Sky Force : A competent and refreshing war drama avoiding the usual bombastic-ness

Subjects involving our beloved neighbour Pakistan have been one of Bollywood’s pet themes over many years, whether it is the likes of Kabir Khan’s Bajrangi Bhaijaan (2015) or Aditya Dhar’s Uri (2019).

The love and hate-relationship between India and Pakistan has been the emotional fodder for numerous movies. When it comes to war movies portraying Pakistan there has been an increasing trend of playing to the gallery with zero nuances, of course, exceptions are also there like the Meghana Gulzar-directed Raazi (2018), a movie which looked at the human cost of war.

Synopsis

Sky Force directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.

In this very successful mission, the rebellious squadron leader TK Tabby (a promising Veer Pahariya) goes missing. He has a major disregard for protocols, which leads to him flying solo into the enemy territory during a sky-force mission.

TK Tabby goes missing and the higher authorities in the military have zero interest in knowing his whereabouts given his rebellious nature. It is left to Akshay Kumar’s KO Tiger Ahuja to uncover the mystery.

KO Ahuja is both a wing commander and also a fatherly figure to Tabby. The movie follows KO Ahuja’s relentless quest.

Sharad Kelkar in an extended special appearance plays Pakistani squadron leader Ahmed Hussain. He turns out to be a major link for Tiger Ahuja in unravelling the mystery.

What works and what doesn’t 

There is no denying that Sky Force has a bumpy start. The initial sequences of camaraderie and the air training portions have a distinct hangover from Siddarth Anand’s Fighter a movie which also featured many air combat sequences.

But the movie soon settles down as the intensity of the 1965 War takes centre stage.

The movie also taps into the bureaucratic frustrations and political red tape. These issues are briefly touched upon effectively. The pre-interval sequence leading to the successful airstrike and then the subsequent disappearance of Tabby is wonderfully staged thoroughly involving the viewers.

The second half focuses on KO Ahuja’s relentless quest and from here on the movie engages the viewers emotionally.

How KO Ahuja finds the first lead thanks to Ahmed Hussain and his determination to uncover bringing closure and also justice to Sarah Ali Khan’s Geeta Vijaya —Tabby’s wife packs in an emotional punch.

The ultimate revelation and how Tabby gets his much-deserved due for his bravery has both been wonderfully written and enacted.

Dynamics between the leads

A major plus for the movie apart from the strong emotional resonance, are the dynamics between Tabby and KO Ahuja.

The on-screen camaraderie between the two characters has been wonderfully established. KO Ahuja sees his lost son in Tabby— there is visible warmth in the light-hearted scenes.

KO Ahuja is a father-like figure to Tabby, someone he respects deeply. Ahuja treats Tabby with warmth but maintains an authoritative stance. In one scene, Tabby is kept on standby and not allowed to take part in any action. When Tabby asks for an explanation, saying he has always looked up to Ahuja as a father, Ahuja responds firmly, “I don’t owe you any explanations.”

Sky Force is also refreshing in the sense that there are no in-your-face celebrations after India defeats Pakistan, no over-the-top dialogues looking down at Pakistan.

The animosity between the two nations isn’t going to last forever. There is a mutual sense of respect for men in uniform in both India and Pakistan. The scenes featuring Sharad Kelker as the Pakistani squadron leader is a very good example of this.

Technical aspects and performances

The action sequences designed by Parvez Shaikh and Craig MacRae are a delight to watch particularly for fans of air combat sequences.

Santhana Krishnan Ravichandrana’s cinematography is also stunning. He perfectly captures the intense action like an action-packed sequence between Veer Pahariya and Sharad Kelkar.

Tanishk Bagchi’s music is of a good standard barring one rather unnecessary party number. Among his compositions, the standout number not surprisingly goes to B Praak’s “O Maaye Teri Mitti Bulaye”. The composition along with B Praak’s soulful voice will move the audiences.

Talking about the main leads Akshay Kumar as KO Ahuja plays a senior officer and a concerned mentor with absolute finesse. He brings in a lot of gravitas making the viewers root for his character.

