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miguelmarias · 3 years

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TOP 2021

A) Grandes películas realizadas después de 2016, pero vistas por primera vez en 2021:

Mo er dao ga(Anima;Cao Jinling, 2020)

Cry Macho(Clint Eastwood, 2021)

Les choses qu’on dit, les choses qu’on fait(Emmanuel Mouret, 2020)

À l’abordage (Guillaume Brac, 2020)

Still Life of Memories(Yazaki Hitoshi, 2018)

Doraibu mai k?/Drive My Car(Hamaguchi Ryûsuke, 2021)

Let Him Go(Thomas Bezucha, 2020)

Dorogie tovarishchi(Dear Comrades!;Andreí Konchalovsky, 2020)

Il n’y aura plus de nuit(Éléonore Weber, 2020)

Marx può aspettare(Marco Bellocchio, 2021)

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The Marriage Project(Hesam Eslami & Atieh Attarzadeh, 2019)

Gûzen to sôzô/Wheel of Fortune and Fantasy(Hamaguchi Ryûsuke, 2021)

Suzanna Andler(Benoît Jacquot;a.Marguerite Duras, 2020/1)

Maixabel(Iciar Bollain, 2021)

News of the World(Paul Greengrass, 2020)

Country Music(Ken Burns, 2019)

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B) Grandes películas hechas antes de 2016, pero vistas solo en 2021:

Serdtse materi(The Heart of a Mother;Mark Donskoí, 1966)

Yumechiyo Nikki(Yumechiyo’s Diary;Urayama Kirio/Kiriro, 1985)

Petit à petit(version 4 hrs)(Jean Rouch, 1971)

The Whistle at Eaton Falls(A Drama of Real Life)(Robert Siodmak, 1951)

Taking Sides/Der Fall Furtwängler(Szabó István, 2001)

Losing Ground(Kathleen Collins, 1982)

Dream Girl(Mitchell Leisen, 1947/8)

Valley of the Sun(George Marshall, 1942)

The Silent Partner(S1,Ep.12 de Screen Directors Playhouse)(George Marshall, 1955)

Life Begins at 40(George Marshall, 1935)

Peesua lae dokmai(Butterflies and Flowers;Euthana Mukdasanit, 1985)

Hellfire(R.G. Springsteen, 1949)

Shin Heike Monogatari:Yoshinaka o megoru sannin no onna(Kinugasa Teinosuke, 1955/6)

Texas(George Marshall, 1941)

Vremia zhelanií(Time of Desire;Iulii Raízman, 1984)

Nigorie(Imai Tadashi, 1953)

Die Rebellion(Wolfgang Staudte, 1962)

Kirmes(Wolfgang Staudte, 1960)

Joi no Kiroku(Shimizu Hiroshi, 1941)

Stories We Tell(Sarah Polley, 2012)

Días de otoño(Roberto Gavaldón, 1963)

Man’s Calling(Almost a Friar;Allan Dwan, 1912)

Das Lamm(The Lamb;Wolfgang Staudte, 1964)

Bokuseki(Gosho Heinosuke, 1940)

Hashi no nai kawa(The River with No Bridge; Higashi Yôichi, 1992)

Taiyô no suwaru basho? no suwaru basho(The Place Where the Sun Sits;Yakazi Hitoshi, 2012)

Suîto ritoru raizu(Sweet Little Lies;Yazaki Hitoshi, 2009/10)

Fuon(The Crying Wind;Higashi Yôichi, 2004)

Ainsi soit-il(Gérard Blain, 1999/2000)

The Rose of Kentucky(D.W. Griffith, 1911)

The Romantic Story of Margaret Catchpole(Raymond Longford, 1911)

Odoriko(Shimizu Hiroshi, 1957)

Escape(Mervyn LeRoy, 1940)

Raí/Paradies(Paradise;Andreí Konchalovsky, 2016)

Never a Dull Moment(George Marshall, 1950)

A Millionaire for Christy(George Marshall, 1951)

Friendly Enemies(Allan Dwan, 1942)

Maging Akin Ka Lamang(Lino Brocka, 1987)

Bulaklak Sa City Jail(Mario O’Hara, 1984)

Kawanakajima kassen(The Battle of Kawanakajima;Kinugasa Teinosuke, 1941)

The Girl Said No(Sam Wood, 1930)

Eno nakane bokuno mura(Village of Dreams;Higashi Yôichi, 1996)

Atlantis The Lost Continent(Siren of Atlantis/Atlantide;Gregory G. Tallas,coll.John Brahm,Arthur Ripley, 1947//9)

