Hindi Movie Reviews – Rigobertha Reviews

September 13, 2024September 13, 2024

The Buckingham Murders: A well-crafted whodunit focusing on unresolved grief and repressed anger

The Buckingham Murders movie banner

Hansal Mehta raises many pertinent issues through this police procedural like the plight of immigrants, communal hatred, the queer community etc. The treatment of these topics does feel rushed, nevertheless he delivers an engrossing movie aided by the brilliant Kareena Kapoor Khan

Starcast: Kareena Kapoor Khan, Ash Tandon, Ranveer Brar, Keith Allen and others

Story and screenplay: Assem Arora

Additional screenplay: Raghav Raj Kakker and Kashyap Kapoor

Director: Hansal Mehta

Producers: Shobha Kapoor, Ekta Kapoor and Kareena Kapoor Khan

Music: Ketan Sodha

Cinematography: Emma Dalesman

Production Companies: Balaji Motion Pictures and Mahana Films

Running time: 1 hour and 50 minutes

The Buckingham Murders directed by Hansal Mehta and co-produced by Kareena Kapoor Khan perfectly fits the genre of a slow burn investigative drama. The story is set in the town of High Wycombe. High Wycombe is situated in Buckinghamshire just northwest of London. Beneath the town’s charming nature there are many secrets waiting to be unraveled. The film tapes into the underlying racial tensions echoing real life situations. In simple terms the story of The Buckingham Murders focuses on the emotional turmoil of detective Jasmeet Bhamra akka Jas (Kareena Kapoor Khan in a knockout performance). She is a witness to her son’s tragic death due to a reckless open firing incident in a foreign country. An attempt to escape from her scars results in a demotion to D S shortcut for Detective Seargent. Detective Seargent is a police rank in the UK. On her very first day of work, she reluctantly takes up the case of a missing Indian Child. It starts off as a straightforward investigation but soon a cane of secrets tumbles out. Jasmeet has huge doubts regarding the honesty of Diljeet (Ranveer Brar). Diljeet is the father of the missing child. As the plot progresses many questions crop up like why the boy is missing and who is responsible for it, running parallel to the investigation is the track of immigrants and the issue of communal violence.

Kareena Kapoor Khan in a knockout performance

A strong aspect of The Buckingham Murders is director’s exploration of unresolved grief and repressed anger. The struggles of Jass in dealing with her psychological state and how she emerges as a fighter has been well depicted. The professional and personal struggles of Jass run alongside the investigation, this enhances the drama at many places. There are occasions where we see the seniors being dismissive off her on the grounds of getting overtly involved, she is also treated in a condescending manner at work.

Stories of cops battling personal tragedies while investigating isn’t new but what makes this movie different is how the director has added the angles of Islamophobia and Homophobia among others. The communal tension between Sikhs and Muslim who form an important chunk of immigrants has been well explored too.

The movie also explores the trauma of a closeted Queer through an important character. There is an important conversation regarding this at a crucial juncture, it makes the viewers think about the plight of these people. The movie also dwells into the faulty idea of marriage where a woman is just treated as a servant with no salary.

Additionally, the movie also examines the changes brought by the pandemic. How it has influenced many aspects of our life both positively and negatively. Thankfully all these social aspects flow seamlessly rather than being force fitted. However, there are times where the viewers feel that these topics would have better off in a web series rather than a feature movie.

Just like Hansal Mehta’s previous movies here too there is ample psychological insight into the shortcomings of society. Emma Dalesman’s cinematography is top notch as well. His framers perfectly capture the eerie atmospherics.

As mentioned, in beginning the Buckingham Murders belongs to the genre of slow burn investigative dramas. This is not a thriller with twists and turns at every corner. Hansal Mehta takes his own sweet time to establish the various perspectives. At times the angle of immigrants even overpowers the mystery part of it but the conclusion more than makes up for it. It makes the viewers sit up about how this person turned out to be the real villain.

The Buckingham Murders has an equal mix of Hindi and English dialogues. This is doesn’t become jarring at any point. The English dialogues are equally poignant as the Hindi ones. Mention must also be made of Jasmeet’s wardrobe. Hansal uses the wardrobe in a smart manner to showcase the protagonist’s emotional journey. For most part of the movie Kareena is seen wearing black and dark purples. The only time the viewers see Jasmeet wearing a bright color is when she finally decides to stop running from the haunting past.

Performance wise it goes without saying that Kareena is an absolute treat to watch with her nuanced act. The actress has been aging like fine wine and this movie is the perfect testimony to it. The way she expresses emotions through subtle expressions is a treat to watch. A scene which deserves a particular mention is the one where Jass understands grief from her father’s perspective. It is highly emotional.

A scene which deserves a particular mention is the one where Jass understands grief from her father’s perspective.

The supporting cast also make their presence amply felt. Ranveer Brar deserves a special mention for the way he brings out the different nuances. Whether it is the frustration of a father whose child is missing, the false bravado of someone who is failing in business and finally a misogynist husband taking his wife for granted. Prabhleen Sandhu as the unassuming Preeti Kohli is also a delight to watch. The foreign actors like Keith Allen and Charles Craddock are also efficient in their respective parts.

The supporting cast also make their presence amply felt.

The Buckingham Murders is a skillful exploration of the complex human relationships under the guise of a police procedural. How certain social structures suffocate human beings, for fans of layered stories and Kareena Kapoor Khan this is a must watch.

August 16, 2024August 23, 2024

Vedaa: A flawed yet a gritty social drama that touches upon caste-based violence and discrimination

In spite of a bloated second half director Nikhil Advani delivers a hard-hitting tale based on real events. Sharvari Wagh has delivered her career best performance.

