gimenez also did "The Liberator," "Agora" and "Transsiberian."  He has won 10 awards for his work.   On one occasion when forbidden to use a helicopter for a shot he developed  a remote controlled mini helicopter. 

Cinematographer Avik Mukhopadhyay was revealing to research as I encountered a few of his interviews.  He started in Kalkutta where lighting equipment was not as available as in Mumbai so he was forced to innovate.  He began with commercials and to date has done over 1,500 and was lured into films by Riturno Ghosh.  Filmed over 25 Bengali films mostly indoors as Riturno thought people more interesting than outdoors.  Avik learned to use lighting to be effective in confined spaces.  His first Bollywood film was "Bunty and Bablij" that had decided to film on location.  They had been warned that Amitabh Bachchan  (see link below) would draw too many people to a railway station and in fact over 50,000 people showed up and the train schedule had to be dropped.  The madness of the crowd was conveyed to the film.  Other notable films for Avik included "Pink" (http://www.therealjohndavidson.com/2016/11/pink-sensitive-film-to-deal-with-consent.html ), "October," and "The Violin Player."

Jaume Marti has edited "A Monster Calls" where he was also the production manager.  He had edited a number of films including "Transsiberian."  He was the production for "The Impossible"  He was brought in as an additional editor for "Jurassic World:  Fallen Kingdom."

Monisha R Baldawa has edited "Neerja," "Begum Jaan" and "Margarita with a Straw." 

Ana Wagener played the lawyer in "The invisible Guest."  She won a supporting role award in "Biutiful." An earlier movie I watched was "Dark Blue Almost Black."  She was the Spanish voice for Felcity Huffman for "Desperate Housewives."

Amitabh Bachchan (http://www.therealjohndavidson.com/2018/05/amitabh-bachchan-living-legend.html) in a gender swich played the lawyer specializing in preparing witnesses in "Badla.".  A versatile actor he has the role of preparing the accused.  If you check out the link you will see he has been not only the most popular actor in India, but also in Britain.  Along the way has won multiple awards.

Mario Casas played the accused who supposedly killed his lover in "The Invisible Guest."  Born in Barcelona he performed in videos at age 9 and at age 18 he moved to Madrid for roles in tv series and his family moved with him.  In 2014 he won award as the most searched{Spanish} performer.  Busy with a variety of tv series and movies including, the English language, "The 33."

Taapse Pannu is an upcoming actress who plays the accused in another gender switch.  She had shared screen presence with Amitabh in "Pink."  She started her career with Tamil and Telegu films including opposite Dhansh in "Aadulkalam."    Learned martial arts for some of her action films.

Barbara Lennie played the murder victim (shown frequently in flashbacks).  She was born in Spain, but moved to Argentina with her family at a young age and moved back to Spain in 1990.  Appeared in many Spanish movies including "The Skin I Live In" and "Everybody Knows" winning numerous national awards.

Tony Luke played the murder victim in "Badla" with another gender switch.  He started with Malayalam films making "Badla" his first Bollywood movie.  He is considered one of the top male models in India.

Jose Coronado plays the father of a second murder victim in "The Invisible Guest."   He is the winner of multiple national awards having started with films in 1987

Tanveer Ghani plays the father of a second murder victim in "Badla."  He was born in England and has mostly appeared in British films with one other Bollywood movie to his credit.

Amrita Singh plays the mother of a second murder victim in "The Invisible Guest."   She must be unique in having been the leading lady for Dharmendra and in later years played the leading lady for his son, Sonny Deol.  She had been married to Saif Ali Kahn although he was much younger.  They had two children who are now both in Bollywood movies.  A few years back she was in "2 States," one of my favorites.

Have I left someone out?  Maybe.  They are both movies that build tension and several times you feel you are onto something, but you aren't.  Most everyone will find the ending a big jolt--but poetic.

CAPERNAUM: I didn't ask to be born

A lot of young people have complained they didn't ask to be born.  As a youngster your life is controlled by adults who do not always have their best interest in mind.

"Capernaum," was a winner at Cannes and different film festivals around the globe plus received an Oscar nomination for best foreign film.

