Film Review: Gully Boy is India’s hip hop, youth anthem and triumph of underdogs

Film Review: Gully Boy

Cast: Ranveer Singh, Alia Bhatt, Vijay Raaz,  Siddhant Chaturvedi, Sheeba Chaddha and Kalki

Screenplay: Zoya Akhtar-Reema Kagti

Director: Zoya Akhtar

Rating: Four stars

 

Few movies can celebrate music and the underdogs with triumph and honestly delving into the dark side of Mumbai’s underbelly.  Ace director Zoya Akhtar’s successfully makes the shift away from the educated and suave upper class in Zindagi Na Milegi Dobara and Dil Dhadakne Do to Gully Boy lending credence to a powerful vision effectively translated on screen, making it as real as it gets.  At one glance: Gully Boy scores in the depiction of relationships and aspirations in tapping the realism in Mumbai, the city of dreams and extremities, the noire aspect in portraying the struggle of underdogs against all odds.

 

What’s On!

Music has always been celebrated in Hindi movies and the rare instance when a movie sashays its way to celebrate a youth anthem. Once in a decade a rare gem comes to touch emotions and souls be it a Rock On and now Gully Boy is one such a film hitting a storm in celebrating Indian Hip Hop. Zoya Akhtar’s latest offering blends socialism, feminism and perhaps has a political connotation with the liberating songs with Azaadi that has little do in the present context and even if it does, it plays in a very subdued manner. The narration initially moves at a slow pace but there is a legitimate reason as it taps into the core of the characters, struggles and pathos.

The movie has been brilliantly shot in the slums, particularly depicting Dharavi and street life in Mumbai.  Cinematography is flawless in depicting the class divide in a super striking manner. Zoya Akhtar effectively captures the angst and the dialogues on the class structure between Murad and his uncle and inching towards the climax with his father Shakir (Vijay Raaz) hinges on life lessons. The emotional confrontation is gut-wrenching and showcases the generation clash about values.

The different strands are connected together, from Asli Hip Pop and the breaking of cliché where mainstream movies have portrayed the Muslim wearing skullcap as religious fundamentalists. The songs are pure ecstasy about Hip Hop as an art form which sadly has been given less importance in films and the writing duo Zoya Akhtar-Reema Kagti drives not just a strong message but packs a solid punch.

Ranveer Singh has always portrayed boisterous characters which the audience loves him for but as Murad he completely transforms himself as the sober Murad, carrying angst in the most subdued manner in the film. He is incredibly extraordinary as Murad and no over-the-top acting in showcasing his mettle as he flits with ease in the character’s skin.

 

 

Alia Bhatt as Safeena is simply breathtaking and sensational making it difficult to fathom that she is the same girl who debuted in SOTY. She simply explodes in Gully Boy as the over possessive and jealous girlfriend who will not think twice in breaking bones and I would argue that in some places, she gains an edge over Ranveer Singh. As Safeena, she plays not just a hijab-wearing Muslim unabashedly showing her identity as a woman but a typical hatke Mumbai girl who many of us encountered.

The revelation in the film is no doubt Siddhant Chaturvedi as the hip hop MC Sher and the alter ego of Murad, holding him strong in places. Both Ranveer and Siddhant are today’s Jai-Veeru, both intrinsic to the film’s screenplay and narration. Amruta Subhash as Murad’s mother adds a dash of feminity trapped in a patriarchal world when the husband takes a second wife arguing she couldn’t satisfy him but her dialogue on the husband not knowing how to touch her forces us to think on the topic of sexuality that we mostly shy away from.

There is a debate on Gully Boy’s end which many find abrupt but somehow, I like it celebrating the unsung hero in synch with the Hip Hop theme. The songs, right from Mere Gally mein is an ode to the lesser mortals in slums which the over-entitled superior class mentality mock and the end song celebrates triumph and optimism. Mera time aayega is nothing less than a celebration of music, art, creativity, individuality and identity. The song has been shot in a marvelous and aesthetic manner. I call it a youth anthem. Bohot Hard Hai, bhidu!

 

What’s Not!

Gully Boy is a path-breaking film that should make India swoon over rap and hip hop in questioning cliché. Yet, there are few clichés that the makers could have done without and particularly the love triangle in the subplot with Kalki’s wafer-thin character. Truth be told, I find her character as totally unnecessary and the time for filmmakers to chuck out love triangles in Hindi movies for we need to move ahead with times and such sub-themes have been done overtly since ages.

 

Final Verdict:

Gully Boy is a coming of age cinema owing to its fresh theme about Hip Hop meets the underdogs to thrive against all odds. Zoya Akhtar has succeeded where Slumdog millionaire has failed for it doesn’t fall into a trap. The film is honest and bares its soul open for if you stay or like me having stayed in Mumbai, you will know what I mean. A perfect ode not just to Mumbai the City and Bombay an Emotion but aspirations, dreams and bringing alive a class people whom we all love to forget, the slum people who make the city prosper 24 by 7. Gully Boy will be easily counted among the best works of Zoya Akhtar who has given a career milestone to both Ranveer Singh and Alia Bhatt, tapping into their depth and range as actors. Zoya’s Gully Boy has set a trend that many would try to emulate.  Mind-blowing performances and stunning one-liners, “Mere boyfriend ke saath koi gulu gulu karenga toh toh dhoptuingi hi na usko… Agar sab thik raha, to ek din main aapka liver transplant kar sakti hui.”

 

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Film Review: IISTOO is a delight

Film Review: IISTOO-An independently Produced Parsi Short Film

Media Partner: bLOGiMLY

Genre: Indie Parsi Short film

Cast: Aspi Patel, Dhun Patel, Pratik Suratwala, Kainaz Phillips, Pratik Suratwala, Shahan, Shahen Pardiwala, Pratik Suratwala, Rahul Arora and Rekha Mistry

 

Rating: 4.5 stars

 

There are many outsiders, among us who have viewed the vibrant, hardworking and gentle Parsi community defined by many as a ‘close-knit’ community with myopic eyes, courtesy the typical  ‘Dikhra’ cliche painted by several Hindi mainstream films. Nozzer Pardiwala is a Parsi but most importantly, a passionate filmmaker who has conceptualized and directed IISTOO based on a Parsi household anchored in Mumbai. The story is simple, heartwarming and effortlessly showing that like any Indian family, Parsi is no different grappling with their issues.

