I found the movie bang on with many unknown untold stories about our unsung heroes beyond the overly revered gandhi and nehru. It does answer well lot of questions around whys and how's about VD Savarkar while of course busting several myths that were circulating about him till date. Hats off to Hooda for taking up this subject, choosing it for his directorial debut and literally wearing Vinayaks character across stages. Even the support cast is spectacular esp the actors who played his elder brother, Madan Lal Dhingra, Gandhi, Jinnah and many many more. It gets a bit sluggish in bits and pieces but overall successfully narrates a story we all deserved to know long back.
Reviews
29 Reviews
Saand Ki Aankh
(2019)
Almost a bulls' eye!
30 October 2019
Another sports biopic, not just another one! In a world of more well-known faces of Milkha, Dhoni, Mary Kom & Sandeep Singh, here comes a flick that's based on 2 lesser known oldest women sharpshooters of the world. In many ways, 'Saand ki aankh' is different from the others of same genre - first, it's about not one, but two sportswomen; second, the choice of a lesser known story. In fact, I myself read about these wonder-women only after I saw the first trailer. Without delving into story-line, I would just share what I liked and didn't like about the movie:
Yay:
- At so many points in the movie, one wonders, now what else will these ladies accomplish/ win! But then, they prove our vision myopic by showcasing the long list of taboos, rules, dominance of patriarchy and mindsets to be won and it's heartening to see the victories happen before your eyes!
- Debutante director Tushar Hiranandani is a revelation! Somebody who has a history of penning stories and screenplays of not so meaty flicks like Masti, Double dhamaal, Houseful 2 (and same day released Houseful 4), etc. was not expected to repeat a Nitesh Tiwari (Dangal). While Tushar keeps all characters grounded, the overall feel of the movie is credibly rustic and genuine - one actually feels traversing through the lanes of Baghpat (UP). Full marks to Balwinder Singh Janjua for the immaculate screenplay and Sudhakar Reddy Yakkanti for the very plausible cinematography.
- The camaraderie of 'womania-gang' was heart-warming. No jealously, no arrogance, only common mutual goals - a true teamwork in every sense! The house-women solidarity reminds one of the likes of Mirch-Masala.
- Special mention of actors - Bhumi literally wore the soul and body of Chandro Tomar, be it the body-language or dialect. She has literally mastered this art since her debut in Dum laga k haisha, making her a method actor in every sense! Prakash Jha was literally unrecognizable yet highly convincing as the family patriarch. Vineet Kumar (Mukkabaaz fame) exuded ample sincerity required for his character.
- Dialogues by Jagdeep Sidhu are catchy, hard-hitting at places and suiting the mood of the film.
- Music by Vishal Mishra is one of the highlights of this movie - peppy, offbeat yet foot-tapping; fully carrying soul of the film! Lyrics are truly meaningful. Some songs do sound a bit similar to Gangs of Wasseypur numbers.
- In an age of availability of impeccable prosthetic make-up, Saand ki Aankh failed to add much-needed age and antiquity to the lead actors. When a 28-year old Anupam Kher could look believable as a retired father in Saraansh, something similar was ideally expected here. Nevertheless, actors mitigated this flaw through their polished acting.
- Unlike Bhumi, Tapsee Pannu wasn't able to do full justice to the role of aged shooter daadi. In most part of the film, she looked more 'Tapsee Pannu' than 'Prakashi Tomar'.
- Shooting stadiums in India never get the occupancy and crowd as shown in the movie. However, this can be ignored as on-screen crowd only added to the vigor of the show!
Sanju
(2018)
Sanju - one movie, skewed sides!
30 June 2018
One of the most anticipated movie of the year, directed by one of the most celebrated director of current times, led by one of the most talented actors of Bollywood, came out as a hollow, shallow and completely skewed take on the life of a hugely flawed Sanjay Dutt! Yes, I am starting here with my judgement as I really anticipated some depth and substance from the maker of Munnabhai series and 3 idiots; but Hirani hit another low this time, lower than PK, which definitely was much below the standards set by him through 3 idiots. All previous outings of Hirani had genuine lessons to teach while Sanju preaches some not-so-genuine lessons and conclusions viz.
Plot: The movie was supposed to be a BIOPIC but it certainly isn't one! It only touches 2 aspects of Sanjay Dutt's life - drugs and terror link allegations. While it is no treachery to indulge in drugs, the latter definitely is one and the director continuously tries to prove Dutt innocent on both counts. There is no mention at all of Richa Sharma and Rhea Pillai (Dutt's first 2 wives) and daughter Trishala, leave aside his much famous affair with Madhuri Dixit. Movie keeps going back and forth in a predictable manner. Hirani uses lot of sexual connotations like in his other movies in an attempt to evoke humour. Cast: Ranbir has already established himself as a perfectionist and here too, he literally lives Dutt on screen emulating his body-language, mannerisms and even drooping eyes! Only front Kapoor lacks on is voice (which lacks the dum of real Sanjay) and extra pinch of machoism. My pick from the movie is Vicky Kaushal as the endearing friend with that typical gujju accent. He definitely outshines Ranbir in most scenes and looks every bit natural and effortless. Paresh Rawal seems to be a misfit as Late Sunil Dutt though as an actor he is not less engaging. Dutt Sahab's grace and poise is perhaps unmatchable! Manisha Koirala as Late Nargis Dutt comes like a breeze on screen while Boman Irani, Dia Mirza and Anushka Sharma have little to do. Sonam's character and Sonam both were as much a waste as was Karishma Tanna. Jim Sarbh, though, is impressive in his limited yet important role. His lisp reminds us of Virus of 3 idiots. Music: While Sanju does have some good music, the songs only reduce the pace of movie and are not required as such. Many of them appear from nowhere. Background score is good and has the usage of trademark Hirani mouthorgan. My conclusions/ observations: i. Sanju isn't a biopic/ biography. ii. The movie completely ignores the regular paroles enjoyed by Dutt in his 6 years imprisonment and attempts only to showcase Dutt as a victim of police trials and media bashing. For me, the movie is a big let-down barring some good performances from main actors. While Hirani maintains he doesn't mean to glorify Dutt, he ends up actually doing so.
- First & foremost, "My name is Sanju and I am not a terrorist."
- Most of the terrorists and goons are tilak-dhaari Hindus.
- It's perfectly normal to obtain AK-56 rifles in self-defense from underworld!
- All terror allegations on Dutt were media's imagination (just like no one killed Aarushi, there was no 3G/ 4G scam and Land Rover was on auto-mode - Salman is innocent)
- 900 chuhe kha kar, billi haj ko chali - please call the cat a haaji now; she isn't a killer cat!
Plot: The movie was supposed to be a BIOPIC but it certainly isn't one! It only touches 2 aspects of Sanjay Dutt's life - drugs and terror link allegations. While it is no treachery to indulge in drugs, the latter definitely is one and the director continuously tries to prove Dutt innocent on both counts. There is no mention at all of Richa Sharma and Rhea Pillai (Dutt's first 2 wives) and daughter Trishala, leave aside his much famous affair with Madhuri Dixit. Movie keeps going back and forth in a predictable manner. Hirani uses lot of sexual connotations like in his other movies in an attempt to evoke humour. Cast: Ranbir has already established himself as a perfectionist and here too, he literally lives Dutt on screen emulating his body-language, mannerisms and even drooping eyes! Only front Kapoor lacks on is voice (which lacks the dum of real Sanjay) and extra pinch of machoism. My pick from the movie is Vicky Kaushal as the endearing friend with that typical gujju accent. He definitely outshines Ranbir in most scenes and looks every bit natural and effortless. Paresh Rawal seems to be a misfit as Late Sunil Dutt though as an actor he is not less engaging. Dutt Sahab's grace and poise is perhaps unmatchable! Manisha Koirala as Late Nargis Dutt comes like a breeze on screen while Boman Irani, Dia Mirza and Anushka Sharma have little to do. Sonam's character and Sonam both were as much a waste as was Karishma Tanna. Jim Sarbh, though, is impressive in his limited yet important role. His lisp reminds us of Virus of 3 idiots. Music: While Sanju does have some good music, the songs only reduce the pace of movie and are not required as such. Many of them appear from nowhere. Background score is good and has the usage of trademark Hirani mouthorgan. My conclusions/ observations: i. Sanju isn't a biopic/ biography. ii. The movie completely ignores the regular paroles enjoyed by Dutt in his 6 years imprisonment and attempts only to showcase Dutt as a victim of police trials and media bashing. For me, the movie is a big let-down barring some good performances from main actors. While Hirani maintains he doesn't mean to glorify Dutt, he ends up actually doing so.
Parmanu - The explosion of patriotism!
26 May 2018
It always feels great when something apart from a India-Pak match unites, we the people of India, where we clap together on a national achievement, for national hero(es). Well, this time it was a recreation of a moment of national pride that incited this act. Abhishek Sharma's 'Parmanu- the story of Pokharan' (PTSP) is a true ode to the visionaries who envisioned and executed the intricate yet successful nuclear tests of 1998 which catapulted India to a full-fledged nuclear state.
1. *The plot* - Going by the theme, it could have easily been a documentary. However, considering sensitivity of information and facts, it would not have been legal to detail out everything with 100% authenticity. There goes kudos to the writers who spunned the well needed soul of the programme in a fictional story and characters. This saved the film from becoming dull/ documentaristic! However, regular showcasing of actual clippings from DD and government archives ensured realism. Watching Vajpayee ji's real inspiring speeches on & off was definitely heart-warming! :) 2. *Cast* - A special mention of John Abraham who risked money to make a movie on this otherwise on-paper dry topic. Apart from being a courageous producer of this film, he carried it well on his shoulders as main lead. He was ably supported by talented actors like Boman Irani, Vikas Kumar and Yogendra Tiku. Diana Penty and Anuja Sathe did justice to their limited characters. Overall, all characters looked authentic in their body language and were aplty cast. 3. The on screen authenticity of events and characters can be attributed to *immaculate screenplay and flawless cinematography*. 4. Thankfully, no song disrupts the seriousness or tone of the film. *Background score* is good. 5. The film is *flawed* only to the extent of some over-styling of lead actors and low story pace initially. However, Movie picks up pace gradually and gets into full on acceleration esp. in 2nd half. One more miss out was APJ's character. Perhaps, absence of exact mappings was intentional.
All in all, PTSP does manage give a glimpse of unmatchable hard work and challenges that went away in enacting this historical achievement. In an era where India was a vulnerable state diplomatically bullied and regularly monitored (read: threatened) by Uncle Sam, this achievement was much much bigger than current era's surgical strike. Each Indian deserves to know, see and feel proud to watch this story unfold. _It was disappointing to find hardly 30% occupancy at multiplex._
For me, it is definitely a *9/10* flick. Please go *watch in theatres* to help more people put money on similar stories.
Note: Do watch ending credentials as they showcase real pictures of/ before/ after explosion along with fact bits.
1. *The plot* - Going by the theme, it could have easily been a documentary. However, considering sensitivity of information and facts, it would not have been legal to detail out everything with 100% authenticity. There goes kudos to the writers who spunned the well needed soul of the programme in a fictional story and characters. This saved the film from becoming dull/ documentaristic! However, regular showcasing of actual clippings from DD and government archives ensured realism. Watching Vajpayee ji's real inspiring speeches on & off was definitely heart-warming! :) 2. *Cast* - A special mention of John Abraham who risked money to make a movie on this otherwise on-paper dry topic. Apart from being a courageous producer of this film, he carried it well on his shoulders as main lead. He was ably supported by talented actors like Boman Irani, Vikas Kumar and Yogendra Tiku. Diana Penty and Anuja Sathe did justice to their limited characters. Overall, all characters looked authentic in their body language and were aplty cast. 3. The on screen authenticity of events and characters can be attributed to *immaculate screenplay and flawless cinematography*. 4. Thankfully, no song disrupts the seriousness or tone of the film. *Background score* is good. 5. The film is *flawed* only to the extent of some over-styling of lead actors and low story pace initially. However, Movie picks up pace gradually and gets into full on acceleration esp. in 2nd half. One more miss out was APJ's character. Perhaps, absence of exact mappings was intentional.
