Brick In Tamil Pdf Download
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A teenage loner pushes his way into the underworld of a high school crime ring to investigate the disappearance of his ex-girlfriend.
The lonely teenager Brendan finds his former girlfriend Emily dead in the entrance of a tunnel of sewage and recalls her phone call two days ago, when she said to him that she was in trouble. Brendan, who still loved Emily, met bad elements of his high-school trying to contact her, and when he succeeded, she told him that she was OK. He hides her body in the tunnel and decides to investigate the meaning and connection of four words, including "brick" and "pin", that Emily told him to find who killed her. Using the support of his nerd friend Brain, he successively meets the small time drug dealers Kara, Dode, Brad Bramish, Laura and Tugger, to reach the teenager powerful drug dealer The Pin. Slowly, Brendan unravels the motives why Emily was killed and plots a revenge.
Brick is a moody atmospheric mystery film with dialogues straight out of a 1940's hard-boiled detective masterpiece with visuals influenced cowboy bebop, the film takes place in a High School and you might think that teenager doing detective work is silly well the movie makes jokes about that, the film is very cheap in a good way because the film is about high schoolers so it adds to the mystique, the sound quality is little muddied in some places and will i do like the dialogue it does sound a little confusing because of sound quality, some of the side characters are under used, overall the movie is great you should watch it
Brick is one of those truly undefinable cinematic achievements that some people adore because of its originality while others just can't get their heads around. It reaches into a bag of old film noir tricks that will delight the most avid classic film buff while throwing modern day movie twists at us.
The movie is set in an urban location at a Southern California high school. The main players are all high school aged, yet the plot that unfolds is far from your normal teenage drama. Brendan is a scraggly-haired, glasses wearing, quick-witted teenager who one might look at it and expect nothing remarkable from. He far surpasses his look, however, with unconventional "noiresque" dialog and a tough-as-nails attitude that feels inspired by some of Humphrey Bogart's more memorable roles. His ex-girlfriend Emily finds herself in a pickle and soon turns up face down in a ditch. As the movie unfolds and Brendan seeks the answers to Emily's demise, we're drawn into an implausible world of teenage kids playing the roles of various film noir fixtures, including detectives and "shady characters", with the VPs (that's vice principles to you or I) serving the role of the ever-present cops. It employs some tricks that you might only appreciate as a fan of the classic genre, namely its protagonist always making/receiving calls from a pay phone, perhaps meant as an homage to the era which saw the birth of the film noir genre. He also perfects the persistently cocky and fearless demeanor so often associated with film noir, despite the particularly hairy situations that he often finds himself in.
The movie is delightful because it brings to life a genre which has all but disappeared from mainstream cinema, but also brings a refreshing feeling of originality through its use of unconventional characters. This movie works because it draws its viewers into a complex plot with snappy dialog that reeks of cinema of old, while keeping it modern in the same breath. People criticize this movie because its characters are unbelievable. Rian Johnson doesn't ask us to relate to the characters, however, but to appreciate the cinematic style that made the genre so great, while providing us with a unique and modern plot device that sets it apart from the classics. It is not true film noir because its characters do not fit the mold, but it is not truly modern because its mood follows the classic film noir approach. In this sense, it is a truly unique film. I am highly looking forward to Johnson's future endeavors.
"Sensational" is the word for Joseph Gordon-Levitt (equally striking in Mysterious Skin), who stars as Brendan, the teen outsider who becomes a budding Bogart.
http://www.youtube.com/watch?v=L0YdJsX25ME Blow - To leave, depart; e.g., "Did she blow last night?"
Brick - A term used to describe a pound or kilogram of any drug; in the case of this film, it's heroin.
Bulls - Cops; e.g., "What first, tip the bulls?" Also, as a verb, to turn over to the cops; e.g., "I bulled the rat."
Burg (or Burgh) - Town, City; e.g., "He knows every two-bit toker in the burg."
C - Roman numeral for 100; e.g., "He had a C-Note."
Clam - To keep your mouth shut; e.g., "The muscle blows or I'll clam."
Copped - Obtained; e.g., "She copped the junk."
Dose - To take drugs; e.g., "He dosed off the bad junk and it laid him out."
Duck Soup - Easy pickings.
Gat - Gun.
Gum - To mess things up; e.g., "Bulls would only gum it."
Heel - To walk away from (and show your heels to); e.g., "I'm not heeling you to hook you."
Hook - Raise interest or get involved; e.g. "I'm not heeling to hook you."
