Karma, Confessions and Holi

Karma, Confessions and Holi

The film is based on the inner conflicts of relationships, which hitherto never spoken earlier, but in a festive atmosphere of Holi, each one loses the inhibitions. The relationships eventually come out stronger.

The film is based on the inner conflicts of relationships, which hitherto never spoken earlier, but in a festive atmosphere of Holi, each one loses the inhibitions. The relationships eventually come out stronger. . You can read more in Google, Youtube, Wiki


Karma, Confessions and Holi torrent reviews

Mario B (ca) wrote: too slow to start getting interesting. starts making you doze away

YK G (us) wrote: Turn out to be decent, it's a good thing the story has nothing to do with guns.

Gimly M (au) wrote: A so-so piece capped off with one of the best quotes of all time.

Julia W (mx) wrote: Interesting theory, but the specifics in this movie would make Albert the most stupid man alive. As far as the actual movie, pretty bad. Not so great acting all around. Terribly annoying fake accents. Worst of all, this movie was slow with too much talking and not enough action

Joe R (br) wrote: Awesome. Craftsmanship, artistry, and care go in to each piano to make each one unique, yet maintain the standard of excellence.

Salvia W (it) wrote: A very good movie though some parts are not true.

Brandon K (fr) wrote: the hippie tree women lol!

Lynda I (it) wrote: Very human and heartwarming. Something that could be taken out actual life, very real, very touching.

Grgory S (mx) wrote: Encore une dcouverte de chez Miike. A chaque fois c'est un grand moment pour moi. Kishiwada Shnen Gurentai: Chikemuri Junj-Hen (On va dire Young Thugs : Innocent blood...) est un petit film dans sa grande filmo. On lui trouvera beaucoup de points commun d'ailleurs avec The Way to Fight tourn l'anne d'avant, juste avant Fudo (ah oui... Le monsieur est ultra prolifique) : Acteurs semblable aux rles proches, ambiance de quartier similaire, dcalage avec la ralit teint d'humour toujours prsent (mais a, ce n'est pas que dans ces deux films la). The Way to fight s'en tire mieux mme si celui-ci possde pas mal de charme comme par exemple la relation qu'entretienne ces 4 jeunes et le dnouement triste et incongru la fois. Une petite russite, toujours dirig de main de maitre par Mister Takashi.

Ryan S (ca) wrote: this was not meant for sober viewing.

Joshua N (au) wrote: Another classic from my childhood that scores big on the nostalgia points.

Craig E (kr) wrote: A film that all sequels should look to for inspiration.

Terry B (it) wrote: At first, it seemed like a case study in bad parenting. The eldest son takes money from his mother's purse; she demands it back, but everyone knows she doesn't mean it. The mother chases the boy around her bedroom to get the bill, but he refuses to give it; finally, the "hero", the youngest son, get the bill from his brother and hands it to his mother. She eventually gives the eldest son the money to settle his debts at his local bar. (All the boys are in high school, and the youngest is only fourteen and in short pants.)The first hour establishes this toxic family. But in the second half, the hero is diagnosed with a heart murmur and for a moment it seems like the family will form again around him. He goes with his mother to a spa, where he witnesses his mother's affair. They speak like adults, and again it seems like the family will heal. Then after a Bastille Day celebration, the mother is passed out drunk and the hero has sex with her, losing his virginity. When she wakes and realizes what happened, she tells him very gently that it can never happen again. He immediately becomes a horn dog and sleeps with a girl his own age. He is caught by his father, who only laughs.Altogether, a completely toxic family. The film was clearly intended to by shocking, and a reversal the Oedipus drama, a sort of 1970's statement in favor of free love. It seems immensely calculated, more Hollywood than Hollywood.I can't decide if it's one star for its cynicism, or four stars for its skill.

Joseph C (ca) wrote: The photography was amazing, and the costuming is gorgeous. The set design is okay. The acting is horrifically awful. The story is trite, but the concept isn't too bad. Luckily enough for me, there wasn't a single vampire anywhere in this story--begging the question of the title. They were technically more like ghosts or zombies than anything else.

Jon A (ru) wrote: Absolute total classic that perfectly sets up what would become the first Star Trek TV series. If your a fan of Star Trek, you must see this.

Orlok W (nl) wrote: Good Wartime Film Noir!!

John E (kr) wrote: I liked this a lot better than "M". It's an assiduously well-made crime thriller that isn't quite like any other film I've seen. Its occasional offshoots into surreal/supernatural territory are quite extraordinary and for their scary efficacy, they do work quite well with the whole film. Lang knew exactly what he was doing when he made this picture; it's beautifully filmed and smartly employs sound in metaphoric and suspenseful ways.

Leena L (kr) wrote: Courage and honor. A Fascinating true story.

Berni E (es) wrote: Even with Maggie Smith in it, this was still only 'average' for me.

