Not surprisingly the novel is meant to make readers empathize with the struggles of CPRF personnel with Naxalites being presented as shallow community but still this novel is a gripping page turner
Lal Salaam written by actor and politician Smriti Irani focuses on the struggles of a newly posted SP Vikram Singh. The setting is the little village of Ambuja in Chhattisgarh. The police station is pretty much in shambles, and he has the difficult task of motivating a not so enthusiastic motely of fellow policemen. The core of Lal Salaam is Vikram Singh’s quest to find out the truth behind the brutal killing of his old friend and fellow officer Darshan. Everyday is a new challenge for Vikram for example there is a local businessman with vested interests in both bureaucracy and naxalisam.
Lal Salaam book launch
One of the things which I liked in the book are the believable characters. All the police personnel are presented as fallible. The novel never shows that a single protagonist can fix everything. Through the central protagonist Smriti Irani does a wonderful job in showcasing how ideals are just a starting point, and social justice will always be a work in progress.
The novel also works because there are no unnecessary digressions like a forced romantic angle. They are few woman characters in the story, but these are integral to the plot development. Particular mention must be made of Devika who plays a journalist.
One of my favorite characters in the book is that of Madho who is righteous yet reticent in his approach to tackling things. He goes about in a quiet manner. There is no denying that Lal Salaam is more pro-government in every way but having said that it is difficult to not empathize with the challenges and the dilemmas that the police personnel face. The book can also be called a rant on the functioning of our judicial system which makes it difficult to achieve real justice. The fighting scenes also give a certain thrill making the readers think about how they would look on the big screen or OTT if the novel is made into a movie or web series.
The twists and turns in Lal Salaam have an Agatha Christie touch making the book more exciting although some of them are quite predictable. One of the other minor flaws in Lal Salaam is a long lecture given by a character while holding a pistol to the head of the victim.
Vikramaditya Motwane delivers a racy movie keeping things crisp for the most part. He does a fantastic job in showcasing how Gen Z rely more on an internet bot for seeking genuine advice rather than a living person.
Starcast: Ananya Pandey, Vihaan Samrat, Aparshakti Khurana (as the AL voice) and others
Director and writer: Vikramaditya Motwane
Additional writers: Avinash Sampat and Sumukhi Suresh
Producers: Nikhil Dwivedi and Arya Menon
Production companies: Saffron Magicworks and Andolan Films
Music: Sneha Khanwalkar
Cinematography: Pratik Shah
Running time: 1 hour and 39 minutes
Streaming site: Netflix
In certain ways Vikramaditya Motwane’s CTRL feels like an extension to last year’s Kho Gaye Hum Kahan which also dealt with the younger generation. Kho Gaye Hum Kahan skillfully explored the aspect of loneliness in digital age, the need of validification from complete strangers. Easily one of Ananya Pandey’s better performances in her short career so far. Vikramaditya Motwane in CTRL also explores the side effects of social media, but this is darker in tonality. CTRL is more of a cyber thriller leaving the viewers disturbed
In certain ways CTRL feels like an extension to last year’s Kho Gaye Hum Kahan
CTRL focuses on two social influencers Nella (Ananya Pandey) and Joe (Vihaan Samraat). They run a YouTube channel called NJoy. Their seemingly perfect relationship goes totally downhill when Nella catches Joe with another woman. Her plan was to surprise Joe by celebrating their fifth wedding anniversary in a live stream unfortunately for Nella things go completely downhill. A lot of chaos happens leaving Nella’s professional and personal life in shatters. In an attempt to resurrect her social media presence Nella comes across an AL platform featuring a digital bot, Allen. Allen becomes a big help for Nella in erasing Joe completely from her digital life and also planning her big comeback. Slowly this AL platform becomes a major influence behind every decision of Nella. He starts taking over her personal chats along with manipulating her into signing more brand deals. Things take a very dark turn when Joe goes inexplicably missing. Soon Nella finds herself in a lethal web of manipulation as she starts investigating the misuse of AL. This is the story in brief.
As already mentioned, CTRL is a racy thriller, Vikramaditya Motwane doesn’t waste any time in immersing the viewers into the world of Nella and Joe. The viewers see them curate every moment of their personal lives giving their followers the impression of them being the perfect couple. Motwane has used the technique of alternating between the real world and the digital landscape. This mood shift doesn’t come across as jarring thanks to the director’s handling of the subject and also Pratik Shah’s fantastic cinematography. Yashika Gor’s production design also adds to this seamlessness. Sneha Khanwalkar’s experimental score adds to the movie’s edgy atmosphere.