All in all, PTSP does manage give a glimpse of unmatchable hard work and challenges that went away in enacting this historical achievement. In an era where India was a vulnerable state diplomatically bullied and regularly monitored (read: threatened) by Uncle Sam, this achievement was much much bigger than current era's surgical strike. Each Indian deserves to know, see and feel proud to watch this story unfold. _It was disappointing to find hardly 30% occupancy at multiplex._
For me, it is definitely a *9/10* flick. Please go *watch in theatres* to help more people put money on similar stories.
Note: Do watch ending credentials as they showcase real pictures of/ before/ after explosion along with fact bits.
M.S. Dhoni: The Untold Story
(2016)
MSD: Main story remains untold
1 October 2016
Bollywood has off late caught up fascination for Sports biopics ranging from Pan Singh Tomar, Milkha, Mary Kom and now Dhoni. The latest offering from 'Special 26' and 'Baby' fame Neeraj Pandey which raised a lot of hopes with its trailer, fails to live up to expectations. It's not out and out a bad movie but doesn't match the authenticity and detailing of neither the earlier films of this genre nor the past work of Pandey. Like always, let's discuss all aspects one-by-one:
Plot: Most people feel it's the length (over 3 hrs) of the movie which makes it a tiresome ride. However, I feel, it's the content which makes the audience check their watches frequently, esp. in the second half. Yes, MS Dhoni, undoubtedly, is a top-class wicket- keeper batsman, but what makes him class apart are his captaincy skills and cool-as-cucumber demeanor. The movie fails to showcase both. Neither does it capture how MS was catapulted to captainship for 2007 T-20 world cup, nor it reveals his strategizing skills in dressing room and his composure in nail-biting match- moments. Rather, movie time and again illustrates him as a vulnerable emotional person. The first half has been authentically shot and aptly enacted. However, the 2 romantic angles post intermission off- track the movie, making it draggy and superficial. For making a biopic on an active player, out of the box and real untold stuff was required. The second half was a mere cut-paste of match-clippings and stories most of us know further wasted by avoidable brand endorsement clippings.
Performances: Yes, Sushant Singh Rajput did work very hard to emulate the mannerisms, body-language and playing style of MSD and he is successful to great extent in this. He definitely showcases Dhoni's sincerity well. However, he still fails to match the fluent English of real MS. Support cast comprising Rajesh Sharma, Kumud Mishra, boy who played young MS, Bhumika Chawla, etc. delivered justified performances. Anupam Kher, though, looks a little more aged and utterly-wrinkled right from the word go. That reminds me of the unnecessary hospital scene in the beginning! And Harry Tangri literally brought Yuvraj Singh live on screen, with not just his similar looks but also carrying the same attitude. The 2 girls were mere glamorous add-ons. Disha Patani anytime scores over Kiara Advani.
Music: A solid background score and a thematic anthem is enough for sports biopics. Sanjoy Chowdhury delivers average tunes and a couple of songs filmed on the 2 actresses add as fillers only.
Cinematography: Sudhir Palsane scores it well especially in first half taking the audience from gullies of Ranchi to the crowded Kharagpur Station.
A lot of controversies associated with Dhoni were intentionally excluded from the movie, perhaps not to decimate the making of the MSD. That's justified! But exclusion of the main facets of the persona of a bio-pictured player is unpardonable. This fact, perhaps, makes this good movie stay short of becoming great and smart.
Plot: Most people feel it's the length (over 3 hrs) of the movie which makes it a tiresome ride. However, I feel, it's the content which makes the audience check their watches frequently, esp. in the second half. Yes, MS Dhoni, undoubtedly, is a top-class wicket- keeper batsman, but what makes him class apart are his captaincy skills and cool-as-cucumber demeanor. The movie fails to showcase both. Neither does it capture how MS was catapulted to captainship for 2007 T-20 world cup, nor it reveals his strategizing skills in dressing room and his composure in nail-biting match- moments. Rather, movie time and again illustrates him as a vulnerable emotional person. The first half has been authentically shot and aptly enacted. However, the 2 romantic angles post intermission off- track the movie, making it draggy and superficial. For making a biopic on an active player, out of the box and real untold stuff was required. The second half was a mere cut-paste of match-clippings and stories most of us know further wasted by avoidable brand endorsement clippings.
Performances: Yes, Sushant Singh Rajput did work very hard to emulate the mannerisms, body-language and playing style of MSD and he is successful to great extent in this. He definitely showcases Dhoni's sincerity well. However, he still fails to match the fluent English of real MS. Support cast comprising Rajesh Sharma, Kumud Mishra, boy who played young MS, Bhumika Chawla, etc. delivered justified performances. Anupam Kher, though, looks a little more aged and utterly-wrinkled right from the word go. That reminds me of the unnecessary hospital scene in the beginning! And Harry Tangri literally brought Yuvraj Singh live on screen, with not just his similar looks but also carrying the same attitude. The 2 girls were mere glamorous add-ons. Disha Patani anytime scores over Kiara Advani.
Music: A solid background score and a thematic anthem is enough for sports biopics. Sanjoy Chowdhury delivers average tunes and a couple of songs filmed on the 2 actresses add as fillers only.
Cinematography: Sudhir Palsane scores it well especially in first half taking the audience from gullies of Ranchi to the crowded Kharagpur Station.
A lot of controversies associated with Dhoni were intentionally excluded from the movie, perhaps not to decimate the making of the MSD. That's justified! But exclusion of the main facets of the persona of a bio-pictured player is unpardonable. This fact, perhaps, makes this good movie stay short of becoming great and smart.
Udta Punjab
(2016)
This Punjab does go heights!!
19 June 2016
Warning: Spoilers
Till date, Bollywood has mostly showcased Punjab as land of prosperity full of dancing farmers in fields and big time foodies relishing sarson DA sag & makke Di roti. Intermittently some makers did show the issue of militancy phase of 80s in films like Maachis. However, this land of green-fields has off late been trapped tight in clutches of narcotics. On such a dry topic, perhaps only some documentaries would be made/ already made. To bring this issue on silver screen with mainstream actors while balancing entertainment value and remaining uncompromising on the authenticity of subject and premises, requires a lot of research work and intelligence from director and production team. Full marks to director Abhishek Chaubey and producers Anurag Kashyap (who fought the valid legal battle with censor board) and Balaji Telefilms, for raising cinematic benchmark of film-making and bringing to notice of the nation and world, the other face of Punjab through Udta Punjab. Thanks to this movie, since its controversial phase with CBFC, there have been innumerable articles on this issue across media informing we, the people of India, about the ongoing menace in Punjab. Hope, the movie manages to wake up those in power!
My analysis of various facets as below:
Plot: Yes, Punjab is nose dipped in the dark world of drugs and is almost on the verge of becoming another Mexico. The movie manages to touch the right chord in terms of characterization, casting, premises and most importantly, story-line. 3 sets of stories woven around perils of drugs run in parallel only to converge before/ at climax. The movie wins as it manages to prove that drugs have gripped all classes - low/ middle/ high with equal jeopardy. While showcasing modus-operandi of this fatal trade, the film questions the irresponsible and corrupt practices of administration and politics alike. The movie is full of cuss-words which do not look out-of-place and add to the genuineness of this North-Indian region. Despite having 2 pairs, the movie is subtle yet graceful on romantic front.
Cast: Shahid Kapoor has already proved his mettle in psycho- emotional roles in movies like Kaminey & Haider. As Tommy Singh, the gabru rap-star, he only raises the bar a notch higher exuding full- on madness mixed with the sensitive and remorseful side of the character. However, it is Alia Bhatt for me, who emerges as the biggest surprise, gracing the role of a Bihari migrant labourer. She literally wears the unnamed character on her sleeves, not only through diction of that perfect dialect but more through the immaculate body-language oozing terrific vulnerability, angst and strength of her character. Highway is history now; this girl will be known by Udta Punjab in future! Kareena Kapoor Khan does full justice to her comparatively shorter role as a sensible doctor while giving a glimpse of a Geet intermittently. Debutant Punjabi superstar Diljeet lives up to his name winning hearts with his sincere performance changing gears from a corrupt official to a man with a purpose. Young actor Prabhjyot Singh impresses a lot as drug- addict brother of Diljeet. Rest of the cast is as realistic as the film.
Music: Generally, movies on such serious topics do not require songs. However, since this one involved a music celebrity, rap songs were inevitable while a couple of others with that touch of Punjab Di mitti are heart-warming and do not disturb the pace of the film. Amit Trivedi wins it this time too!
Cinematography: The movie, as the name suggests, is based in Punjab, the real one residing in small towns and districts. Rajeev Ravi leaves no stone unturned in adding maximum realism to the canvas of the film.
Flaws: Some people might find the climax a bit filmy (fictional). However, that is perhaps required to end the film on a positive note, which I definitely liked.
In all, Udta Punjab is definitely going to be one of the best films of this year in terms of the production quality, content, performances and music. Must watch, I must say!
My analysis of various facets as below:
Plot: Yes, Punjab is nose dipped in the dark world of drugs and is almost on the verge of becoming another Mexico. The movie manages to touch the right chord in terms of characterization, casting, premises and most importantly, story-line. 3 sets of stories woven around perils of drugs run in parallel only to converge before/ at climax. The movie wins as it manages to prove that drugs have gripped all classes - low/ middle/ high with equal jeopardy. While showcasing modus-operandi of this fatal trade, the film questions the irresponsible and corrupt practices of administration and politics alike. The movie is full of cuss-words which do not look out-of-place and add to the genuineness of this North-Indian region. Despite having 2 pairs, the movie is subtle yet graceful on romantic front.
Cast: Shahid Kapoor has already proved his mettle in psycho- emotional roles in movies like Kaminey & Haider. As Tommy Singh, the gabru rap-star, he only raises the bar a notch higher exuding full- on madness mixed with the sensitive and remorseful side of the character. However, it is Alia Bhatt for me, who emerges as the biggest surprise, gracing the role of a Bihari migrant labourer. She literally wears the unnamed character on her sleeves, not only through diction of that perfect dialect but more through the immaculate body-language oozing terrific vulnerability, angst and strength of her character. Highway is history now; this girl will be known by Udta Punjab in future! Kareena Kapoor Khan does full justice to her comparatively shorter role as a sensible doctor while giving a glimpse of a Geet intermittently. Debutant Punjabi superstar Diljeet lives up to his name winning hearts with his sincere performance changing gears from a corrupt official to a man with a purpose. Young actor Prabhjyot Singh impresses a lot as drug- addict brother of Diljeet. Rest of the cast is as realistic as the film.
Music: Generally, movies on such serious topics do not require songs. However, since this one involved a music celebrity, rap songs were inevitable while a couple of others with that touch of Punjab Di mitti are heart-warming and do not disturb the pace of the film. Amit Trivedi wins it this time too!
Cinematography: The movie, as the name suggests, is based in Punjab, the real one residing in small towns and districts. Rajeev Ravi leaves no stone unturned in adding maximum realism to the canvas of the film.
Flaws: Some people might find the climax a bit filmy (fictional). However, that is perhaps required to end the film on a positive note, which I definitely liked.
In all, Udta Punjab is definitely going to be one of the best films of this year in terms of the production quality, content, performances and music. Must watch, I must say!
Bajirao Mastani
(2015)
The visual treat retreats
19 December 2015
Another historical tale, a visually authentic one after 'Jodha Akbar'.
Overall its a visual treat for eyes and literally takes you to the medieval era of peshwas, an unexplored terrain in Bollywood so far.
- Top class performances by all actors - Ranveer outclasses as Bajirao with his awesome acting, 10/10 marathi accent and accurate mannerisms.
- Priyanka is awesomely graceful and exhibits perfectly, insecurities and mixed emotions of Kashibai.
- Deepika aka Mastani looks breathtakingly beautiful in each frame and gives yet another class act after Tamasha
- War scenes have been shot well and look authentic
- Cinematography is classic and matches the grandeur of a SLB film
- Music is more marathi folk style. However, too many songs spoil the rhythm of otherwise well knit screenplay
- 2nd half is sluggish and dragged and this is where movie suffers
Overall its a visual treat for eyes and literally takes you to the medieval era of peshwas, an unexplored terrain in Bollywood so far.
