Slumdog Millionaire

Inexact celluloid carousel of life. Crime, fate, tension and personal drama. And above all, a cautious love story, which is precisely the decisive factor that separates Millionaire from other biographical stories. Accompanied by a soundtrack on the verge of dynamic Boyle style and a fascinating orchestra, it becomes clear that the audience needs "human stories". Thank goodness for that. (31/12/2008)

So here we have it. Bollywood has been on the rise for a long time, India has improved economically in the last ten years and the country has created a large middle class with quality education and therefore higher demands on the quality of film stories. At the same time, thanks to globalization, Bollywood producers have started to feel the need to break into foreign markets and it was necessary to come up with more sophisticated plots than the original Bollywood kitschy romances with songs and dances, which were completely indigestible for the Euro-American viewer. The film Slumdog Millionaire combines classic Bollywood motifs including romance, action, and melodrama, but at the same time brings them to the Western viewer in a very attractive way thanks to top-notch editing, excellent camerawork, casting, acting performances, and music. In terms of content, it's just a kitschy fairy tale for me, against which I could raise many legitimate objections, but considering the technical aspects, it deserves three stars. Slumdog Millionaire is not about current India and the life of its inhabitants, but about how the director and consequently the viewer want to see it. I like certain types of fairy tales, like Forrest Gump or Amelie, but Slumdog Millionaire takes itself too seriously for my taste and tries to evoke emotions where irony would be appropriate. I am not the first to notice the obvious contrivance of the plot, where the screenwriter and director interpret the rules of the game, which must have the same format globally, as it suits them, and strongly violates logic. Overall impression: 60%. The success of Boyle's film shows that the audience still wants to be moved and that the stories that the screenwriters and filmmakers came up with in the 1930s-1950s can be recycled in modified exotic settings. I have no problem with it receiving technical Oscar awards, but Slumdog Millionaire is definitely not the best film of the year. It certainly has decent craftsmanship, but art should look different. The much more justified Oscar went to last year's masterpiece by the Coen brothers No Country for Old Men. (28/03/2009)

A Brit-Bollywood remake of the Czech fairytale movie O chytrém Honzovi (= Clever Jack). This could be called Clever Jamal or How a Poor Guy with Common Sense Found Happiness and it is extremely good and enlightening. But didn’t it bend the truth whenever it could (mainly in the live transmissions) for the crude purpose of wringing your heart strings? Yes, but who cares in a fairytale, huh kids? P.S.: And isn’t the book better than the movie? No, it’s not. Because Swarup’s work is something completely different. Some black humor, cynicism and a message that is the exact opposite of Boyle’s ever so sweet, naive candy cane. And I like that kind of thing more than fairytales... (05/01/2009)

A cleverly told fairy tale about a) luck, b) faith, c) life, d) Who Wants to be a Millionaire, which can catch a person’s attention even though they don’t particularly like this kind of sob story. This is a story about a tiny squirt Jamal whose life led him on the journey of answers, which Danny Boyle managed to capture to the very last detail. He managed beautifully to portray the ludicrousness of the civilized world, where, for instance, after one drastic scene from childhood, the show host cracks a cheap joke. The actors are well cast too, both the small ones, and Dev Patel himself, with the beautiful Frida Pinto. P.S.: Did you notice those questions aimed at an English-speaking audience at the end of the contest? (21/03/2009)

Danny Boyle got rid of Alex Garland and brought a cheap fairy tale to the West, exactly according to the Bollywood model. Its aesthetics of dirty slums and the search for happiness in it obviously earn touching moments with the audience, standing applause, and gilded statuettes. Unfortunately, to me, it smells of cheap calculation, which is only kept afloat by the fantastic passage with the little kids, which is funny and sad, and above all real, which cannot be said about the rest. It’s not that I don't appreciate the effort, but I yawned through the efforts of this hypocritical world - the visuals are like one of Tony Scott's Mexican trips and the good music (Boyle’s trademark) is nowhere to be found. I understand the general enthusiasm, I just don't share it. (14/02/2009)