Nella and Joe give the impression of them being the perfect couple
A strong aspect of CTRL is how Vikramaditya Motwane makes the viewers ponder on certain things without becoming preachy. For example, whether sharing a glimpse of our personal life is more about seeking validation and in process gaining more followers and how much sharing on social media becomes too much sharing. There is no preachiness in the way these questions are asked but still the impact is hammer strong. There is an important scene when Joe questions Nella about whether her reasons for wanting to surprise him came from genuine love or the need to make a statement on social media. This scene perfectly captures the essence of the movie.
The movie is also successful in creating a sense of personal connect particularly for those who are heavily into AL. The personal harm that AL apps are capable of doing leave the viewers disturbed. Having said that the thriller aspect of CTRL could have done more exploration. The underlying conspiracies of AL in controlling our lives feel a little rushed as the movie focuses more on Nella’s personal struggles in regaining control of her life.
It goes without saying that CTRL is primarily an Ananya Pandey showcase, and the young actress doesn’t disappoint. She delivers a first-rate performance perfectly capturing the journey of Nella from a happy college student to a social media star and ultimately a broken soul. As a social media influencer, she goes over the top on occasions, but it goes perfectly with the tonality of those portions. Apart from Ananya’s performance the character sketch is also a big winner.
Ananya Pandey delivers a first-rate performance perfectly capturing the journey of Nella from a happy college student to a social media star and ultimately a broken soul
Vihaan Samrat as Joe also makes his presence felt more so in the monologue scenes at a critical juncture. Aparshakti Khurrana as the AL voice is also efficient in bringing a certain amount of eeriness.
To sum it up CTRL holds a perfect mirror to the Genz’s obsession over social media. The thriller aspects needed sharper writing but still there is a lot to enjoy.
Much like C Prem Kumar’s last Jaanu a remake of his own movie 96 this movie also explores the theme of nostalgia in a different setting. The core plot of Satyam Sundaram is about a character’s inability to remember the name of the other. This results in numerous laugh loud out moments and also a hugely poignant moment towards the end
C Premkumar’s Satyam Sundaram is a definite breadth of fresh air from the larger than life pan India movies that the Indian viewers have been subjected to. This isn’t a film for those wanting elaborate action sequences, or romantic scenes with the heroines. The main plotline of Satyam Sundaram is paper thin but what makes it work is the depiction of human emotions. It also helps that both Aravind Swamy and Karthi are in perfect sync with each other. Both the actors are a delight to watch sharing a wonderful camaraderie.
Both Aravind Swamy and Karthi are in perfect sync with each other
Satyam Sundaram begins in the year 1996. A young Satyam is forced to leave both his house and hometown due to a family dispute. The first five to ten minutes establish Satyam’s deep attachment with the house. Fast forward to many years later Satyam has a settled life in Vizag. He has zero intentions of revisiting the past due to the painful nostalgia. But a situation comes when Satyam has to attend an important family wedding, with a lot of reluctance he returns to the native village of Uddandarayunipalem set in Guntur. His plan is to give the gift and quickly get away from there, but things don’t go according to plan. Satyam bumps into Karthi’s Sundaram. Satyam doesn’t recognize who Sundaram is but puts up an act of remembering him. Sundaram treats Satyam with a lot of affection further adding to Satyam’s predicament. That night Satyam misses the bus to Vizag, but his life undergoes a drastic change.
As already mentioned, the core plot of Satyam Sundaram is the protagonist inability to remember the other person’s name. Aravind Swamy’s Satyam recognizes Karthi’s character’s name and how they are related only in the pre- climax. This could have turned out very silly in the hands of an inefficient director, but C Premkumar makes these scenarios believable. The first ten to fifteen minutes have a very sobor tone, but the movie picks up huge momentum with the entry of Karthi.
Karthi’s Sundaram has shades of what he has already done in Vamshi Paidipally’s Oopiri. Just like that film here too he is the catalyst. Still Karthi shines big time with his vibrant presence. The dubbing done for Karthi does take a while getting used to, but the actor raises many chuckles with his witty dialogues and situational humor. He perfectly embodies the idealistic and selfless nature of Sundaram. Apart from the humorous scenes Karthi also makes a striking impact in the emotional scenes too.