Hop/Jake/Junk - Drugs. Back when noir films were more popular, (1940s-50s); hop is often used to reference marijuana and "hophead" is someone who smokes a lot of pot.
Knives in my eyes - a splitting headache; e.g., "I've got knives in my eyes. I'm going home sick."
Lap Dog - A lap dog is defined as a dog that is small enough to be held in the arms or lay comfortably on a person's lap. The term is also sometimes used to describe a person who is very easily controlled, such as a yes man. In the case of Brick both definitions are cleverly combined. If you recall the scene where we first meet Kara, she has a freshman boys head in her lap, who springs to her command of "run and get my purse."
On the Nail - immediately; e.g., "He wants cash on the nail."
Pick - A ride in a car (as in "pick-up"); e.g., "Did she get a pick?"
Raise - To get in touch with; e.g., "You couldn't raise em?" This is also used cleverly when Brain asks Brendan, "You couldn't raise her?" referring to Emily whom he could neither contact nor raise, as in raise from the dead.
Reef Worm - A stoner (reefer).
Scape - A patsy to take the blame (scapegoat/ fall guy).
Scraped - Begged off of, cadged from; e.g., "Ask any dope rat where their junk sprang and they'll say they scraped it off [name]...."
Shamus - A private detective.
Shine - To wield (as with a weapon); e.g., "He shines a blade."
Showing Your Ace - Obviously a card reference. An ace is the highest playing card, meaning 'high-quality. When Brendan strips Kara and says "I'm showing your ace," he is saying that Kara's most valuable asset is her beauty, which she uses to manipulate people with (e.g. lap dogs, Dode, etc). Not to mention, ace sounds similar to ass, something else of hers he shows off.
Specks - Eyes or Eyeglasses (spectacles); e.g., "Keep your specks peeled."
Sprang - Originated; e.g., "His gat sprang from Tugger's gang."
Squawk - To give up or snitch on. Or more apt to this, a stool pigeon.
Take A Powder - To slip away; e.g., "Why'd you take a powder the other night?"
Yegg - A criminal. The majority of the film's special effects were cheaply and efficiently produced using practical and in-camera effects. Early in the film, for example, Emilie de Ravin walks toward the camera out of a tunnel as a garbage bag floats downstream and engulfs the camera, transitioning over to Joseph Gordon-Levitt back in his character's bedroom. To achieve this, the desired effect was filmed in reverse order. The garbage bag began over the camera and was pulled away during filming, as de Ravin walked backwards into the tunnel. This footage was then cut to a scene in which a garbage bag was simply pulled over Gordon-Levitt's head.
Slowly filming a car driving in reverse, then playing the footage backwards at a higher speed gives the illusion of a car quickly approaching as the camera darts in front of it stylishly. Clever fades give the impression of time changes while quick jump cuts add tension to a scene in which the protagonist wakes up after passing out.
The smoke effect that occurs from the gun shot that kills Dode was serendipitous, a fortunate accident if you will. The smoke that we see is actually from the excess compressed air that shot the red liquid (supposed to be blood) out. It wasn't originally supposed to happen, but fortunately turned out to be an excellent effect. For the Region 1 DVD: Go to Special Features, highlight Deleted and Extended Scenes, press left twice to highlight the tunnel note (looks like an A), and then select to watch "Origami Master", a short film shot by Rian Johnson in his high school days.
For the Region 2 DVD: Go to Special Features, go to the second page of the Deleted and Extended Scenes, wait for the menu to loop once (should take 15 seconds) and an icon of glasses will appear in the corner of the screen, click them. Some viewers have inquired into what the mark on Tugs forehead is. It has sometimes been referred to as a strand of hair hanging down from under his hat, but its actually a scar. There's also a passage in the original novella where Tug talks about how he got the scar...
"By eight that night the rain had thinned into a marine mist. I trotted down a narrow sandy path and out onto the beach. A bonfire blazed a few hundred yards away. Stuffing my hands in my pockets I trudged towards it, but was only halfway there when I came upon two boys. One was rattling off a story full steam, shadowboxing for emphasis. It was Tugger."
"...takes me for a schmoe that I'm gonna back off, so I take the first guy with a belt below the belt, which, since I'm outnumbered, so the second and third guys pin me but I flip one over onto the other one, peg this one into the ground with his buddy, then I just kick hell for leather and I figure one left, the gig's duck soup, but no this guy whips around and what's he got a pole with a thing on the end you put paint rollers on, but there aint a paint roller, so it's just this metal thing he whips and I just you know fall back and kick his legs out then rub him up, but I get walking away and whoa, it's raining or what, no it's blood, I got sliced on the face. Here. So that's what that is. No big deal."