Starcast: Sharvari Wagh, John Abraham, Abhishek Banerjee, Ashish Vidyarthi and others special appearances (Tammanna Bhatia and Mouni Roy)
Director: Nikhil Advani
Writer: Assem Arora
Producers: John Abraham, Monisha Advani and others
Production Companies: Zee Studios, Emmay Entertainment and JA Entertainment
Music: Ammal Malik and Manan Bhardwaj
Cinematography: Malay Prakash
Running time: 2 hours and 36 minutes

Nikhil Advani has had a very interesting filmography starting from the romantic dramas Kal Ho Na Ho and Salaam e Ishq. He shifted gears successfully with the film D-Day a well-made action thriller. Nikhil further proved his versatility on OTT with the two seasons of Mumbai Diaries. Of course, the director has also fallen flat on his face with certain movies but there is no denying that Nikhil is a fascinating filmmaker. His latest directorial is based on some real-life incidents dwelling into the oppression of lower caste. Vedaa alternates between a social drama and a high-octane action thriller with dollops of blood. This mix doesn’t always work particularly the long-drawn climax however there is no denying that Nikhil Advani makes an important statement.

Vedaa alternates between a social drama and a high-octane action thriller

The story of Vedaa deals with an ambitious Dalit girl played by Sharvari Wagh. Vedaa aspires to be a boxer breaking the boundary of social stigma. However, that is easier said than done given her family background and the upper caste bigots. Abhishek Banerjee in his second release of the week plays an unhinged antagonist who firmly believes that one cannot toy with the firmly established caste system. The actor is simply phenomenal which I will elaborate on later. John Abaraham on the other hand is a typical hot headed solider who faces court martial for his rebellious streak. His character Abhimanyu comes to the village of Sharvari, his father-in-law stays here. Abhimanyu tries to lead a normal civilian life but an honor killing incident changes everything. Vedaa’s brother falls in love with an upper caste girl, she also reciprocates but expectedly there is no happy ending. Abhimanyu becomes the guiding force of Vedaa echoing Mahabharata.

Sharvari Wagh’s Vedaa aspires to be a boxer breaking free from social stigma

A strong aspect of Vedaa is how Nikhil Advani has showcased the humiliation that Dalits go through. Even after so many years of independence the social and economic conditions of Dalits leave a lot to be desired. There are some hugely disturbing scenes like the one where Vedaa is assaulted by upper caste hooligans, but she is not a position to fight back. There is also a scene where lower caste men rub their noses on the ground. Of course, the treatment is more in your in your face unlike Article 15 that was more nuanced but still these moments leave a strong impact.

Vedaa also benefits from the strong characterization of the central role. Sharvari Wagh starts off as a timid girl but gradually the character grows in confidence becoming a strong rebel. A scene which deserves a particular mention is Vedaa’s confrontation scene with the younger brother of Abhishek Banerjee’s character. A very violent fight ensues with Vedaa taking out all of her pent-up frustration. Sharvari proves to be a worthy action heroine, on a side note cannot wait to see her kick some serious ass with Alia Bhatt in Alpha.

Abhishek Banerjee proves himself as a supremely talented artist with his portrayal of Jitender Pratap Singh. The actor does a wonderful job in portraying an intimidating villain. He gives John Abaraham more than a tough fight in the hand-to-hand combat sequences. It is hard to believe that this is the same man who played the role of Jana in Stree 2. He is that good.

Abhishek Banerjee proves himself to be a supremely talented artist

The second half of Vedaa has numerous car chases and action sequences. These sequences offer a thrilling ride for the viewers. There is constant tension about how Vedaa is going to emerge victorious from all this. However, it has to be said that the fights become too elongated as well and the climax in particular becomes a never-ending saga. John Abraham’s Abhimanyu Kanwar is pumped with numerous bullets but still he stands up. The gritty texture of the first half is in complete odds with these scenes. Similarly, Abhishek Banerjee is seen walking normally even after being shot in the stomach.

Talking about John Abraham the actors hulk like presence goes completely with the role. Abhimanyu is a man of few words letting his fists doing the talk. However, John’s performance feels like a letdown in comparison to his character of Jim in Pathaan.

Vedaa’s music also leaves something to be desired. The only song that makes an impression is Arjit Singh’s ‘Zaroorat Se Zyada’. Malay Prakash’s cinematography coupled with Manoj Sikka’s sound design deserves a major appreciation. The hinterland of Rajasthan has a lived-in feel.

Vedaa in spite of some flaws is thought provoking making the viewers root for the titular character.

August 15, 2024August 16, 2024

Stree 2 Sarkate Ka Aatank: A rollicking sequel with the right mixture of scares and humor

Apart from the horror and scares director Aamir Kaushik also does a fine job in blending impactful social commentary

Starcast: Rajkummar Rao, Abhishek Banerjee, Aparshakti Khurana, Pankaj Tripathi, Shraddha Kapoor and others special appearances (Varun Dhawan, Akshay Kumar and Tamanna Bhatia)
Director: Aamir Kaushik
Writer: Niren Bhatt
Producers: Dinesh Vijan and Jyothi Deshpande
Production Companies: Maddock Films and Jio Studios
Music: Sachin Jigar and Justin Varghese
Cinematography: Jishnu Bhattacharjee
Running time: 2 hours and 27 minutes

Aamir Kaushik’s Stree 2 is one of those few sequels that matches up to its first part. For those who haven’t seen Stree 1 the plot revolved around a female spirit wreaking havoc in the small town of Chanderi. This female ghost by the name of Stree attacked men at night that too during a particular festival period. She only kidnaps those men who turn around when she calls. Apparently looking into her eyes confirms permission to abduct. There is an underlying satire about how consent doesn’t matter for men. Women even in their non-human form are more evolved. Stree 1 had the right doses of suspense and humor along with a touching origin story. The film also benefitted from the fantastic male cast led by an adorable Rajkummar Rao. Not surprisingly Stree 1 was a major hit.

Stree 2 is one of these few sequels that matches up to the first part

Now you have Stree 2 again set in Chanderi. At the end of Stree 1 the female ghost had left the town, fear has been replaced by respect which was denied to her when alive. Instead of O’ Stree Kal Anna (O Stree, come tomorrow) the new instruction is O Stree Raksha Karna (O Stree, protect us) The mindset of Chanderi people has also undergone a significant change, they have become more liberal with woman marrying outside their caste and having big dreams. However, the peace is short lived thanks to a new demon who abducts girls with modern outlook. His name is Sarkate, a hugely grotesque creature with no head. This Sarkate had burned Stree and her lover alive. Once again, the responsibility of saving Chanderi falls on the shoulders of Vicky (Rajkummar Rao continuing his splendid form). Shraddha Kapoor returns back as the mysterious figure with whom Vicky deeply fell in love. Thankfully the viewers get to know more about her character this time around. Apart from Shraddha Kapoor Vicky gets help from his usual trusted allies Abhishek Banerjee as Jana and Pankaj Tripathi as Rudra. Aparshakti Khurrana as Bittu has as an interesting arc which I will get to later.