Aravind Swamy’s Satyam is more of an introvert with a brooding nature and this works as a perfect contrast to Karthi’s energetic persona. Aravind Swamy does a splendid job in portraying Satyam’s trauma making the viewers feel the pain. He particularly shines in the scenes of Satyam trying to remember why Sundaram is being so affectionate towards him.
Their on-screen chemistry is what drives the movie majorly. The supporting cast comprising of Devadarshini as Satyam’s wife and Rajkiran as Sathyam’s uncle have brief yet memorable characters. Rajkiran in particular is extremely affective, he would remind the viewers a lot of their own uncles.
Rajkiran as Sathyam’s uncle would remind the viewers a lot of their own uncles
The film’s music by Govind Vasantha is striking too. The translation of the Tamil lyrics doesn’t feel jarring. The song Pothoo Nee Pothoo is especially memorable. Mahendiran Jayaraju’s cinematography is also of the highest order. The atmospherics of a rural life has been skillfully captured through his lens.
Satyam Sundaram doesn’t dwell much into the characters of greedy relatives. They are strictly cardboard cutouts meant to make the viewers empathize with Satyam. However, through this subplot the director does seem to be giving a message about forgiving people and in the process overcoming bitterness leading to a happier life.
Satyam Sundaram is a must watch for those like emotionally driven narratives.
Koratala Siva’s pan India debut has majestic visuals and thrilling action set pieces but suffers on the account of an overstretched plot with no attention-grabbing twists. The ending has a Baahubali like twist but lacks the required impact
Starcast: Junior NTR, Saif Ali Khan, Janhvi Kapoor, Prakash Raj, Srikanth, Murali Sharma, Ajay, Tom Shine Chasko and others
Director and writer: Koratala Siva
Music and background score: Anirudh Ravichander
Producers: Nandamuri Kalyan Ram, Kosaraju Harikrishna and Sudhakar Mikkilineni
Production companies: NTR Arts and Yuvasudha Arts
Cinematography: R Rathnavelu
Running time: 2 hours and 57 minutes
The storyline of Koratala Siva’s Devara Part 1 focuses primarily on heads of two villages turning against one another. The story takes place on the border of Andhra and Telangana in an area called of Ratnagiri, also called as Erra Samudram (Red Sea), notorious for pirate operations targeting cargo ships. Junior NTR plays double role of both Devara and his son Vara. Saif Ali Khan on the other hand is the antagonist Bhaira. The ancestors of Devara and Bhaira had fought together against the British but now the situation is very different. Things take a drastic turn when Devara realizes that they have been smuggling dangerous weapons. These weapons are used by powerful people to wreak havoc. Devara takes it upon himself to put an end to these illicit operations going against his longtime ally Bhaira. He suggests an alternate method to earn income. Obviously, this doesn’t go well with Bhaira leading to a major rift. Most of the story is told from the perspective of Prakash Raj’s Singappa. After KGF 2 the senior actor once again plays the narrator.
Saif Ali Khan as Bhaira, nemesis of Devara
It goes without saying that Devara Part 1 relies heavily on the star power and the acting chops of Junior NTR. To the actor’s credit he pulls off both Devara and Vara in his charismatic style. As Devara he exudes both humility and destructive nature in equal measure. The character of Vara has a certain innocence and timidity unlike the father. Junior NTR showcases the variations in a wonderful manner. In the numerous interviews leading up to the movie Koratala Siva has emphasized on how Devara’s core is the concept of fear, and the negative things people are capable of doing in absence of fear. It has to be said that he has done justice to this.
Junior NTR in double role
Apart from Junior NTR what makes the film somewhat engaging is the vastly different moral compass of Devara and Bhaira. For example, there are scenes where Devara tries to make the people around him understand and differentiate between the courage required to live an honest life as opposed to the brute courage that can kill. The gradual rift between Devara and Bhaira has been brought out well.
Saif Ali Khan also delivers a powerful performance as the man who cannot see beyond greed. Yes, the characterization doesn’t have the hammer strong impact of Omkara but still the actor once again proves his capability in portraying negative roles.