Koiya koi nasuna koi(Love, Thy Name Be Sorrow/The Mad Fox;Uchida Tomu, 1962)

Destry Rides Again(George Marshall, 1939)

A Message to Garcia(George Marshall, 1936)

Chicago-Weltstadt in Flegelsjahren(Heinrich Hauser, 1931)

Die Stadt der Millionen. Ein Lebensbild Berlins(Adolf Trotz, 1925)

Wandering Papas(Stan Laurel, 1926)

C) Películas recientes muy buenas:

Dereka no mokkin(Somebody’s Xylophone;Higashi Yôichi, 2016)

Hostiles(Scott Cooper, 2017)

Ray Meets Helen(Alan Rudolph, 2017)

Tre piani(Nanni Moretti, 2021)

Des Hommes(Lucas Belvaux, 2020)

Petite Maman(Céline Sciamma, 2021)

Running Wild(Alex Ranarivelo, 2016/7)

Degas et moi(de 3e Scène;Arnaud Des Pallières, 2019)

Eskape(Neary Adeline Hay, 2021)

Dangsin-eolgul-apeseo(In Front of Your Face;Hong Sang-soo, 2021)

The Marksman(Robert Lorenz, 2021)

Un soupçon d’amour(Paul Vecchiali, 2019/20)

The Miniaturist of Junagadh(Kaushal Oza, 2021)

L’equilibrio(Vincenzo Marra, 2017)

Felkészülés meghatározatlan ideig tartó együttlétre(Preparations to be together for an unknown period of time;Horvát Lili, 2020)

Longe(Far;José Oliveira, 2016)

Seize printemps(Suzanne Lindon, 2020)

Onoda, 10.000 nuits dans la jungle(Arthur Harari, 2021)

Huda’s Salon(Hany Abu-Assad, 2021)

The Sea Ahead(Albahr’amamakum)(Ely Dagher, 2021)

Les Apparences(Marc Fitoussi, 2020)

Pray for Rain(Alex Ranarivelo, 2017)

Quién lo impide(Jonás Trueba, 2016-21)

A Quiet Place Part II(John Krasinski, 2020/1)

A Quiet Place(John Krasinski, 2018)

Antlers(Scott Cooper, 2019//21)

Zeros And Ones(Abel Ferrara, 2021)

Supai no tsuma(Kurosawa Kiyoshi, 2020)

A todo tren. Destino Asturias(Santiago Segura, 2021)

The Great Indian Kitchen(Jeo Baby, 2021)

What Is Life Worth/Worth(Sara Colangelo, 2020)

Errementari(El herrero y el diablo;Paul Urkijo Alijo, 2017/8)

Sylvie’s Love(Eugene Ashe, 2020)

La Telenovela Errante(Raúl Ruiz,Valeria Sarmiento, 1990/2017)

Irradiés(Rithy Panh, 2020/1)

Traidores(Jon Viar, 2021)

Impuros(Alberto Utrera, 2021)

Wild Mountain Thyme(John Patrick Shanley, 2020)

Explota Explota(Nacho Álvarez, 2020)

Asa ga kuru(True Mothers;Kawase Naomi, 2020)

The Song of Names(François Girard, 2019)

Coda(Claude Lalonde, 2019)

(The)Borderlands(Samarth Mahajan;col.Nupur Agrawal, 2020/1)

Sardunya(Geranium;Çagil Bocut, 2021)

Ride or Die(Hiroki Ryuichi, 2021)

The Beatles Get Back(Michael Lindsay-Hogg/Peter Jackson, 1969///2021)

Summer of Soul or When the Revolution Could Not Be Televised(Questlove, 2021)

Concierto para la batalla de El Tala(Libro primero de La Saga de los Mártires Unitarios)(Mariano Llinás, 2021)

My Octopus Teacher(Pippa Ehrlich & James Reed;coll.Craig Foster, 2020)

D) Películas más antiguas muy buenas:

You Never Know Women(William A. Wellman, 1926)

Out of the Furnace(Scott Cooper, 2013)

Watashi no Guranpa(My Grandpa;Higashi Yôichi, 2003)

Mubansô(A Cappella;Yazaki Hitoshi, 2015/6)

Panic in Year Zero!(Ray Milland, 1962)

The Man I Married(Irving Pichel, 1940)

Show Them No Mercy(George Marshall, 1935)

Badlands of Dakota(Alfred E. Green, 1941)