Shraddha Kapoor returns back as the mysterious with whom Vicky had fallen in love with

A strong aspect of Stree 2 is how Aamir Kaushik has used the character of Sarkate to explore the patriarchal mindset. Very often we see leaders blaming a women’s mindset for the crimes happening on them. The way Sarkate chooses only those girls who think beyond the traditional boundaries reminds the viewers of the numerous sexist leaders.

There is a hugely poignant moment in Stree 2 when all the Chanderi women break out in unison late into the night, fully aware of the dangers lurking. Stree 2 also touches upon women empowerment briefly while talking about the kidnapped girls. Aamir Kaushik doesn’t go very deep but still these moments are mighty effective.

The humor quotient of Stree 2 is also very strong. Niren Bhatt’s dialogues are filled with punches and often leave the viewers in splits. Abhishek Banerjee as the gullible friend often manipulated by his friends raises many laughs particularly in his interactions with Pankaj Tripathi’s Rudra. The way both of them feed on each other is wonderful to watch. Pankaj Tripathi as the ghost expert continues his great form delivering many laughs. He has also gets a charming romantic subplot with Tamanna Bhatia, it doesn’t last for long but makes for a fun watch.

Aparshakti Khurana as Bittu gets more to do this time around and he does a fantastic job. He is charming as the lover singing a lullaby to his girlfriend. His portrayal of anguish upon his girlfriend being taken away by Sarkate is palpable. At the same time there is a different shade too when Bittu becomes an alpha male as a result of Sarkate’s strong spell. The actor brings out both these shades in a wonderful manner.

Rajkummar Rao as Vicky is spot on in acing the different aspects of his role. Whether it is his lover boy act, or scenes of physical comedy. With this movie he once again proves his ability in jumping genres successfully.

The cameos of Tamanna Bhatia, Varun Dhawan and Akshay Kumar have been smartly integrated. Akshay Kumar plays a lunatic who thinks of himself as Shah Jahan. Akshay’s character is the one who sends a warning letter to Rudra in the beginning. The ending shot suggests that he might be an important part of Stree 3. Tamanna Bhatia sizzles in the special song “Aaj Ki Raat. She adds a lot of glamour with her sexy belly moves. Talking about the songs apart from “Aaj Ki Raat the other two “Aayi nai ” and “Tumhare Hi Rahenga Hum” also make for a good listen and watch. Varun Dhawan as Bhediya gets a dashing entry at a critical juncture. His scene with Abhishek Banerjee deserves a particular mention. Varun’s Bhediya gets attracted to Shraddha and asks him on how to impress her. In response Abhishek Banerjee says that you are Bhediya remain like that and don’t become an animal.

What drags down Stree 2 much like the first part is Shraddha Kapoor’s character. She has the same set of expressions from Stree 1. The romance between her and Rajkummar feels largely one sided with him doing most of the heavy lifting. The sequences of Sarkate meeting his end also needed to be crisper. The viewers get a feeling of eternity before Sarkate gets defeated.

Keeping aside these small niggles Stree 2 is truly a blockbuster sequel.

July 6, 2024July 7, 2024

Kill: Visceral action yet a thrilling ride

Director Nikhil Nagesh Bhatt elevates a standard action plot by bringing class divide and blurring the lines between what we consider as hero and anti hero.

Starcast: Lakshya, Raghav Juyal, Tanya Manikatla, Abhishek Chauhan, Ashish Vidyarti and others
Director and writer: Nikhil Nagesh Bhatt
Music: Shashwant Sachdev and Vikram Montrose
Cinematography: Rafey Mehmood
Producers: Karan Johar, Guneet Monga etc
Production houses: Dharma Productions and Sikhya Entertainment

On surface the plot of Kill may appear as a series of action sequences, a show reel for debutant Lakshya to establish himself as a massy hero who can vanquish villains even after facing severe blows. But what makes Kill different from other violent movies is a strong emotional poignancy. The character graph of Lakshya’s Amrit Rathod from a commando who initially just wants to control the situation to eventually becoming a bigger monster has strong undercurrent of emotions. As the movie progresses Nikhil Nagesh Bhatt questions our notions of what we consider as hero and anti-hero. No wonder Kill got rave reviews at the Toronto International Film Festival, kudos to Karan Johar for giving a movie like this a significant platform along with Guneet Monga.

The initial minutes of Kill are devoted to the love story between Amrit Rathod and Tulika (Tanya Maniktala). Tulika is returning to Delhi after a reluctant engagement. Amrit and his fellow commando/ friend Viresh (Abhishek Chauhan) are also on the same train. Amrit is making plans on how to convince his future father in law with the help of Viresh. A romantic story soon turns into a catastrophic night thanks to a group of dacoits (armed robbers). The leader of this gang is Fani (Raghav Juyal). Ashish Vidyarthi plays Fani’s father and a fellow dacoit. The father and son don’t get along well. What should have been a simple robbery ends up in a violent bloodbath because of Fani’s thoughtless actions who is desperate to get his father’s approval and love. Nothing more can be revealed here.

The initial moments start as a love story

A strong aspect of Kill is the humanizing of the dacoits. There are portions of the second half where the armed robbers vent out their vulnerabilities and fears. They want an escape from this havoc seeing the brutal deaths of their family members. On more than one occasion they plead to Ashish Vidyarti’s Beni about deboarding the train. Director Nikhil Nagesh Bhatt is successful in bringing out a strong sense of brotherhood. He also subtly highlights the class divide and the impoverished state that leads to these men becoming robbers and looting rich people. On the surface they appear as ordinary men but there is a deep angst within.

The scenes between Ashish Vidyarti and Raghav Juyal is another major highlight of the movie, there is a constant friction in spite of both being armed robbers. A particular scene that has to be mentioned is the one where Beni talks about how Fani has dumped his father’s values and principles. To this Fani replies sarcastically that they are dacoits and he isn’t Amitabh Bachchan’s Narayan Shankar from Mohabbatein to talk about principles and values, this scene raises ample chuckles.