The 35 minutes short film revolves around the lives of Motta Papa, Perizaad, Mami, Kekashru, Zeus and Shahzaad but of course, Aparna (Rekha Mistry) and Noshir (Rahul Arora) . Both characters form the crux of the plot that brings together an entire family overcoming challenges through a little bit of understanding, warmth, care and sensitivity.

IISTOO is a short and sensitive film that will touch the heart, essentially captured through the lenses of director Nozzer Pardiwala. A simple and intricately woven story carries unique chemistry between Zeus (Shahaan Pardiwala) and Motta Papa (Aspi Patel) with emotions, conversation and heart touching dialogue coming alive in a natural flow. Zeus speaking to his fishy is not only cute but endearing serving as a powerful analogy. There are several show-stealing scenes, right from Motta Papa singing and dancing, to rekindle his passion or dream, or saying when he sorry to Zeus brings to life the sensitivity enshrined in the narration. I like the honest dialogue between Motta Papa and Zeus, showing us that many times small children can show us the right way.

 

IISTOO is not just a short film but perhaps the prayer that we offer in coming to terms, albeit making peace with our surrounding. It’s a call whittling down to be more understanding as human beings and the climax scene with Motta Papa and Zeus dressed in the traditional costumes is poignant. Kainaaz who superbly plays Perizaad is a strong woman holding the home together while making peace with her emotions.  Full marks to the director for fleshing the character.

Mami played by Dhun Patel is another endearing character battling her own medical issue but is someone who hums the song beautifully, a tune that catches on the lip of the viewer.

One of the most underrated characters in the film is Shahen who is the quintessential, normal teenager or perhaps a rebel when he tells, Hi old man yet he plays the brother and protective figure to Zeus. The latter shows his admiration by reminding us that Shahen is no careless brat who taught him the religious text or the latter himself reminding that he wears his Sadro – Kashti without fail. Kudos to Nozzer Pardiwala for reminding us that today’s youth know their priorities and they are by no means clueless.  Kekashru (Pratik Suratwala) is a fun-loving character in the film and everybody would love to have such a chill and easy-going friend.

The director Nozzer makes a guest appearance as Bhakrawala Uncle adding zing and freshness to this savory tale called IISTOO. He is effortless and lovable in this short role. The scene where the sweet tendered by Bhakrawla Uncle Zeus who in turn put some in the mouth of Mami and her palm evoking a tender smile and touches the heart at the same time. Finally, the entire family, prodded by Mami makes a small prayer sitting together to have Patri Ni Machi which is very symbolic to the story.

This Non Conforming Parsi Filmz must be supported for its rich laden and rooted content by having the heart in the right place.  The script, narration and the vision of Nozzer Pardiwala is a Parsi delicacy in bringing a down to earth feel of what it’s like to be in such a household. Light-hearted but at the same time sending a strong underlying message, that love triumphs above all.  A special mention to the casting director Sonnal Pardiwala, whose efforts shows in having actors fitting the bill to the hilt.

 

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Film review: Karwaan is slice of life cinema and fun ride

Film Review: Karwaan

Cast: Irfan Khan, Salman Dulquer and Mithila Palkar

Director: Akarsh Khurana

 

Rating: Three and a half stars

 

A slice of life movie, deadpan humor and introspective journey embedded in the 35 mm frame to uncover road journeys is a rarity nowadays.  The Akarsh Khurana helmed Karwaan starring Irfan Khan, Salman Dulquer, and Mithila Palkar is coming of age cinema exploring an introspective journey dealing with the life’s complexities, confusion and a comedy of error sort that makes it a worthwhile fest.  In short, the film is all about human understanding beyond the drudgery of a routine life and humor-laden narration that many youths of this generation will identify with.

 

 

First thing first, Karwaan is about dead bodies changing places from different destinations with the three characters, Avinash, Shaukat and Tanya meeting in the unlikeliest of situations. There is no love lost initially with such contrasting characters screwed by life and complexed equation with families where the biggest Indian fallacy is powerfully brought to the fore, work vs passion. Salman Dulquer as Avinash is super impressive and effortless, be it the complex relation he shares with his father or the lack of understanding with Tanya, today’s girl. The off beat hero doesn’t take too kindly of a girl’s active sex life and one scene bearing tremendous impact is Tanya unfazed attitude of doing a pregnancy test. Mithila Palkar as Tanya simply owns the scene in the most natural manner and shows that she has a brilliant future as an actor. This girl will go places in the next few years and will emerge as one of the most bankable talents in the country.

The film speaks about life, deaths and screw-ups executed in a sensitive and poignant fashion as the camera moves and pans on the three leading protagonists. Existence serves as a dichotomy of sort in this movie and shows that be it millennial or Gen X, we all battle our securities and confusions. It’s jarring and will shock the audience in the most subdued fashion. Who better medium to deliver this message than our own Peter Pan, Irrfan. The guy is simply brilliant and the one-liners or deadpan humor is brand Irrfan that simply lifts the film during the moments it reaches a low ebb. He nails the punch lines be it on death, relations and such tackiness made sexy through the sheer delivery power, “Lo Yaar, Allah Miyyan Se Milne Jaa Rahe The Allah Miyyan Ne Apne Paas Hi Bula Liya Sach Much…Bhai..mayyat par romance mat kar!”

The director has broached several issues that makes for quite an interesting debate on how we are alien to our respective mother tongues in India or that matter, actors belonging to different faiths playing characters out of their cultural boundaries to deliver a strong Pan Indian message in today’s times.