Baahubali: The Beginning
(2015)
Bahubali – a royal visual treat @ Indian terrain
26 July 2015
Ever imagined how our childhood Amar Chitrakatha stories of kings and the kingdoms would look if made on the scale of 'Lord of the rings'? Well the answer is SS Rajamouli's 'Bahubali: The Beginning'; and yes, it's indeed the beginning of grand cinema and believable special effects in India. Great to see, finally Indian movie makers are investing in such work and fortunately, the mammoth success attained by this movie on box-office will pave way for many more works like this. So, before drooling more on the magnificence of this magnum-opus by Rajamouli, let me touch upon major aspects of this movie:
Plot & execution: The story is a typical historical fiction of kings and kinship, battles and wars; but here, it is the execution which makes the simple-story-on-paper a larger-than-life saga, an unforgettable epic! Full of melodramatic moments, the movie does succeed to convince the audience by taking them virtually into the fictional Mahishmati kingdom. The abrupt climax might disappoint many, but perhaps that was intentional to pave way for the pre- planned sequel.
Cast & performances: Prabhas literally brings alive on silver screen, the machoism and heroics as required for the title role; aptly supported by Rana Daggubati and Tamanna Bhatia (both familiar faces in Bollywood), Ramya (the 90's Bollywood import from South), Anushka Shetty, Nassar, etc. These superior performances are further complemented by some superior dubbing (that one doesn't feel the divide of a dubbed version).
Cinematography/ production design: Well these are the areas which make this movie a landmark in Indian cinema! Whether be the picturesque scenes of cliffed waterfalls or the royal arenas of Mahishmati or the marvelous war sections, all just class apart to give you goosebumps! This movie has virtually turned cinematic screen into a sky-size canvass where the director has painted his imagination with immaculate precision and grandeur. High benchmarks set for future!
Music & songs: Now that our production scale is matching Hollywood levels, why can't Indian movies do away with unnecessary songs and dancing! Only saving grace in Music department is the fitting and well-suited background score by MM Keeravani.
Flaws: No, Bahubali isn't free of vices. Unnecessary songs and romantic angle only slow down the pace of an otherwise swift storyline. Also, melodrama could be toned down a bit.
Defense: Offlate, Bahubali has been criticized for being sexist and racist. Well, I do not agree with either. Had it been sexist, they would not have shown strong women like Sivagami and Devasena. Even Avantika's valorous side was well captured and just bringing out her feminine side doesn't make the movie sexist. Also, Kalakeyas being shown as dark people isn't racist. All fairy tales and even epics like Mahabharat and Ramayan have depicted demons and villains as not good looking people. So, this should not be taken as disgraceful and racist.
Hope these suggestions are considered in sequel 'Bahubali: The Conclusion', everyone is ardently waiting for. Afterall, this one has left a lot of unanswered questions and raised the expectations to another level altogether. Hope the next one comes in a 3D version!
Must watch this is! (TV sets/ laptops will not do justice to the enormity. So watch it only in theatres!)
Plot & execution: The story is a typical historical fiction of kings and kinship, battles and wars; but here, it is the execution which makes the simple-story-on-paper a larger-than-life saga, an unforgettable epic! Full of melodramatic moments, the movie does succeed to convince the audience by taking them virtually into the fictional Mahishmati kingdom. The abrupt climax might disappoint many, but perhaps that was intentional to pave way for the pre- planned sequel.
Cast & performances: Prabhas literally brings alive on silver screen, the machoism and heroics as required for the title role; aptly supported by Rana Daggubati and Tamanna Bhatia (both familiar faces in Bollywood), Ramya (the 90's Bollywood import from South), Anushka Shetty, Nassar, etc. These superior performances are further complemented by some superior dubbing (that one doesn't feel the divide of a dubbed version).
Cinematography/ production design: Well these are the areas which make this movie a landmark in Indian cinema! Whether be the picturesque scenes of cliffed waterfalls or the royal arenas of Mahishmati or the marvelous war sections, all just class apart to give you goosebumps! This movie has virtually turned cinematic screen into a sky-size canvass where the director has painted his imagination with immaculate precision and grandeur. High benchmarks set for future!
Music & songs: Now that our production scale is matching Hollywood levels, why can't Indian movies do away with unnecessary songs and dancing! Only saving grace in Music department is the fitting and well-suited background score by MM Keeravani.
Flaws: No, Bahubali isn't free of vices. Unnecessary songs and romantic angle only slow down the pace of an otherwise swift storyline. Also, melodrama could be toned down a bit.
Defense: Offlate, Bahubali has been criticized for being sexist and racist. Well, I do not agree with either. Had it been sexist, they would not have shown strong women like Sivagami and Devasena. Even Avantika's valorous side was well captured and just bringing out her feminine side doesn't make the movie sexist. Also, Kalakeyas being shown as dark people isn't racist. All fairy tales and even epics like Mahabharat and Ramayan have depicted demons and villains as not good looking people. So, this should not be taken as disgraceful and racist.
Hope these suggestions are considered in sequel 'Bahubali: The Conclusion', everyone is ardently waiting for. Afterall, this one has left a lot of unanswered questions and raised the expectations to another level altogether. Hope the next one comes in a 3D version!
Must watch this is! (TV sets/ laptops will not do justice to the enormity. So watch it only in theatres!)
Mary Kom
(2014)
This Mary settles for a SILVER!
7 September 2014
Debutante director Omung Kumar's 'Mary Kom' is an inheritance in many ways – a biopic, a sports-based (non-cricket) film, a woman- oriented subject. However, as a combination of all 3 (sportswoman biopic), it is a first in B'town; more so because unlike past biopics which were based on long-lived sportspersons, this one is based on a 32-year young boxer. Right from its first teaser, it was being termed as one of the most awaited movies of the year and senior PC's ambitious film. A brief movie dissection punch-by-punch as follows:
Plot: Being a sports biopic, comparison with last released same genre flick 'Bhaag Milkha Bhaag' is inevitable. Parallely, being based on woman boxer's struggle to pinnacle, comparison with Oscar winning 'Million dollar baby' (MDB) is not unjustified. However, Mary fails to match the glory of either. The movie, as expected, takes you through the life and struggle of a Manipuri girl who nurtures the burning desire of playing this male-dominated sport since childhood. The narrative is fast and bang-on esp. in the first half. The second half, however, is too cut-short and emotional, lacking thrill-element (which is a must in a sports movie). In fact, the movie would have been crisper without an intermission considering its short length. However, it does manage to highlight the bleak side of Indian sports management and dirty politics involved. It borrows its coach-trainee relationship from MDB. Most importantly, it underlines the efforts and sacrifices of Onler (Mary's husband). The world forgets those heroes behind the heroes we know! This one is a salute to such support-systems. National anthem at the end does manage to give patriotic goose bumps!
Cast: It was supposed to be, and definitely is, an all Priyanka film. PC has tried her best to step into Mary's shoes be it the body language or rigorous physical training and exudes the vulnerability and dilemma of 'mother-boxer' Mary impeccably. However, she could not take out the glamorous Chopra from her character which she ably did in 'Barfi'. May be, her physical attributes went against her playing a North-Eastern girl. All this should not demean her otherwise stellar performance. Fortunately, all other (regional) actors appear more believable. Darshan Kumar as the underplayed Onler performs well while Nepali actor Sunil Thapa as the coconut (tough outside, soft inside) coach is brilliant.
Music: Music by Shashi-Shivam is a letdown. Barring "Ziddi dil", no other song impresses much. As I always say, songs in realistic movies are a bane, so does happen with 'Mary Kom'. "Salaam India" could have been come at end while "Ziddi Dil" could have been repeated in second half.
Flaws: Lot many things stopped 'Mary Kom' from becoming an epic viz.: - A less impressive climax - Too many brand-endorsements intertwined (steal away credibility of a biopic) - Lack of entertainment quotient (majorly due to no other star except PC)
Despite these flaws, Mary Kom wins due to its honest intent to narrate the story of a living legend and good performances by most star-cast. Sanjay Leela Bhansali and Viacom movies deserve accolade for choosing to make movie on a non- glitzy subject like this. This magnificent Mary might not win gold (at box-office and award- ceremonies) but does manage to strike silver and wins hearts to quite an extent.
Plot: Being a sports biopic, comparison with last released same genre flick 'Bhaag Milkha Bhaag' is inevitable. Parallely, being based on woman boxer's struggle to pinnacle, comparison with Oscar winning 'Million dollar baby' (MDB) is not unjustified. However, Mary fails to match the glory of either. The movie, as expected, takes you through the life and struggle of a Manipuri girl who nurtures the burning desire of playing this male-dominated sport since childhood. The narrative is fast and bang-on esp. in the first half. The second half, however, is too cut-short and emotional, lacking thrill-element (which is a must in a sports movie). In fact, the movie would have been crisper without an intermission considering its short length. However, it does manage to highlight the bleak side of Indian sports management and dirty politics involved. It borrows its coach-trainee relationship from MDB. Most importantly, it underlines the efforts and sacrifices of Onler (Mary's husband). The world forgets those heroes behind the heroes we know! This one is a salute to such support-systems. National anthem at the end does manage to give patriotic goose bumps!
Cast: It was supposed to be, and definitely is, an all Priyanka film. PC has tried her best to step into Mary's shoes be it the body language or rigorous physical training and exudes the vulnerability and dilemma of 'mother-boxer' Mary impeccably. However, she could not take out the glamorous Chopra from her character which she ably did in 'Barfi'. May be, her physical attributes went against her playing a North-Eastern girl. All this should not demean her otherwise stellar performance. Fortunately, all other (regional) actors appear more believable. Darshan Kumar as the underplayed Onler performs well while Nepali actor Sunil Thapa as the coconut (tough outside, soft inside) coach is brilliant.
Music: Music by Shashi-Shivam is a letdown. Barring "Ziddi dil", no other song impresses much. As I always say, songs in realistic movies are a bane, so does happen with 'Mary Kom'. "Salaam India" could have been come at end while "Ziddi Dil" could have been repeated in second half.
Flaws: Lot many things stopped 'Mary Kom' from becoming an epic viz.: - A less impressive climax - Too many brand-endorsements intertwined (steal away credibility of a biopic) - Lack of entertainment quotient (majorly due to no other star except PC)
Despite these flaws, Mary Kom wins due to its honest intent to narrate the story of a living legend and good performances by most star-cast. Sanjay Leela Bhansali and Viacom movies deserve accolade for choosing to make movie on a non- glitzy subject like this. This magnificent Mary might not win gold (at box-office and award- ceremonies) but does manage to strike silver and wins hearts to quite an extent.
Mardaani
(2014)
Mardaani is no lady Singham but beyond..
24 August 2014
Looks like, 2014 has ushered in an era of women-centric movies. After Kangana in and as 'Queen' and 'Revolver Rani' and before PC appears in and as 'Mary Kom', comes Rani Mukherjee in and as 'Mardaani'. Though a cop saga, this one doesn't fall into the Chulbul/ Singham masala territory of singing-dancing cops. Rather, makers have tried their best to make it as genuine and relevant as possible. It may somewhere be compared to the likes of Sushmita's 'Samay' but falls short of becoming a 'Gangajal'. A detailed analysis of the movie as follows:
Plot: Contrary to most women-centric movies, this one doesn't revolve around life of main protagonist Shivani Shivaji Roy played by Rani. Rather, it touches upon nuances and details of the gory world of crime specifically flesh and drugs trade. Director Pradeep Sarkar sticks to the topic and creates a no-nonsense saga. However, this makes the movie a bit dry sans glamour and masala entertainment. Also, movie tends to slow in parts; but then that is how our police system operates amidst the red-tape rule book. The climax is a bit over-the-top but heartening. A feel-good ending always makes you leave theatre with a ray of hope in heart. Considering the topic, there are some disturbing scenes (which justifiably called for an A-rating). 'Mardaani''s biggest success is that it doesn't end to be a documentary on human trafficking but keeps you engaged most of the time through a well-crafted storyline.
Cast: Rani returns to big screen after a hiatus and this is her first release after her wedding. Despite signs of ageing and those extra pounds, she chose to go de-glam and play the 'duty-first' Shivani with full élan! Her body language, mannerisms, action-avatar and emotions (esp. her talking eyes) are all perfect to suit the role. This can be rated an inch above her 'Noone killed Jessica' performance, since this time there was no Vidya to support and the movie literally stands on her shoulders. No, it is not a one-woman show. Tahir Bhasin, as the main antagonist, gives full takkar to Rani. His guy-next-door looks, body- language and dilli-stic dialogue-delivery infuse life into his character. His talent should definitely be further explored in future. Rest of the support cast does full justice to their roles making the flick realistic.