The action sequences by nature are very violent and definitely not for family audiences, however stunt directors Se- Yeong along with Parvez Sheikh deserve kudos for coming up with innovative combat sequences in the confined spaces. A particular mention must be made of how they have used the window curtains that become death traps. Cinematographer Rafey Mehmood camera work is also fantastic. He successfully captures the tense atmosphere through his lens.

Kill wouldn’t be what it is without the brilliant acting particularly lakshya and Raghav. Lakshya makes for a perfect action hero. He captures the turmoil of Amrit many times with just his eyes and overall body language. Lakshya fully convinces the audiences that Amrit has become a killing machine. Fani’s taunt at Amrit on how he isn’t a hero but a big monster feels very true. Raghav Juyal best known for his dancing skills springs a very pleasant surprise. He knocks it out of the park as a cold blooded villain who has his own vulnerabilities. Fani’s anguish at seeing the violent deaths of the family members including his own father has been well portrayed by Raghav.

Both Lakshya and Raghav deliver terrific performances

Tanya Manikatala does well in her brief yet important role. She brings in an understated strength to Tulika. Her lovey-dovey moments with Amrit that include him proposing to her in a toilet seat comes across as a respite from the breathless action. Ashish Vidyarthi also makes his presence amply felt as the frustrated father who prophesies that the reason for him dying before time would be his son. Abhishek Chauhan has a straight forward role of being Amrit’s ally in the initial phase nevertheless the actor has his moments.

True to the title Nikhil Nagesh Bhatt has killed it, this violent saga may make you apprehensive of train journeys but it is a must watch for those who like blood and gore with a solid storyline.

June 15, 2024June 15, 2024

Chandu Champion: This true story of grit and determination takes the viewers on a roller coaster of emotions

This Kabir Khan directorial begins off hazily but soon finds its grove. Kartik Aryan delivers a knockout performance putting his blood and soul. He doesn’t miss a single beat

Starcast: Kartik Aryan, Vijay Raaz, Bhuvan Arora, Rajpal Yadav, Yashpal Sharma, Shreyas Talpade and others
Director and writer: Kabir Khan
Additional writers: Sumit Arora and Sudipto Sarkar
Producers: Sajid Nadiadwala and Kabir Khan
Music: Pritam
Production Companies: Naiadwala Grandson Entertainment and Kabir Khan Films
Cinematography: Sudeep Chatterjee
Running time: 2 hours and 30 minutes
Genre: Biographical drama

There was a period in Hindi cinema when the on-screen portrayal of disabled/ differently enabled people used to be all about the Bechara syndrome. They were often portrayed as objects of pity or to evoke comedy. But this depiction has undergone a significant change in the recent past. Case in point being Sanjay Leela Bhansali’s Black featuring Rani Mukherjee. In this movie Rani Mukherjee played a visually impaired girl Michelle based on Helen Keller’s life. Michelle is never reduced to a stock caricature, there is a strong determination to prove herself. In Guzaarish Hrithik Roshan played a popular magician Ethan who suffers paralysis and turns into a radio jockey. Although Guzaarish is a grim story that focuses on Euthanasia/ mercy killing yet it is also a tale of resilience. The scenes of Ethan as a Radio jockey and how he spreads hope through his wit are in particular were compelling.

This year you have had the biopic of the visually impaired businessman Srikant Bolla starring Rajkummar Rao. In this movie director Tushar Hiranandani made some scathing remarks on how some people think that the best way to help the blind is only through making them cross the road. Now you have Kabir Khan’s Chandu Champion based on an incredible true story of Muralikant Petkar. India’s first paralympic gold specialist.

The movie begins in the present with an older Muralikant Petkar (An outstanding Kartik Aryan). He is narrating his tale of glorious days to a bunch of cops. From his younger days itself Murali had a huge dream of winning an Olympic gold medal for India inspired by KD Jadhav an Olympic medalist. He openly says that his dream is to win an Olympic gold medal only to get ridiculed and bullied by his fellow classmates. At one point Murali also runs away from his village. He joins the Indian army and finds a strong ally in the form of Karnail Singh (Bhuvan Arora) who gives Murali hope that he can become the next Milkha. Vijay Raaz plays Tiger Ali. He is a coach cum father-like figure who trains Murali for the boxing championship. He reaches the finals but only ends up with a silver medal leading to a strained relationship with the coach. In the life altering 1965 Kashmir war Murali faces many wounds in the process of trying to save his colleagues. Murali ends up in a prolonged coma becoming paralyzed waist down. At one point he even tries to commit suicide by having excess pills, but destiny has other plans for him. The rest of the story is about how Petekar manages to overcome all the odds fulfilling his dream of winning gold along with why he is narrating his life story to a bunch of policemen.

There is no denying that Chandu Champion has a hazy start. The scenes of Murali in the military camp has a distinct hangover of Bhaag Milkha Bhaag. The humor at places is also reminiscent of that however the movie finds its grip soon. The scenes of Murali preparing for the boxing championship and how he pummels down his opponents only to lose in the finals has been brilliantly written and enacted. The Pre interval block of the 1965 war and the life altering event sets a solid base for the second half.

The second half becomes even more engaging. The portions of Murali’s despair touches a strong emotional chord. As viewers you root for him to succeed in life. The return of Tiger Ali and the way he motivates Murali to dream big again is wonderful to watch. This time the sport is swimming with the aim of winning gold in the 1972 Summer Paralympics. But here again the path is far from easy as the sports committee is not too keen on funding a player for the Paralympics event. The way Murali overcomes all these challenges and sets a world record by clinching the gold medal in 37.33 seconds is exhilarating to watch.

An aspect of Chandu Champion that elevates the movie from just a template underdog drama is the message that it conveys regarding disability and differently abled people. There is a powerful monologue where Murali talks about how differently abled are not looking for sympathy. It critiques the Bechara syndrome and how sometimes even their best efforts are not given due recognition.