Set in Lebanon.  A young boy has his handcuffs removed and requested to move closer to a judge  We soon learn the boy has been imprisoned for stabbing someone, but he is here with a lawyer because he is suing his parents. From this point we are taken by flashbacks to the events that led to this.

There is a lot of physical and verbal abuse from his parents who seem to have "lots" of other children mostly younger.  Zain is most attached to a young sister whose marriage is being arranged by his parents.  Soon after Zain runs away and before long comes to an arrangement with an illegal Ethiopian refugee.  She is a key supporting player and we learn there are others speaking Amharic (subtitled as Ethiopian).  Illegals are at a disadvantage and are exploited.

At some point after some serious problems Zain returns to his home in order to get "papers" so he can leave the country, but learns there are no papers as his parents were afraid to leave any traces.  He also learned that his beloved sister had been married and died as a result of being too young for sexual activity.  He grabs a knife and does stab the man who killed his sister and is sentenced to five years in prison after his parents testify against him.  Zain generates some publicity and is given support from a radio station is able to sue his parents.  I am reluctant to discuss the end result.

The film is a really good story and fortunately there was a creative and professional crew to tell it in the best way possible.

Nadine Labaki is the driving force behind this movie as director and writer.  Born in Lebanon, she directed short films starting in 2003 and 2007 was included in Variety's top ten directors to watch. First noticed her as lead actress in "Where do we go from here" that she also wrote, directed and produced.  She started as an actress and often takes a role, even in her own movie including "Capernaum." Fluent in Arabic, French and English she has been in a lead role in a French movie.  A big breakthrough was in "Caramel" that she acted in, directed and wrote.  She earned respect from the industry as had been asked to participate as a jury member at film festivals Venice and Cannes.

Co-writers Jihad Hojeily (also for three other Labadki scripts) , Michelle Keswarny (1st script) and Georges Khabbaz (his third script).  Georges had 9 credits as an actor including "Under the Bombs"

Khaled Mouzanar, the composer, married to Nadine had done music for a few of her films plus a few others.  For "Capernaum" he is listed as a writing collaborator and producer.

Michel Merkt, the producer has an international experience as producer, associate producer and executive producer.  His resume takes him to France, Germany, United States, Britain, India and Lithuania.  Includes such films as "Elle," "Toni Erdman," "Miles Ahead" and "Photograph."

Danny Glover, the famous actor from the "Lethal Weapon" series was listed as an executive producer and surprised to learn he had 47 credits as a producer.including for American, Bollywood, Thai, and now Lebanon films.  As a often time action star it was surprising to learn he comes from a civil rights background and has done humanitarian work.  At one time he was a Goodwill Ambassador working in Ethiopia.  He also had been a jury member at Cannes.

Christopher Aoun, the award winning cinematographer had done films in Germany as well and in India (Tamil),  He had done filming in the Mid-East. 

Two editors listed.  Konstantin Bock has done films in English and German..

Laure Gardette was the other editor.  She has done mostly French movies, including "In the House," "Potiche"  and "The New Girlfriend."    In 2007 she edited "Caramel." where she may have met Nadine Labaki.

Zain Ali Rafeea played the main character also named Zain and really stole the show.  He was discovered by the director, Nadine roaming the streets of Beirut as a Syrian refugee.  There are also references to the Syrian refugees in Lebanon.  In the script Zain fantasizes about moving to Sweden, but in reality his family moved to Norway.

Yordonas Shiferaw played Rahil, a woman who for a time supported Zain and trusted him with her baby.   She spoke both Arabic and Amharic.  She made the trip to the Cannes Festival.

Elias Khoury who plays the judge was a writer who wrote a novel turned into "Bab el Shams", a well regarded film.

Most of the remaining actors were inexperienced before this film.

At one time children worked in mines, but eventually that ended.  Poverty and violent conflicts have caused child abuse. to this day. 

Unions and their role

The decline of unions is a major factor in increasing inequality.  A union represents the worker to the employer.  Unions tend to get involved in the larger political process ideally representing the interests of their members, but some times the individual members have a different vision. Individuals do have power, but using their power collectively synergizes their efforts and frightens the owners of capital.