Music: Fortunately, as required in such films, there is no song to break the pace of the movie. The only one ("Main tujhe nahi chhodungi") comes towards the end and adds to the mood of the moment.
Flaws: 'Mardaani' could have been a movie to remember and join the likes of 'Kahani' and 'Queen'. However, in quest of making it too realistic, it lacks entertainment value and thrill. Somewhere, you get a feel of having watched a 'Crime patrol' episode. Too much detailing makes it lost track intermittently. Also, Rani alone handling the case in the end looks a bit fictional.
Despite these flaws, Yashraj Films deserve applause for having selected this burning topic and showcasing it on big screen under their commercial banner. This movie is not recommended for those searching for light-hearted entertainment. However, for those longing for sensible, meaningful stuff, do NOT dare give it a miss!
Plot: Contrary to most women-centric movies, this one doesn't revolve around life of main protagonist Shivani Shivaji Roy played by Rani. Rather, it touches upon nuances and details of the gory world of crime specifically flesh and drugs trade. Director Pradeep Sarkar sticks to the topic and creates a no-nonsense saga. However, this makes the movie a bit dry sans glamour and masala entertainment. Also, movie tends to slow in parts; but then that is how our police system operates amidst the red-tape rule book. The climax is a bit over-the-top but heartening. A feel-good ending always makes you leave theatre with a ray of hope in heart. Considering the topic, there are some disturbing scenes (which justifiably called for an A-rating). 'Mardaani''s biggest success is that it doesn't end to be a documentary on human trafficking but keeps you engaged most of the time through a well-crafted storyline.
Cast: Rani returns to big screen after a hiatus and this is her first release after her wedding. Despite signs of ageing and those extra pounds, she chose to go de-glam and play the 'duty-first' Shivani with full élan! Her body language, mannerisms, action-avatar and emotions (esp. her talking eyes) are all perfect to suit the role. This can be rated an inch above her 'Noone killed Jessica' performance, since this time there was no Vidya to support and the movie literally stands on her shoulders. No, it is not a one-woman show. Tahir Bhasin, as the main antagonist, gives full takkar to Rani. His guy-next-door looks, body- language and dilli-stic dialogue-delivery infuse life into his character. His talent should definitely be further explored in future. Rest of the support cast does full justice to their roles making the flick realistic.
Music: Fortunately, as required in such films, there is no song to break the pace of the movie. The only one ("Main tujhe nahi chhodungi") comes towards the end and adds to the mood of the moment.
Flaws: 'Mardaani' could have been a movie to remember and join the likes of 'Kahani' and 'Queen'. However, in quest of making it too realistic, it lacks entertainment value and thrill. Somewhere, you get a feel of having watched a 'Crime patrol' episode. Too much detailing makes it lost track intermittently. Also, Rani alone handling the case in the end looks a bit fictional.
Despite these flaws, Yashraj Films deserve applause for having selected this burning topic and showcasing it on big screen under their commercial banner. This movie is not recommended for those searching for light-hearted entertainment. However, for those longing for sensible, meaningful stuff, do NOT dare give it a miss!
Kick
(2014)
This KICK does click!
27 July 2014
"Dil me aata Hun, samajh me nahi" – This tag line literally has summarized most Salman-starers in recent past; where logic takes a backseat and entertainment is the key-word. Post the not-so-good BO performance of 'Jai ho', Dabangg Khan is back to his Robin Hood territory of a man of Grey actions but a heart of gold. Ace producer Sajid Nadiadwala has for the first time, stepped in director's shoes and does a decent job riding on Khan's repute and some class performances. A brief about what kicks this 'Kick' –
Plot: What do you get when you mix 'Ready' comedy, 'Dhoom-2' plot and 'Jai ho' emotions? A 'Kick'! Yes, this one is a clear-cut deja- vu cocktail with ingredients in that sequence. First half is slow and bores with its mindless gags and mad situations. However, the movie picks pace a little before intermission and continues to accelerate in the second half when romance takes a backseat and action-drama takes over. Though the climax isn't great, it doesn't disappoint either. In all, it does manage to give the audience a kick (adrenaline rush) with paisa-vasool entertainment.
Cast: A Salman film is supposed to be a one-man show. Not his one, as it gives enough footage to Randeep Hooda and Nawazuddin Siddiqui. Salman is as usual his entertaining self, looking more handsome and fit than he did in his earlier flicks (with or without French-beard). What differentiates this one from Dhoom series is clearly Hooda, who doesn't appear a loser and gives equal takkar to Khan with his killer mannerisms. However, what gives this movie the real kick is Nawaz! This man clearly overshadows Khan with his brief yet emphatic role. His devilish yet funny reactions steal the show from the on-screen 'DeviL'. It seems villains are the flavor of this season. After awesome performance by Riteish Deshmukh in 'Ek villain', Nawaz's villaingiri will be fondly remembered. Jacqueline adds to the glam quotient (esp. in Jumme Ki rat song) and emulates Kat to some extent. Interestingly, she is nowhere to be seen in the last 15 minutes of the movie. Rest of the actors – Mithun DA, Archana Puran Singh, Saurabh Shukla, Sanjai Mishra and Sumona just come and go. Nargis Fakri fails to mesmerize in her item number.
Music: They say – "Too many chefs spoil the dish". Same happened here as a mock tail of Himesh, Yo Yo and Meet bros couldn't do any magic and ended up creating average music. Jumme Ki rat sounds more like Chintata and Yaar Na mile is unexceptional. However, Salman shows signs of improvement as singer – Hangover is melodious to some extent. Ahmed Khan's choreography is ordinary.
For those searching for some meaning and logic or any other serious stuff, this one is not for you. However, Kick doesn't fail to entertain and with no major release coming in the next 2 weeks, this one will surely mint gold at box-office. Watch it for Nawaz, Hooda and of course Salman.
Bhai Ki Eidi ban-ti hai!
Plot: What do you get when you mix 'Ready' comedy, 'Dhoom-2' plot and 'Jai ho' emotions? A 'Kick'! Yes, this one is a clear-cut deja- vu cocktail with ingredients in that sequence. First half is slow and bores with its mindless gags and mad situations. However, the movie picks pace a little before intermission and continues to accelerate in the second half when romance takes a backseat and action-drama takes over. Though the climax isn't great, it doesn't disappoint either. In all, it does manage to give the audience a kick (adrenaline rush) with paisa-vasool entertainment.
Cast: A Salman film is supposed to be a one-man show. Not his one, as it gives enough footage to Randeep Hooda and Nawazuddin Siddiqui. Salman is as usual his entertaining self, looking more handsome and fit than he did in his earlier flicks (with or without French-beard). What differentiates this one from Dhoom series is clearly Hooda, who doesn't appear a loser and gives equal takkar to Khan with his killer mannerisms. However, what gives this movie the real kick is Nawaz! This man clearly overshadows Khan with his brief yet emphatic role. His devilish yet funny reactions steal the show from the on-screen 'DeviL'. It seems villains are the flavor of this season. After awesome performance by Riteish Deshmukh in 'Ek villain', Nawaz's villaingiri will be fondly remembered. Jacqueline adds to the glam quotient (esp. in Jumme Ki rat song) and emulates Kat to some extent. Interestingly, she is nowhere to be seen in the last 15 minutes of the movie. Rest of the actors – Mithun DA, Archana Puran Singh, Saurabh Shukla, Sanjai Mishra and Sumona just come and go. Nargis Fakri fails to mesmerize in her item number.
Music: They say – "Too many chefs spoil the dish". Same happened here as a mock tail of Himesh, Yo Yo and Meet bros couldn't do any magic and ended up creating average music. Jumme Ki rat sounds more like Chintata and Yaar Na mile is unexceptional. However, Salman shows signs of improvement as singer – Hangover is melodious to some extent. Ahmed Khan's choreography is ordinary.
For those searching for some meaning and logic or any other serious stuff, this one is not for you. However, Kick doesn't fail to entertain and with no major release coming in the next 2 weeks, this one will surely mint gold at box-office. Watch it for Nawaz, Hooda and of course Salman.
Bhai Ki Eidi ban-ti hai!
The Villain
(2014)
Less villaingiri, more romance..
29 June 2014
Mohit Suri, king of melancholy, yet again takes you to downhearted and dark lanes of crime, emotions and solitude mixed with tender moments of love. This time, he chose to remake a Korean film (I saw the devil) while making it less gory and bloody and adding tadka of emotions and romance. However, in this mix-n-match attempt, he neither creates a deep-dark 'Kalyug' nor an out & out romantic 'Aashiqui 2'; getting lost somewhere in between. Anyways, let's delve into nuances one-by-one:
Hence, though the movie fails to match the expectations created by its trailer, it is still not that bad and does come as a light gust of wind amidst earlier mindless releases. Watch it for Riteish and Sid!
- Plot: Though the macro part of story has been ripped off the Korean movie, a lot of customization has been done by Suri to match the expectations of Indian audience who are still not prepared to watch too much bloodshed on screen. Though touted as a thriller, 'Ek villain' lacks thrill upfront. Since, the suspense element about 'the' villain is out in open in the first half an hour, the only excitement left is the chase, which again ends right before intermission. This makes the movie draggy post interval. The main problem is hence with putting the sequences in right order and the to-and-fro movement of storyline becomes a bane here.
- Cast: The so far chikna suave Sidharth Malhotra steps into the role of angry young man (literally as he reflects Big B's mannerisms throughout) for the first time and does justice to his role to a large extent exuding ample machismo, aggression and vulnerability. Shraddha Kapoor is her sweet self, lighting the screen by sheer appearance (though a bit loud mouth initially). However, surprise package of the movie is, as expected, Riteish Deshmukh. In a completely hat-ke role, he emotes through his eyes, while keeping a perfect body language required for the character. Aamna Sharif is beautiful and does justice to her part. Sadly, Remo Fernandes, KRK (yes, he is also there) and Shaad Randhava are clear-cut miscasts. Prachi Desai couldn't charm as much in the sluggish item number.
- Music: Though Ankit Tiwari and Mithoon could not weave the 'Aashiqui 2' magic, the music is still quite good. 'Gallian' (both versions including the one rendered by Shraddha herself), 'Banjare' and 'Zaroorat' are beautiful and soulful compositions.
Hence, though the movie fails to match the expectations created by its trailer, it is still not that bad and does come as a light gust of wind amidst earlier mindless releases. Watch it for Riteish and Sid!
The Xpose
(2014)
Xpose: Not that bad! :)
18 May 2014
Yes, I did go to watch a Himesh Reshammiya movie for the first time in my life. And the movie fulfilled all I wanted out of it, fultoo fun and jibe moments through over-the-top performances by most actors (Himesh leading the pack all the way!)
Also, the movie does surprise with some twists. When you think it's all over, it reveals some more layers over layers. Finding the 'real' killer isn't that easy after all. The plot is Agatha Christi-c, the premises 60's ka Bollywood. Ananth Mahadevan (director) succeeds in presenting this murder-mystery on-screen upto an extent.
Its out an out HR movie who reminds you of actor Late Raj Kumar as superstar Ravi Kumar with similar attitude, arrogance, self-obsession (talking of himself in third person). All this exudes oodles of unintended humour. His dhaansu dialogues (some of which make no sense) can send intellectuals to coma but those searching fun will have a gala time. His overcoats and jackets (esp the red one) can't be ignored (ROFL). Characters of Sonali Raut and Zoya Afroz are drawn as parallels to Zeenat Aman and Late Parveen Babi. So beaucoup de skin show (justifying film's title). Honey Singh also doesn't act but even then his mannerisms too invoke smiles! Contrastingly, ace actors like Irrfan, Rajesh Sharma and Adil Hussain do justice with their brief roles. Music (both songs and background) is quite peppy and catchy and some songs are quite melodious. Full marks to Himesh and Yo Yo for the same! In all, this 2-hr movie isn't meant for our grey matter but is still watchable (esp if watched with friends and fun-intent). My rating: **1/2
Also, the movie does surprise with some twists. When you think it's all over, it reveals some more layers over layers. Finding the 'real' killer isn't that easy after all. The plot is Agatha Christi-c, the premises 60's ka Bollywood. Ananth Mahadevan (director) succeeds in presenting this murder-mystery on-screen upto an extent.