Chandu Champion is also technically strong. Sudeep Chatterjee’s cinematography coupled with Juluis Packam’s background score elevates the movie’s emotional core further. The cinematography of the boxing and the paralympic sequences in particular deserve a special mention.

Pritam’s music is not of the blockbuster type but the songs Tu Hai Champion and Sarphira make a strong impact.

Coming to the man of the moment Kartik delivers a career defining performance. His physical transformation is of course beyond commendable but beyond the physicality the actor also shines bright in the scenes of showing helplessness, frustration, resilience and grit. He more than holds his own opposite the veteran Vijay Raaz. The hunger to be taken seriously as an actor is very much visible. Even as an older man he is pretty good.

Vijay Raaz as the coach has an interesting arc and is not just used for comic relief. He brings in a lot of emotional depth. His emotional moments with Kartik Aryan give the movie some of its best moments. Bhuvan Arora also makes a strong impact in his limited screen time. The camaraderie between him and Kartik is very much on point.

Shreyas Talpade as the funny cop and Sonali Kulkarni as a journalist could have been used better though.

Chandu Champion is an inspiring story that needs to be watched on the big screen. Muralikant Petkar, Kabir Khan and Kartik Aryan take a bow.

June 1, 2024June 2, 2024

Mr and Mrs Mahi: Rajkumar Rao and the music are the only redeeming features of this underwhelming romantic/sports drama

Director Sharan Sharma disappoints after a promising debut in Gunjan Saxena. Janhvi Kapoor needs to get out of her stock expressions

Starcast: Rajkumar Rao, Janhvi Kapoor, Kumud Mishra, Zarina Wahab and others
special appearance (Arjit Taneja)
Director and writer: Sharan Sharma
Additional writer: Nikhil Mehrotra
Production Company: Dharma Productions and Zee Studios
Music directors: Vishal Mishra, Tanishk Bagchi and others
Cinematography: Anay Goswami
Running time: 2 hours and 18 minutes

Sharan Sharma’s first movie Gunjan Saxena: The Kargil Girl was much appreciated for its strong storytelling particularly the father and daughter relationship. The movie also packed a powerful punch in showing how Gunjan broke through the mostly male stronghold to make a place for herself. For Janhvi Kapoor the movie was a resurgence after the mixed reviews to Dhadak.

Sharan Sharma’s second venture Mr and Mrs Mahi had all the potential to be a solid feel-good movie, but this time the director has disappointed the emotions land rarely and the cricketing portions are a dampener. It also doesn’t help that Janhvi seems to have stepped straight out of Baawal sets in a different universe. Sure, the character sketch leaves a lot to be desired, but Janhvi’s monotonous expressions doesn’t really help. She really needs to up her game significantly particularly in the times of talented young actresses like Nitanshi Goel and Pratibha Ranta from Laapaata Ladies. Or even Mrunal Thakur who has delivered some impactful performances.

Mr and Mrs. Mahi tells the story of a failed cricketer Mahendra Agarwal (Rajkummar Rao) and his doctor wife Mahima Agarwal (Janhvi Kapoor). Mahendra toils away in his father’s sport shop. Mahendra’s dream was to play for the national team however that didn’t transpire for many reasons. There is a constant undercurrent of tension, the father Hardayal Aggarwal (Kumud Mishra) considers Mahendra as a defective piece. The son on the other hand looks at himself as a complete zero. Adding to Mahendra’s woes is the elder brother Sikander Aggarwal (a caricaturist Arjit Taneja). Sikander is a big television actor whose face is seen on billboards; fans throng after him. This adds to Mahendra’s insecurity. Things take a turn when Mahendra comes upon his wife’s cricketing abilities. He manipulates Mahima into believing that she is made for cricket. Mahendra is successful in making Mahi a star, but their marriage takes a beating as Mahendra’s desire for fame has not been quenched.

One of the few redeeming features of Mr and Mrs Mahi is the top notch Rajkummar Rao. Yes, Mahendra is not a likeable person. On more than one occasion he comes across as very selfish and also insensitive but at the same time it is impossible to hate Mahendra completely thanks to the layered character and Rajkummar Rao’s portrayal. The way Rajkummar showcases the psyche of a broken man is a testament of his immense talent. The actor also raises some chuckles in the scenes where Mahendra records videos promoting himself on how Mahma has reached this far because of him.

The music composed by the various composers does make for a good listen and watch. A particular mention must be made of Vishal Mishra’s “Roya Jab Tu”. This song takes place when Mahendra and Mahi have a spilt and her game has taken a severe beating. Anay Goswami’s cinematography is suitably glossy and does make the movie visually appealing.

Director Sharan Sharma does make some important points on how the need for fame can drive a person insane and also the aftereffects of suppressing childhood dreams. However, these scenes are far and few in between.

A major problem with Mr and Mrs Mahi is the lack of depth in both the characterization and the acting performance of Janhvi. For most part the viewers see the film from the perspective of Mahendra and this leaves little room for Mahima. Often times she comes across as a pushover whether it is the father making her choose a doctor career or the husband manipulating her to become a cricketer. There is little agency here and by the time Mahima gives it back to Mahendra it becomes too late.

As mentioned in the beginning Janhvi needs to get out of her stock expressions. The emotions of fear and vulnerability are the same as we have already seen in the likes of Baawal and Mili. Sure, she has worked on the cricket aspect but other than that there is nothing new. Also, the cricketing aspect feels superficial given that Mahima is never seen fielding on the ground.

Mr and Mrs Mahi is strictly an average watch only elevated somewhat by Rajkummar Rao.

May 12, 2024May 13, 2024

Srikanth: Rajkummar Rao leads a gripping tale of self-determination that feels like a warm hug

Director Tushar Hiranandani deserves huge appreciation for not using the blindness of Srikanth Bolla as a tool of self-pity.

Srikanth (Hindi), 10-05-2024, Biography , Drama, 2 hours 14 minutes, U, Theatre

Main Cast: Rajkummar Rao, Alaya F, Jyothika and Sharad Kelkar
Director: Tushar Hiranandani
Producer: Bhushan Kumar and Krishan Kumar
Music Director: Anand Milind, Tanishk Bagchi, Sachet Parampara, Ved Sharma
Cinematography: Pratham Mehta
Rating: 3.5/5
Published in: Southfirst

There was a time when biopics on different personalities used to sell like hotcakes. Cases in point are Farhan Akhtar’s Bhaag Milkha Bhaag (2013), Vidya Balan’s The Dirty Picture (2012), and Sonam Kapoor’s Neerja (2015).