The Treasure of Lost Canyon(Ted Tetzlaff, 1951/2)

Nie wieder Liebe!(Anatole Litvak, 1931)

Mukashi no uta(Old Sweet Song/Old Song;Ishida Tamizo, 1939)

Keshin(Metamorphosis;Higashi Yôichi, 1986)

Sekando rabu(Second Love;Higashi Yôichi, 1983)

Slave Ship(Tay Garnett, 1937)

Evelyn Prentice(William K. Howard, 1934)

Zwischengleis(Wolfgang Staudte, 1978)

Heimlichkeit(Wolfgang Staudte, 1968)

The Moon’s Our Home(William A. Seiter, 1936)

All Our Yesterdays(of 77 Sunset Strip)(Richard L. Bare, 1958)

I Live My Life(W.S. Van Dyke II;scr.Joseph L. Mankiewicz, 1935)

Una Romantica Avventura(Mario Camerini, 1940)

Le Grand Jeu(Nicolas Pariser, 2015)

Erótica(Emilio ‘Indio’ Fernández, 1978)

Oatsurae Jirôkichi goshi(Jirokichi the Rat;Itô Daisuke, 1931)

Desert People(Ian Dunlop, 1965-7)

Tap Roots(George Marshalll, 1948)

When the Daltons Rode(George Marshall, 1940)

Scared Stiff(George Marshall, 1952/3)

The Blue Dahlia(George Marshall, 1945/6)

Flowing Gold(Alfred E. Green, 1940)

This Side of the Law(Richard L. Bare, 1949/50)

Gränsfolken(Mauritz Stiller, 1913)

Rendezvous(William K. Howard;uc.Sam Wood, 1935)

High, Wide and Handsome(Rouben Mamoulian, 1937)

Heat Lightning(Mervyn LeRoy, 1934)

Black Jack(Julien Duvivier, 1950)

Nancy Steele is Missing!(George Marshall;uc.Otto Preminger, 1937)

The Woman Between(Victor Schertzinger, 1931)

The Woman I Love(The Woman Between;Anatole Litvak, 1937)

Want Ad Wedding(William A. Seiter, 1955)

El agua en el suelo(Eusebio Fernández Ardavín, 1925)

De sueur et de sang(Wonderboy;Paul Vecchiali;coll.Pierre Sénélas, 1994)

The Ghost Breakers(George Marshall, 1940)

State Secret(The Great Manhunt;Sidney Gilliat, 1950)

The Spieler(Tay Garnett, 1928)

Culpables(Arturo Ruiz-Castillo, 1958)

Phenomenon(John Turteltaub, 1996)

Shack Out On 101(Edward Dein, 1955)

The Dog Lover(Alex Ranarivelo, 2015/6)

Il Fauno(Febo Mari, 1917)

Satánico Pandemonium(La Sexorcista;Gilberto Martínez Solares, 1975)

Parisian Love(Louis J. Gasnier, 1925)

Hollywood on Trial(David Halpern,Jr., 1976)

Beyond Mombasa(George Marshall, 1956)

Money from Home(George Marshall, 1953)

Hook, Line and Sinker(George Marshall;p.,w.Jerry Lewis, 1968/9)

Variety(Bette Gordon, 1983)

Séraphin ou Les Jambes Nues(Louis Feuillade, 1921)

Effraction(Daniel Duval, 1983)

Jalaler Golpo(Jalal’s Story;Abu Shahed Emon, 2014)

Cover Up(Alfred E. Green, 1948/9)

Manchas de sangre en la Luna(Come Die My Love;Luis Marquina & Edward Dein, 1952)

Le 7ème Juré(Georges Lautner, 1962)

La Route de Salina(Georges Lautner, 1969/70)

The Squall(Alexander Korda, 1929)

Rose Bernd(Wolfgang Staudte, 1957)

L’Emigrante(Febo Mari, 1915)

Cenere(Febo Mari & Arturo Ambrosio, 1916/7)

Sâdo(Third Base;Higashi Yôichi, 1978)

Universal Citizen(Peter Thompson, 1987)

Nightfall(Gwyneth Gibby, 1999/2000)

Where Lights Are Low(Colin Campbell, 1921)

Mo hozue wa tsokanai(No More Easy Life;Higashi Yôichi, 1979)

Ureshi hazukashi monogatari(A Tale of Happiness/The Pursuit of Happiness;Higashi Y?ichi, 1988)

Strawberry Shortcakes(Yazaki Hitoshi, 2006)

