Shanghai si preannuncia uno dei film più interessanti del 2012. Diretto dal talentuoso Dibakar Banerjee, è un thriller a sfondo politico, adattamento cinematografico di
Z, romanzo del 1966 dello scrittore greco Vassilis Vassilikos. Dibakar ha lavorato per un anno e mezzo al progetto. I produttori hanno incontrato Vassilikos, il quale si è mostrato molto sorpreso ma soddisfatto della sceneggiatura. Il cast è di quelli da perderci il sonno. Abhay Deol, Kalki Koechlin, Emraan Hashmi e la superstar bengali Prosenjit Chatterjee, insieme sul grande schermo, costituiscono una golosità per veri appassionati di cinema indiano. Vishal-Shekhar firmano l'intrigante colonna sonora, che include anche un'item song,
Imported Kamariya, visualizzata dalla modella britannica Scarlett Mellish Wilson. Il brano
Bharat Mata Ki Jai vanta un testo redatto dallo stesso Banerjee, e in India ha suscitato un vespaio. Vi segnalo inoltre
Khudaaya,
Duaa, e
Morcha.
Trailer.
Aggiornamenti dell'8 giugno 2012:
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recensione di Raja Sen, Rediff, ****: 'At first glance, the irony is staggering. A country pretending to be another, brighter country, being shown up by a film that itself borrows form and content from another country. Yet so strident is Dibakar Banerjee's voice as a filmmaker that even this adaptation (...) is turned into a strikingly relevant story of our times and our crimes. (...) Banerjee's genius has always been most visible in his meticulous detailing, and this latest film is expectedly crammed with beautiful nuance. (...) The little touches are smashing, fleshing out most of the characters and making them into more than words and actors. Yet what words, what actors. Emraan Hashmi (...) delivers a knockout punch as he masters a complicated role. From his infuriatingly goofy laugh to poor attempts at making conversation, Hashmi proves himself the best of a very fine ensemble. (...) It's one of the best performances from one of our leading men in quite some time. (...) Bravo. (...) Banerjee must be lauded for not dumbing things down and creating a mature, serious film that engages, thrills and amuses. (...)
Shanghai is all Dibakar, who we must lift on our shoulders with grateful pride. And we must exult in the fact that this D is never silent'.
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recensione di Mayank Shekhar: 'A picture that strikingly captures the chaos and curfews of middle India, (...) exposing the rule of the mob where democracy is merely centred on state-craft and elections, as against statesmanship or equality. (...) The first Indian mainstream film (...) to dig into the protocols and plotting that greases the wheels of Indian civil services. (...) We complain about the system quite often. Well, this is the system. Civil servants over time become minor mimics of the looting political masters they salute to. (...) A gritty drama, just as amusing as it is disturbing. Between artistry and analysis, Dibakar Bannerjee, without doubt the most exciting filmmaker around, chooses to entertain first. (...) Still, in its breathless pace, the narrative either skims over or completely overlooks several nuances and facets of Indian democracy that would play key roles in a high-profile case such as this. (...) Banerjee smartly finds in the book the compelling central conflict of rising India: displacement of poor locals versus development for richer millions; people’s empowerment versus nation’s economic growth. Neither side can be ignored. India, at present, houses the world’s largest number of people displaced for development projects. Not all of this movement could’ve been fair. (...) This is that important, universal story of modern India, interestingly told, enticingly captured. It must be watched, and relished, for sure'.
'"The film gives you a goodbye gift. One gets engaged and entertained while watching it, but in retrospect, you realise you are carrying with you a meaning, a message, a reality," says Banerjee. (...) "Abhay's role as a typical Tamilian bureaucrat did not come easy. The character is the voice of the establishment and has power, but is conservative. His character has shades of grey, which keep the audience guessing. To get the accent right, he had to undergo a month-long language workshop where he learnt to speak English and Hindi with a Tamil twang," says Banerjee. Deol also trained himself with the IAS [Indian Administrative Service] machinery to get the body language and the stern expression correct. "He plays a character much older than his real self. He needed to walk with a slight stoop, as someone who has led a sedentary life of working on the laptop for long hours," Banerjee adds.
For Hashmi's character, Banerjee needed an actor with whom the audience would connect. "Jogi is a street-smart cameraperson and part-time porn filmmaker. We researched quite a bit on porn filmmaking. The character had to appear dirty and sleazy, so we made him gain 10 kg. He had to have a paunch, blackened teeth and a darker complexion. He also took dancing lessons. Everything about him is in stark contrast to his earlier image," Banerjee says. (...)
Like Banerjee, Hashmi too steps into unexplored territory with Shanghai. A step away from the Mahesh Bhatt camp (most of his successful films have so far been with Bhatt) and in the midst of an offbeat cast, the actor outshines everybody else. But experts don't think this will do much to change his "lover boy" image. Hashmi today is the example of a successful actor with several box office hits, but one who has not been offered any brands to endorse. Brand strategy specialist Harish Bijoor says, "The movie will not help Hashmi in an image makeover, despite this being an out-of-the-box role for him. Brand advertisements are all related to happy stars." (...) John Abraham's happy-go-lucky image works well for him in the advertising space, though he is not as successful at the box office, Bijoor says. Brand expert Gullu Sen says that the Indian consumer is still very conservative. "It took Salman Khan years to rebuild his image. For Hashmi this must be a beginning, but there is a long way to go before he starts endorsing brands".'
Aggiornamento del 16 luglio 2012: ieri Shanghai è stato proiettato a Baghdad, alla presenza di Safia Taleb Ali al-Suhail, membro del parlamento iracheno, e del politico indiano Suresh Reddy. L'evento è stato organizzato a ridosso della zona internazionale della città. La corrente elettrica è mancata un paio di volte, ma pare che il pubblico presente in sala - soldati compresi - abbia comunque apprezzato la pellicola. Shanghai è il primo film indiano proiettato in Iraq negli ultimi vent'anni.
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