These movies raked up both critical acclaim and commercial success.

However, the genre has somewhere lost its sheen in the last few years, particularly the ones related to sports like Taapsee Pannu’s Shabhaash Mithu (2023) or even this year Maidaan (2024). The box office numbers of the Ajay Devgn-starrer are still far away from the producer’s investment.

A major reason for Indian biopics losing its sheen is the overt melodrama along with the predictable beats.

Nevertheless, director Tushar Hiranandani’s Srikanth, based on the visually impaired businessman named Srikanth Bolla, is a welcome change in more ways than one.

Sure, there is a fairytale-like structure in how Srikanth overcomes his obstacles. But, at the same time, the movie does throw light on some important things.

How we should not view differently-abled persons through the lens of pity, instead we should engage with him or her as equals.

Synopsis

The movie begins with the birth of a boy. The father is initially ecstatic about a son being born and rushes home.

He names him Srikanth after the famous batsman Krishnama Chari Srikanth. However, all this changes once the fact of his son being blind comes out.

In the beginning, both parents have a hard time worrying constantly about the child. Things are further compounded by neighbours and relatives who think that Srikanth has no future.

At one point, the father almost buries him alive. But better sense prevails with the wife stopping him.

The rest of the plot looks at the journey of Srikanth from just another village boy to an inspiration for many people like him.

Analysis

Generally, Indian biopics do shy away from showcasing the grey areas of their protagonists. Here too, Tushar Hiranandi surprises big time.

In the second half of the movie, Srikanth has a downfall in business because of his overconfidence and also a bitter attitude towards his business partner-cum-friend Ravi (Sharad Kelkar).

There is a scene where a media person talks about how Srikanth wouldn’t be successful if Ravi hadn’t backed him up.

This does not go down too well with Srikanth; he believes he is wholly and solely responsible for his victory.

Writers Jagadeep Siddhu and Sumit Purohit have written some crackling dialogues that stay with the viewers long after the movie has ended.

A good example of this is the sequence where Srikanth is not allowed to board the plane on account of being visually challenged. The officials insist on someone accompanying him.

How Srikanth turns the situation around with some crackling dialogues not only brings a wide smile but the lines also provide a reality check on how persons with disabilities are not treated as equals.

The monologue at the end also deserves a big thumbs up.

There are scathing remarks on how some people think that the best way to help the blind is only by making them cross the road.

Takeaways

A strong aspect of Srikanth is how the director has projected the stark contrast between India and the West regarding the education facilities for the differently abled.

There are scenes where Srikanth faces rejection for wanting to choose science, though he tops the 12th board exams. The challenges of the protagonist with the Indian educational system have been presented poignantly.

Tushar Hiranandani also does a wonderful job of showcasing the bond between Rajkummar Rao’s Srikanth and Jyothika’s Devika.

Devika was a teacher of businessman Srikanth when he studied at a special school for the visually impaired in Hyderabad.

However, her association with Srikanth goes much beyond school. She is his friend, philosopher and guide.

Devika supports him in every step that he takes but at the same time, she also gives him a reality check when needed.

The best example of this is the portion where she lambasts him for becoming insecure and bitter in the second half.

A speedbump

The love story between Rajkummar and Alaya F though comes across as a major speedbump.

Alaya F has a charming presence but her character of Swathi appears and disappears at the whim of the writers.

The blossoming of love between the two feels rather hurried. Also, there are times when the all-round abilities of Srikanth become a little difficult to digest; like the scenes where he plays basketball and cricket without any hiccups.

The romantic songs of Sachet Parampara “Tu Mil Gaya” and “Tumhe Hi Apna Maana Hai” are soothing in nature. However, the recreation of “Papa Kehte Hain” from Qayamat Se Qayamat Tak (1988) is the major highlight of the soundtrack.

Rajkummar and Jyothika excel

In the title role, Rajkummar Rao delivers an exceptional performance. The actor just disappears into the role starting from the mannerisms.

He particularly shines in the scenes of Srikanth grappling with insecurities. There is also a goofiness to Srikanth which Rajkummar brings out expertly.

Jyothika also makes a big impact bringing the right mixture of warmth and fierceness.

Sharad Kelkar plays the business partner-cum-friend with a lot of empathy.

Final take

Srikanth makes you think about how differently-abled persons should be treated as mainstream and deserve equal opportunities, just like anyone.

https://thesouthfirst.com/entertainment/srikanth-hindi-movie-review

April 22, 2024April 23, 2024

Do Aur Do Pyaar: A well-made marital drama about the difficulties in sustaining love

Vidya and Pratik Gandhi bring alive the complexities of a couple who loses love. They are in extramarital relationships, unknown to each other.

Do Aur Do Pyaar (Hindi), 19-04-2024, Romantic-Comedy, 2 hours 19 minutes, U/A, Theatre

Main Cast: Vidya Balan, Pratik Gandhi, Ileana D’Cruz, and Sendil Ramamurthy
Director: Shirsha Guha Thakurta
Producer: Tanuj Garj, Atul Kasbekar, and Swati Iyer Chawla
Music Director: Abhishek-Ananya and Subhajit Mukherjee
Cinematography: Kartik Vijay
Rating: 3.5/5
Published in: Southfirst

There was a period when romantic movies used to end with the cliché of “happily-ever-after”. The messiness and complexities of marriage used to be sidestepped by the filmmaker.

But all this has changed in the recent past, thanks to the new-age directors who looked at the difficulties in sustaining love and how it is not all about cuddling with each other. This, of course, also has a lot to do with the way our society has evolved.

Shirsha Guha Thakurta’s Do Aur Do Pyaar is a good example of the new-age sensibilities.

Synopsis

Do Aur Do Pyaar primarily focuses on Ani and Kavya (Pratik Gandhi and Vidya Balan respectively). On the surface, they both are successful professionals living in a plush apartment in Mumbai.

However, their married lives are anything but that. They are in extramarital relationships, unknown to each other.

