The Magic of the Movies

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When I asked Pico Iyer, a writer with a deep respect and reverence for cinema, what he felt about literature’s relationship to movies, he said: “It’s no surprise to me that those writers who hold us most are often the ones — I think of Raymond Chandler, Graham Greene, Kazuo Ishiguro — who have clearly learned from the leanness and wordlessness of movies. Movies have given us a new way to lose ourselves, and our artists a new, crafty, universal and post-verbal way to tell a story.” Yes, yes, yes — exactly. Pico’s eloquence comes to my rescue: these are the very things I have perhaps been fumbling to say about what movies do for us. I don’t know how much this once large and troubling reality about going to the movies in India has changed for women, but I do see a few young women now, mostly college-going, catch a morning or matinee alone at a multiplex. Killing time, bunking college or an irrepressible passion for cinema? Whichever it is, it’s nice to see they can choose to watch alone. I wonder how much of that ridiculous old stigma had also to do with the poor reputation cinema had in India for several generations as trashy and artistically inferior cinema. Our movies are hip and cool now, but even until the late 90s they were thought of as cheesy and infra dig. (What we could all unabashedly relish and celebrate were the movie songs, especially the old Hindi songs).

Like The Incredible Burt Wonderstone, the film is a comedy that looks at magic from a slightly different angle. Unlike The Prestige which portrays magicians as very cool characters, the magicians in The Magicians are portrayed as geeks or nerds (which is probably close to the truth in most cases). Often, to be a magician you need to enjoy sitting on your own and practising for hours on end, so stands to reason that it attracts a certain sort of person. In 2013, the thriller movie Now You See Me, about a group of thieving illusionists, was released. The film featured an all-star cast: Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Michael Caine, and Morgan Freeman, among them. Year after year, movies about illusionists and magic continue to capture audiences' imaginations.Méliès wrote, directed, produced, distributed, built the sets for and performed in his films himself. Despite this artisanal mode of production, his was for a time France's leading film studio. Only on the eve of the first world war was he driven out of business by better capitalised corporations like Pathé – an economic lesson fudged in Hugo, which ascribes Méliès's business failure to the war itself. He was rediscovered in the 1930s operating a candy store in the Montparnasse railway station – belatedly decorated by the French government and lionised by cinephiles and Surrealists. The whole world knows going to the cinema is our national pastime. And that Hollywood hasn’t been able to dent our box-office or our tastes because of the kind of emotional grip our own cinema’s aesthetic has had — and will continue to have — on our imagination and our purses. We know too that the pan Indian Hindi movie is a myth, and that its hold on us is only a small part (too deracinated to take hold, really) of the larger, deeper seduction of South Indian movies which is far more vibrant and rooted than Bollywood. (And now we are hearing of wonderful things happening in the new Marathi cinema). It’s true that movies were even more of an obsession with us before the multiplex, but even so, most weekday evening shows and all weekend shows today still go houseful.

I mean, prefer the way movies tell stories to how novels tell them. Oh, it’s not choosing images over words — I do a lot of heavy duty non-fiction reading and love the long-form, immersive factual narrative — it’s more from a preference now for stories narrated in pictures than in words. (I just realised this explains to me my growing interest in children’s picture books!). There was a time I never went to a movie based on a book without first having read the book. Now I put the book down and wait expectantly for the movie version. (You’ll be surprised how many of them turn out nicely). It seems to me that music, art and dance were the central art forms of the early centuries, literature the dominant art form of the 19th century, theatre and cinema the great art forms of the 20th century, and television the key art form of the 21st century. And I might just write one of these days (and I’m almost there) that I’ve begun preferring the way some television movies and serials tell stories to the way movies tell them! I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians. ~Francis Ford Coppola

7. Lara's Theme (Dr. Zhivago)

I have wondered if one screen in multiplexes could be earmarked exclusively for classics. This idea of exclusivity was laughed at as an absurd business thinking. But, everything in life is not commerce. Stories have been weaved into the fabric of our existence—they are as old as humanity. And storytelling as an art form (or perhaps a necessity) remains at the heart of the human experience. I am nostalgic about the days when watching movies in single screen theatres was a national pastime for one and all. I recall with remarkable fidelity, the divinity in viewing movies in a hall filled with a crowd of all hues, clapping and whistling at good-humored scenes. When the scenes were glum, the hall fell into a melancholic silence. Some of the films on this list are fictional accounts of the lives of some of the world's greatest and most famous magicians, especially Harry Houdini. In the 1953 classic biographical film Houdini, Tony Curtis plays the late, great escapologist and Janet Leigh plays his wife, Bess Houdini. If you're interested in movies about magic, this one is a must see. We build strong memories and associations with movies that we watched as kids and adults. They are part of our journey.

For a long time now, that venerable storytelling art form — literature — hasn’t been able to do much for me. I had once written, in this very newspaper, that books had given me my longest standing identity: that of a reader. Now I’ll have to say I know myself more (and better) as a multiplex movie-goer and a home theatre DVD watcher.A traveling magician and his group are challenged when a small European town’s leaders including the police superintendent and the minister of health question the veracity of their acts. To put the rumours to rest, they demand a private show to verify the same. What unfurls next is perhaps beyond the grasp of fragile human mind. Directed by the great Ingmar Bergman, ‘The Magician’ encroaches into the sacrosanct territory and dares to ask the question: Does science have an explanation for everything that happens or is there really a God? Watching movies is not just about passive entertainment. Movies are, and will remain, an integral part of our cultural and artistic ecosystem. Much like Be Kind Rewind, The Purple Rose of Cairo could’ve been unbearable if executed poorly. In this case, it’s easy to imagine that the story of a cinema devotee getting to walk around in the real world with one of her favorite film characters could've been too twee for its own good. Thankfully, Cairo avoids that route by focusing on its central characters, film buff Cecilia ( Mia Farrow) and archeologist Tom Baxter ( Jeff Daniels), the latter of whom has waltzed right off a movie theater screen and into the land of flesh-and-blood people.