Of course, there are several scenes that stand out right from Irrfan reciting poetry to the ailing man’s wife in the hospital, the photography sequence when Tanya weighs on Avinash to share the moments of life right from the job his Dad’s pressurized him to take and the losing interest for his photography’s passion. The scene where Avinash teaches Tanya about the real, unedited photography unlike the whole Instagram scene is telling and capturing her with a fag is a Kodak moment to be cherished.  A slice of life is all about loosening a bit and rightfully Tanya tells her co-passenger to chill and have some drinks at the stalled wedding. It’s all about making moments counting and stop being conscious.

There are few glitches like the narration’s slow pace in the start before the film enters the premises and the unnecessary sub-romance plot which no doubt introduces Kriti Kharbanda injecting a certain freshness.  At places, the screenplay seems patchy and lacks a certain tautness which slackens the pace to a minimum level.

Karwaan’s strengths as a down-to-earth and real movie far outweigh the minuses where new filmmakers and actors are experimenting and exploring new genres, lending not only a dash of realism but bringing to the fore many layers of our relationships. The film boasts of pivotal roles right from Akash Khurana and Amala Akkineni adding to this fantastic journey which is definitely not your run-of-the-mill fare that deserves to be watched. Cinema is changing and it’s content-driven not formula that will define film-making in future.

 

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Film Review: Sanju biopic comes alive on screen

Film Review: Sanju-One Man, Many Lives

Cast: Ranbir Kapoor as Sanjay Dutt, Dia Mirza as Manyatta Dutt, Paresh Rawal as Sunil Dutt, Manisha Koirala as Nargis Dutt, Aditi Seiya as Priya Dutt, Vicky Kaushal as Kamlesh Kapasi, Jim Sarbh, Anushka Sharma as Winnie Dias, Sonam Kapoor as Ruby, Karishma Tanna, Mahesh Manjrekar and Sanjay Dutt (in the song, ‘Baba Bolta Hai’).

Director: Rajkumar Hirani

Rating: Four stars

The decade was the 90s when the angry young man and reigning King, Amitabh Bachchan, after delivering two stupendous hits at the box office, Hum and Khuda Gawah announced a five-year-hiatus away from the Arclight. The film industry was looking at his worthy successor and at that time, a young man with the charm, deadly looks and a combination of childlike vulnerability and fire in the eyes delivered two back to back super hits, Saajan and Sadak. The worthy successor for Bachchan was found. It was Sanjay Dutt who looked set to take the Number One seat from Bachchan and the latter himself shared his Best Actor Award with the young Dutt by calling him on stage saying the young star deserves the award for Saajan. It was a matter of days for the young Sanju Baba to wear the undisputed crown till the Bombay 93 blast happened that led to his immediate arrest while getting down the plane at Sahar airport. Perhaps, the coveted No 1 position wouldn’t be the same and the triumvirate Khans destiny would have significantly altered.

The trouble for Sanjay Dutt has just begun when he was tried under TADA but you know the story right for he bounced back time and again, right from drugs to all kind of allegations leveled against him. This story truly deserves a biopic for Dutt, the original ‘bad boy’ is a mystery to many of us. There is a story that many of us don’t know but pretend to, thinking we are the Supreme Court, by brandishing all kind of allegations against not just Dutt but his entire family who bore the brunt. In 2007, the judge himself observed in his judgment that Sanjay Dutt is not a terrorist but procured arms in an illegal manner from the underworld that went undeclared. He was young, ruthless and reckless who didn’t use his brain. But, he served his sentence and such an eyesore to see people brandishing him as a terrorist since the film Sanju was released. For haters, at that time, Dutt Saab (Sunil Dutt) was touted to become the next CM of Maharashtra and the arrest of Sanju was a trump card that fell into the lap of political rivals.

Back to the film. It’s never an easy task to make a biopic on the life of the Greek God of the 90s and one must commend the courage of Rajkumar Hirani to explore the life of Sanjay Dutt, that evokes love, admiration and hate in equal measure. It’s a mammoth task at hand and even more for Ranbir Kapoor to essay this role, one of his most challenging till date as an actor, stepping into the shoes of someone with the Dutt’s caliber. There are very few actors who would take this risk at this stage of their career, to the exception of Shah Rukh Khan essaying negative roles in the early 90s, and Ranbir Kapoor’s gamble has paid extremely well in essaying Sanju. The body language, voice intonation, Baba’s inimitable style, easy demeanor, long hair that became Dutt’s brand and effortless yet down-to-earth personality is incarnated to the hilt by Ranbir Kapoor. There is not a single moment where one would see Ranbir Kapoor but Sanjay Dutt.

Of course, the prosthetics bearing the mark of Cloover Wootton makes the impression superbly believable but it’s only an incredible actor that can combine the looks, body language, expressions and effortless gaze to deliver in such a magical manner. Ranbir Kapoor is the soul of Sanjay Dutt that he carries through the pathos and emotions that make it incredibly believable. Kapoor deserves all the awards this year and should bag the national award. He is Dutt in almost all aspects for flitting so effortlessly in this role and with utmost ease. Till date, it’s the Kapoor scion most accomplished work and shows what a wondrous actor he is.

One of the major points where the film scores are the father-son bonding between Sanju Sir and Dutt Saab portrayed on screen by Kapoor and Paresh Rawal. There is no denying that there are several poignant scenes in the movie that explores the beautiful father-son relationship that scores high on the emotional quotient. However, Paresh Rawal despite delivering a good performance takes his own time to become Dutt Saab but there are several scenes where he falls out of place, like muttering ‘Puttar’ with a non-Punjabi lisp.

Manisha Koirala plays Nargis Dutt and in a short role, she does full justice to the legend coupled with the charm, poise and elegance portrayed on screen where she lends so much dignity to the real-life character. She is simply a treat to watch and is endearing. The biggest surprise is Vicky Kaushal who plays Sanju’s close friend ‘Kamlesh Kapasa’ who is the amalgamation of three close buddies of Sanjay Dutt. He simply brings the house down right from his terrific entry to the emotional scenes pleading to Sunil Dutt to save his son or the scene in the striptease club or his pronunciation of ‘snack’ as snake is hilarious. Kaushal complements ‘Sanju’ at every end in the narration.