Ani is going steady with a struggling actor Nora (Ileana D’Cruz).

On the other hand, Kavya is having an affair with a hotshot photographer Vikram (Senthil Ramamurthy). They are almost ready to move into a sea-facing apartment.

Their respective partners want to take the relationship to the next level but Ani and Kavya are still struggling with revealing the news to each other.

Words of affection have long gone. And now, the only exchange of Ani and Kavya is anti-allergic medicine, etc.

Interestingly, Ani and Kavya elope and marry, leading to a strained relationship with their respective families, particularly with Kavya’s strict father Venkat (Thalaivasal Vijay).

Back to the present. Things take a turn when Kavya’s grandfather dies. So, they both pack their bags to Ooty. This journey rekindles old memories.

The rest of the story is about whether Ani and Kavya give their marriage a chance or find lifelong happiness with Nora and Vikram respectively.

Best treatment by Shirsha Guha Thakurta

The premise of rediscovering love or choosing between lovers isn’t exactly a groundbreaking story, but the movie works because of the treatment.

Director Shirsha Guha Thakurta avoids the approach of moralising and getting into overt melodrama. There is a certain lightheartedness for the most part, and this works big time for the film.

Even the tense moments are peppered with some chuckle-worthy dialogues. For example, there is a scene where Ani has a nervous slip-up calling his father-in-law “Appam” mixing Appa and Uncle. This is just one of the numerous examples.

The scenes of Ani and Kavya rekindling their love all over again in Ooty and falling for each other again while doing mundane things back home give the movie some of its best moments.

The distinct characterisations of Ani and Kavya have come out well. For example, Kavya is the more temperamental one, and Ani, on the other hand, is a man burdened with responsibilities with poked-faced humour.

This variation in characters has come out well and adds to the drama, particularly when it reaches the point of crescendo.

The extra-marital relationships have also been treated with dignity.

Sendil Ramamurthy’s Hindi accent does get bothersome on occasions, but as viewers, you feel the love of Vikram and how deeply he wants her.

Vidya’s chemistry with Senthil is on par with the one shared with Pratik.

Similarly, Ileana D’Cruz’s Nora can occasionally come across as clingy, but her desire to have a normal life with Ani has been well written and enacted.

Explores complexity of relationships

Sendhil Ramamurthy, Vidya Balan, Pratik Gandhi, and Ileana D’Cruz. (X)

The complex relationships of rebellious daughters with their fathers are something we have seen before. But once again, it is the writing that makes the difference.

A scene that deserves a particular mention is when a frustrated Kavya asks her father the secret behind his long-lasting marriage. The father replies, “There is no secret. We just showed up every day.”

On the surface, it is a simple dialogue but the director makes a strong point that consistency in a marriage is quite important.

The second half of Do Aur Do Pyaar does sag somewhat in terms of writing. The attempts of Ani and Kavya at rekindling romance and juggling the existing relationships get repetitive. But still, these are not a major grouse.

Performances

Both Vidya Balan and Pratik Gandhi give top-notch performances apart from sharing a sizzling chemistry.

Ileana D’Cruz also gives a fine account of herself, in both light moments and dramatic bits.

Sendil Ramamurthy, too, is convincing as a hotshot photographer completely smitten by Kavya.

The music by the various composers also adds to the narrative. The case in point is the numbers “Tu Hai Kahaan” and “Jazbaati“.

Verdict

Do Aur Do Pyaar needs to be watched for the fine acting performances and the director’s depiction of modern complexities in a marriage.

https://thesouthfirst.com/entertainment/do-aur-do-pyaar-hindi-movie-review

April 12, 2024April 12, 2024

Bade Miyan Chote Miyan: Action and a swashbuckling Prithviraj Sukumaran are the highlights of this Ali Abbas Zafar’s directorial

‘Bade Miyan Chote Miyan’ isn’t quite an Eid feast, but still, it is moderately engaging.

Bade Miyan Chote Miyan (Hindi), 11-04-2024, Action, Comedy, Thriller, 2 hours and 43 minutes, U/A, Theatre

Main Cast: Akshay Kumar, Tiger Shroff, Prithviraj Sukumaran, Ronit Roy, Alaya F, Manushi Chillar, and Sonakshi Sinha
Director: Ali Abbas Zafar
Producer: Vaau Bhagnani, Jacky Bhagnani, and Himanshu Kishan Mehra
Music Director: Vishal Mishra
Cinematography: Marcin Laskawiec
Rating: 2.5/5
Published in: Southfirst

Action-based movies with patriotism are one of the favourite themes of mainstream Indian directors.

The storylines are simple, there is a deadly enemy who wants to cause harm to the nation and brave-hearted soldiers have to tackle him with lots of action-packed sequences.

Director Ali Abbas Zafar’s Bade Miyan Chote Miyan follows this formula to the hilt. the first half has some minor suspense regarding Prithviraj Sukumaran’s Kabir. But the rest of it is utterly formulaic.

Synopsis

A poster of ‘Bade Miyan Chote Miyan’. (X)

Both Akshay Kumar and Tiger Shroff haven’t had the best time since the pandemic and the movie isn’t likely to change that although Tiger comes off much better here than his last two ventures.

Bade Miyan Chote Miyan focuses on two ex-soldiers — Rakesh aka Rocky (Akshay Kumar) and Firoz aka Freddy (Tiger Shroff). They are court-martialed for not following orders. However, they have the reputation of being the bravest officers.

Eight years later, Rocky and Firoz get back to tackle an enemy who wants to cause mayhem in the country with the help of AL.

This tech-savvy villain aims to create a situation where India will find itself in a war-like situation with its volatile neighbours. This is the story in brief.

Analysis

The first half of Bade Miyan Chote Miyan keeps you guessing about the antagonist’s motivations and why Kabir has so much anger towards Rakesh and Firoz. It also helps that the pace in this half is frantic with a lot of action thrown in.

Marcin Laskawiec’s cinematography goes well with the scale of the movie and the cinematographer deserves distinction marks for capturing the scale of a war-like situation.

The action sequences are also of a good standard, particularly for those who enjoy hand-to-hand combats and cars and choppers crashing in Rohit Shetty style.