Its out an out HR movie who reminds you of actor Late Raj Kumar as superstar Ravi Kumar with similar attitude, arrogance, self-obsession (talking of himself in third person). All this exudes oodles of unintended humour. His dhaansu dialogues (some of which make no sense) can send intellectuals to coma but those searching fun will have a gala time. His overcoats and jackets (esp the red one) can't be ignored (ROFL). Characters of Sonali Raut and Zoya Afroz are drawn as parallels to Zeenat Aman and Late Parveen Babi. So beaucoup de skin show (justifying film's title). Honey Singh also doesn't act but even then his mannerisms too invoke smiles! Contrastingly, ace actors like Irrfan, Rajesh Sharma and Adil Hussain do justice with their brief roles. Music (both songs and background) is quite peppy and catchy and some songs are quite melodious. Full marks to Himesh and Yo Yo for the same! In all, this 2-hr movie isn't meant for our grey matter but is still watchable (esp if watched with friends and fun-intent). My rating: **1/2
Revolver Rani
(2014)
This Queen blazing guns!
27 April 2014
Brash, offbeat, unconventional - this sums up the latest outing of the latest Queen of Bollywood, Kangana Ranaut. This bandit queen avatar of hers is no less interesting where she immaculately displays the anger, attitude, madness, vulnerability and insecurities of Alka Singh. Boss, Kangana has literally replaced Vidya Balan in the territory of varied women-oriented dhansu films (2 in a row this year itself)!
As far as the movie is concerned, the storyline lacks depth but it is the realistic performances of all actors which infuses life in the movie. Director Sai Kabir has literally tread Tigmanshu Dhulia's lanes with this one. Another good part of the movies is the surprise element and twists and turns it keeps throwing till the last scene making it pacy and thrilling, esp in the second half.
Madhya Pradesh, the bihads of Morena and Chambal and local politics literally come alive on screen. Enough comic value is added by melodramatic characters, their mannerisms and Hinglish takia kalams. Vir Das has for the first time got a chance to play a lead role (though the hero remains Kangana), but he doesn't disappoint. All other actors esp. Piyush Mishra as 'Mama' do full justice to their roles.
Music is as unconventional as the movie (Nice to hear Asha Bhosle and Usha Uthup after long).
Verdict: Not meant for all. Only those who are really interested in off- beat and non-mainstream (typical rom coms type) cinema, should venture in.
My rating: *** ½
P.S.: The symbolic comparison of our (Revolver) Rani with Rani Laxmibai in the climax should not be missed.:)
As far as the movie is concerned, the storyline lacks depth but it is the realistic performances of all actors which infuses life in the movie. Director Sai Kabir has literally tread Tigmanshu Dhulia's lanes with this one. Another good part of the movies is the surprise element and twists and turns it keeps throwing till the last scene making it pacy and thrilling, esp in the second half.
Madhya Pradesh, the bihads of Morena and Chambal and local politics literally come alive on screen. Enough comic value is added by melodramatic characters, their mannerisms and Hinglish takia kalams. Vir Das has for the first time got a chance to play a lead role (though the hero remains Kangana), but he doesn't disappoint. All other actors esp. Piyush Mishra as 'Mama' do full justice to their roles.
Music is as unconventional as the movie (Nice to hear Asha Bhosle and Usha Uthup after long).
Verdict: Not meant for all. Only those who are really interested in off- beat and non-mainstream (typical rom coms type) cinema, should venture in.
My rating: *** ½
P.S.: The symbolic comparison of our (Revolver) Rani with Rani Laxmibai in the climax should not be missed.:)
Queen
(2013)
This 'queen' will surely rule your hearts! <3 <3
7 March 2014
Wanna experience a hot air balloon ride? If not literally, Vikas Bahl's 'Queen' will surely give you the feel! This one too takes off after fire of strife but gradually zooms up in the air higher and higher, all liberated from the shackles of earthly rules and grief. 'Queen' is a journey of discovering oneself. Simply put – "When things go wrong, cry not; gather your guts, not just move over but fly!". A more detailed analysis follows:
Plot: The plot resembles Gauri Shinde's 'English vinglish' in its theme but it is the execution and premises which makes 'Queen' more exuberant. While the former was poised and mature, this one is raw, yet sensitive, sensible, effervescent, all at the same time. How an otherwise banal story on paper could become so entertaining on-screen, only Bahl can tell. He injected the same positivity in his debut venture 'Chillar party' earlier. Another endearing fact is the handling of 'haww'-type (by Indian sanskriti standards) cheeky humor gracefully enough to make it watchable with family. Dialogues by Anvita Dutt and Kangana (yes, she has contributed here too) are pertinent. Despite lot of French and little Japanese here & there (with no subtitles), you don't mind as the situation and emotions say it all. Dilliwali Punjabi lingo, though, adds credibility. Heartiest congratulations to Anurag Kashyap and Vikramaditya Motwane for shelling put money for such a cinematic delight!
Cast: It is out and out Kangana's film, with all others in supporting role. Bahl is believable in saying he penned Rani's role keeping only her in mind. No other actress would have better lived the vulnerability, innocence, craziness, elegance and emotions of Rani, the way Kangana did. This movie will definitely mark as a milestone in her career and give all reasons to other filmmakers to look beyond her fashionistic persona. Donning demure, no make-up, plaited look and wearing kurti with sweaters, she looks perfectly the Indian girl next door. At the climax too, she looks glamorous not out of the dress but the confidence she wears! Full marks to casting directors as all actors play within the skin of their respective characters, be it the confused Rajkkumar Rao, Rani's family (Dadi is esp. lovable), sensuous smart Lisa Hayden or Rani's endearing firangi friends.
Cinematography: On Rani's canvas, you get to move from rues of Lajpat Nagar to the majestic Eifel Tower to the picturesque bridges of Amsterdam! Kudos to Siddharth Diwan and Bobby Singh for the awesome camera work!
Music: Amit Trivedi is a winner all the way. Already hit "London thumakda" gives way to "Ranjha", classical pop 'Badra bahaar' and 'O gujariya'. However, it is the remixed "Hungama ho gaya" from 'Anhonee' (1973) rendered emphatically by ever boisterous Asha Bhosle, which stays with you even after you leave the theatre. Songs are nowhere a speed- breaker in this flick.
Flaws: I failed to find any. :)
The film ends with a confident rejuvenated Rani thanking her betrayer for giving her the opportunity for self-awakening; we as audience thank the director for infusing optimism into the minds and hearts of esp. female watchers. Go ladies, this one's the best Woman's day gift you can give to yourself. Men too will surely enjoy it for all its youthfulness. It's a movie for all. HIGHLY RECOMMENDED.
My rating: ****1/2 (my favourite in the last 1 year)
P.S.: Ending credential FB ishtyle are not to be missed!
Plot: The plot resembles Gauri Shinde's 'English vinglish' in its theme but it is the execution and premises which makes 'Queen' more exuberant. While the former was poised and mature, this one is raw, yet sensitive, sensible, effervescent, all at the same time. How an otherwise banal story on paper could become so entertaining on-screen, only Bahl can tell. He injected the same positivity in his debut venture 'Chillar party' earlier. Another endearing fact is the handling of 'haww'-type (by Indian sanskriti standards) cheeky humor gracefully enough to make it watchable with family. Dialogues by Anvita Dutt and Kangana (yes, she has contributed here too) are pertinent. Despite lot of French and little Japanese here & there (with no subtitles), you don't mind as the situation and emotions say it all. Dilliwali Punjabi lingo, though, adds credibility. Heartiest congratulations to Anurag Kashyap and Vikramaditya Motwane for shelling put money for such a cinematic delight!
Cast: It is out and out Kangana's film, with all others in supporting role. Bahl is believable in saying he penned Rani's role keeping only her in mind. No other actress would have better lived the vulnerability, innocence, craziness, elegance and emotions of Rani, the way Kangana did. This movie will definitely mark as a milestone in her career and give all reasons to other filmmakers to look beyond her fashionistic persona. Donning demure, no make-up, plaited look and wearing kurti with sweaters, she looks perfectly the Indian girl next door. At the climax too, she looks glamorous not out of the dress but the confidence she wears! Full marks to casting directors as all actors play within the skin of their respective characters, be it the confused Rajkkumar Rao, Rani's family (Dadi is esp. lovable), sensuous smart Lisa Hayden or Rani's endearing firangi friends.
Cinematography: On Rani's canvas, you get to move from rues of Lajpat Nagar to the majestic Eifel Tower to the picturesque bridges of Amsterdam! Kudos to Siddharth Diwan and Bobby Singh for the awesome camera work!
Music: Amit Trivedi is a winner all the way. Already hit "London thumakda" gives way to "Ranjha", classical pop 'Badra bahaar' and 'O gujariya'. However, it is the remixed "Hungama ho gaya" from 'Anhonee' (1973) rendered emphatically by ever boisterous Asha Bhosle, which stays with you even after you leave the theatre. Songs are nowhere a speed- breaker in this flick.
Flaws: I failed to find any. :)
The film ends with a confident rejuvenated Rani thanking her betrayer for giving her the opportunity for self-awakening; we as audience thank the director for infusing optimism into the minds and hearts of esp. female watchers. Go ladies, this one's the best Woman's day gift you can give to yourself. Men too will surely enjoy it for all its youthfulness. It's a movie for all. HIGHLY RECOMMENDED.
My rating: ****1/2 (my favourite in the last 1 year)
P.S.: Ending credential FB ishtyle are not to be missed!
Shaadi Ke Side Effects
(2014)
Effective side-effects of shaadi!
1 March 2014
It took more than 7 years for 'pyar' to culminate into 'shaadi' for director Saket Chaudhary! His suave Sid and crazy Trisha (same character names as in the prequel 'Pyar ke side effects') finally get a reality check into the practical world of ' & they happily lived ever after'. Let's check all side-effects of this flick one-by-one:
Plot: SKSE narrates the mundane yet pragmatic nuances of married life through the eyes of its male protagonist making the movie a fun riot for guys (with wife-jokes and mother-in-law jibes). However, this one won't disappoint ladies either as it does have its moments of sensitivity, emotions, tenderness and utter feminism. The movie well depicts the scuffle and issues that emerge into life of 2 people when they graduate from being 'couple' to 'parents'. Vidya's dialogue to Farhan – "We're pregnant" says it all! While the first half is smooth and refreshing (tickling your funny bone on regular basis), it loses a little grip in the middle but ends with a tinge of emotional (yet predictable) maturity enunciating 'strategy' for happy marriage.
Cast: Farhan being the narrator, is the backbone of SKSE and literally wears Sid's soul on his sleeves! In all avatars, emotional/ fun, bachelor/ father, he excels and manages to convey with ease dilemmas of unprepared fatherhood along with his strife to strike a balance between the husband and father in him. Vidya, as per some people, is a misfit as she looks bloated throughout the movie. But then, who would have so easily portrayed the vulnerable yet suave yet wild Trisha who has just entered motherhood. I would rather say, her unshapely shape actually suited the demands of the character. The skin show could have been averted but then Vidya manages to carry it all with élan. Real-life couple Ram and Gautami Kapoor are endearing with Ram getting a good screen-space. He doesn't disappoint. Real-life VJs Purab Kohli and Vir Das manage to add funkiness through their respective characters. It was good to see Ila Arun after a long time while Rati Agnihotri fails to impress.
Music: Opening number, Indo-western 'Desi romance' is my pick from the album while title track rocks with its Punjabi touch and funny lyrics by Amitabh Bhattacharya. Jazzy B's 'Harry is not a Brahamchari' is becoming a rage among boys. 'I am sorry tumse pyar ho gaya' reminds of 'Kya karun' from 'Wake up Sid'. Pritam won't stop drawing inspirations! In all music and background score well-suit the mood and pace of movie.
Flaws: Despite superb acting by its actors, SKSE does have its share of flaws, major one being, extremity in certain situations reducing authenticity! Being narrated by male protagonist, it is quite skewed in favour of 'Adam' gender relegating the 'Eve' stereotyped. Also, the self-professed dual-life portion of Sid is a bit exaggerated.