Sonam Kapoor who plays Ruby, Sanju’s ex-girlfriend stands tall in the few scenes in the first half and the instance where the former puts the toilet vase in her neck has a searing impact. She delivers in an outstanding fashion and the actor shines every bit in the scene. Anushka Sharma plays the famous and best-selling author Winnie Dias, injecting a certain freshness and showcasing her charisma as an actor. Dia Mirza plays Manyata Dutt and credit goes to her for not being outrageous or over-the-top, is at her charming best, though at times one can feel that she is overshadowed. But, not a bit! Of course, there are heartwarming cameos like Mahesh Manjrekar, Piyush Mishra and Karishma Tanna offering the glamor quotient in this one scene. She is sensual and exudes the oomph factor. Boman Irani adds to the fun while Jim Sarbh is effective. Adita Seiya has an uncanny resemblance to Priya Dutt but she should have given some scenes, knowing that the Dutt sister played an influential part in the family’s life.

There is no glorifying the life of Sanjay Dutt, the superstar and spoilt brat in the movie, contrary to speculations doing the round in some quarters or the omitting of his past relationships. It would be disrespectful to the leading ladies who are well settled in their lives to barge into their privacy, something we should all respect. Hirani is a master story-teller who stayed true to his USP in injecting the light moments and emotions in the right place enshrined in several scenes in the movie. The Sanju-Kamli scenes in the striptease bar, the ghapa-ghap dialogue and ‘Sanju’ confessing of sleeping with 350 women is pure fun and hilarious which brings the house down and works wonderfully. The letter he recites to his father on his death and puts it in his shirt’s pocket or the radio scene speaking about his friendship with Kamli is emotionally charged, so is the scene where Manisha Koirala as Nargis pretends to act in a Hollywood when she is dying of cancer. The moments when the actor breaks down when he hears his mother is dying, Paresh Rawal as ‘Dutt Saab’ sleeps on the floor and switches off the fan because his son is lying in horrible conditions inside jail is searing. Raju Hirani simply sends a strong message on the unconditional love between children and parents, Mom and Dad, executing the father-son bond, subtlety in conveying thoughts through songs on how to ignore brickbats, ‘Kuch toh log kahenge.’ Both songs Mein badhiya and Kar Maidan Fatey bears an impact with the film’s theme and are aesthetically shot.

The most remembered scenes are of the course, one at the Rocky premiere on how Ranbir as Sanjay implores his Dad for help to get out of the drug problems, kicking the ass of the drug peddler Sarbh and refusing to confess saying, ‘I am not a terrorist.’ It wields a huge power on standing for truth and not simply getting away in court.

There is not a dull moment in the 2 hr 40 minutes movie and not once, it drags owing to the crisp narration, script and the master storyteller that Hirani is in holding the sequences in place. It is a masterstroke, coming from a genius who told the biopic story of Sanjay Dutt in an honest manner. Sanju is not just entertaining but a peek into the life of a man who underwent troubles and facing the lows of life to bounce back, blending a fair dose of comedy, emotions and bonding. The sequence, ‘Roar Tiger. at the hospital is impactful and shot in an intense manner. The only issue I have with the movie is the unfair picking on the media that went overboard at times, particularly in the song, ‘Baba Bolta Hai.’ But, both Sanjay Dutt and Ranbir Kapoor look dapper, effortless and like a house on fire in the song. Like a true rockstar, the Deadly Dutt aces it. Sanju is paisa vasool, carries repeat value, a film that one cannot afford to miss for it bears the signature style of a master storyteller Raju Hirani and a Ranbir Kapoor who looks every bit Sanjay Dutt, doing full justice to the maverick actor. Somehow, the truth needed to get out and depends on what we want to believe, often thriving on gossip mills.

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Veere di Wedding: A hatke, bold chick flick declaring war on stereotyping

Movie Review: Veere Di Wedding

Star cast: Kareena Kapoor Khan, Sonam K Ahuja, Swara Bhaskar and Shikha Talsania.

Director: Shashanka Ghosh

Rating: Four stars

Women power, girls gang and mean girls’ are themes which are rarely explored on the silver screen. Veere Di Wedding is a feisty, urban and coming of age cinema telling the tales of four independent, in your face women, Avni, Kalindi, Meera and Sakshi who live life on their own terms. The film touches issues such as broken homes, marital pressures and attempts to break stereotypes in our society.  It drives home a strong point on female sexuality or masturbation that should have been gender neutral and the bond that serves as a right answer to countless movies made on male bonding and the cuss words is unabashedly mouthed in the most humorous-cum witty manner serving as fodder to hit back at the hypocrisy of society when it comes to woman. The film helmed by Shashanka Ghosh is riveting and daring at the same time.

The plot is centered around Avni (Sonam), Kalindi (Kareena), Meera (Shikha) and Sakshi (Swara) who are childhood friends and standing rock solid with each other to make this female bonding a fantastic fare that has rarely been explored till now. The beauty of the film is that it touches the issue of sex in the most humorous manner and goes to places where a woman-centric film like Pink hasn’t treaded. The humor is an integral part of the film and kudos to its writers Mehul Suri and Nidhi Mehra for telling it in the crudest and boldest fashion. Each character is grappling with issues in life, be it marriage, groom hunting by parents, conflicts, and prejudices. The high point is the film doesn’t sink into serious talks that could have turned it into a disaster.

The director treads on a thin line and avoids the pitfall of getting over dramatic. The humor and Hindi expletives may appear crude but this in-your-face is necessary in building the characters of mean girls packing a solid punch to make a strong point. The bold characters and narration will make Veere Di Wedding talked for a very long time with the audience either loving or hating the movie for their own personal reasons. The best thing is that the film successful bulges the patriarchal mindset, questions silly rules in all its forms and make the characters not only effervescent, electrifying but alive and highly believable on the silver screen. Certainly, Veere di Wedding doesn’t belong to the faint-hearted or conservative lots. The film has set a trend for being the first that taps into women sexuality and masturbation, which is an intrinsic part of human lives. The trip to Phuket is the real icing on the cake and takes the movie to an octane level.