Shiki Natsuko(Higashi Yôichi, 1980)

Yoi ga sametara, uchi ni kaer?(Wandering Home;Higashi Yôichi, 2010)

De cierta manera(Sara Gómez, 1974//8)

Broadway Love(Ida May Park, 1918)

Forza Bastia 78 ou L’île en fête(Jacques Tati & Sophie Tatischeff, 1978///2000)

…addio del passato…(Marco Bellocchio, 2000)

Die Geschichte vom kleinen Muck(Wolfgang Staudte, 1953)

Sangatsu no raion(March Comes Like a Lion;Yazaki Hitoshi, 1991)

El Movimiento(Peter Thompson, 2002)

Lowlands(Peter Thompson, 2009)

E) Grandes películas que mejoran:

Limelight(Charles Chaplin, 1951/2)

Morocco(Josef von Sternberg, 1930)

Körkarlen(Victor Sjöström, 1920/1)

Fool’s Paradise(Cecil B. DeMille, 1921)

Shane(George Stevens;associate d.Fred Guiol, 1952/3)

Potomok Chingis-Khana(Vsevolod I. Pudovkín, 1928)

Man Hunt(Fritz Lang, 1941)

The Tall T(Budd Boetticher, 1957)

Ruan Lingyu/Center Stage(Stanley Kwan, 1991/2)

Something To Live For(George Stevens, 1942)

One Way Passage(Tay Garnett, 1932)

La Roue(Abel Gance, 1923)

Waga seishun ni kuinashi(Kurosawa Akira, 1946)

East Side, West Side(Allan Dwan, 1927)

The Unfaithful(Vincent Sherman, 1947)

Kuhle Wampe oder Em göhert der Welt?(Slatan Dudow, 1932)

Silver River(Raoul Walsh, 1948)

Il Gattopardo(The Leopard;Luchino Visconti, 1963)

You’re the one(Una historia de entonces)(José Luis Garci, 2000)

George Stevens:D-Day to Berlin(George Stevens,Jr., 1994)

The Mating Game(George Marshall, 1959)

The Edge(Robert Kramer, 1967)

Ice(Robert Kramer, 1969)

Alias Nick Beal(John V. Farrow, 1948/9)

Tenshi no harawata:Nami(Angel Guts:Nami;Tanaka Noboru, 1979)

The Savage(George Marshall, 1952)

Underwater!(John Sturges, 1954/5)

A Face in the Crowd(Elia Kazan, 1957)

Cheers For Miss Bishop(Tay Garnett, 1940/1)

Joy of Living(Tay Garnett, 1938)

A Ilha dos Amores(Paulo Rocha, 1982)

Sentimental Journey(Walter Lang, 1946)

The Man Who Died Twice(Joe Kane, 1958)

The Cheat (Cecil B. DeMille, 1915)

F) Muy buenas películas que cambian después de una nueva visión

The Birth of a Nation(David Wark Griffith, 1914/5)

Suez(Allan Dwan, 1938)

Saskatchewan(Raoul Walsh, 1954)

The Plough and the Stars (John Ford, 1937)

Doblones de a ocho(Andrés Linares, 1990)

My Cousin Rachel(Henry Koster, 1952)

Arsenic and Old Lace(Frank Capra, 1941//3)

Big City(Skyscraper Wilderness;Frank Borzage, 1937)

Make Haste to Live(William A. Seiter, 1954)

Cattle Drive(Kurt Neumann, 1951)

The Gun Runners(Donald Siegel, 1958)

Woman Of The Year(George Stevens, 1942)

Bram Stoker’s ‘Dracula’(Francis Ford Coppola, 1992)

Yoru no nagare(Evening Stream;Narusê Mikio & Kawashima Yûzô, 1960)

The Duel at Silver Creek(Donald Siegel, 1952)

Sólo para hombres(Fernando Fernán-Gómez, 1960)

If I Were Free(Elliott Nugent, 1933)

Stand-In(Tay Garnett, 1937)

The Great Houdini(George Marshall, 1953)

Nightmare Alley(Edmund Goulding, 1947)

The Gazebo(George Marshall, 1959)

The Sheepman(George Marshall, 1958)

The Shanghai Gesture(Josef von Sternberg, 1941)

Her Man(Tay Garnett, 1930)

Confession(Joe May, 1937)

The Sophomore(Leo McCarey, 1929)

Luz de domingo(José Luis Garci, 2007)

Drive A Crooked Road(Richard Quine, 1954)

El mar y el tiempo(Fernando Fernán-Gómez, 1989)