Veer Pahariya makes a confident debut; he plays the determined soldier with conviction effortlessly embodying a rebellious nature. Sharad Kelkar also leaves a significant impact in his brief role with a restraint act.

Nimrat Kaur and Sara Ali Khan play the typical army men-wife characters. They are good in their limited portions but the characterizations of both leave a lot to be desired.

Final take

To sum it up Sky Force is worth boarding on despite a familiar territory.

(Views expressed here are personal, edited by Sumavarsha)

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

‘Srikanth’ is a biography. (X)

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

Jyothika at ‘Srikanth’ press meet. (X)

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

Rajkummar Rao in ‘Srikanth’. (X)

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.

Indian Police Force: Rohit Shetty’s OTT Debut Is Strictly For Those Who Enjoy His Brand Of Action Movies

Timepass…

2.5

Indian Police Force (Hindi)

  • Cast: Sidharth Malhotra, Shilpa Shetty Kundra, Vivek Oberoi, Mayyank Taandon, and Nikitin Dheer
  • Directors: Rohit Shetty and Sushwanth Prakash
  • Producer: Rohit Shetty
  • Music: Lijo George-DJ Chetas
  • No. of episodes: 7
  • OTT platform: Amazon Prime Video

Rohit Shetty is a director primarily known for making two kinds of movies.

On one hand, there are the likes of Singham 1 (2011) and (2014), Simmba (2018) and Sooryavanshi (2022). In these films, the leading men are presented in a massy way, flouting rules and encouraging extrajudicial action.

Then there is the Golmaal franchise (since 2006), Bol Bachchan (2012), and Chennai Express (2013). Here, the comedy strictly falls under the slapstick type, with a focus on wordplay rather than intelligent humour.

Rohit Shetty’s films have never been highly acclaimed, yet they have been massive money spinners except for Circus (2022).

Now, the director has made his OTT debut with the Indian Police Force, which is co-directed by Sushwanth Prakash.

The web series falls very much under his radar. In fact, on certain occasions, the series has a huge hangover of Sooryavanshi.

Synopsis

Sidarth Malhotra in Indian Police Force
Sidarth Malhotra in ‘Indian Police Force’. (X)

Indian Police Force begins with a series of bombings by the terrorist unit Indian Mujahideen. The bombings take place in Delhi on the occasion of Delhi Police Raising Day.

Kabir (Sidharth Malhotra) is a top officer in the Special Cell unit of Delhi Police. Vikram (Vivek Oberoi) is his senior. They both are entrusted with the task of weeding out bombers.

The mastermind of the bombings is the mysterious Zarar/Haider (Mayyank Taandon).

Zarar looks like an ordinary man from the outside with an innocent persona, but deep down, he hides many secrets.

As the plot progresses, Kabir and Vikram are joined by Tara (Shilpa Shetty) from Gujarat ATS.

There is some professional tension between Tara and Vikram. What follows is a cat-and-mouse game between the Delhi police and Zarar.

The web series also looks at the sacrifices made in the line of duty by the numerous police officers.

USP of Indian Police Force

A big USP of Indian Police Force is how the back story of Zarar has been handled.

Sooryavanshi also featured a back-story about the actions done by Jackie Shroff’s Omar — the bad guy. But here, it has been fleshed out far better.

There is a touching love story between Zarar and Fareeda (Suchitra Bandekar). The moments between Mayyank and Suchitra have a certain tenderness.

As a result, Zarar comes out as a flesh and blood human being rather than just a Jihadi sprouting youngster. Mayyank Taandon does a brilliant job of portraying the varied nuances.

Performances

Among the cops, Shilpa Shetty is easily the best of the lot. The actor pulls off her part with élan.

Despite lesser screen time, Shilpa has a commanding presence, particularly in the scenes with Siddarth Malhotra.

Sidharth Malhotra’s act of Kabir is an extension of the patriotic roles he portrayed in Shershaah (2021) and Mission Majnu (2023). He does well in the action bits, which have some chases. But he overdoes the intensity in the serious scenes.

Vivek Oberoi is an absolute miscast. His character comes across as unintentionally funny. His dialogues evoke more laughter than touching a patriotic chord.