"Shuck, man." said the other in admiration, shaking his head. Tug lit a joint. The warm glow gleamed off the triangular SCAR on his face." If you pay attention, you see a match being sparked outside the Halloween In January party. For those wondering who that was, it was The Pin. In the original novella there is actually a passage where Brendan runs outside the mansion to follow Laura where this is clarified. Also, later on when Brendan goes to The Pin's house to set up the final meeting between him and Tug, we see The Pin strike a match to light his cigarette. Laura ended up with the brick after double crossing everyone and stealing it. She stole the brick from the Pin's home before the sit down at his house, stashed it in her locker at school and returning to Tug's house, where she attended to Brendan prior to the meeting. From behind the scenes, she fueled the rivalry between The Pin and Tug's crew. She set them up to make the Pin believe that Tug only agreed to come to his house not to settle differences, but to steal the brick, thus leading them both into what Brendan describe as a slaughterhouse.
At the end, Laura grades Brendan's tale, telling him "That's most of it. Nine out of ten." In addition to the facts that Laura does tell Brendon, the less than perfect score refers to the that fact that his story is not complete. She indicates that Emily had been pregnant for 3 months with his baby. Although it does not say specifically, it is revealed that Brendan was indeed the father. This is revealed when Laura tells Brendan that Emily said she did not want to keep the baby because she did not love the father anymore. Laura says Emily came to her three months ago when she became pregnant. Three months ago was before she was with Dode or Tug, meaning that it was Brendan's baby all along. We are told that Tug killed Emily because he thought that he was the father of the baby she was having. It was Laura's idea that Emily tell Tug it was his baby to soften him up, but Laura was counting on Tug to kill or injure her. We find out that it was Tug who killed Emily after the scene with Dode, the Pin, Brendan and Tug at the tunnel. Dode tries to tell The Pin that he believed it was Brendan who killed Emily because he thought she was having Dode's baby. Tug kills Dode, thinking he is about to reveal the true identity of the murderer: himself. Brendan has coughing fits throughout the film, due to internal bleeding from all the blows he endures during the beginning of the film (from Brad and Tug mostly). Also, he's functioning on very little sleep, which leads to his collapse in the tunnel.Kara is a manipulator, and as with her lap dogs, uses her looks to get over on people. In the case of the film's plot, she convinces Dode to sell his information to The Pin that Brendan is responsible for Emily's death (based solely on the fact he saw Brendan move the body). It isn't clear why Kara gets him to do this in the film, but in the original novella it seems to be strictly for the money, as after Dode dies she still tries to blackmail Brendan for it. As revealed at the end by Brain, Brad Brammish hired somebody to stab Brendan as revenge for beating him up in front of his friends. It was an ego/grudge thing, and not something that pertained to the rest of the plot; a red herring of sorts. It can be argued both ways. She clearly takes advantage of people, but there reason to believe that she did care about Brendon since she did tell him to stay away from the sit down since she knew it would likely turn ugly if it was discovered that she stole the brick, and she states that she does admire Brendan for what he is doing for Emily, as she does not know anyone who would do something like that for her. She has a dark side, but she also knows that he does too, which she makes clear at the end of the film. Both characters are smart and lonely, and perhaps these combination of qualities makes him attractive to her.
On the other hand, she is manipulative to most characters in the film, including Brendan at times, and in the end, it is hard to know when she is being deceptive or not. She is very intelligent, but not trust worthy, even when she is telling the truth.
The original script has a reference that may indicate that she may have had genuine feelings for him. Here's a passage from the original script...
Laura: Don't go tonight.
Brendan: I've got to make sure it plays out smooth.
Laura: It'll play however it plays without you there.
Brendan: I've got to make sure.
Laura: Why?
Brendan: 'Cause if there's war, I'm in it too.
Laura: Well let's just, I mean why not just run away. Go somewhere. I've got a car.
Brendan: *Gives Laura a wry look*
Laura: I've got an aunt in New Orleans, she wouldn't care.
Brendan: *Grins*
Laura: Yeah, it's a stupid thing, but think about it, why not? What, school? C'mon. Family?
Brendan: All right, stop.
It could be read it as her just trying to get him out the way, but New Orleans? There might be something else to it. Also, at the end of the novella, Laura says, "I loved you" to Brendan. A lot of people think this implies Laura and Brendan had sex, but according to director Rian Johnson, the shot was originally sequenced after they had made out on the bed, thus they did not. a5c7b9f00b
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