Harry W (jp) wrote: Making lead actor James Dean into an unforgettable star, Rebel Without a Cause boasted too great a legacy to surpass.Coming from the same year as Otto Preminger's The Man with the Golden Arm (1955), Rebel Without a Cause pushes the limits on the level of edge in standard entertainment. When I say that, I refer to the bleak reality of violence and disillusionment captured in its depiction of the youth of America in a film where nothing is whitewashed into the pretentious image of a nuclear family. Rebel Without a Cause gets in deep, exploring the backgrounds of its characters who follow a destructive path. From an era preceding the counterculture movement, one which would be brought to cinematic glory by actor Dennis Hopper who has a supporting role in Rebel Without a Cause, 1955 displays Nicholas Ray capturing an accurate depiction of where life in general was heading. The relevance of his story continues to this day, and the screenplay written by Stewart Sten and Irving Shulman respects its viewers enough not to condescend them with a whitewashed tale.Much like The Man with the Golden Arm, Rebel Without a Cause opens in a setting of law enforcement. It shows the three main characters of the film crossing paths for the first time, immediately establishing what kinds of characters they are. It follows in a style which suggests it will be a conventional film that adheres to the style of generic dramatic material from its era. This proves to be a trick which plays with viewers' expectations as from there the story progressively goes on a route of rich intensity. The feature maintains powerful grit in capturing the sadistic lifestyle of America's angry youth while tying it into sentimentality about broken families. The former is the predominant focus of the film while the latter oscillates occasionally with the narrative to add strong characterization and background to the tale, as well as pushing the actors to have powerful moments of small-scale interaction. Rebel Without a Cause is a powerful character piece and fearless examination of society in general. The lack of connection Jim Stark shares with his nuclear parents presents an intelligent examination of the generation gap and a strong example of the real society not captured in the simplistic sitcoms and family films of the contemporary day.Rebel Without a Cause is largely centred around three main characters, all different teenagers with troublesome home life who get caught up in the life of the gang around them. Being a story essentially about people that author S.E. Hinton would refer to as Greasers and Socs, Rebel Without a Cause examines the path of teenage crime and how violent it can escalate in the face of the wrong perpetrators. Three major perspectives are provided into the different way that it affects locals. However, as a result there is inconsistency in focus over the three main characters. Jim Stark gets the majority of the attention which makes sense since he is the character the title refers to, but despite its achievements there is still great potential which is surpassed in Rebel Without a Cause. John "Plato" Crawford's home life is oversimplified, but what's more of a bother is the fact that Judy is given a meandering role in the tale. The one major scene depicting her home life explains practically everything you need to know about the character and it's certainly an intelligent plot point, but in actuality Judy ends up getting little screen time where she does anything more than smile at James Dean or get confused by everything. There is a lot more that could have been said about the two supporting characters, and though they remain interesting nevertheless I just feel that there was more potential at heart. Still, since Rebel Without a Cause makes so many narrative achievements to compensate, it is hard to be frustrated about this.The definitive style of clothing and vehicles prominent in the 50's provide a sense of nostalgia to viewers which makes it all an enjoyable experience of imagery. And though it is few and in-between, the momentary use of the Dutch tilt in the cinematography effectively captures the mood in a strong visual manner.But of course, it is the cast that truly makes Rebel Without a Cause a sympathetic feature.James Dean's iconic leading performance is worth nothing short of all its notorious acclaim. The actor has the handsome appeal of Paul Newman with the gritty edge of Marlon Brando, amalgamating signature traits of two of cinema's biggest screen legends. The film opens with him throwing his character's internal emotions at viewers and immediately capturing their sympathy before progressively developing more of a hard edge as the film goes on. The gentle development of Jim Stark as a character provides audiences with a powerful insight into the life of a disillusioned American teenager without oversimplifying or idolizing the character, instead exploring the reality of the boy. James Dean is able to oscillate between using a gentle spirit and a tenaciously serious nature, capturing his role from all ends and solidifying the true extent of his talents in a single role. His effort is nothing but iconic.Sal Mineo's vulnerability makes him stand out as the most innocent character of the story. Amid all the crime and violence of Rebel Without a Cause, John "Plato" Crawford is the one character attempting to keep himself out of it even though he is trapped in a world where nobody is protected. Being forced to confront this, the character goes through internal conflict which Sal Mineo projects with a sense of fearful confusion about everything. Contrasting James Dean's change from a victim to a perpetrator, Sal Mineo consistently remains innocent throughout all his experiences, riddled with fear and uncertainty despite having strong ambition. Sal Mineo's performance is brilliant, and his legacy is clearly influential into films such as The Outsiders (1983) where Johnny Cade seems very much influenced by John "Plato" CrawfordNatalie Wood is also great. Though she isn't given as much screen time as you might hope for an Academy Award nominated performance, Natalie Wood is a consistently likable and charming presence as Judy who shares some powerful chemistry with James Dean and her on-screen family where she brings the real stress of her character to life. It's also great to see a young Dennis Hopper in Rebel Without a Cause.Rebel Without a Cause is a brilliantly real story with an edgy sense of realism about the conflict and violence facing youth in the real world with relevance that has continued for more than six decades since its original release, and the simplified characterization of its supporting characters are made up for by the brilliant performances of the cast, led by James Dean's unforgettable dramatic talents.