Despite these flaws, SKSE is a refreshing urbane rom-com dealing with relevant issues of modern-day couples. Go watch it with your friends for some good laugh or your spouse to rewind some memories! This shaadi ka laddoo is worth tasting at least once!
Plot: SKSE narrates the mundane yet pragmatic nuances of married life through the eyes of its male protagonist making the movie a fun riot for guys (with wife-jokes and mother-in-law jibes). However, this one won't disappoint ladies either as it does have its moments of sensitivity, emotions, tenderness and utter feminism. The movie well depicts the scuffle and issues that emerge into life of 2 people when they graduate from being 'couple' to 'parents'. Vidya's dialogue to Farhan – "We're pregnant" says it all! While the first half is smooth and refreshing (tickling your funny bone on regular basis), it loses a little grip in the middle but ends with a tinge of emotional (yet predictable) maturity enunciating 'strategy' for happy marriage.
Cast: Farhan being the narrator, is the backbone of SKSE and literally wears Sid's soul on his sleeves! In all avatars, emotional/ fun, bachelor/ father, he excels and manages to convey with ease dilemmas of unprepared fatherhood along with his strife to strike a balance between the husband and father in him. Vidya, as per some people, is a misfit as she looks bloated throughout the movie. But then, who would have so easily portrayed the vulnerable yet suave yet wild Trisha who has just entered motherhood. I would rather say, her unshapely shape actually suited the demands of the character. The skin show could have been averted but then Vidya manages to carry it all with élan. Real-life couple Ram and Gautami Kapoor are endearing with Ram getting a good screen-space. He doesn't disappoint. Real-life VJs Purab Kohli and Vir Das manage to add funkiness through their respective characters. It was good to see Ila Arun after a long time while Rati Agnihotri fails to impress.
Music: Opening number, Indo-western 'Desi romance' is my pick from the album while title track rocks with its Punjabi touch and funny lyrics by Amitabh Bhattacharya. Jazzy B's 'Harry is not a Brahamchari' is becoming a rage among boys. 'I am sorry tumse pyar ho gaya' reminds of 'Kya karun' from 'Wake up Sid'. Pritam won't stop drawing inspirations! In all music and background score well-suit the mood and pace of movie.
Flaws: Despite superb acting by its actors, SKSE does have its share of flaws, major one being, extremity in certain situations reducing authenticity! Being narrated by male protagonist, it is quite skewed in favour of 'Adam' gender relegating the 'Eve' stereotyped. Also, the self-professed dual-life portion of Sid is a bit exaggerated.
Despite these flaws, SKSE is a refreshing urbane rom-com dealing with relevant issues of modern-day couples. Go watch it with your friends for some good laugh or your spouse to rewind some memories! This shaadi ka laddoo is worth tasting at least once!
Dhoom 3
(2013)
3rd edition of Dhoom: Doom or zoom?
27 December 2013
First and foremost, it is not that bad a movie as it is being debated and discussed on various forums. Yes, going by the yardsticks of the Dhoom franchise and being an Aamir Khan film, it does fall short. But that should not make us write the movie off. First half totally fails. Perhaps the editor went on leave while editing this portion. Unnecessary scenes, unbelievable (over the top) stunts and slack pace make the movie literally clumsy. However, it's the second half which grips and keeps one hooked till the end. Barring an unnecessary (Read: boring) song, this portion is absolutely Dhoom-type, with Aamir all-over the canvas! Where D-3 primarily lacks is the plot. What Sanjay Gadhvi did with the first 2 ventures could not be replicated, leave alone improvised, by new Director Acharya! He literally wanted to turn the flick into another Tashan (his debut directorial venture)! Story has been an integral part of Dhoom series. Here, story begins only after intermission (We don't mind the rip-off from certain Hollywood flicks). Unlike earlier Dhooms, this one doesn't go into execution of theft but is more into innovative escapades of the thief. Coming to performances, Aamir as usual excels when it comes to acting. However, signs of ageing can be easily seen on his face this time. Also, it will be unfair to compare him to Hrithik in dance and action sequences. Aamir has indeed worked very hard for the role, be it the well-sculpted body or chase sequences. Many people are complaining why he chose such a commercial venture. Boss, Aamir is no reformer who has the responsibility of doing meaningful, message-delivering films! He too has the right to do pure commercial (read: mindless) business, after all its showbiz. Rest of the 20% star-cast is ordinary. (Yes, Aamir steals 80% screen space!) While Katrina is there just to shake her muscular toned legs, Abhishek-Uday (the unbearable yet inseparable back-loads of previous ventures) try their best to waste away the movie-time with their not-so-funny gimmicks. Siddharth Nigam is extremely endearing as young Aamir. Wonder his striking resemblance to Darsheel Safary, another child protégé of Aamir! Music is another let-down of D-3, further depreciated by bad marketing. Malang song, being vouched as the most expensive song in Bollywood till date, is an exception with superb music and singing. Tu hi junoon reminds you of Behka main (Ghajini) in its theme. Kamli is on the lines of crazy kiya re but not as good. Pritam, in all, failed to weave magic he did earlier. Cinematography is marvelous. Chicago city comes alive on-screen with full colors. Dialogues are a mixed bag. The best ones, of course, come in Aamir's share. The film has already broken all box-office records and will break many more. However, these days quality of films is not to be judged by the money they mint. This one certainly isn't that great but can definitely be watched once (with no other option available in theatres). So, this Dhoom is neither boom, nor does zoom but does bloom (in 2nd half)!
My rating: ***
My rating: ***
Bhaag Milkha Bhaag
(2013)
Milkha ran – but couldn't overtake Pan Singh
28 November 2013
First things first, this sports movie will constantly give u a feel of deja-vu of a certain Pan Singh Tomar. Rakeysh Omprakash Mehra is back after Delhi-6 debacle but is not as thumping as his masterpiece RDB. Boasting of brilliant performances by mostly all characters, this biopic becomes myopic with unnecessary love angles, non-required songs and a certain sluggishness. Farhan gives an out of skin performance and virtually looks like the real Flying Sikh. Pavan Malhotra and Divya Dutta are as endearing as the child actor who played young Milkha. Cinematography is realistic. Music is a bit ill-placed with powerful song like 'Zinda' not used to its full potential. Sonam and Rebecca just come and go to add glam which wasn't required in an otherwise genuine story. In all, a bit less than my expectations but definitely a one-time watch; all for Akhtar's hardwork and as a salute to a great sportsperson!
OMG: Oh My God!
(2012)
OMG! Watta movie! :)
27 November 2013
OMG...what an year it is turning out to be for Bollywood!! 2 extreme cinemas, both ruling the same roost bole to 1 myan me 2 talvarein! One belongs to the likes of masses, masala entertainers (Rowdy Rathore, Ek tha Tiger) while others that matter the grey matter (a full list of them that begun with PST and Kahani and now unstopped at OMG!! Coming to OMG now..rather than writing a full review, i will mention its gist just like the acronym it is:
1. Another non-chocolaty main protagonist - Paresh Kanjilal Rawal. He is known for putting life in whatever character he dones and this one is no different.
2. "Religion is the opium of masses" and more so in a diverse nation like ours where the opium comes in different flavours. Making an eye- opener on such a sensitive topic is not as easy as it seems to be. It might appear preachy in patches but nevertheless its like a lecture we get from our parents after we err; and one leaves the cinema-hall with the same guilt. The movie tends to redefine 'God' and 'Religion'.
3. Akshay as God might not sound like a believable bet but as the film progresses and by the time it ends one starts looking beyond AK to feel the real Krishna.
4. Mithunda (doning looks and mannerisms of Sri Sri) is the surprise package of the movie. His performance as the diplomatic yet feminish religious guru was seriously - kya baat..kya baat...kya baat!!! Govind Namdev tickled through his loudness.
5. Other supporting cast seems to be an ensemble of deja-vu characters from TV ads, nevertheless, endearing and non-starry.
6. Music is well woven in the movie. Though some people find Go Govinda out of place, I feel, it does add some pace and rhythm to the story. A couple of others like "Main to nahin" and "Hare Rama" move intertwined with the movie.
In all, OMG is a brave attempt from Hindi Film Industry targeting to make people understand real meaning of God, making a call to shun all material and ritual practices and try to find God out of statues. GO FOR IT GUYS!!
1. Another non-chocolaty main protagonist - Paresh Kanjilal Rawal. He is known for putting life in whatever character he dones and this one is no different.
2. "Religion is the opium of masses" and more so in a diverse nation like ours where the opium comes in different flavours. Making an eye- opener on such a sensitive topic is not as easy as it seems to be. It might appear preachy in patches but nevertheless its like a lecture we get from our parents after we err; and one leaves the cinema-hall with the same guilt. The movie tends to redefine 'God' and 'Religion'.
3. Akshay as God might not sound like a believable bet but as the film progresses and by the time it ends one starts looking beyond AK to feel the real Krishna.
4. Mithunda (doning looks and mannerisms of Sri Sri) is the surprise package of the movie. His performance as the diplomatic yet feminish religious guru was seriously - kya baat..kya baat...kya baat!!! Govind Namdev tickled through his loudness.
5. Other supporting cast seems to be an ensemble of deja-vu characters from TV ads, nevertheless, endearing and non-starry.
6. Music is well woven in the movie. Though some people find Go Govinda out of place, I feel, it does add some pace and rhythm to the story. A couple of others like "Main to nahin" and "Hare Rama" move intertwined with the movie.
In all, OMG is a brave attempt from Hindi Film Industry targeting to make people understand real meaning of God, making a call to shun all material and ritual practices and try to find God out of statues. GO FOR IT GUYS!!
English Vinglish
(2012)
Welcome back Sri!
27 November 2013
She is back...yes SRI is back!! That too with a bang on performance, muttering certain English-Vinglish!! Moreover, as the film progresses, you stop searching for the Sri Hawa Hawai Devi in the Shashi Godbole she plays so naturally!! So remarkably she portrays and lives the vulnerability of a woman, that you are compelled to see beyond the star she has been. Again not delving too much into each and every detail of the movie I will share my picks:
1. Barring the strange plastic nose, even today, Sri can give many contemporary actresses run for their money. It was the role which demanded her to be draped in the 9 mtr cloth throughout, otherwise the figure she maintains can still create enough oomph!! Those big oceanic eyes can still drown many!
2. Most importantly, as against the title, the movie is not about learning a certain firangi language. Rather, it is about the journey of a woman from a dark gloomy world of low self-esteem to a confident and self-loving persona. Practically speaking, it is not a story of only some fictional Shashi, but of many Indian housewives who encounter googlies of Anglicised world around them daily. Shashi can definitely inspire some of them to break their mental shackles and discover the woman inside them who is comfortable being herself and who has the ability to walk with the world herself.
3. Yes, many characters esp. in her English class seem too type-casted and borrowed from comedies like 'Zabaan sambhaal ke' (based on 'Mind your Language'). They are still able to tickle your funny bone.
4. The director has also handled the French love angle quite sensitively. Sri makes it very clear why she is not reciprocating; respect is what she wants, not love. Best part is, there is no unnecessary melodrama on this topic.
5. Cinematography is more about skyscrapers of Manhattan with a full song dedicated to the US city. Music is peppy, not catchy though.
6. Rest of the characters are good in their own places. Sujata Kumar with her endearing smile mesmerizes. Nice to see veteran Sulabha Deshpande after long. However, there could have been some more Marathi actors to give more desi and authentic flavour to the Marathi family flick. Not to forget Big B in a small cameo. He definitely adds some more cheer to the scenes.
In all, EV is as sweet as Shashi's ladoos (yummy they look on screen!!), as suave as Shashi's looks and as focused as Shashi's will power. Those looking for G (glamour) quotient should give it a miss. Recommended for rest. Another addition to the league of nice small budget movies we are getting this year!
1. Barring the strange plastic nose, even today, Sri can give many contemporary actresses run for their money. It was the role which demanded her to be draped in the 9 mtr cloth throughout, otherwise the figure she maintains can still create enough oomph!! Those big oceanic eyes can still drown many!
2. Most importantly, as against the title, the movie is not about learning a certain firangi language. Rather, it is about the journey of a woman from a dark gloomy world of low self-esteem to a confident and self-loving persona. Practically speaking, it is not a story of only some fictional Shashi, but of many Indian housewives who encounter googlies of Anglicised world around them daily. Shashi can definitely inspire some of them to break their mental shackles and discover the woman inside them who is comfortable being herself and who has the ability to walk with the world herself.