Sharad Kelkar has an extended cameo appearing in the sixth episode. The actor makes a significant impact.

Isha Talwar is seen in the role of a dead wife. Her character is only there to show the romantic side of Kabir, but it does not have any emotional heft.

Girish Kant and Raza Mehta’s cinematography is in perfect sync with the genre. They capture the numerous cities and landscapes efficiently through their lens.

A big problem with the Indian Police Force is that it gives the ‘been-there-and-done-that’ feeling. For those who have watched Rohit Shetty’s cop movies, there is nothing earth-shattering they will find here. Also, the trademark car flying sequences have been tiresome.

Final take

Indian Police Force is just about passable. The show can be best called a timepass actioner.

Perfume (Telugu)
Cast: Che Nag, Prachi Thaker, Abhinaya, Bushan, Rayala Harischandra, Meer, and Krishna Teja
Director: JD Swamy
Producers: J Sudhakar, Shiva B, Rajeev Kumar B, and Srinivas Lavuri
Music: Ajay Arasada
Runtime: 2 hours 20 minutes

3.5

Laxmii: Good Message, But A Little Too Loud

Over the years Akshay Kumar has taken subjects outside the commercial arena and made them accessible within the commercial zone. For example, there is Padman where Akshay played a man who creates a machine that can make affordable sanitary pads. There is also Toilet Ek Prem Katha in which Akshay’s character has to go against the entire village and also his father in order to build a toilet for his wife. In short he has been playing the social reformer in commercial films. 

Laxmii directed by Raghava Lawrence is no different. In this film Akshay’s character is possessed by a transgender ghost who is looking for revenge. For those who do not know Laxmii is a remake of the Tamil film Kanchana directed by the same man. Just like the original it is loud and takes time to come together, but it has its heart at the right place particularly in the flashback portion. 

The basic plot in both the films is about a transgender spirit taking over an unsuspecting man to settle her scores. In the remake Akshay (Asif) and Kiara Advani play a married couple. Asif is an outsider for her family because he is a Muslim and Rajesh Sharma who plays Kiara’s father doesn’t approve of his daughter’s choice. But things take a good turn after a long time when the mother invites her daughter and son in law for a special occasion. What follows is a horror comedy, at the heart of which is societal discrimination of transgenders. 

The film takes its time to kick in and it honestly starts engaging you after Akshay’s character starts behaving as a transgender person. These portions have been well executed and here we see a totally different Akshay Kumar. It also helps that Akshay plays this part with gay abandon and embraces the character whole heartedly. Earlier also we have had actors playing transgender roles like Paresh Rawal in Tamanna but it makes a huge difference when you have an A list actor playing this role as it reaches a wider audience. 

However the film’s biggest strength is its flashback episodes where we see Sharad Kelkar playing Laxmii. Sharad is extraordinary. Even if he is not there for a long time he does complete justice to it. Through his role Raghava Lawrence effectively portrays the message that he wants to deliver. 

The climax although loud is still satisfying. The entire dance sequence of Bambole has been done with lot of enthusiasm and the different dance steps are interesting to watch. The one thing that is particularly admirable is the energy of Akshay Kumar. You feel happy when Laxmii gets her revenge with many transgender people cheering on. 

The comedy track of Ayesha Raza and Ashwini Kaleskar (mother and sister in law of Kiara Advani’s character) belongs to the loud category but it still works better than the romantic angle of Akshay and Kiara. 

What would have made the film better are the initial portions. The conflict point of why Rajesh Sharma doesn’t accept Akshay has not been explored and after a point it is pushed to the background. In fact the entire track of Rajesh Sharma is disappointing. But Kiara’s character is more so. She is the biggest weak link in Laxmii. She doesn’t have a lot to do but even in the scenes where she could have done something she disappoints. It looks like she is still stuck in the Kabir Singh zone. 

For a film like this suspension of belief is very necessary particularly if you have not seen the original. There will be scenes where you will think about the lack of rationality.  In totality, Laxmii is one of those commercial entertainers which has its heart in the right place. It delivers an important message about respecting transgenders and treating them as fellow human beings.