Wednesday, October 8, 2008

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It was in college that I understood the basics of grooming, she says. Her ambition drove her to the sequined universe of fashion. Then at an ad shoot, Bhandarkar spotted her and offered the part in Fashion and Bollywood easily became part of her resume.
It was after Godse signed the film that the grill began. She attended a crash course in acting at Anupam Khers school and took Kathak lessons, which she claims helped her synchronise expressions, movements and feelings. Recounting her first time in front of the camera, she boasts at having given her first shot in just two takes. And once the shot was okayed, everybody applauded. I can still hear the sound of those claps, she adds.
The Bollywood bug has bitten and the debutante is clearly not keen on continuing her old life as a model she has cut down her ad assignments and has been attending script-reading sessions. Her three-movie deal with Percept is also in the pipeline, but there is one more bow on the runway


Since we accept the relationship of the trio, we have a much easier time of falling into the fear.
Still, Phantasm remains a director's film, a highlight reel that also manages to be an effective fright flick. Coscarelli, who had made a couple of midlevel mainstream movies before diving into dread, obviously knows his way around a camera. His placement throughout this film is fascinating. He uses low angles and obscure framings to keep things uncomfortable, and applies handheld and other POV techniques to keep the audience directly involved in the action. This is particularly true of a late-night car chase between the Pearson boys and the Tall Man's driverless hearse. As Jody climbs out of the Cuda's sunroof to level a shotgun at the vile vehicle, Coscarelli's lens is right there, standing directly between the trigger and the target.
There's also a sense of Hardy Boys-like adventure here, a concept of personal ingenuity and everyday invention that keeps viewers curious and connected




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