Bastard no more! Davos Seaworth yells, “To Lord Gendry Baratheon, of Storm’s End!” (Later, he grouses amusingly to Tyrion about the mysterious Lord of Light: “We fight his war and win, and then he fucks off.” What did he want? I love Davos. As he walks by, Dany announces his parentage-with a vaguely threatening How dare you be the son of Robert Baratheon? vibe-and then makes him the lord of the Baratheon stronghold. But she makes a scene in the mead hall, where the celebrations have begun, and where Gendry is looking around for his boo. The conflagration is gigundo to her credit, Dany does not show off by wading into it and surviving. Jon bellows a eulogy torches in hand, he and Dany share a look that says, Look, our relationship is fucked, but right now we’ve got some pyres to light. Tell the old gods and the new that I’d like to register some complaints.Īs the episode begins, Winterfell mourns the fallen, especially the Mormonts, Beric Dondarrion, and Archie Andrews-forgive me, that’s Theon, looking very “Riverdale” in death. Instead, it began funereally, then segued to revelry, then to fireside unbuttoning, and ended not only with horror but with broken hearts across the realm. I’d hoped that the episode after “ The Battle of Winterfell” and its shattering of zombies would begin with “ Ding, Dong, the Witch Is Dead” joy. Shantaram's Aadmi, 1939, as with Abbas-Mustan's Baazigar, 1993, between which it sees similarities.Oh, “ Game of Thrones,” you charming sadist. It supposes a certain level of understanding of Hindi cinema, assuming the reader is as familiar with V. This is not a book for those looking for beginner-level thrills in the exciting world of Bollywood. And while the first chapter can be a bit of a yawn, it does have the virtue of possibly making you sound intelligent at the most intellectual of film gatherings.Ī word of caution though. Chopra's Dhool ka Phool, 1959, to the tourist guide in Guide showing a commodified version of Indian culture, the book is innovative in its explorations. Some directors have been given their due place in the pantheon of greats (Raj Khosla, for instance, whose Kala Pani, 1958, is seen as best evoking the changing times it was situated in) while some films have been rescued from obscurity (Raj Kapoor's much-overlooked Aah, 1953, which symbolises the Nehruvian dream).įrom the emerging modern woman of B.R. Practically every important Mumbai filmmaker's work has been analysed and assessed, with some refreshing insights into their oeuvre.
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The movie explores several ideas- the family, the nation, the idea of the modern city, the later withdrawal of the parent figure, and the birth of the global nation. Imagine Ashish Rajadhyaksha and Paul Willemen's excellent Encyclopaedia of Indian Cinema as an unbroken narrative and you'll understand the felicity with which this book moves from a discussion of space in Mehboob Khan's Andaz, 1949, to the domain of action in Sooraj Barjatya's Hum Aapke Hain Koun ! (1994), from the murder in Bimal Roy's Bandini, 1963, to the courtroom scene in Vijay Anand's Guide, 1965. Raghavendra's work, clearly the result of several years and not borne of the overnight desire to cash in on a growing global fad, is just perfect for anyone who loves Hindi cinema and wants more than a handful of glossy pictures and reams of glassy-eyed prose. So if you haven't already been underwhelmed by the multitude of books being churned out about Bollywood, M.K. What could be easier than studying the progress of a nation through the stories told by its most popular cinema? Well, the surprise is that few books have set themselves such an ambitious task and fewer have succeeded. On the face of it, Seduced by the Familiar-a freewheeling journey through Hindi cinema-seems like a superlatively dufferish idea. Sometimes, the simplest things are the most difficult to do.
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