Image credit: Google India.

 

The four actors, right from Kareena Kapoor Khan, Sonam K Ahuja, Swara Bhaskar, and Shikha Talsania beautifully complement each other but it’s Swara who is the show stealer. Swara not only gets the best of lines but delivers them in an effortless manner that showcases why she is one of the most brilliant actors on screen. Swara nails every scene and makes a searing impact, taking the pie home in the end. Kareena shoulders the film on her shoulders right from the word go and shows maturity in elevating the performances of the gang of girls. Sonam Kapoor looks cute and is natural, improving with every film, though to a certain extent, she is overshadowed by Swara and Kareena. Sublime is what defines Sonam. Debutant Shikha Talsania finds her mark and has an effortlessly gaze, who is not lost among the established stars in the film. Among the male actors, Sumeet Vyas and Vishwas Kinni play effortlessly and ably support the leading ladies nailing every possible scene in the frame.

On the flip side, the screenplay and script could have been tighter coupled with some characters that needed more fleshing. For instance, Sonam’s Avni could have been better explored for that matter for it has immense potential that wasn’t tapped to the core and there is a lack of conflict that fails to connect the missing dots or else it would have been near perfect.

On the whole, Veere di Wedding slays the rules and comes as a fare that shocks and stumps the audience in the rarest manner. Such movies are rare to come and it gets real in narrating the tale of today’s modern women who are unabashed about sex and desire. It is hilarious and pure madness that leaves little to one’s imagination in telling everyday’s reality. Veere Di Wedding is India’s answer to men’s American Pie, Omkara or Masti but with a difference that it lifts the lid of hypocrisy. There is no room for gender bias like I was seeing many men unwilling to watch the film because it’s about ladies fun which reeks of sexism in society. It may be okay and legitimate to watch dude movies but when it comes to chick flick, we suddenly have an issue.  It’s a laugh riot with a purpose and time for us opening up to issues revolving around women. A must watch replete with unadulterated fun. The song Tareefan is sexy and shot in a visually appealing manner.

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Film Review 102 Not Out: Bachchan-Rishi Kapoor redefine bromance in this feel-good comedy

Film Review: 102 Not Out

Cast: Amitabh Bachchan, Rishi Kapoor and Jimit Trivedi

Story: Saumya Joshi

Director: Umesh Shukla

Rating: 3.5 stars

 

 

A clean comedy and family entertainment seem to belong to another era in the current Hindi cinema that makes us reminisce about the Hrishikesh Mukherjee brand and the rare gems that delighted cinegoers. 102 Not Out seems to be not only inspired by Hrshida but also brings out together two of the brightest and biggest superstars on screen, Amitabh Bachchan and Rishi Kapoor whose bromance lit the screen ablaze in the 80s giving us the biggest super-duper hits and high entertainment quotients of all times.

A film that reunites Amitabh Bachchan and Rishi Kapoor on the screen after 27 years is sure to up the expectation quotient for the die-hard fans of the amazing actors who gave us memorable performances to cherish over time. The real icing on the cake is both superstars shining together as one whole team that lit the screen in simple and endearing acts playing father and son. It’s quite a task to make both Bachchan and Kapoor gelling so well and the sparkling chemistry helmed by Umesh Shukla where both play diametrically opposite characters to what they played in the past, remains one of the brightest spots.

First thing first, lambu-ji and chintu-ji played father and son for the first time after playing brothers in countless fares helmed by the maverick late Manmohan Desai. Second, a role reversal where in the past Rishi Kapoor played a happy-go-lucky dude and Bachchan the brooding fellow with a streak of fun but this time the angry young man becomes the funny dad with a joie-de-vivre while his counterpart dons a serious and old man in the house.

Bachchan as the 102-year-old Dattatraya Vakharia is first class and while some may weigh on overacting but the fact that at times the characters demand such a garrulous stroke play as a jolly good fellow but there are also scenes where he dons a subdued performance. He is simply fantastic played this loud and goofy grandfather that captures the hearts of admirers who would relate to him. Amitabh Bachchan is flawless, fantastic and to the point. Rishi Kapoor as Babulal proves why he is one of the most fantabulous actors who can go beyond the romantic lover boy typecast in the 80s. He plays one of the most challenging roles of his career and lives up to his character where he explodes in the climax. The best thing about the film is the teamwork and unblemished chemistry between Bachchan and Kapoor that overshadows the flaws in the script or film. Jimit Trivedi as Dhiru complements both superstars and adds heart-felt laughs in an innocent act.

The film carries an important lesson for being alive and aptly shows that age doesn’t matter. There is no time to fall in love, live life fully on one’s terms or be cheerful and joyful.  Like the say, age is just a number rings true in this endearing, down-to-earth and feel-good comedy. There are many scenes that stand out, be it the hilarious scenes at the doctor’s clinic, love letter and father-son listening to old classic Hindi movie songs that express love and emotional warmth. Of course, the conditions of a trip in Mumbai, right from a visit to the church, to Marine Drive and distributing birthday cake to street children is helmed brilliantly by the director and shot to perfection.

The cinematography by Laxman Utkar, the production design of the aesthetically done mansion and Preetisheel Singh’s make-up and prosthetics of both senior actors deserve a huge mention that accompanies this feel-good movie. The opening credits showcasing the soul of Mumbai done in a super creative way and gels wells with the story and screenplay, taking the audience visualizing the city in current form.

On the flip side, 102 Not Out teaser showed the film as an all-out comedy fare but in the second half, it sinks a bit too much teary-eyed and at some point, the narrative tends to loosen its grip on the audience. Moreover, the lack of a fresh female lead is felt at times and it may well work against the film’s performance at the box office.

