For Here or To Go?


A Bollywood dance number in the Silicon Valley.

(2015) Dramedy (Many Cups of Chai) Ali Fazal, Melanie Kannokada, Rajit Kapur, Amitosh Nagpal, Omi Valdya, Samrat Chakrabarti, Keith Stevenson, Damien Chen, Alan Coyne, Malavika Jayasimha, Niyati Joshi, Gaurav Dwivedi, Vij Nathan, Satish Sattnathan, Dee Marshall, Robin Oleson, Debbie Vu, Ashok Tangri, Gursimran Singh, Richa Sukla, Anita Vora. Directed by Rucha Humnabadkar

 

Immigration is a hot button topic these days. Often it seems that immigration of any kind – even the legal sort – is anathema to some. It is fact, however, that more illegal immigrants overstay their temporary visas than climb over walls and cross rivers. It is the most common form of illegal immigration.

Not that Vivek Pandit (Fazal) is considering it. He is a talented programmer who has come up with some software that will make a difference; even though he is working for a large company that doesn’t appreciate him, a new start-up is more than interested in his software and it looks like a lucrative offer is imminent.

The problem is that time is running out on Vivek’s visa – he has a year left until he must leave. The start-up really doesn’t have the manpower or the inclination to help him get his green card and the offer falls apart. Frustrated, Vivek looks to try and get his immigration status sorted out.

With him are his roommates Sam (Chakrabarti) who has a zest for life and a somewhat indefatigable attitude and Lakshmi (Valdya) who is a gay man and is terrified of telling his parents, which further fuels his desire to remain in the United States permanently. All three are facing their own immigration issues; while all are making good money in Silicon Valley, none of them are willing to buy furniture while their immigration status is in limbo.

Vivek also meets Shveta (Kannokada) at a Bollywood speed dating event  and the two hit it off, but once again Vivek’s uncertain future prevents the couple from truly exploring the possibilities their relationship could offer.

Although the movie first made its first appearance at San Jose’s Cinequest Film Festival back in 2015 (appropriately enough since it’s set there) it’s just getting a theatrical release now and it certainly is as timely now as it was then if not more so. Considering the ruling party’s seeming disdain for the role of immigrants in our society and a feeling that the system which is clearly broken and in need of fixing that it is not going to get anytime soon this could make for compelling viewing had the filmmakers not gone the light touch route.

Fazal is an appealing and handsome lead and exudes charm, charisma and screen presence. He could very easily become a romantic lead in major studio films if Hollywood weren’t so squeamish about casting Indian men in anything but villainous roles. He has done a couple of Hollywood films (including Furious 7) and looks to have a very promising career ahead of him.

The movie has a lot of energy and even does a Bollywood-style musical number in Silicon Valley (which is about as surreal as it gets). Having lived and worked in that area for more than 12 years prior to coming to Orlando, I will admit that some of the settings in America’s tech capital brought back some memories that gave me the warm fuzzies. That won’t be true for everybody but do take that into account when reading this.

While the romance between Vivek and Shveta seemed to be somewhat by-the-numbers, there were a couple of scenes that generated some heat. However the romance seemed a bit more of a distraction than a central aspect of the plot. Given the subject of the systemic issues of immigrating to America which I think would make a great movie, it’s a bit disappointing that it is treated more as a light comedy rather than a serious issue.

Don’t get me wrong though; this is very entertaining, charming and sweet. The leads are likable and good-looking. There is a lot of energy in the film and you can tell it was made with affection and joy. All of these are very good things indeed. I think the movie was trying to skirt the line between being light entertainment and a serious issue film and ends up falling over the light entertainment precipice. Perhaps someone else will make a film from the legal immigrant’s standpoint that will shed some needed light on this controversial issue.

REASONS TO GO: Something like a Bollywood film in an American setting, the film takes on the complexity and frustration of our immigration system. It’s buoyant and fun upon occasion.
REASONS TO STAY: The romantic aspect seems a bit rote. The subject matter is often given a much more lightweight handling than it deserves.
FAMILY VALUES: There is a bit of profanity and a scene of sexuality.
TRIVIAL PURSUIT: This is the feature-length debut of director Rucha Humnabadkar.
CRITICAL MASS: As of 3/31/17: Rotten Tomatoes: 63% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Outsourced
FINAL RATING: 6.5/10
NEXT: Robert Klein Still Can’t Stop His Leg

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The Social Network


The Social Network

Eduardo Saverin and Mark Zuckerberg, the new Odd Couple.

(Columbia) Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Joe Mazzello, Patrick Mapel, Rooney Mara, Max Minghella, Armie Hammer, Rashida Jones, David Selby, Brenda Song, Malese Jow, Dakota Johnson, Wallace Langham, Caitlin Gerard. Directed by David Fincher

With Facebook having just reached 500 Million subscribers, that adds up to almost one in every fourteen people on the planet that have a Facebook account. It has become the pre-eminent social network, replacing MySpace and America Online before it, and in a sense, replacing real life in exchange for a digital replica. It’s insanely addictive and has it’s uses, but it has the insidious side to it, eating our time and energy.

Few of us know that much about how Facebook came to be. Many of its users don’t even know the name Mark Zuckerberg unless they trouble themselves to read the masthead. This new movie, which is often referred to as “The Facebook Movie,” isn’t about giving a fact-based account of the founding of Facebook, but then again, generally those types of accounts make for poor movies.

Zuckerberg (Eisenberg), a sophomore at Harvard in 2003, is having a beer with Erica Albright (Mara), his erstwhile girlfriend, and engaging in some conversation and by conversation I mean he is engaging in a kind of strategic battle of words with her, filled with condescending remarks and sometimes biting thinly-veiled insults. She has grown weary of the battle and breaks up with him.

