{"id":44838,"date":"2020-05-28T17:18:43","date_gmt":"2020-05-28T22:18:43","guid":{"rendered":"http:\/\/www.davidbordwell.net\/blog\/?p=44838"},"modified":"2020-06-02T09:28:39","modified_gmt":"2020-06-02T14:28:39","slug":"little-stabs-at-happiness-1-closing-credits-as-they-should-be-done","status":"publish","type":"post","link":"https:\/\/www.davidbordwell.net\/blog\/2020\/05\/28\/little-stabs-at-happiness-1-closing-credits-as-they-should-be-done\/","title":{"rendered":"Little stabs at happiness 1: Closing credits as they should be done"},"content":{"rendered":"

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DB here:<\/p>\n

With apologies to Ken Jacobs<\/a>, I’m starting an irregular series of posts that offer lockdown viewing that’s merely good dirty fun. They’re the sort of thing I like to look at to lift my spirits.<\/p>\n

I’ll start the series with the charming credits scene from Farah Khan’s Main Hoon Na<\/em> (I Am Here<\/em>, 2004). (No subtitles, but probably not so much needed.) I love its shamelessly homemade look, as well as its tribute to everybody–yeah, apparently everybody–working behind the scenes on a movie. In cinema, madly cheerful conviction can take you very far.<\/p>\n

The whole film is no less enjoyable, and it’s available on many streaming platforms<\/a>. And check out our new category of Covid-19 cinema<\/a> for other suggestions.<\/p>\n