I grew up in a union town, Oshawa and later settled in another, Hamilton.  But my father in particular did not seem to like unions.  He was an independent trucker and was aware of hard tactics by the Teamsters.  My maternal grandmother was a great admirer of unions and I learned later that her husband, my grandfather Marshall Coakwell had taken part in a significant historical strike at General Motors.  From my father (and others) I heard stories of lazy protected workers and hard tactics of such groups as the Teamsters, but he also thought his father in law was a conciliator.

I had some union connections as I had worked for the Children's Aid Society and as a supply teacher for only about 3 days.  The Teacher's Union tracked me down more than 30 years later to give me my accumulated contributions with interest pension.  Most of my life I have been non union and never really felt hard done by.  On one job I actually received a call from a co-worker trying to form a union and turned it down as I felt I was in a semi management position.  The very next day I was forced out (I don't think the phone call was a factor) with a moderately generous settlement.  I did feel cheated as very misleading statistics (link)were used against me and I had felt my work was above and beyond.  read about my involvement in newspaper circulation: http://www.therealjohndavidson.com/2012/08/my-career-in-circulation-part-3-winding.html

I cringe when I hear of union corruption.  It justifies anti-union rhetoric from those representing the interests of the wealthy.  Unfortunately human nature lends itself to the adage "Power corrupts, Absolute power corrupts absolutely."  The problem includes all groups, union, political, NGOs, families and even social relationships.  Leadership requires followers and historically there have been natural restraints that have been diminished. see:  http://www.therealjohndavidson.com/2014/07/selected.html

It seems on both sides of the border efforts have been made to weaken unions.  More success in the United States where right wing philosophy supported by large amounts of money legislated against them.  It is a critical factor explaining increasing inequality.  Corporations have consolidated their power at the expense of workers and with co-operation of voters.  Wages had stagnated while union membership has diminished.  Ronald Reagan was pleased to break up the Air Traffic Controllers union. and had a lot of efforts to boost inequality.

Divide and conquer was one strategy employed.  We were always told how lazy and overpaid union workers were with the implication it was at the expense of hard working non union members. Ironically it was the power of unions that kept wages and working conditions up for non union workers.  One of the best examples was provided in my adopted city of Hamilton where Stelco would go on long strikes that once settled almost immediately set the wages and benefits for their rival Dofasco who avoided the costs of strikes.

An argument is made that high wages, unreasonable benefits  and restrictive regulations are what has killed manufacturing in North America.  That certainly is a factor, but a few other factors should also be considered.  Cheap energy and international trade agreements allowed corporations to shift jobs to cheap labour and looser regulated countries.  Another factor is rapidly creeping up and that is automation supported by computerization.

German companies recognize there are other stakeholders than the owner.  Unions are encouraged and listened to.  Union managers hear and are heard.  The company benefits.  Peter Drucker made me aware of the concept of stakeholders.  Workers and their communities are often more committed than the owners who will pull up stakes if a better opportunity is perceived.

The world will have to make some adjustments to avoid increasing tensions towards more violence.  Inequality will not disappear ever and automation will increasingly take away the need for workers of all types.  We could easily evolve towards societies depicted in such books as "1984" or "The Time Machine" where basically a few elites control the masses.  That is a clear possibility

While a lot of attention is publicly given to corporations and investors and what it takes to motivate them, little attention is given to consumers, citizens and labourers.  We won't be needed to produce the goods and services to nearly the same extent as historically.  We will be wanted as consumers, but with fewer people controlling the distribution of goods the rules will be set by them.  Democracy seems to require a lot of money and so those with lots of money will control that as well.

At one time it was suggested that the poor would vote in the own self interest to the point of being counter- productive..  I can see that, but it is not working out that way.  Voters regularly vote against their own self-interest.  Social interests are manipulated by those with the power and who are more comfortable with the status quo.  Unfortunately many voters feel apathetic, i.e. their vote is not worth the effort. link to proportional voting

An alternative would be for the 99% to assert their rights.  Of course there are too many conflicts of interest to keep track of (unless you have lots of money for the task).  Education is basic to the idea and will be resisted by those in power.  I don't mean just job skill education which will be supported, but how to think critically, how to enjoy life and how they fit into the global reality.