Angry and humiliated, Zuckerberg goes back to his dorm room and as 21st century kids tend to do, starts blogging. Caught up in the raw emotion of the moment, he does a pretty thorough character assassination of her, even going so far as to insinuate that her breasts are “barely there.” A more experienced man might have told him never to insult a woman’s breasts.

Half-drunk and fueled by his own rage, he decides to humiliate every woman at Harvard and creates over the course of the night a webpage that allows women to be rated like so much meat. He calls it Facemash and it becomes so popular it crashes the servers at Harvard. This gets Mark hauled before the board of administration for some disciplinary action.

It also gets him noticed. Twins Cameron and Tyler Winklevoss (both played by Hammer) and their programming friend Divya Narendra (Minghella) want to create a kind of Harvard-exclusive site that allows people with Harvard e-mail addresses to link up online and enlists Zuckerberg to do it. He agrees, but early on determines that their idea is more compelling than their vision and determines to create his own site which he calls The Facebook. His roommates Dustin Moskowitz (Mazzello) and Chris Hughes (Mapel) are enlisted to do the programming and his best friend Eduardo Saverin (Garfield) fronts them the seed money.

Of course, when his new creation goes online on February 4, 2004, the twins are furious, thinking they’ve been ripped off. Tyler and Narendra are all gung-ho to sue Zuckerberg but Cameron, wishing to maintain the decorum of a Harvard gentleman, wants to find some other way of redress. It is only when they discover that the once Harvard-exclusive site has gone global that Cameron changes his mind and calls out the family lawyer.

As the site begins to grow by leaps and bounds, Zuckerberg decides to summer in Palo Alto, hoping to get some Silicon Valley entrepreneurs interested in his start-up. Eduardo stays behind in New York, trying to sell advertising for the new website which makes Zuckerberg a bit uncomfortable. He begins to fall under the sway of Napster founder Sean Parker (Timberlake) who at least has the vision to see Facebook as a world-changing application, and determines to capitalize on it, interesting venture capitalist and PayPal founder Peter Thiel (Langham) to invest big bucks in Facebook. Soon Zuckerberg finds himself as one of the youngest billionaires in the world, but the cost is his friendship with Saverin, as at the urging of Parker he devalues Saverin’s shares from nearly 30% to less than 1%. Saverin, incensed, decides to sue. The simultaneous lawsuits act as a framing device for the film.

The buzz for this movie has been plenty high and after its debut at the New York film Festival last month, grew to a dull roar. It’s being touted as the year’s first serious Oscar contender and it seems likely that some nominations are going to be coming its way, quite likely for Best Picture, Best Director, Best Screenplay and maybe even to Eisenberg for Best Actor.

The real Zuckerberg is reportedly none too pleased with his portrayal here, and Aaron (The West Wing) Sorkin’s screenplay certainly isn’t very complimentary. It gives us a Zuckerberg who is arrogant, ruthless, cruel and socially awkward; he doesn’t seem to have a problem gutting his friends and certainly believes himself to be the smartest guy in any room. Is that the real Mark Zuckerberg? Chances are that elements of the character are accurate but I sincerely doubt that this is meant to be an exact capture of the essence of the Facebook founder. Rather, it’s meant more to be symbolic of digital hubris in an age of online egos gone out of control. Eisenberg becomes something of a cipher, his face often going blank when he is trying to hide what he’s feeling. He usually plays likable nerds but there’s not much likable about this guy and yet still we are drawn to him; as one of his lawyer’s (Jones) tells him near the end of the film, he’s not an asshole but he’s trying really hard to look like one.

Garfield, who was recently cast to be the next Spider-Man, does a great job as well, making the likable but ultimately out of his depth Saverin the emotional anchor for the story. Audiences will naturally root for him, and when he is eventually betrayed will feel his pain. Garfield hadn’t to this point caught my eye with any of his performances, but he certainly shows the ability to carry a franchise film like Spider-Man on his own.

Timberlake, whose acting career has blown hot and cold, delivers the best performance of his career to date as the unctuous Parker. Looking visually not unlike Quentin Tarantino, he is slick and snake-like, mesmerizing his victims with his charm and promises, then striking with lethal speed, delivering his venom in a swift, fatal blow.

Much of the movie is about courtrooms, programmers and start-up Silicon Valley businesses, as well as the rarefied air at Harvard, but despite some of the dry subjects manages to hold our interest throughout, and that’s mainly due to the interactions between the characters and Fincher’s deft hand at directing. The movie is both emotional and antiseptic, sometimes showing us heart and then slamming that door shut abruptly. It serves as a cautionary tale, not just for would-be billionaires but also to all of us. We reap what we sow and if we choose our own egos over actual human interaction, we too could wind up endlessly refreshing a computer screen, waiting for a friend request acceptance that never comes.

REASONS TO GO: Compelling story and some intense performances. Eisenberg is particularly marvelous in a role that is quite frankly unlikable.

REASONS TO STAY: The portrayal of Harvard students is so self-aggrandizing at times it makes you wonder if our species has any future.

FAMILY VALUES: There’s a surfeit of drug usage, quite a bit of sexuality and no shortage of foul language. Older teens should be able to handle this, but more impressionable teens should be steered clear.

TRIVIAL PURSUIT: Finch was unable to find suitable twin actors to portray the Winklevoss twins, so he cast Hammer and Josh Pence who have similar body types, then digitally inserted video of Hammer reading the lines over Pence’s face to create the illusion of identical twins.

HOME OR THEATER: Nothing here screams big screen, so you can be forgiven if you wait for the home video release.

FINAL RATING: 8/10

TOMORROW: The Importance of Being Earnest (2002)