Saumya Joshi brings out a fresh and heartfelt story that reverberates with energy and stream of happiness that will touch a high note with the audience, showcasing the father-son bonding that captures the mind. Happiness is written all over the film. Of course, the Amitabh Bachchan-Rishi Kapoor palatable chemistry raises the stock of 102 Not Out coupled with touching and funny dialogue at the same time. It’s the bromance of comeback that reminds us of the Manmohan Desai days of yore with a dash of Hrishikesh Mukherjee, the 80s where both stars shone on screen. 102 Not Out is a film to watch during the weekend and munching the popcorn to enjoy a good laugh. Badumbaa!

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Review: Padman drives a powerful message on menstrual health

Film Review: Padman

Writer & Director: R. Balki

Producer: Twinkle Khanna

Rating: Three and a half stars

Cast: Akshay Kumar, Radhika Apte, Sonam Kapoor and Amitabh Bachchan ( guest appearance).

Introduction:

At a time when we should be celebrating the achievements of women in society who battle against all odds in both urban India or rural countryside, it is a human tragedy that we are nurturing prejudices on something as natural as menstruation. Women cutting across social class face enormous discrimination when it comes to periods on the part of so-called learned religious scholars, families or obsolete patriarchal norms that reingineer guilt and shame to a unique human biological aspect.

R Balki’s Padman not only carries a powerful message to chuck out all prejudices about menstruation but also seek to educate the masses that there is no shame, guilt or ostracization for women to go through this cycle and in using sanitary pads. The film surprisingly starts at a slow pace but more than the narrative, it is the inherently strong message sent by the maker and the lead actors which successfully makes the cut. In short, the real star in Padman is the message conveyed to flush out social ostracization in celebrating a woman in her unique firm which makes the film a winner.

There is no denying the fact that in stark villages and even cities for that matter, women going through menstruation suffers a huge deal of discrimination and are regarded as dirty. Akshay Kumar plays the real-life hero, Arunachalam Muruganantham the man credited for making low-cost sanitary pads for women and quite surprisingly, the star underplays himself in this natural act and at no point, he tries to rise above the script. He slips easily into the role of the village bumpkin and large-hearted man with utmost ease shining in several scenes, helmed expertly by R Balki. As Lakshmikant Chauhan, Akshay Kumar portrays a sensitive man who loves his wife Gayatri dearly but is also sensitive to the cause of women.

I have always believed that among the young crop of actors, Radhika Apte is one of the finest we have in the Indian film industry and as Gayatri, she is simply terrific playing the conservative ‘village belle’ who is ashamed to use a healthy pad  at the cost of her health because ‘auraton ke liye sabse badi beemari hai sharam.’ As Gayatri, Radhika lends credence to the character and dons the submissive, naive women to perfection who has one argument to thwart her husband’s effort, ‘You don’t interfere in women’s matters.’ Given that she has relatively few scenes in the movie, Radhika holds her own forte and sparkles in several emotional scenes and particularly the ones where she breaks down.

Sonam Kapoor makes an entry post-interval where she plays the modern, chic and urban Delhi girl with perfection injecting freshness in the film. She simply owns every frame in donning a character so close to what she probably is in real life and does full justice to it. Sonam gets the best lines and gives a fitting reply to Akshay Kumar in every scene. It’s her best performance after the hard-hitting and memorable Neerja. So many of us will be fida over Sonam.

Stand out scenes:

There are several stand out scenes in Padman, particularly the ones where Akshay Kumar speaking in an accent-laden with broken English during the UN speech in America or the instance when he explains the sanitary pad machine to visitors through both sign language and broken English.  Secondly, the scene where he wears a pink female underwear, a risk that very few actors with his superstar status would be willing to take and attaching an animal blood pouch, not only touches hearts but packs a punch.

What’s Not!

The romance between Akshay Kumar and Sonam Kapoor was unnecessary and hard to imagine someone of the calibre of R. Balki to indulge in such a cliche. It is not only forced but works against the film’s spirit. Of course, there are several moments in the narration which is slow and tedious, particularly the start and post interval moments that make the flick, at times, look like a documentary.

Final words:

R. Balki’s Padman is an honest effort in portraying the sensitive issue of menstrual health and tackling shame or nurtured prejudices that women are subject to in our society. The director has successfully pulled all strings together in weaving the thought-provoking message, beautifully marrying reality and mass entertainment as well as extracting brilliant performances from its lead cast. Of course, the maker pays a fitting tribute to Amitabh Bachchan in the cameo where he not only plays himself but lends dignity and charm. The megastar is debonair personified. The cameo fits beautifully with the film’s theme. Padman is a must watch and should be lauded as a very honest effort in creating awareness, educate and break the taboo on this sensitive issue that afflicts women.

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Review: Padmaavat is a live opera on celluloid

Review: Padmaavat (i)

Director: Sanjay Leela Bhansali

Cast: Deepika Padukone, Ranveer Singh, Shahid Kapur, Jim Sarbh, Aditi Roa Hydari, Raza Murad, Anupriya Goenka and Aayam Mehta

Rating: Four stars

 

Now, that the unfortunate hooplah surrounding Padmaavat with an i is behind us and the raging debate on whether history has been distorted or not has been put to rest, we can all breathe. Movies depict various forms of artistic expression, prose or poetry in motion, entertainment, education or a narration taking us on an experimental spree. I call Sanjay Leela Bhansali, the master of opulence and extravaganza. Pandits have discussed at length on the magnum opus Padmaavat(i), at times questioning the movie’s logic laden with open letters or contrarian views accusing the maker of garnishing his stories with grandeur by twisting history. Why not? I shall argue. After all, brand SLB is about grandeur, decor and stunning visuals that make his stories credible and an experimental affair lapped by the audience.

Padmaavat was bound to create furor or raise eyebrows since history can be fictional or, for that matter, the filmmaker’s right to make use of creative freedom in his depiction of Queen Padmini.  A little bit of history. Sanjay Leela Bhansali has always been passionate to bring the story of Padmavati on screen since a decade and in the year 2008, he directed a 2-hour theatre version in Paris slithered with western classic and operatic music to create the visual imagery. It was a live opera that wooed and charmed an international audience.