3. Yes, many characters esp. in her English class seem too type-casted and borrowed from comedies like 'Zabaan sambhaal ke' (based on 'Mind your Language'). They are still able to tickle your funny bone.
4. The director has also handled the French love angle quite sensitively. Sri makes it very clear why she is not reciprocating; respect is what she wants, not love. Best part is, there is no unnecessary melodrama on this topic.
5. Cinematography is more about skyscrapers of Manhattan with a full song dedicated to the US city. Music is peppy, not catchy though.
6. Rest of the characters are good in their own places. Sujata Kumar with her endearing smile mesmerizes. Nice to see veteran Sulabha Deshpande after long. However, there could have been some more Marathi actors to give more desi and authentic flavour to the Marathi family flick. Not to forget Big B in a small cameo. He definitely adds some more cheer to the scenes.
In all, EV is as sweet as Shashi's ladoos (yummy they look on screen!!), as suave as Shashi's looks and as focused as Shashi's will power. Those looking for G (glamour) quotient should give it a miss. Recommended for rest. Another addition to the league of nice small budget movies we are getting this year!
Kai Po Che
(2013)
A real Kai Po Che experience!
27 November 2013
"Suljha lenge Uljhe rishton ka maanjha
". On the same lines 'Kai Po Che' manages to untangle the intricate twists and turns of the storyline. Based almost fully on Chetan Bhagat's novel 'Three mistakes of my life', Abhishek Kapoor's latest routing is as fresh a breeze of air as was his last venture 'Rock on'. While RO was glamorous and stylish with its urbane set-up, KPC is set up in the middle class lanes and struggles of 3 male protagonists (again) in the city of Ahmedabad. Like the book, the film talks about 3 lifelines of India viz. Religion, Business and Cricket (And wow! Watta timing to release the movie coinciding with advent of yet another Indo-Oz cricket series!). I will base my review on the lines of novel as follows:
Three highlights of KPC:
1. Lead actors and their performances: Gattu (as Abhishek Kapoor is popularly known in film fraternity) chose all the 3 lead actors with utter precision, all so well-suited and carved for their respective characters. Sushant Singh Rajput outclasses all others in his debut on silver screen with his charisma, energy and charm. He exudes oodles of masculinity, expresses the anguish and restlessness of Ishan with a sprinkle of tenderness, all awesomely well. Sushant has knocked the doors of Bollywood with complete élan! Amit Sadh lives the vulnerability and impulsiveness of Omi on screen quite brilliantly. Rajkumar Yadav as the coy yet intelligent Govind does full justice to his character. Others actors also look perfectly casted.
2. Cinematography and screenplay: There is an air of authenticity in 'Kai Po Che', be it the rusty gall-is of Ahmedabad or election drives or earthquake devastation, Gujarat is literally a character in the movie! Despite not many 'seeti-maar' dialogs, audiences are glued to all that is happening on screen. Gujju dialect and dialogs grant further genuineness to the movie. Director has taken full care of minute details of various scenes. The film manages to retain a certain degree of innocence which is seldom seen in contemporary cinema. The camaraderie of the 3 friends reminds you of a certain DCH and Rock-on itself!
3. Music: Amit Trivedi's magical tunes along with Swanand Kirkire's meaningful lyrics are another high-point of KPC. Though there are not much songs (which is a plus point for the film), Hitesh Sonik's background score doesn't let that void be felt.
Two (couldn't find third) mistakes of KPC:
1. Extra dose of unrequired romance: "Nakal k lie bhi akal lagani ho-ti hai" Kapoor forgot the same when it came to editing the romance between Amrita Puri and Rajkumar Yadav. Has the mushy-rosy romance been toned down, KPC could have been a much better and crispier film.
2. Bollywoodish climax: Here, the director chose to go against the original climax as in the book, but still ends up being too bollywoodish and dramatic, a bit-over stretched too so as to give a sense of happy ending. In contemporary cinema, we are now able to digest no so happy endings too, hence, some more realism could have been added.
KPC is no '3 idiots' (which was again based a bit on Bhagat's novel) and neither is it as rocking as 'Rock on'. It still works for its sheer simplicity, the outstanding execution of a dramatic book and as mentioned earlier, class character-selection and acting by all actors. The film definitely is a 'Kai Po Che' (victory cry) experience to an extent.
Three highlights of KPC:
1. Lead actors and their performances: Gattu (as Abhishek Kapoor is popularly known in film fraternity) chose all the 3 lead actors with utter precision, all so well-suited and carved for their respective characters. Sushant Singh Rajput outclasses all others in his debut on silver screen with his charisma, energy and charm. He exudes oodles of masculinity, expresses the anguish and restlessness of Ishan with a sprinkle of tenderness, all awesomely well. Sushant has knocked the doors of Bollywood with complete élan! Amit Sadh lives the vulnerability and impulsiveness of Omi on screen quite brilliantly. Rajkumar Yadav as the coy yet intelligent Govind does full justice to his character. Others actors also look perfectly casted.
2. Cinematography and screenplay: There is an air of authenticity in 'Kai Po Che', be it the rusty gall-is of Ahmedabad or election drives or earthquake devastation, Gujarat is literally a character in the movie! Despite not many 'seeti-maar' dialogs, audiences are glued to all that is happening on screen. Gujju dialect and dialogs grant further genuineness to the movie. Director has taken full care of minute details of various scenes. The film manages to retain a certain degree of innocence which is seldom seen in contemporary cinema. The camaraderie of the 3 friends reminds you of a certain DCH and Rock-on itself!
3. Music: Amit Trivedi's magical tunes along with Swanand Kirkire's meaningful lyrics are another high-point of KPC. Though there are not much songs (which is a plus point for the film), Hitesh Sonik's background score doesn't let that void be felt.
Two (couldn't find third) mistakes of KPC:
1. Extra dose of unrequired romance: "Nakal k lie bhi akal lagani ho-ti hai" Kapoor forgot the same when it came to editing the romance between Amrita Puri and Rajkumar Yadav. Has the mushy-rosy romance been toned down, KPC could have been a much better and crispier film.
2. Bollywoodish climax: Here, the director chose to go against the original climax as in the book, but still ends up being too bollywoodish and dramatic, a bit-over stretched too so as to give a sense of happy ending. In contemporary cinema, we are now able to digest no so happy endings too, hence, some more realism could have been added.
KPC is no '3 idiots' (which was again based a bit on Bhagat's novel) and neither is it as rocking as 'Rock on'. It still works for its sheer simplicity, the outstanding execution of a dramatic book and as mentioned earlier, class character-selection and acting by all actors. The film definitely is a 'Kai Po Che' (victory cry) experience to an extent.
Special 26
(2013)
Special 26: special indeed!
25 September 2013
An air of urgency, a wave of 'what next' with a little heat of 'why the romantic angle and songs' is what summarizes Neeraj Pandey's latest outing, 'Special 26'! Till a little after intermission, one wonders why the movie has been titled so. Well, there is more beyond the name. Let's delve into the special nuances:
Performances: Whoa! Neeraj, yet again manages to extract real feel from the reel characters! Whether it be the mastermind, shrewd, opportunist Akki or the more suave but vulnerable yet impressive veteran Anupam Kher. Manoj Bajpai is a treat to watch! The GOW actor is again at his best here whether it be his puns, mannerisms or body-language, all changing as chameleon with the requirements of the story. Jimmy Shergil does full justice to his erratic role. Other supporting actors like Divya Dutta, Tiku Talsania, etc. look well-suited to their characters. Kajal Aggarwal, the so-called female lead of the film is perhaps there to add G-quotient. However, her character only slows the otherwise crisp, high-voltage drama.
Plot and treatment: It's the unusual plot and its execution which score the highest marks for S-26. Bole to, film Ki asli power inhi me hai! The film has a realistic feel of the 1980s be it the gadgets of that era, or the hardly crowded roads or fashion statements. The film is said to be based on true con-incidents that occurred before the license- raj ended in India in 80s. On a macro look, it might look like a normal Chor-police story, sans the high-fundooism and macho-factor of a 'Dhoom' series. However, as the movie progresses, you will find it more amusing, captivating and hair-raising yet entertaining to the core with some taali-mar dialogs!
Music: was not required upfront, though there were 3-4 unrequired songs without which S-26 could have been crispier. However, the background score is one important ingredient in the film as it adds pace to the happenings and gives the 200 mts race, speed of a 100-mt!
Cinematography: Decent enough to make the terrains, places, locations believable and realistic to suit the era and the demand of the story.
Flaws: Yes, S-26 is not short of any flaws. Unnecessary romantic angle and songs I have already mentioned about. Also, a couple of shots filmed with Mumbai sea in background look very artificial. Perhaps, the director wanted to film them in the 80s the ishtyle only!
In all, Special 26 is no less special for a watch. After a long time, the climax of a movie didn't disappoint. It's not another 'A Wednesday', but definitely worth a watch. Go for it guys, paisa-vasool hai!
Performances: Whoa! Neeraj, yet again manages to extract real feel from the reel characters! Whether it be the mastermind, shrewd, opportunist Akki or the more suave but vulnerable yet impressive veteran Anupam Kher. Manoj Bajpai is a treat to watch! The GOW actor is again at his best here whether it be his puns, mannerisms or body-language, all changing as chameleon with the requirements of the story. Jimmy Shergil does full justice to his erratic role. Other supporting actors like Divya Dutta, Tiku Talsania, etc. look well-suited to their characters. Kajal Aggarwal, the so-called female lead of the film is perhaps there to add G-quotient. However, her character only slows the otherwise crisp, high-voltage drama.
Plot and treatment: It's the unusual plot and its execution which score the highest marks for S-26. Bole to, film Ki asli power inhi me hai! The film has a realistic feel of the 1980s be it the gadgets of that era, or the hardly crowded roads or fashion statements. The film is said to be based on true con-incidents that occurred before the license- raj ended in India in 80s. On a macro look, it might look like a normal Chor-police story, sans the high-fundooism and macho-factor of a 'Dhoom' series. However, as the movie progresses, you will find it more amusing, captivating and hair-raising yet entertaining to the core with some taali-mar dialogs!
Music: was not required upfront, though there were 3-4 unrequired songs without which S-26 could have been crispier. However, the background score is one important ingredient in the film as it adds pace to the happenings and gives the 200 mts race, speed of a 100-mt!
Cinematography: Decent enough to make the terrains, places, locations believable and realistic to suit the era and the demand of the story.
Flaws: Yes, S-26 is not short of any flaws. Unnecessary romantic angle and songs I have already mentioned about. Also, a couple of shots filmed with Mumbai sea in background look very artificial. Perhaps, the director wanted to film them in the 80s the ishtyle only!
In all, Special 26 is no less special for a watch. After a long time, the climax of a movie didn't disappoint. It's not another 'A Wednesday', but definitely worth a watch. Go for it guys, paisa-vasool hai!
Matru Ki Bijlee Ka Mandola
(2013)
Mandola impresses!
25 September 2013
Madness with a mission and purpose, that's 'Matru Ki Bijli ka Mandola' in nutshell! Right from the word go, the movie seems to be sheer moron-ism! You will end up saying 'Kuchh bhi' so many times esp. before intermission. But dare not leave the cinema-hall at intermission going by the slack slow lack-luster and not so impressive first-half. Post intermission, however, the movie picks up pace, zeal, direction and life! Not delving much into the story line, I will straightaway go to my observations and comments:
P.S.: Be ready to get 'beaucoup De' 'gaalis', which has now become a common culture in Bollywood flicks now!
- MKBKM couldn't have been so without the veteran 'manjha hua' perfectionist Pankaj Mandola Kapoor! He literally brought the weird Harphool Singh urf Harry Mandola alive on-screen. Seems Vishal Bhardwaj wrote the character keeping him only in mind. He does full justice to both his avatars, first, of a polished, sophisticated yet politically exploited millionaire and that of the rebel, cuss-worded, almost mad and guilt-filled man.
- Shabana Azmi is the other pillar of the film performance-wise. Both these actors of the erstwhile parallel cinema weave magic on-screen. She is quite convincing as the shrewd, opportunist, ruthless chief-minister of state. After Makdi, Vishal has given her yet another meaty role with negative shade and she as usual scores full marks.