The banter between Akshay Kumar and Tiger Shroff does have some funny moments, thanks to the one-liners of Tiger. For instance, Tiger gets the most fun repartees like the scene where he says, “Yeh aadmi hai ya dandruff, jaata hi nahi!”

The back story of Prithviraj Sukumaran’s Kabir and the reason behind his angst has been well-written and enacted.

After playing a victim who undergoes a lot of suffering in Aadujeevitham (The Goat Life), the actor has a ball playing to the gallery in this one.

A major problem with Bade Miyan Chote Miyan is the portions after the flashback of Kabir, a certain monotonousness creeps in.

The complex geo-political situation of India with Pakistan and China is merely used as a background with oversimplified solutions.

The film also suffers from a lack of strong female characters. The absence of an unnecessary romantic track is welcome but the female characters in Sultan (2016) and Tiger Zinda Hai (2017) were far better written.

Performances

Prithviraj Sukumaran plays the antagonist in ‘Bade Miyan Chota Miyan’. (X)

Tiger does a good job of portraying the suave and charming nature of Firoz.

Akshay Kumar, on the other hand, is mostly wasted except for the action bits.

Prithviraj Sukumaran makes for a delightful psychopath who has ambitious dreams.

Rakesh’s serious nature feels like an extension of Neeraj Pandey’s Baby (2015).

Manushi Chhillar lands lethal blows on her enemies, but beyond action, there isn’t much.

Alaya F irritates the audience with her comic timing.

Sonakshi Sinha repeats her “damsel in distress” act with a one-tone expression.

Verdict

Bade Miyan Chote Miyan is strictly for those who like seeing larger-than-life stunts with a predictable storyline.

https://thesouthfirst.com/entertainment/bade-miyan-chote-miyan-movie-review

April 12, 2024April 12, 2024

Maidaan : A treat for football buffs and Ajay Devgan fans

Regardless of the underdog template, ‘Maidaan’ must be watched in theatres to know the past glory of Indian football and a forgotten hero — Syed Abdul Rahim.

Maidaan (Hindi), 10-04-2024, Sports Biography, 3 hours 1 minute, U/A, Theatre

Main Cast: Ajay Devgn, Priya Mani, Gajaraj Rao, Rudranil Ghosh, and Raphael Jose
Director: Amit Ravindernath Sharma
Producer: Zee Studios, Boney Kapoor, Arunava Joy Sengupta, and Akash Chawla
Music Director: AR Rahman
Cinematography: Fyodor Lyass
Rating: 3.5/5
Published in: Southfirst

In a cricket-frantic country like ours, it takes a lot of courage to make a movie (Maidaan) on a sport like football, that too, in a period which very few in this generation would be aware of.

There was a period when Indian football was at its peak under the coach Syed Abdul Rahim. He faced many challenges and hardships, including a battle with deteriorating health.

However, he and his team overcame many difficulties and won at the Asian Common Wealth Games 1962 in Jakarta Indonesia.

After that success, India never won again. Unfortunately, Rahim also passed away some months later and Indian football has never been the same again.

Synopsis

Ajay Devgn in Boney Kapoor’s ‘Maidaan’. (X)

Maidaan begins in the year 1952. India faces a shameful defeat in the Olympics. Syed Abdul Rahim (Ajay Devgn) takes on the challenge of handpicking raw talents from across the country and forms a team that wins against all odds.

Along with Rahim, the movie also throws light on legends PK Banerjee, Chuni Goswami, and others. There is also Priya Mani as Rahim’s wife Saira. She is an important pillar of support to Rahim.

Saira is also seen trying to learn English. Gajraj Rao plays sports journalist Prabhu Gosh. It is a role which is a far cry from Amit Sharma’s previous directorial Badhaai Ho (2018).

First and foremost, the template of Maidaan is similar to many underdog sports dramas, particularly Chak De! India (2007).

Here too, the Indian football team goes into the 1962 Olympics without any expectations of winning. It faces a humiliating defeat in the first match with Korea but makes a strong comeback, thus surprising everyone.

Works despite predictability

Despite the predictable scenarios, what makes Maidaan work is the detailing of Amit Sharma.

The director gives a wholesome account of the events that led to India’s win at the 1962 Asian Games.

A big strength of Maidaan is the characterisation of the central protagonist.

The highs and lows of Rahim’s journey and how he crossed numerous obstacles have been well-written and enacted.

The husband and wife scenes have also come out strongly. Priya Mani’s attempts at learning English while conversing with her husband bring a smile to the viewer’s face. There is a certain old charm in their romantic scenes.

Priya Mani’s Saira is not just a dedicated homemaker. She has a voice of her own, which comes out strongly in a couple of scenes.

The actor aces her part and makes her presence amply felt.

The choreography of the football sequences is easily some of the finest you would see on the big screen.

Cinematographer Fedor Lyass along with action director RP Yadav do an outstanding job in capturing the intensity of a football match. You know how things will turn out, but still, you will clap.

AR Rahman’s music is not of the chartbuster type. However, the songs help propel the drama.

They are mostly used in the background and come at the right time. My favourite ones are “Ranga Ranga” and “Jaane Do“.

Through Maidaan, Amit Sharma has also touched upon how regional politics is a huge bane for any sport and how football is the heaviest causality.

Performances

The first half of Maidaan does make the viewers impatient.

Amit Sharma’s detailing does deserve appreciation but the portions depicting the federation politics could have done with some serious trimming.

Also, the hangover of other sports films does hinder the viewing experience at some points.

As Syed Abdul Rahim, Ajay Devgn brings his trademark intensity. The actor does a terrific job of showcasing the different facets of Rahim — the passion for football and the tactical acumen. A particular mention must be made of the scenes where Ajay depicts Rahim’s battle with lung cancer while ensuring that his team wins.

Among the football players, Chaitanya Sharma as PK Banerjee deserves a particular mention. The young actor delivers a fiery performance.

Gajraj Rao and Rudranail Ghosh as the thorns in the flesh do a good job of making the viewers hate them, although the characters border on being caricaturists.

Final take

Maidaan is a big-screen experience that should not be missed.

https://thesouthfirst.com/entertainment/maidaan-hindi-movie-review