Padmaavat on-screen is no less than a  live opera and herein lies the charm of the film marrying grandeur, epic battle, magnificent visuals, intense love and hatred in one frame. The entire picturization repose on a cinematic experience in form and essence bearing the signature style of the master storyteller and a stroke of genius, Sanjay Leela Bhansali. I am always sold on period and costume drama. At one shot, Padmaavat is an enthralling affair bringing to the fore sheer magnificence, stunning visuals and splendid camera angles moving at a frenetic pace that drags the viewers instantly into the world of Queen Padmavati. The Ghoomar song is Bhansali’s ode to celebrate the spirited and free woman lent tremendous grace by Deepika Padukone where the picturization has been done in a colossal manner marrying a ballet and grandiose spectacle at the same time.

A piece of art whipped in a super majestic manner where 3 D technology has an overbearing and powerful impact on the audience. One is simply transported into the world of Padmaavati like a trance. The battle sequence is epic and made it on par with classic Hollywood movies coupled with fantabulous camera movements cum decor which simply haunts in a delightful manner. That’s brand Sanjay Leela Bhansali for you. He captures emotions and style with elan. Jaw dropping sequences and a marvel to the eyes. Magnificence has a name. One watches in awe at the splendor with which he captures theatrics, visuals, and drama like jazz.

Ranveer Singh as Alauddin Khilji simply owns and aces every scene on celluloid and he is menacing, passionate and sadistic. The body language spells doom and evil in form to wreak havoc in this bravado act that not only pays a fitting tribute to dreaded villains lost in translation on the Hindi silver screen but brings it back with elan. The act adds to the soul of Padmaavat. He has come a long way right from his first outing in Band Baaja Baarat to taking his Bajirao Mastani act a notch higher and now defying all logic in this period drama. Ranveer is simply haunting in this stupendous act. He has challenged himself as Khilji and pushed the self to the brink which shows on the screen.

Queen Padmaavati is Deepika Padukone in form and spirit. She slays it with both intensity and subdued at times where she wears the character of the Queen on the sleeve like a magnetic force.  Deepika gives grace and dignity to Padmaavati, the various emotional nuances displayed makes her shine and sparkle like rare diamonds.  She is one of the rare artists who is in competition with herself and this act testifies the capability to play a demi-goddess in the most convincing manner.

The force of Shahid Kapoor lies in his effortless and superlative performance as Maharawal Ratan Singh and delivers a royal performance with the costumes sitting on him like glove, facial and eyes’ intensity that gels beautifully with the character. He holds his own fort in a flawless manner that runs high in the body language. The real surprise is Jim Sarbh who delivers a memorable and wicked performance. Aayam Mehta adds zing and is superb as the crooked priest while Aditi Rao and Anupriya Goenka are decent.

Except for Ghoomar, the songs in Padmaavat lack the shine that could have adorned magnificence and stunning visuals for that matter. There is a dearth of spark in the music that fails to match this enthralling cinematic vision which is quite a surprise considering that SLB has always made them an intrinsic part of his films.

On the whole, Padmaavat is cinematic brilliance and shot in an aesthetic matter which makes it a soulful journey and experience on the silver screen. The director has concocted a breath-taking and pulsating finale particularly the scenes where Queen Padmaavati descends into the fire, shot brilliantly like poetry in motion as well as the epic battle between Khilji and Ratan Singh making it magnificent and stunning at the same time. Padmaavat (i) clearly belongs to one man and he is none other than Sanjay Leela Bhansali who whips a visual treat. It is not a film but an artistic expression rendered bigger through an enthralling cinematography, splendor in scale, nail-biting climax, aesthetic visuals, and power packed performances.

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Tiger Zinda Hai is Salman Khan, Salman Khan and Salman Khan

Movie Review: Tiger Zinda Hai

Producer: Yash Raj Films

Director: Abbas Ali Zafar

Cast: Salman Khan, Katrina Kaif, Kumud Mishra, Paresh Rawal, Angad Bedi, Anupriya Goenka and Sajjad Delafroz.

Rating: Three stars

Tiger Zinda Hai (TZH) is Salman Khan’s show all the way. The franchise helmed by Abbas Ali Zafar is bound by expectations after the first installment reached soaring heights and this time what works is Salman Khan, Salman Khan and Salman Khan. The action scenes are not only breath-taking but visually appealing bearing the mark of Tom Struther.

There is bound to be expectations when Ek Tha Tiger exploded on screen like a cracker to be remembered for long.  But, what doesn’t work in TZH is the script and screenplay that lacks novelty and doesn’t quite live up to the franchise. All said and done, TZH scores on its slickness, the star power of Salman Khan that carries the film right from the word go on his shoulder and the heart-pounding climax.

The plot is based on a real-life plot when in 2014, Indian nurses were trapped in an Iraqi hospital and in the story, the Indian Government has seven days to save them or the authoritative Uncle Sam is already planning to go on a destruction spree. Tiger (Salman Khan) and Zoya (Katrina Kaif) are married and living a peaceful life with their son Junior when they are hunted in their secret destination to hoodwink ISC, a substitute for ISI. Enter Tiger to save the captured nurses. The rest of the story you know.

The story lacks the edge and tautness that one associated Ek Tha Tiger with and the screenplay tends to drag endlessly in the second half. The length of the 2 hr 40 minutes odd movie is too long and towards the end it gets tedious.

However, it doesn’t take away the fact that TZH is an entertaining flick designed for the Indian mass who will love a Salman Khan in superb form. He simply owns the film and his charisma makes up for the minuses in the concept or storyline. Salman Khan slays it like a King be it the battle with the wolves, saving the nurses from the clutch of the villain Abu Usman played by Sajjad Delafroz who is simply terrific. He is menacing and incarnates fear in a role that fits him hand in gloves. Watch for this bright new menace. Katrina Kaif plays her part decently well and shines partly in the action sequences but there is not much for her to do. She is simply lost in this big ticket flick that belongs entirely to Salman Khan.