The coastal setting has also been done well. Among the technicians R. Rathnavelu’s work deserves a specific mention. His cinematography is visually striking enhancing the movie’s large scale. Through his lens he does an effective job in capturing the various moods and emotions that both Devara and Vara go through.
Anirudh Ravichander’s background music elevates the action sequences particularly those of the father. The music except for Chuttamalle song comes across as major speed bump.
Coming to the flaws the big problem with Devara Part 1 is its overstretched plot. Since the mega success of SS Rajamouli’s Baahubali movies numerous directors have taken the path of splitting their movies into two parts. The first part being more of a buildup to the sequel. Devara Part 1 also suffers on account of this. Dividing the storyline into two parts feels very unnecessary as there isn’t that much meat in the story. The introduction of Devara itself takes 15 to 20 minutes after the movie starts by which time we lose patience. Those 15 minutes are taken up by Prakash raj and Ajay having a laborious conversation.
The plot is simplistic, tiring the audiences particularly towards the end. As viewers you know that Vara is not going to remain timid till the end and has his own hidden agendas. As a result, Singappa’s big reveal produces more yawns than claps. Like most pan India movies these days the movie is filled with many known supporting actors but there is little for them to do.
Janhvi Kapoor’s Tollywood debut is very disappointing to say the least. Her character Thangam is only seen fawning over Junior NTR’s Vara and pining for a strong husband. Thangam comes with a certain chirpiness that is meant to be a contrast to the film’s otherwise dark tone. But neither the characterization nor the performance lands. Janhvi Kapoor’s sensuous dance moves in Chuttamalle is the only noteworthy aspect of her rather insipid debut.
Janhvi Kapoor’s sensuous dance moves in Chuttamalle song
Devara part 1 is definitely a better outing for Koratala Siva in comparison to Acharya and chances are that die hard Junior NTR fans would definitely enjoy it. But in totality the film doesn’t come across as a memorable big event movie.
Unlike 2023 predominantly dominated by action movies with larger-than-life heroes this year has seen the horror genre ruling the roost. Horror stories of different kinds have entertained the viewers proving to be very profitable for the producers. The genre of horror isn’t something new. The banner of Vishesh films at their prime had made movies involving ghosts, the cast always used to be relatively new. Case in point being the first Raaz featuring Bipasha Basu. Noted filmmaker Ram Gopal Varma too has made impactful horror movies like Urmila Matondkar’s Bhoot. Bhoot is rightly considered to be one of Urmila’s most impactful performances till date. The movie even now sends a chill down the viewers spine.
Bhoot is rightly considered to be one of Urmila’s best performances till date
The likes of Bhool Bhulaiyaa 2 and Golmaal Again too have elements of spookiness particularly the first one directed by Anees Bazmee. However, the spooky elements here are mixed with slapstick or situational humor. Then you have Rahi Anil Barve’s gripping psychological horror thriller Tumbbad. The horror in this movie comes more from the director’s portrayal of human greed rather than the supernatural entity.
Bhool Bhulaiyaa 2 directed by Anees Bazmee
The horror in Tumbbad comes more from the director’s portrayal of human greed rather than the supernatural entity
Coming to this year’s horror films the first one Shaitaan uses elements of a home invasion thriller where the protagonists in this case the father and mother have to save the children from a highly dangerous tormentor. R Madhavan in a delightfully deranged performance is the expert hypnotist with knowledge of black magic. The daughter Jahnavi played a brilliant Janki Bodiwala is under absolute control, doing everything he says. The storyline of Shaitaan is paper thin but the way Vikas Bahl build an effective atmosphere of dread engrossed the audiences thoroughly. Amit Trivedi’s background music coupled with Sudhakar Reddy Yakkanti’s cinematography also made the movie gripping. Unlike most horror movies here thankfully the typical cliches of creaking doors are absent, instead the terror comes from R Madhavan’s sinister plans of wanting to control young women.
R Madhavan in a delightfully deranged performance
Next in the list are Munjya and Stree 2 both from the same production house Maddock. Both these movies feature grotesque demons. In the case of Stree 2 you have a headless creature whose target are young girls with modern outlook. In the case of Munjya the antagonist is a young Brahmin boy, he resorts to black magic to win over a girl named Munni. He also tries to sacrifice the life of his sister, but this only results in self-destruction. He becomes a restless spirit haunting the tree. Both movies have a folklore touch apart from impactful social commentary. Stree 2 like the first one is also set in the small town of Chanderi. Munjya on the other hand is set in the backdrop of a Konkan folklore.
