Director Anurag Manohar and writer Abhin Joseph take a while to find their footing, however they find their feet once the main plot of Adivasis begin. The story unfolds from the perspective of a rookie police constable played by a brilliant Tovino Thomas
Recently I saw a movie called Narivetta streaming on Sony Liv. For those who haven’t seen movie- the story is based on a real life Muthanga Tribal protest in the year 2003. The broad storyline of Narivetta encompasses the themes of land rights, state misusing its authority and the determination of marginalized communities. At the center of the plot is Tovino Thomas’s Varghese Peter.
The movie has a non linear format starting with Varghese running away from cops, they soon catch up taking him under custody. We come to know that Varghese himself is a police and as viewers we become instantly curious. From there we move to the flashback establishing the initial happy go lucky nature of the titular protagonist and how the gradual transformation happens.
A strong aspect of Narivetta is the layered characterization of Varghese Peter; Whether it is his lack of clarity in the beginning portions or the post interval part where Varghese understands the politics of his superior officers headed by Keshavdas (Cheran). How he comes to empathize with the protest of the tribals and stands for them gives the movie some of its best moments. Fighting for the Adivasis makes him realize his true purpose in life.
Tovino Thomas particularly shines during the stand off between the police and the Adivasis. These portions are brilliantly shot by cinematographer Vijay. The music of Jakes Bejoy also adds to the tension. Mention must also be made of Suraj Venjaramood as an empathetic police official Basheer. The friendship between Varghese and Basheer has also come out well leading to some poignant moments. Cheran in the role of grey shaded officer is also striking.
The movie has numerous scenes of police brutality shedding light on custodial torture and illegal detention. The depiction is very raw without any sugarcoating, it makes the viewers uncomfortable raising important questions about the injustices suffered by the marginalized.
Final word: Narivetta is an important social political drama which needs to be seen by one and all. The first half goes somewhat haywire with an additional subplot of a love story nevertheless the second half more than makes up for it.
Some of my thoughts on how Saiyaara has come as an out of book syllabus surprising the trade with fantastic box office numbers; also why a film like Saiyaara is a wake up call on how big scale isn’t always necessary to strike a chord with the audiences. Sometimes all it takes is a familiar tale with new sprinklings
Saiyaara directed by Mohit Suri perfectly fits the title of a surprise dhamaka. A movie with two newcomers and on top of that an intense romantic drama has reached 200 crores till now, the numbers are only going to increase with an open field till August 1st. The mega success of Saiyaara is a pleasant surprise in the times of pan India masala where scale and big stars from different industries coming together has become a norm.
The reason for Saiyaara’s storm are numerous starting from the movie’s genre. The core plot of this Mohit Suri directorial is a cross between Rockstar and Aashiqui 2. Its been a while since Hindi cinema has taken an intense romantic drama with broken souls and madness of youthful love.
However what makes Saiyaara special is the contemporary soul in the post interval portions. The first half has all the markings of a domed love story with the heroine’s medical condition along with the fact that she hasn’t completely got over the ex boyfriend. But Mohit Suri’s handling of the second half is very different from Aashiqui 2 where Aditya Roy Kapoor is unable to get over his drinking and insecurity problems. In Saiyaara Ahaan Panday’s Krish Kapoor goes from a hot headed young man to a devoted boyfriend putting his love above the need for fame. The romantic moments between Ahaan and Aneet Padda are so adorable making the viewers root for the couple. At the same time Krish doesn’t give up music entirely, his deep love for Aneet Padda’s Vaani isn’t a weakness but its something which adds to his music.
Infact the title track Saiyaara is a representation of how much Vaani means to Krish. The placement of the song after Vaani goes missing is absolutely perfect. Through the character of Krish Mohit Suri gives us a protagonist who strikes the perfect balance between ambition and love.
Coming to the music part, songs have always been Mohit Suri’s superpower. Most of his films boast of melodious soundtracks, in fact the songs are a character in themselves playing a crucial role in carrying forward the story. Saiyaara’s soundtrack is no different whether its Humsafar of the first half or the title track in the middle of second half. The songs carry a purpose giving weight to the tumultuous journey of Krish Kapoor and Vaani.