Yo la vi primero!(Fernando Fernán-Gómez, 1974)

Sneakers(Phil Alden Robinson, 1992)

Josette(Allan Dwan, 1938)

The Guns of Fort Petticoat(George Marshall, 1956)

Nitôryû Kaigen(Initiation to the Two Sword Style;retitled in 1954 Miyamoto Musashi;Kongo-in ketto;(Miyamoto Musashi;Duel at Kongo-in Temple;Asaka Katsuhiko & Itô Daisuke, 1943)

Forfaiture(Marcel L’Herbier, 1937)

The Old Dark House(James Whale, 1932)

The Amazing Quest of Mr. Ernest Bliss(The Amazing Adventure;Alfred Zeisler, 1936)

The Male Animal(Elliott Nugent, 1942)

No Man’s Woman(Franklin Adreon, 1955)

Padre no hay más que uno 2(Santiago Segura, 2020)

Trader Horn(W.S Van Dyke II, 1931)

Trade Winds(Tay Garnett, 1938)

Alye parusa(Scarlet Sails;Alieksandr Ptushko, 1961)

It Started with a Kiss(George Marshall, 1959)

Benvenuta(André Delvaux, 1983)

L’Arlésienne(André Antoine, 1922)

Erotikon(Mauritz Stiller, 1920)

Four Hours to Kill!(Mitchell Leisen, 1935)

Hot Saturday(William A. Seiter, 1932)

The Moderns (Alan Rudolph, 1988)

Carmen(Cecil B. DeMille, 1915)

Loves of Carmen(Raoul Walsh, 1927)

Wrong is Right(Richard Brooks, 1982)

Miguel Marías

Fuente: http://www.paginas-del-diario-de-satan.com/pdds/?p=6985

#listas #miguel marías

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shakeel786blog · 6 years

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Blackmail Review – Bollywood Hungama

Extra marital affair is arguably as old as the institution of marriage. A lot of films have already been made on this aspect. But take a look at various newspaper articles on extra-marital affairs and you’ll realize that some of them don’t go the conventional way and twisted and weird developments do take place. BLACKMAIL, directed by DELHI BELLY director Abhinay Deo, attempts to tell one such tale and as per the makers, it is inspired from a true story. So does BLACKMAIL manage to entertain with its novel storyline? Or does it turn out to be a disappointing fare? Let’s analyse.

BLACKMAIL is the story of a bored and in-debt husband who devises a bizarre idea when he finds out that his wife is having an extra marital affair. Dev Kaushal (Irrfan Khan) works for Boss DK (Omi Vaidya) at My Handy, a toilet paper company. He is married to Reena (Kirti Kulhari) and their marriage has lost the spark. He prefers being in the office till late and playing games on the computer rather than going home early and spending time with his wife. Dev’s colleague Anand Tripathi (Pradhuman Singh Mall) advises him to go home early one day, buy flowers and surprise his wife. Dev likes this idea and goes home early only to find Reena sleeping with her ex-boyfriend Ranjit Arora (Arunoday Singh). On the other hand, Dev isn’t going to get a pay raise from DK and he has mounting debts. Hence, he buys a prepaid SIM card and blackmails Ranjit anonymously. Dev asks him to pay Rs. 1 lakh or else he’ll tell the truth to Dev! Ranjit is married to Dolly Verma (Divya Dutta) who suspects that Dev is cheating on her. Ranjit is broke and he asks for the blackmail amount under the pretext of starting a new business. Dolly hands him the said amount and he in turns hands it to Dev. Dolly’s father (Nav Ratan Singh Rathore) then asks Ranjit to return the Rs. 1 lakh that he took from Dolly and threatens him with dire consequences. With no other option in hand, Ranjit creates an anonymous email account and blackmails Reena into giving Rs. 1.20 lakh! He uses the same kind of words used by Dev in the blackmail message so that Reena would assume that it’s the same blackmailer. Reena has only Rs. 30,000 as savings and desperate to arrange the balance amount, she asks none other than Dev for Rs. 90,000! Dev agrees to give her the money but also realizes that he’ll be in debt again! So he asks for more money from Ranjit! As a result, Ranjit takes the Rs. 1.20 lakh from Reena, takes Rs. 20000 for himself and gives away the remaining amount to Dev! While this merry go around is going on, Dev confesses about blackmailing his wife’s lover to Anand. Anand in turn blurts out about it to Prabha (Anuja Anil Sathe), who has joined My Handy recently and whom Anand crushes on. Now Prabha starts blackmailing Dev for money and threatens that she’ll tell the truth to Reena if he doesn’t pay her up. What happens next forms the rest of the film.

