It's a lazy afternoon and you have nothing to do. There's always a movie you can pick up and watch even though you have seen it over 10 times. Golmaal is one of them. Is there a plot? No. Is there a life-lesson? Hell no! What Golmaal actually offers is a story of 4 good for nothing pranksters who end up conning their way into the mansion of a blind couple. What crazy events occur next? That's Golmaal.Gopal, Madhav, Lakshman and Lucky are four useless youngsters who do nothing but eat, drink and chill. Due to their unpaid loan to Vasulli bhai, they are on the run. They end up at the mansion of a blind couple who think their grandson has shown up from America. Then starts, Golmaal.The story really does not offer much. However, I feel that just maybe the strength of the movie. It is a film that has its comical moments do the talking more than anything else.There are some classic comedy scenes in the movie. The opening scene defines what the rest of the movie will be. Not to forget other scenes such as when the boys enter the house and have their first meeting with Paresh Rawal.Not to forget when the principle enters Sharman's room. Arshad and Sharman trying to get at Ajay is hilarious.The funniest scenes have to be the valentines day scene when the boys all gift something to Rimi and the Black parody. Just hilarious! Rohit Shetty doesn't have to depend on his directing much. It's the writing that's the strongest point. By writing, I mean the dialogue. The lines are rib tickling.The music is a pleasant surprise. Reh ja reh ja is my favorite. The title song is amusing. Kyun aage aage is a treat to watch and a master stroke.Rohit Shetty's direction is first rate. He handles all the scenes with ease.Golmaal is full of talented actors. All the actors perform to an equal level of competency. Ajay Devgan is a revelation in this one. His comedy is subtle yet extremely funny. Arshad Warsi is a scene stealer, as always. Sharman joshi gives a very good act. Tusharr Kapoor is first rate and he doesn't even speak a word in the film. Rimi Sen does well Paresh Rawal is as always, perfect. Manoj Joshi is brilliant. Ditto for Sanjay Mishra and Mukesh Tiwari.Overall - A film you can watch anytime, anywhere. Strongly recommended!
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A long time ago, in a city far, far away I worked in a London hostel for young people who found themselves homeless. Over time one of my responsibilities became the oversight of the house next door to the hostel in which were accommodated a smaller number of people who had arrived in the UK seeking asylum. All these years later I can still remember some things about some of the people I worked with there Yugoslavia with whom I often watched and talked about football or the news updates from his homeland. At one point we even accommodated a man who was an IRA informer - not an asylum seeker exactly, but we were to treat him as such when he was placed with us.When I spent time listening to and learning about these people what quickly became clear was something I knew at a subconscious level but had never really processed or given active thought to up to this point - that when you move countries, no matter how few tangible, physical possessions you bring with you, there are some less tangible things that you can't leave behind. It may be your own physical body, your culture, your beliefs and expectations, your memories and hopes, or many other things. All these come with you, whether you like it or not. This was reinforced for me when my wife and I emigrated by choice to South Africa; in doing so you realise how much more invisible baggage there must be when one flees as a refugee.This is the territory His House covers so well - a small-scale British horror movie about a couple escaping Southern Sudan for the UK, placed for the time being in a nameless house on a nameless housing estate. They come with little in their hands, but much else they haven't been able to shed, and it's those things that haunt them so compellingly over the 90 minutes or so of this film.The film stands on two brilliant central performances from the actors playing the couple at the film's heart - at least one of whom is on screen for the whole of the running time. But it's also much more than the performances - it's the clever use of a wide range of ideas and tropes such as the haunted house story, the home invasion movie, gothic fiction, or even at one startling point the Narnia Chronicles. These tropes are both embraced and subverted often to subtly powerful effect; and it's the wordless moments that are often the most powerful - sound design or slow camera pans bring us some of film's most memorable and effective moments.On the face of it the film's ending may seem cloying and naive, but the reality is that it gives us a more profound truth than we may been prepared for; that in order to truly make a home for ourselves in a new context we must look squarely in the face of all the unseen things we carry with us, accept them, grieve them as appropriate and place them in their proper setting. Then we move on; not without those things, but with those things giving light and shade to all that we are in the new places in which we find ourselves. As such this is not only a powerful, chilling, and moving film about the refugee experience, but one about experiences we all go through at different life stages.
The horrors that asylum-seekers have to put themselves through when meshed with a haunted house storyline is what we get in Netflix's His House. Bol (Dirisu) and Rial (Mosaku) are refugees fleeing their war-torn country of Sudan; they brave bullets, rough waters, and even lose their daughter as they finally arrive in Britain where they're granted probational asylum. They're temporarily moved into a shabby, crumbling house in the London suburbs, and that's when the past begins to haunt them.His House is a pretty strong directorial debut from Remi Weekes, who has also written the screenplay. It may just be a 93-minute film, however, His House manages to dive equal parts deep into the struggles of immigrants as well as survivor guilt. While Bol tries to blend in with the new surroundings (he sings football anthems at bars, changes his attire, and prefers to use tables while eating), Rial holds firmly onto their culture (she wears their daughter's necklace, dresses in vibrant colors, and sits on the floor while eating).The scares, the greatest thing about horror films, are well-conceived. Weeks mixes jumpscares with more atmosphere-heavy ones in an effort to keep viewers on edge. Practical and visual effects are put to solid use in these sequences, though some fare better than others. A little inspiration has been drawn from films like The Conjuring and Lights Out, in a good way. Weekes, through some effective crafting that blur the lines between fantasy and reality, elevates His House beyond the conventional haunted house movie.Not everything works though. The final act switches horror for a somewhat predictable twist, and while the closing frames make for a powerful set of metaphors, it feels slightly sketchy from a closure standpoint. The performances are good for a film that revolves mostly around two (or three, if you include the beast) characters - Dirisu and Mosaku showcasing credible, lived-in feats. 2ff7e9595c
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