Both Munjya and Stree 2 feature grotesque demons
A strong aspect of Munjya was the characterization of the leading man Bittu played by Abhay Varma. Bittu starts off as someone who is majorly underconfident and definitely not the type who would defeat the evil Munjya. However, we slowly seen him overcoming the inner fears. The profession of Bittu being a hairdresser also added an interesting layer. Sharvari Wagh played Bittu’s friend Bella. Bittu deeply loves Bella, but he never confesses. She is already in a relationship with an English man but isn’t very sure on marrying him. She has major career aspirations regarding Zumba dance.
Bittu starts off as someone who is majorly underconfident and definitely not the type who would defeat the evil Munjya
The interesting aspect here is that though Munjya and Bittu come from the same lineage their attitudes are as different as chalk and cheese. Bittu respects Bella’s career aspirations and never tries to force himself on her in spite of having a close proximity. This particular aspect stood out in the movie. The humor in this movie apart from the interactions between Bittu and Munjya also comes from Baahubali actor S. Sathyaraj he played a baba, but it isn’t the usual intense one. There is a whacky nature to the role which the actor pulled off successfully.
Finally, there is the mega hit Stree 2 which has broken quite a lot of records. Squeals are always a very tricky territory but Aamir Kaushik’s Stree 2 more than lived up to its prerelease buzz. It was a rollicking sequel generating both laughs and scares in equal measure. The movie also had a good blend of social commentary through the characterization of the headless Sarkate. He represents your every sexist leader who are uncomfortable with the thought process of a modern woman.
All these elements came across in a satisfying manner making it a monstrous hit. The trio of Rajkummar Rao, Aparshakti Khurana, Abhishek Banerjee and Pankaj Tripathi were in splendid form shouldering the acting department with utmost ease. One of the most hilarious scenes in Stree 2 is the one involving Varun Dhawan’s Bhediya and Abhishek Banerjee as Bhediya aka Bhaskar’s cousin. Varun’s character gets attracted to Shraddha and asks Abhishek how to impress her. In response Abhishek says that you are a Bhediya remain like that and don’t become an animal.
This list is by no means complete as the genre of horror will continue to be explored with different backgrounds. This Diwali there is Bhool Bhulaiyaa 3 which will further explore the journey of Kartik Aryan’s Rooh Baba/ Ruhaan Randhawa. Tumbbad 2 has also been announced by Sohum Shah who was both the leading man and also producer for the first part.
Thalaivettiyaan Paalayam remake of Panchayat web series
Director Naga does a good job in retaining the soul of Panchayat while affectively transporting the viewers into rural Tamil Nadu. The best thing about the show is that director Naga and writer Bala Kumaran don’t create a photocopy.
Starcast: Abishek Kumar, Chetan Kadambi, Devadarshini, Anand Sami, Paul Raj, Niyathi Kadambi and others
Director: Naga
Writer: Bala Kumaran
Production house: The Viral Fever (TVF)
Cinematography: Karthik Gopal
No of episodes: 8
Streaming site: Amazon Prime
Deepak Kumar Mishra’s Panchayat is one of the most acclaimed web shows that has come out in the recent past. The portrayal of rural life in the remote village of Pulera thoroughly engaged the audiences. The struggles of Jitendra Kumar’s Abhishek Tripathi in acclimatizing himself and the eventual bond with locals particularly the ones essayed by Raghubir Yadav, Neena Gupta, Faisal Malik and Chandan Roy was wonderfully written and enacted. The three seasons of Panchayat also addressed important social issues like superstitions with no melodrama. The earthy humor left many viewers in splits. To remake a show like this already watched and appreciated by many people isn’t an easy task, but director Naga does a very efficient job. Sure, the starting episodes take a while to warm up, nevertheless Thalaivettiyaan Paalayam finds its grove soon.
The starting episodes take a while to warm up nevertheless Thalaivettiyaan Paalayam finds its grove soon.
For those who aren’t aware of the Panchayat web series the plot of this remake focuses on Siddarth (Abhisek Kumar). The series begins with his arrival, immediately the viewers feel Siddarth’s unease in coming to a village. His anxiety and suspicions are in complete odds with the villagers easy going nature. Siddarth has been posted as the village panchayat’s secretary. For the frustrated Siddarth this is a temporary job till he passes the CAT exam and enters into IIM successfully. Season 1 focuses on how Siddarth navigates village life while dealing with the people’s idiosyncrasies. He encounters peculiar problems that vary from silly to sensitive.