- Imran 'Matru/ Mao' Khan gets into skin of the role as the film progresses and carries the rugged look well. However, he still lacks the killer-instinct of his competitor Kapoor (Ranbir) to carry such roles with 100% conviction. 'Bijli' Anushka is as usual her bubbly and loud best. High time gal! Move on and experiment. We are bored of seeing you in similar avatars in all your movies till date. Special mention of Arya Babbar who has been handed over the responsibility of creating silly comedy in the flick. He does it well, though he many a times he tries hard to copy the mannerisms of his pa, Raj Babbar. However, going by the character he plays, he looks merely a caricature of his actor father. Rest of the star-cast is fine.
- Now coming to the treatment meted out to the movie. The subject of effects and intricacies of land seizing from farmers by big corporates for industrialization and dirty politics involved in the same is innovative and very relevant. The dark rural 'Bharat' behind the shining urbane 'India' has been shown well. However, the mode used by Vishal this time is that of 'nukkad-nataks' which do not impress everyone especially in the beginning. The director has also used a lot of symbolism viz. Pink-cow somehow reflects the conscience of Mandola. The movie tickles your funny bone at many places and mention of many real- life political and business names brings in more relevance to the subject. Despite lot of pink-ism ('Gulabbo' and 'Gulabi bhains'), the movie isn't on a feminist mission!
- This doesn't mean that there is no flaw in the film. There are lot many of them viz. * Excess songs (at unwanted places) * Slack editing with many unrequired portions like that of aircraft crash (The media scene after that reminds you of a certain 'Joker') * Slow pace pre-interval - Good part is that unlike most movies these days which die after interval, this one peaks during climax and carries a 'happy ending'.
- Music has a usual Vishal Bhardwaj stamping and camera work too has the darkness quotient of Vishalism. Going by the serious subject highlighted by MKBKM, the entertainment quotient thereof and super performances by PK and SA, I would go with 3.5 stars out of 5. One time watch to banti hai bhai!
P.S.: Be ready to get 'beaucoup De' 'gaalis', which has now become a common culture in Bollywood flicks now!
The Lunchbox
(2013)
A gratifying 'Lunch box' for cinematic appetite!
22 September 2013
Like 2 negatives multiplied make a positive, can sanguinity emerge when two melancholic lives intersect? Can a misdelivered dabba connect people better than the 24x7 online messaging systems? Is Bollywood actually coming off age where parallel and real cinema is merging with commercial? You are certainly going to find all these answers in affirmative in débutant director Ritesh Batra's 'The Lunch Box'. This movie is more of a journey through the hearts and lives of its central characters wherein you literally feel their emotions and experience the anxiety of the unknown next. Without delving much into the details of the storyline, let me share my views on various facets of the movie:
Plot: 'The Lunch Box' is like a blanket made of wool of solitude of the 2 central characters and a little dash of heart-filled humor by Nawazuddin's character, woven manually on a frame called Mumbai. Batra takes you through 2 major lifelines of the city of dreams – local trains and dabbawalas. However, life of the movie is the platonic relationship that develops between Saajan and Ila over the reels and how this new feeling sprinkles drops of water over their dry and dreary routines, melts the snow of somberness Saajan dons initially, rejuvenating the soft-man in him and in parallel gives hope and confidence to Ila to break- free from mental and societal shackles. Nostalgia is in the air intermittently and takes the audience too, down their memory lanes through old songs and serials.
Cast: There could have been no better and apt a star-cast than this! Watching adept Irrfan and latest sensation Nawazuddin in the same frame rekindles the Naseer-Om effect. Irrfan looked every bit of an old man nearing superannuation, exuding the required poise, irritability, lost-looks, slow reflexes, walk and talk, et al! Nawazuddin is endearing with his irritating yet lively presence and adds tadka of entertainment to the plain lunch. However, the revelation of the film is theater- actress Nimrat Kaur. Man! She reminds you of the realism brought on screen earlier by adroit Shabana and Tabu. To know her caliber, compare her glam avatar in the Silk ad aired these days with the diametrically opposite Ila where she plays a lonely, insecure, simple (no-makeup) housewife. She has literally lived the character on-screen. Bharati Achrekar is lovable even without being physically present.
Cinematography: The realism created by believable locations is another high-point of the movie, whether it is the typical government office or congested flats and societies or the life in locals. Full marks to Michael Simmonds (the man behind camera for 'Paranormal Activity 2') for his lens-work.
Music: Except for the Tukaram prayer (hardly an obstruction) recited by Dabbawalas, 'The Lunch Box' is a song-less movie. Full marks for the same.
Climax: Movie ends a bit unconventionally which does not go well with the expectations of a section of audience. It's a bit open-ended and leaves a lot to the imagination of viewers. However, we are slowly getting used to such endings in B-town movies now, which aren't necessarily the 'They lived happily ever after' types.
To conclude, this lunch-box is a completely fulfilling homemade feast with mesmerizing aroma of class performances and poignant story. Kudos to the joint producers - UTV, Dharma (of Karan Johar), Sikhya (of Anurag Kashyap), DAR and NFDC, for shelling money for such a creation. Ye lunch to definitely restaurant (theater) me khana banta hai boss!
Plot: 'The Lunch Box' is like a blanket made of wool of solitude of the 2 central characters and a little dash of heart-filled humor by Nawazuddin's character, woven manually on a frame called Mumbai. Batra takes you through 2 major lifelines of the city of dreams – local trains and dabbawalas. However, life of the movie is the platonic relationship that develops between Saajan and Ila over the reels and how this new feeling sprinkles drops of water over their dry and dreary routines, melts the snow of somberness Saajan dons initially, rejuvenating the soft-man in him and in parallel gives hope and confidence to Ila to break- free from mental and societal shackles. Nostalgia is in the air intermittently and takes the audience too, down their memory lanes through old songs and serials.
Cast: There could have been no better and apt a star-cast than this! Watching adept Irrfan and latest sensation Nawazuddin in the same frame rekindles the Naseer-Om effect. Irrfan looked every bit of an old man nearing superannuation, exuding the required poise, irritability, lost-looks, slow reflexes, walk and talk, et al! Nawazuddin is endearing with his irritating yet lively presence and adds tadka of entertainment to the plain lunch. However, the revelation of the film is theater- actress Nimrat Kaur. Man! She reminds you of the realism brought on screen earlier by adroit Shabana and Tabu. To know her caliber, compare her glam avatar in the Silk ad aired these days with the diametrically opposite Ila where she plays a lonely, insecure, simple (no-makeup) housewife. She has literally lived the character on-screen. Bharati Achrekar is lovable even without being physically present.
Cinematography: The realism created by believable locations is another high-point of the movie, whether it is the typical government office or congested flats and societies or the life in locals. Full marks to Michael Simmonds (the man behind camera for 'Paranormal Activity 2') for his lens-work.
Music: Except for the Tukaram prayer (hardly an obstruction) recited by Dabbawalas, 'The Lunch Box' is a song-less movie. Full marks for the same.
Climax: Movie ends a bit unconventionally which does not go well with the expectations of a section of audience. It's a bit open-ended and leaves a lot to the imagination of viewers. However, we are slowly getting used to such endings in B-town movies now, which aren't necessarily the 'They lived happily ever after' types.
To conclude, this lunch-box is a completely fulfilling homemade feast with mesmerizing aroma of class performances and poignant story. Kudos to the joint producers - UTV, Dharma (of Karan Johar), Sikhya (of Anurag Kashyap), DAR and NFDC, for shelling money for such a creation. Ye lunch to definitely restaurant (theater) me khana banta hai boss!
Satyagraha
(2013)
Satyagraha – the lesser truth
1 September 2013
After the super successful political thriller 'Raajneeti', when Prakash Jha gave a confused 'Aarakshan', all were curious to know as to which side will his latest camel 'Satyagraha' sit. Sadly, the movie goes the latter way, though most of the ensemble and genre resemble the former one. Let's delve straight into its facets:
Plot: The movie draws its name from Gandhian way of dissent which was used recently by Anna Hazare and gang. Yes, it does talk about Gandhian principals and tries its best to showcase the most contemporary topic 'corruption', yet fails to serve the message quite well. The basic problem is- treatment. Unlike the crisp 'Raajneeti', sluggish 'Satyagraha' keeps meandering throughout, trying to match Anna movement, literally. In the process, everything appears fake and characters look mere reel caricatures of the real. It attempts to take you through micro nuances of our rotten politico-administrative system, which finally lead to a macro movement. The intent is commendable; however, it's the content and presentation which falter. Realism gets lost in commercialism (lots of brand endorsements there!), larger-than-life portrayal of a ground-level subject and overdose of crowd-protests. Barring a few moments of real business, movie looks more preachy and glossy (facebooked). Climax is a big let-down out of its abruptness and fictional treatment.
Casting: The ensemble of big names does not disappoint you when it comes to performance. Big B is a master at his work and exudes both strength and fragility with equal ease. It was good to see Ajay back to some serious stuff after his Himmatwala/ SoS phase, though he is unable to match his Gangajal feat. Kareena looks beautiful in the street-smart character. Hunk Arjun oozes ample masculinity while Amrita Rao is mostly on MMS mode. It's basically Manoj Bajpai who is the biggest saving grace with his comical villain-giri. Though his character is a shadow of Virendra Pratap of 'Rajneeti', he carries off this one too equally well.
Music: In my previous reviews too, I have mentioned, in movies based on genuine subjects, music should be pushed to background only. 'Satyagraha' loses out here too. Unnecessary songs and persistent rock bands at movement-sthal, all steal authenticity from the flick. 'Janta rocks' makes you wonder whether you are watching a 'Rock on' while Adesh Srivastava fails to repeat a 'Mora piya' with 'Ras ke bhare'. Only 'Raghupati Raghav' manages to touch you both through the remixed music and meaningful lyrics. In all, music only interrupts the already snail- paced movie.
To conclude, 'Satyagraha' does no justice to its name, star-cast and the noble message it intended to deliver. I really hope some other film-maker to grab the burning subject and present to us something more authentic, moving and engrossing. This one is certainly not the one expected from a Prakash Jha!
Plot: The movie draws its name from Gandhian way of dissent which was used recently by Anna Hazare and gang. Yes, it does talk about Gandhian principals and tries its best to showcase the most contemporary topic 'corruption', yet fails to serve the message quite well. The basic problem is- treatment. Unlike the crisp 'Raajneeti', sluggish 'Satyagraha' keeps meandering throughout, trying to match Anna movement, literally. In the process, everything appears fake and characters look mere reel caricatures of the real. It attempts to take you through micro nuances of our rotten politico-administrative system, which finally lead to a macro movement. The intent is commendable; however, it's the content and presentation which falter. Realism gets lost in commercialism (lots of brand endorsements there!), larger-than-life portrayal of a ground-level subject and overdose of crowd-protests. Barring a few moments of real business, movie looks more preachy and glossy (facebooked). Climax is a big let-down out of its abruptness and fictional treatment.
Casting: The ensemble of big names does not disappoint you when it comes to performance. Big B is a master at his work and exudes both strength and fragility with equal ease. It was good to see Ajay back to some serious stuff after his Himmatwala/ SoS phase, though he is unable to match his Gangajal feat. Kareena looks beautiful in the street-smart character. Hunk Arjun oozes ample masculinity while Amrita Rao is mostly on MMS mode. It's basically Manoj Bajpai who is the biggest saving grace with his comical villain-giri. Though his character is a shadow of Virendra Pratap of 'Rajneeti', he carries off this one too equally well.
Music: In my previous reviews too, I have mentioned, in movies based on genuine subjects, music should be pushed to background only. 'Satyagraha' loses out here too. Unnecessary songs and persistent rock bands at movement-sthal, all steal authenticity from the flick. 'Janta rocks' makes you wonder whether you are watching a 'Rock on' while Adesh Srivastava fails to repeat a 'Mora piya' with 'Ras ke bhare'. Only 'Raghupati Raghav' manages to touch you both through the remixed music and meaningful lyrics. In all, music only interrupts the already snail- paced movie.
To conclude, 'Satyagraha' does no justice to its name, star-cast and the noble message it intended to deliver. I really hope some other film-maker to grab the burning subject and present to us something more authentic, moving and engrossing. This one is certainly not the one expected from a Prakash Jha!
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