Corporations are global.  Capital can shift to any corner of the globe that promises better returns with out concern for other stakeholders.  Unions need to match that power more closely or they will just be played off against one another.

The photo is of a Worker's Art and Heritage Centre in Hamilton, Ontario.

CLIMATE CHANGE AND THE AMERICAN ELECTION

Although there is increasing acceptance of climate change, both major political parties seem reluctant to prioritize it.   Of course the Republicans are loaded with climate change deniers, but Democrats are reluctant to be too boisterous about the issue.

One candidate Jay Inslee, the Governor of Washington state made it his priority and he was one of the first to drop out.   He did make a point and campaigned for a debate exclusively on climate change, but would not have qualified for it.  His efforts have encouraged other candidates to offer plans for combating climate change.  Perhaps if the Democrats win there will be a national role for him.

A suggestion to have a a debate devoted entirely to climate change was voted down by the Democrats who were forced to accept a sequential town hall discussions with one candidate at a time.  Part of the reason might be not to offend potential donors.  Another part might be to not offend some voters.

The Republicans are indebted to the fossil fuel industry.  Trump at least once admitted that the economic consequences were on his mind and warned voters of the danger.  Of course the economic consequences of not dealing with the challenge are even greater.  Innovative energy solutions are disruptive to the fossil fuel industries, see:  http://www.therealjohndavidson.com/2013/03/the-innovators-dilemma.html

The role of money, not only regarding climate change, but of many issues (gun control, healthcare, education, prisons) is overwhelming the concept of democracy.  Al Gore pointed out that America has to fix democracy before they can fix the climate crisis.    See:  http://www.therealjohndavidson.com/2017/11/an-inconvenient-sequel-truth-to-power.html

The Republicans are trying to make immigration the key issue as well as touting economic growth.  Racial innuendo is prevalent and has worked in previous elections. 

Fear works.  Voters are reluctant to take risks.  Fear mongering is dangerous.  Educated voters are aware of climate change and find scientists more credible than politicians with vested interests.   On the other hand many voters feel a vested interest themselves or fear life style changes or are wrapped up with other issues (abortion, immigration, gun rights, gay rights) or don't yet take it seriously.

This election cycle is already ahead of previous elections in covering climate change.  It seems not only to be the most serious issue confronting mankind, but also a key to a Democratic victory.  The Republicans are ridiculing aspects of it mostly centering on costs and inconveniences.  Short term thinking appeals to all of us to some extent, but mankind reached our present status with long range thinking.

In a previous election the Democrats had given out tire gauges to remind people they could improve gas mileage by inflating tires to optimal level and were ridiculed.   With plastic straws attracting negative attention from environmentalists, the Trump team sold them as the idea of not allowing "liberals" to change their life style.  Another remembered example was protesting new more efficient light bulbs.  The Democrats need to turn the Republican strategies on their head.  Ridicule can work both ways.

When fear is activated people are willing to change their life style.  The solutions to climate change are pictured as job threatening not only to the fossil fuel corporations, but also to auto industry, airlines, mining, agriculture, etc.  The truth is renewal energy will require lots of jobs.  More important in the long term is a healthier, safer environment.

There are other issues that voters should factor in.  Andrew Yang has pointed out that immigrants are not the threat to jobs that robots are, see:  http://www.therealjohndavidson.com/2015/08/rise-of-robots.html  Education, health, nuclear proliferation, inequality and even immigration.

Naomi Klein has some points about how different groups can co-ordinate better for mutual aims.  She also feels like Al Gore that democracy needs to be addressed, but feels it can and should be tackled simultaneously.  It will take a unified effort.
http://www.therealjohndavidson.com/2018/05/naomi-klein-writes-another-insightful.html

UYARE, AN UNEXPECTED GEM

If it wasn't for Netflix I would never have been aware of the existence of "Uyare"  I revisited the original  trailer to see if I recalled it correctly.  There definitely was an element that motivated me to see it--a high rating, but the subject of a woman in India piloting an airplane seemed unusual enough to want to know more.  I anticipated there would be obstacles and the trailer hinted at an unhappy romance.  If you looked very closely (less than 1 second screen time) you might have been prepared for the mid film surprise that formed the main dramatic tension.  So I will try to respect the intention of the marketing people so you can be jolted like I was and perhaps appreciate the movie better.

