Finding Nemo, The Guru

reviewed Fri, 12 Mar 2004

Much of my movie viewing lately has been in Grant’s Home Theater (review: attentive ownership, comfortable seating, excellent sound, strict control of talking patrons, needs cupholders), which is how I came to see a movie that will no doubt astonish my brother: Finding Nemo.  Actually, the only reason I agreed to watch it at all was that I like Albert Brooks, who voices Nemo’s father, the neurotic (pretty much redundant when describing a Brooks character) Marlin, and he is the best part of the movie.

Yeah, it’s beautifully done, it’s funny (and throws in enough grown-up jokes to keep me happy), blah blah blah.  It’s more complex than most kids’ movies, a welcome change from the insipidly simplistic structure to which even the so-called best kids’ movies seem to hew.  My only major complaint was the obnoxious little-kid voices for Nemo and his friends – you know, the fake stammering and lisping – ugh!

Maybe I enjoyed it more than I expected because I’m just a lot less uptight in this particular theater.

We also watched The Guru, a bouncy blend of Hollywood and Bollywood that feels surprisingly wholesome for a movie about sex and the porn industry.  Bollywood star Jimi Mistry plays Ramu, who comes to Hollywood determined to become a star (he’s inspired by John Travolta in Grease) and winds up, as so many others like him, as first a waiter, then (through a wacky misunderstanding) a porn actor.  Though another wacky misunderstanding, he becomes a guru to flaky, faddish, spirituality-seeking socialite Marisa Tomei (terrifically fun) and imparts such wisdom as he possesses – which, seeing as he gets it all from his porn co-star (Heather Graham, flirting with being typecast), tends to be sexual.

The movie sprinkles a few Bollywood numbers throughout -- but they’re wisely shorter and fewer than in your typical Bollywood movie.  Graham and the rest of the Western cast are terrific good sports in gamely attempting Indian choreography; those production numbers actually work much better than the more conventional Hollywood-musical ones, generally homages to Grease, do.  It’s all in good fun, and if the plot is flimsy, well, the actors have enough charisma to carry you to the end (though not enough to pull off the inane ending, which was dumb enough when Olivia Newton-John and John Travolta did it twenty-five years ago and doesn’t work any better today).

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