Much like the original a big strength of the remake is also the situational humor. Siddarth’s interactions with the villagers are often filled with exasperation. There is an equal measure of humor and pathos. Special mention must be made of the scenes where Siddarth is forced to attend family gatherings and also give away his favorite chair in a particular situation to a random groom. Siddarth’s struggles in adjusting with no social life as such give the show some of its best moments. Abhishek Kumar stepping into Jitendra Kumar’s shoes does a very fine job. He particularly stands out in the scenes where Siddarth has to show confusion and frustration.
The supporting cast also elevate the show with their powerful acts. Chetan Kadambi and Devadarshini replacing Raghubir Yadav and Neena Gupta do complete justice to their respective parts. They have a charming chemistry; their scenes together also benefit from being a real-life couple. Unlike Neena Gupta’s Manju Devi Devadarshini’s Meenakshi Devi can read and write along with putting her signature on documents. This acts as an important change from the original. What remains the same though is the unwillingness to participate in public life. However, by the end of season 1 she does become more assertive.
Chetan Kadambi and Devadarshini share a warm chemistry.
Another significant change from the original is the aspect of caste. In Panchayat the caste of Abhishek Tripathi is very evident. Him being a Tripathi becomes a major reason for Raghubir Yadav’s character to consider him as a potential groom for the daughter. But here the dynamics play out differently. Siddarth’s surname is hardly focused on. Even when someone asks him Siddarth shows a certain indifference. As a result, Chetan’s character doesn’t see him as a potential match in spite of warming up to him.
These changes aren’t just cosmetic they enhance the show in many ways. Paul Raj and Anand Sami are also competent. Paul Raj in particular shines as Siddarth’s guide, helping him in navigating the village life. Their scenes together are filled with a lot of warmth.
Paul Raj and Anand Sami are also competent
Talking about the social issues here too Naga does a fine job in subverting the original ones and making it more rooted to the specific cultural milieu. For example, in one of the episodes you have the campaign of menstruation awareness. This portion works as a tribute to Arunachalam Muruganantham popularly known as Padman.
One of the minor issues with the series is the hype build around the village head’s daughter. The eventual pay off to this in the final sequence is quite underwhelming. The conversation between Abhishek Kumar and Niyathi Kadambi falls flat. Some of the jokes also could have done with better writing. In the first episode there is a fair amount of toilet humor which could have been avoided.
To conclude Thalaivettiyaan Paalayam is a fitting remake in spite of the minor niggles.
Some of my thoughts on what makes Tumbbad special upon its re- release
Much before the Maddock horror universe (Stree 1 &2 along with Munjya) there was Rahi Anil Barve’s Tumbbad, the movie was a gripping morality tale under the guise of a horror/thriller. What made Tumbbad stand out was the director’s portrayal of human greed, the movie portrayed how greed can turn ordinary human beings into monsters. Through this film Rahi Anil Barve showed how these types of men are more dangerous than a cursed supernatural entity.
The movie begins off with a CGI generated sequences giving an insight into the destruction that greed can cause. Tumbbad is an actual village in Maharashtra. The cursed village forms the fabric of this horror tale. The movie is set in the latter half of British Raj adding an interesting layer. In the first ten minutes we are introduced to a woman who looks more like a zombie than a living human being. We see this woman tied up in a remote house. She is mostly seen sleeping and has to be fed period periodically otherwise the situation will become dangerous. One night the duty of feeding falls upon a young boy Vinayak Rao (An excellent Sohum Shah plays the older version). The mother has taken the injured younger brother to a hospital. That particular night becomes an extremely dangerous rite of passage. That very night the younger brother dies. The mother along with Vinayak Rao leave the place, she takes a promise from him that he would never come back to Tumbbad. But Vinayak Rao has made up his mind on hunting for the ancestral treasure. This treasure is guarded by the first-born son of earth goddess and obviously he isn’t going to part with the treasure so easily. This is the story in brief.