The rating --at the time 8.2 is an indication of a superior movie, but the trailer underplayed the drama.  There is not much romance, but there is tension.  The professional quality raises it above what an outsider might anticipate in a regional Indian language, Malayalam.

Palavi, as a young girl is fascinated with flying and tells her father she wants to be a pilot and after awhile he takes her seriously and supports her.  As a young adult she earns her pilot license.

The only real romance in the film is a dud almost from the beginning as the heroine has loyalty to a chauvinistic man with problems.  Eventually she gets tired of his demands and verbally breaks off the relationship, but he is bitter and takes revenge in a violent way.  For the rest of the movie he occasionally re appears, not to ask for forgiveness, but to make her life more aggravating.

How she deals with a disfigurement is the crux of the story.  At first she is discouraged and her license is revoked.  Her friends are supportive, but only through some flukey circumstances she gets a breakthrough chance to be a airline hostess and you might guess later she gets to rescue a airplane headed for disaster.  The story is more than that.  There seems to be a chance at a romance, but she squashes it.  What keeps her going is the support of friends and especially one man, who strongly criticized defies his father and others.

What sustains your attention is the lead actress, Parvathy Thiruvothu.   Before getting into films she had been popular as a tv anchor for a phone in program. Appeared mostly in films in the Malayalam language, but has appeared opposite Dhanush in a Tamil film and opposite, Irrtan Khan in a Hindi film,  "Qarib Qarib Singile"  She has been a big winner in regional awards.  In an IMDB feature asking what her favorite films she listed two of mine-- "A Separation" and "The Secret in their Eyes" specifically the Argentine version.  But she especially likes any film with Jake Gyllenhaal.

Her key supporter is played by Tuvino Thomas educated as a software engineer.  He was born a Syrian Catholic.  Also a regional award winner who is popular and busy, but mostly in Malayalam films.  He plays a sort of irresponsible son of a wealthy man who wants to prove himself and does take a dicey risk.

Asif Ali plays the boyfriend who you quickly come to dislike.  Generally he plays more likeable characters, but does well in this role.  He has produced two movies.

Siddique plays her father.  His career started in 1985 and he has appeared in at least two noteworthy films.  The original version of "Drishyam" (I blogged the Bollywood copy: http://www.therealjohndavidson.com/2015/11/driishyam-bollywood-remake-masterpiece.html    ) and was the lead in "Naa Bansaare Talli" a film about sex trafficking with a twist highlighted in my year end movie review for 2018.  He also has produced two movies.

Manu Ashokan, the director with his first feature.  He had been an associate director for the Bollywood version of "Traffic"

Bobby and Sanjay were a writing team as part of team involving the director and editor they brought everything together.   The climax of the movie is started in the opening scenes, but without the necessary context that comes in dribs and drabs over the course of the film.  Soon you are introduced to the heroine as a young girl and quickly she grows up to a college student and some of her conflict with her boyfriend.

Editing keeps the story flowing under the guidance of Manesh Narayan.  Manesh started with Malayalam films, winning an award with his first.  He has done significant films in Tamil, Telegu and Hindi languages.  In 2017 he directed and co-wrote, "Take-off" that won awards for himself and the film.

Music by Gopi Sundar.  Music in the background is enjoyable.  Shakthisree Gopalan was a factor in my decision to watch this movie and she sings one song.

Cinematography was handled by Mukesh Muraleedharan.  This was his third film in charge after years of various tasks in the camera department.

It was released in India in April of this year and was listed on Netflix in August.  I am sure it will e nominated for awards.

If you fear watching a movie in a language you might not have heard of please be assured with subtitles you will soon be gripped.  It is very professional. A post on regional films from India:  http://www.therealjohndavidson.com/2017/01/regional-films-from-india.html