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: Sunrise aka Arunoday (2014) - 'Bollywood' neo-noir  ( 239 )
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« : June 06, 2017, 04:30:32 AM »

Sunrise aka Arunoday (2014): Police detective Adil Hussain is haunted by his daughter's disappearance several years ago. Every night after work hours he drives across Mumbai looking for her, before returning home to his wife, Tannishtha Chatterjee, who's gone into a sort of catatonic denial. One night, in one of the sleaziest areas of Mumbai, he thinks he sees a child abduction, and tries to catch the guy. But his fruitless chase brings him to a nightclub, where young teenage girls are dancing for randy men. Hussain thinks his daughter might be in the nightclub and soon grim reality and feverish nightmares collide and lines start to blur.

This is a dark and disturbing Indian neo-noir that is anything but a typical Bollywood movie. Written and directed by Partho Sen-Gupta and beautifully shot by DoP Jean-Marc Ferriere, this movie deals with the real-life problem of child abduction in India (the movie ends with the chilling statistic that 100,000 children disappear annually in India). Taking place mostly at night, during the monsoon season when it rains heavily and almost constantly, the movie makes effective use of minimal lighting, narrow streets and stark shadows to create a menacing, doom-laden and claustrophobic atmosphere. The movie's narrative is very dream/nightmare-like and switches between Hussain (who's slowly losing grip on reality) and one of the young dancers, Komal Gupta, who's been assigned to watch over a new abductee, before culminating in a climax in a sewer underneath the nightclub. Hussain gives a great performance as he becomes more and more unhinged as do Chatterjee and Gupta (who's got very expressive eyes despite her 'expressionless' face, as she dances on the nightclub's stage with a drunk and randy man showering her with money).

The movie does lose some of its thematic impact by focusing more on the mental state of Hussain as well as the visual style than on the issue of child abduction and prostitution, making this movie more like 2007's 'Mad Detective' meets Nicolas Winding Refn than 1979's 'Hardcore', but it still hits hard at times. The movie does not offer a happy ending, raising more questions than it answers, particularly as to what was real and what was inside Hussain's head, but also in regards to the abduction issue. It's a grim, stylish and surreal movie, that is both stylish as well as disturbing in content. Recommended. 8+/10

This is available on Netflix. Trailer:

« : June 06, 2017, 04:31:34 AM XhcnoirX »

'I feel all dead inside. I'm backed up in a dark corner and I don't know who's hitting me.' - The Dark Corner (1946)
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