There is a famous quote of Mahatma Gandhi on how the world has enough for everyone’s need but not enough for everyone’s greed. This quote perfectly the storyline of Tumbbad. A strong aspect of Tumbbad is the characterization of Vinayak Rao. Vinyak Rao’s obsession of unearthing the ancient treasure is not just about getting the gold but it is also about establishing his manhood. This later also seeps into the son played by Mohmaad Samad. Vinayak Rao is very much aware of his frailties but cannot overcome it. Through his character the director has also covered Brahmin patriarchy, the oppression of women along with greed.
One of the recurring motifs in Tumbbad is use of wheat. When Vinayak Rao first learns of his family secret he is completely covered with wheat flour. Later he uses a wheat flour to tempt a god, the wife is seen running a flour mill in his absence and even in the end the flour leads to the final deciding chapter. One way of interpreting this is that hunger makes human beings do things that they don’t normally do.
The movie is divided into three chapters spanning around thirty years. Rahi Anil Barve along with the story writer Narayan Dharap gave an insight into how upper-class Indian Men paved the way for feudalism and imperialism to thrive. The movie ends with the beginning of capitalism. It subtly hints on how the same social structure continues but with fresh intermediaries. All this makes Tumbbad relevant even now.
Of course, Tumbbad does have its share of flaws too. The middle portions do drag somewhat, also the track of Vinayak Rao and the mistress doesn’t organically jell, the mixture of Marathi and Hindi is also hard to follow but still there so much to like. Sohum Shah who is also one of the movie’s producers was truly brilliant in showcasing the various nuances of Vinayak Rao. He played the cold-blooded opportunist in a fantastic manner. Particularly admirable was his use of body language. Complementing him perfectly is the technical department. Pankaj Kumar captured the wide landscape of Tumbbad admirably sucking the viewers in, Nithin Zihani Choudhary and Rakesh Yadav’s production design also made the movie an immersive experience.
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.
Millie Bobby Brown plays the determined sister with the right mix of feistiness and oodles of charm. Director Harry Bradbeer is successful in setting up an origin story with themes of feminism
Recently I have seen a film called Enola Holmes streaming on Netflix it is the first one in the series of movies focusing on a fictional sister to an already fictional detective. The movie is based on the book The Enola Holmes Mysteries: The case of missing Marquess by Nancy Springer. Millie Bobby Brown plays the central character. Like her brother Sherlock (Henry Cavil) she is extremely intelligent. The mother Eudoria (Helena Bonham Carter) gives her daughter a rather unusual upbringing given the times the film is set in. Through the movie Enola turns out to be an equal firebrand to her already feisty mother. Enola knows many things like deciphering messages that have been written in a secret code along with a Japanese marital art called Jujustu among others. The broad storyline of Enola Holmes 1 is about a young woman becoming a detective to find her missing mother, in the process of finding mother she comes other mysteries too.
The best part of Enola Holmes part 1 is the characterization of the central character coupled with Millie Bobby Brown’s charismatic performance. Throughout the movie she gives a running commentary on what Enola is going through. This could have been irritating in the hands of a mediocre actor, but the dialogues coupled with Millie Bobby Brown’s charm keeps the viewers engaged.
The various disguises of Enola are also charming to watch, often times she dresses up in men’s clothes. This feels like a running gag but at the same time there is a deeper symbolism too. For Enola dressing up in a man’s dress gives her a greater sense of freedom. It allows her to do what she wants without being discovered. How Enola navigates the 19th century patriarchy influenced by her mother is wonderful to watch.
The movie also benefits immensely from the recreation of Victorian England. The CGI coupled with the costume department is absolutely spot on. There is a historical context to the events happening in Enola Holmes. Like a decisive vote over a reform bill.
The different equations of Enola with the brothers also gives the movie some of its best moments. For example, Cavil’s Sherlock is seen mostly cold, but every time Enola outsmarts him there is also a palpable happiness. Apart from Millie Bobby Brown Helena Bonham Carter is also a treat to watch as the revolutionary mother Eudoria.