There are some light moments in Tiger Zinda Hai that beautifully marries patriotism with the friendship between India and Pakistan which sends a strong message of peace. Credit goes to the director who doesn’t indulge in anti-Pakistan diatribe. The code comes as a breath of fresh air with Tu Tu Tu Tara that borrows from the Rishi Kapoor’s super success hit in the early 90s Bol Radha Bol which provokes laughter.

The actions sequences save the day in this otherwise drab story which is the main culprit. Of course, Bhai Jaan shines throughout Tiger Zinda Hai and the opening scenes as well as the chase scenes when he tries to save a boy playing the suicide bomber or the exhilarating action scenes mounted on a massively stunning scale.

The movie moves at a fast pace, something fans associated brand Salman Khan with and where the slick battles are won.  The film intelligently hides the loopholes that creep post interval. Kumud Mishra is effortless and managed to scores through the few lines so is Angad Bedi who plays his part in an effortless manner. A special mention for the dusky beauty, Poorna (Anupriya Goenka) who is a talent to watch and is not lost among the bevy of talents. She will go places if filmmakers can tap her talent and the intensity portrayed in her role. Paresh Rawal plays his part well, is funny in places but it seems he is suffering from his Babu Bhai hangover from another decade.

What doesn’t work in this Abbas Ali Zafar flick is the length of the movie and shortening the film by 10 to 15 minutes would have made it tighter. It’s the main culprit. Glitches there are quite a few, right from the storyline that lacks the intensity of Ek Tha Tiger and one can argue that the markers should have pushed the adrenaline rush through innovative writing.

On the whole, Tiger Zinda Hai provides wholesome entertainment with a Salman Khan in superb form and the production values, action sequences and cinematography are top notch in this slickly made venture. However, there is a tinge of disappointment comparing TZH with the earlier fare where there was no moment to sit back and think. It’s the festive season and Tiger Zinda Hai ends the year with a much-needed fanfare with action written all over the place.  As I said, the movie could have been very much better but it’s no reason to skip the movie that deserves to be watched for its action quotient.  Of course, Swag se Swagat is a delightfully shot. Go for it.

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Jab Harry Met Sejal is about being hopelessly in love

Film Review: Jab Harry Met Sejal

Director: Imtiaz Ali

Producer: Red Chillies/Gauri Khan

Rating: Three stars

Genre: Rom-com

Cast: Shah Rukh Khan, Anushka Sharma, Chandan Roy Sanyal, Aru K Verma and Evelyn Sharma.

 

A journey of love is not about conquering or possessing hearts but making every drop of water count. Relationships are complex so are humans.  Jab Harry Met Sejal (JHMS) narrates the tale of two characters who are dramatically opposed to each other but at the same time gullible. Harry and Sejal are not flawless or infallible. Imtiaz Ali is one director who believes in the films that he makes and the human emotions he weaved in the film will remind us of people whom we have met at some point or the other in life. JHMS is a human story that will warm your heart. A very relatable story that reminds us of follies made that would lit our faces with a smile.

Shah Rukh Khan effortlessly plays Harry as the travel agent who is never shy in telling, ‘Mein ladkiyon ko gande nazar se dekhte hai.’ It truly embodies the Imtiaz Ali franchise where his one-liners or dialogues have always been his forte and this is what makes his movies stand out from the rest. SRK is charismatic and endearing as Harry. He doesn’t rise above the script but is sublime as Harry, delightfully slipping into the skin of the character. It’s an act that touches the heart.

Sejal is fun-loving and full of zest. Anushka Sharma is electrifying in donning this character, at times weird and quirky with her Gujarati accent that you will drool over. She is simply stunning and wins the heart. One of the most amazing actresses that we have, Anushka is like the light feather and the hatke girl who stole your heart in the not so distant past. There is so much of Sejal in an ex-flame. She is caring. She is selfish. She can be brutal yet want to lean on your shoulder for you to take care of her.

There are some scenes in the movie that will sweep you off the feet. First, when Sejal tells Harry to consider her as his girl friend till the time they are together but is selfish for she will leave him for his fiancée back home. It’s about human weakness, compassion and reminds us that love is all that we need and triumphs over and above everything.

The discussion between Harry and Sejal about finding God is something that we all have done, dhunde mein bhi bhagwaan milta hai. It can’t get more real than that. She told me that one day. It is this vulnerability in love that Imtiaz Ali has treated in a sensitive manner. Love can hurt but is a medicine to heal hearts. The scene when Sejal and Harry sleep on the floor and end up cuddling each other will touch every soul who has ever been in love. The heart knows no reason.

Of course, there are some hilarious scenes that will make you laugh your lungs out. Sejal following Harry in the lousy bar and the letter Sejal writes in the case there is sexual intercourse, Harry will be absolved of all legal charges. Of course, the encounter with Don Gas (Chandan Roy Sanyal) where Harry turns the table on the former breaks the monotony and brings the laughter alive.

Imtiaz Ali brings out the ring analogy to the fore in depicting the love growing between Harry and Sejal which also shows the palatable chemistry between both actors. It sends a strong but proverbial message on the lies that humans make and we look for emotions far away but its simplicity lies within and near us.  What you seek is seeking you makes for a strong statement but a down to earth philosphy about life, love and relationships. For me, the lost ring analogy depicts love and weakness in all its forms. It’s simple and endearing.

Of course, Jab Harry Met Sejal is not the best script that will blow your mind like Jab We Met, Socha Na Tha, Love Aaj Kal or Highway did. It’s not the best work of Imtiaz Ali for he borrows from the same old tried and tested formula. There are moments in the second half that moves at a sluggish pace that work against the film but also that Shah Rukh Khan’s entry is too ordinary that doesn’t live with his superstar image.

JHMS stand out for its human narration about human emotions and tribulations that tug the heart. The way the song Hawayein has been shot is not only electrifying but is a personal favorite for both SRK and Anushka brings so much energy that electrifies the screen. Do watch the film for it means to be hopelessly in love. Fuck logic. Love is not about practicalities but losing all senses.

 

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