BLACKMAIL doesn’t have a great beginning. The first 15-20 minutes are a bit dry and the film picks up when Dev learns about Reena’s extra marital affair. The madness enhances after a lot of players jump on the blackmail bandwagon! There are far too many characters and each one of them has his/her own quirks. Also the execution is stylish yet simple. Hence, despite so many characters and so much of blackmailing taking place, one doesn’t get lost or confused. The humour isn’t rib-tickling and it’s quite dark but it makes for a great watch. On the flipside, the climax is a bit of a downer. The film doesn’t sum up well at this juncture and a few questions are left unanswered. Dev’s act in the last scene is unpredictable but it’s not entirely convincing. Also, Dev-Reena’s bond is not properly established. No backstory is provided or no explanation is given as to why Dev is unhappy with his married life.

Parveez Shaikh’s story is quite novel and very entertaining but loses steam in the last 10 minutes. Pradhuman Singh Mall’s dialogues are simple, straight out of life and witty. Parveez Shaikh’s screenplay is effective and gives the film the required edge and quirk. Abhinay Deo’s direction is very good and he handles the plot with panache. The director disappointed with GAME [2011] and FORCE 2 [2016] but with BLACKMAIL, he gets back in the zone of his landmark film DELHI BELLY [2011]. In fact, there are lot of similarities between the Imran Khan-starrer and BLACKMAIL right from the opening credits to the unreasonable boss to the protagonist not being happy in the relationship to multi-track narrative and finally, the toilet humour! But no worries since the toilet jokes here are not in-your-face like in DELHI BELLY. Moreover, there are some novel additions this time as well like Dev stealing photographs of women from office every evening to pleasure himself. This aspect is hilarious and would surely bring the house down. Also, the use of texts and supers gives the film a nice touch.

Irrfan Khan delivers a great performance and surprisingly, he doesn’t get to mouth a lot of dialogues. But then, Irrfan is known to communicate a lot with his silences and that’s what he does with BLACKMAIL. Also, his eyes speak a lot and one of the most memorable sequences of the film is where he sees his wife sleeping with another man. Just his eye is shown and one can instantly feel the sadness. Arunoday Singh is like the second lead actor of the film since he has a very crucial part to play. He delivers a fabulous performance and after MIRCH [2010] and YEH SAALI ZINDAGI [2011], this shall rank as one of his most memorable acts. Kirti Kulhari gives a genuine and earnest performance but surprisingly, she has limited screen time. Divya Dutta has a rocking entry sequence and she takes the film to another level with her performance. Pradhuman Singh Mall brings in the required fun and he does much better in the second half. Anuja Anil Sathe has a small role but she leaves a tremendous mark. Omi Vaidya is as usual quite funny and it’s great to see him after long. Gajraj Rao (Chawla) gets to play an interesting character and is quite fair. Abhijeet Chavan (Inspector Rawle) and Nav Ratan Singh Rathore add to the madness. Vibha Chhibber (Blind Woman) is hilarious and her sequence would be greeted with claps and whistles. Neelima Azeem doesn’t have much to do. Urmila Matondkar looks glamorous in the item song.

The songs are quite trippy and quirky which reflect the mood of the film. ‘Badla’ is the soul of the film while ‘Sataasat’ is in a similar zone. ‘Nindaraan Diyaan’ gets better in the last bit. ‘Bewafa Beauty’ is okay but comes at a crucial point in the flick. ‘Patola’ is played in the end credits. Mikey McCleary and Parth Parekh’s background score has a similar feel as the music and that adds to the fun. It also prevents the film from becoming a serious fare.

Mustufa Stationwala’s production design is quite realistic and impressive. The sets are eye catching – right from Dev’s office to the restobar to Dev’s residence to Ranjit-Dolly residence. Jay Oza’s cinematography is neat and captures the locales of Mumbai and Navi Mumbai very nicely. Huzefa Lokhandwala’s editing is slick and ensures the film moves smoothly. Harpal Singh’s action is real but doesn’t get gory at any point. Veera Kapur Ee’s costumes add to the realism touch.

On the whole, BLACKMAIL is quite an unconventional entertainer and a good black comedy. It may not have a pan India appeal but the target multiplex audience are sure to enjoy this flick. The costs of this film are reasonable and as a result, it’ll turn out to be a profitable venture for its producers.

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