Director Collin D’Cunha manages to create a strong sense of sisterhood, the journey of Ananya Pandey’s Bae in carving her own identity comes across as sanitized but still the show has enough spunk
Starcast: Ananya Pandey, Muskkaan Jaferi, Gurfateh Pirzada, Varun Sood, Vihaan Samrat, Vir Das and others
Story: Ishita Moitra, Samina Motlekar and Rohit Nair
Director: Collin D’ Cunha
Producers: Karan Johar, Apoorva Mehta and Somen Mishra
Production Company: Dharmatic Entertainment
No of episodes: 8
Streaming site: Amazon Prime
Music: Rochak Kohli
Collin D’Cunha’s Call Me Bae focuses on the transformation of a rich housewife Bella aka Bae (Ananya Pandey). The show begins with Bae getting ousted from her sasural when she is caught getting cozy with the gym trainer played by Varun Sood. From here we go to a brief flashback establishing her rich lifestyle. Mini Mathur plays Bae’s mother Gayatri. She takes it upon herself to set the daughter’s marriage with an equally rich guy Agastya (Vihaan Samrat). Their relationship starts off a great note, but soon the marriage takes a big hit because of Agastya’s detachment. It is during this time that Bae falls for Varun Sood’s Prince Bhasin. What adds to Bae’s woes is the attitude of her mother who distances herself. Now Bae has to fend for herself and in this process her path crosses with that of Satyajit Sen (a delightful Vir Das). Satyajit Sen is a news anchor modeled on the likes of Arunav Goswami. Aiding Bae in the growth is Muskkaan Jaferi’s Saira Ali.
Call Me Bae focuses on the transformation of a rich housewife Bella aka Bae
Bae’s path crosses with Satyajit Sen (Vir Das)
First and foremost, the tonality of Call Me Bae is not of the typical riches to rags storylines. Ananya Pandey’s Bae doesn’t sleep on a footpath and nor do we see her hustle in local trains. The process of finding a place and job doesn’t become a big hassle. There is a lot of tongue in cheek humor in the way the writers have written Bella. Once the viewers get adjusted to this tonality there is quite a bit to enjoy.
What makes the series work in spite of the sanitized situations is the characterization of Bella coupled with Ananya Pandey’s winsome act. Some of Bella’s quirks jell perfectly with the personality of Ananya and the actress raises many chuckles in portraying Bella’s cluelessness. One of the humorous bits include a scene where Bella sprays hand sanitizer on a beach bench. At the same time, she also aces the emotional scenes like the one where Bella sees her husband Agastya being close to another girl. The process of Bella becoming a more layered person has been wonderfully portrayed by the actress. Also, to the credit of Ishita Moitra and co Bella doesn’t drastically transform into a down to earth person. Her quirky nature is very much there but at the same time there is a subtle growth.
What also works for the series is the camaraderie between Ananya Pandey and Muskkaan Jaferi. Muskkaan Jaferi’s character enters at a crucial point and soon becomes an important ally. Muskkaan Jaferi’s comic timing is simply wonderful, her one liners add a lot to the show. Through her performance Muskkaan Jaferi makes you wish that you also had a strong friend like her.
Vir Das’s act of an arrogant and oversmart journalist is clearly reminiscent of Arunav Goswami’s antics. The character is more of a caricature but still Vir Das does a splendid job in making the viewers detest him. There is a devilish glee in the way Vir portrays him. The confrontation scenes between Ananya and Vir spice up the show in a major way.
Vir Das as Satyajit Sen
Ananya Pandey and Vir Das confrontation scene
Mention must be also made of the equation between the characters of Ananya Pandey and Gurfateh Pirzada. Gurfateh Pirzada plays Bella’s colleague Neel. Neel also contributes significantly to Bella’s progress, there is also a cute love story. Gurfateh Pirzada pitches in a fine performance making his presence amply felt. Varun Sood as the lovable gym trainer also has his moments.
As mentioned in the beginning director Collin D’ Cunha brings a strong sense of sisterhood. This sisterhood is reflected through not just the track of Muskkaan Jaferi. There is also Niharika Lyra Dutt as Tammarrah Lisa Mishra as Harleen. These two women also become an important part of Bella’s life.
Towards the end the series gets into a serious territory of Me Too and also data privacy. These important themes needed stronger writing, also the cinematic liberties taken by Colllin D’Cunha here becomes hard to digest. Thankfully though the series doesn’t get into a preachy zone. The costumes of Ananya go perfectly well with the pitch of the series. initially they are very glitzy and over the top but in the later episodes they are more subdued.
Rochak Kohli’s music has a good mix of fun and emotional songs particular mention must be made of Churaaiyaan.
Ananya Pandey in Churaaiyaan
Call Me Bae is a perfect watch for those like frothy entertainment without going very deep.