Apart from the music and the narration what makes Saiyaara a monstrous hit are the acting performances. For a love story of this nature its very important that the two leads immerse themselves in the emotional baggage of their characters. Both Ahaan Panday and Aneet Padda are simply first rate, getting into the headspace of their roles with perfection. The best part of their performances are the close up shots, the two use their eyes very effectively to convey the emotions. Along with the leads the supporting cast also deserve a mention.
Vaani’s parents played by Rajesh Kumar and Geeta Agarwal play their parts with lots of warmth. Alam Khan as KV as an important support system for Krish is also good standing by his friend even though he doesn’t get Krish’s intense love for Vaani.
Both Bobby Deol and Pawan Kalyan deliver spirited performances, but the movie lacks the visual and dramatic flair of Laxman Utekar’s blockbuster Chhaava also set in the same Hindutva space. The terrible CGI of the later portions only makes things worse
Starcast: Pawan Kalyan, Bobby Deol, Niddhi Aggarwal, Nassar, Sunil, Subbaraju and others
Genre: Historical fiction
Directors: Krish Jagarlamudi and A.M Jyothi Krishna
Screenplay and story: Krish Jagarlamudi
Dialogues: Sai Madhav Burra
Producers: A.M Rathnam and A. Dyakar Rao
Production Company: Mega Surya Production
Music: MM Keeravani
Cinematography: Manoj Paramahamsa and Gnana Shekar V.S
Running time: 2 hours and 30 minutes
Hari Hara Veera Mallu (Part 1 Sword VS Spirit) has been in the making for a very long time. There have been numerous reasons for this. Beginning with the COVID affect leading to production delays, on top of that schedule problems with both Krish Jagarlamudi and Pawan Kalyan. The actor political resurgence has only added to the movie’s delay. Meanwhile Krish Jagarlamudi stepped out of direction midway much like his other historical fiction Manikarnika. After a tumultuous journey of 5 years the movie is finally out, the effect of production delays and change of directors is clearly visible specifically in the second half.
Without giving much away the broad storyline of Hari Hara Veera Mallu focuses on a Robinhood like figure played by Pawan Kalyan. He steals from the rich and distributes it among the poor, however there is much more to Veera Mallu. A past connected to the atrocities of Mughal emperor Aurangzeb (a regal Bobby Deol) on Hindu deities. Part 1 primarily focuses on how the paths of these two intertwine setting the clash of an epic fight.
The first half of Hari Hara Veera Mallu is fairly engaging. The character establishment of both Bobby and Pawan Kalyan is done well. Specific mention must be made of a sequence involving a feudal lord in which Pawan Kalyan gives a voice to the suppressed who till then don’t even look into the eyes of their ruler directly. The action sequences in the beginning portions have also been staged with skill. These include the port fight in Machilipatnam establishing Veera Mallu’s bravado. The Charminar battle is also good with some neat stunt work and the effective scale.
The love story between Pawan Kalyan and Nidhi Aggarwal playing a supposed damsel in distress also has its moments. Nidhi Aggarwal has a striking presence and the twist around her character sets a good base for the second half.
However, the movie falls significantly short in the second half. The backstory of Pawan Kalyan with emphasis on Santhana Dharma values feels like a tribute to the actor’s personal beliefs, it also doesn’t help that the flashback portion doesn’t have the required emotional gravitas.
Numerous sequences in the second half feel stretched with a deliberate holding back. This makes the viewer restless, the terrible CGI only compound the woes. For a movie which has been in the making for so long the production values are not consistent. There is a dramatic sequence involving a stormy weather and big stones falling from the hills while Pawan and co are on a mission. The portion has enough potential for thrills but the way it has been staged leaves little to no impact.
There is also a CGI sequence involving a pack of animals, this only adds to the length of the movie. The dialogues about human animal conflict are relevant to today’s times but in the context of the film the portion feels like an absolute misfit.
Hari Hara Veera Mallu also suffers from lack of character development with Pawan Kalyan hogging most of the limelight. Pawan Kalyan has stepped into the zone of historical fiction for the first time however the movie presents the actor politician in the same way a people’s leader. There are zero moral complexities keeping in mind the actor’s limited capabilities nevertheless Pawan Kalyan brings in a star aura. In spite of the long delays Pawan Kalyan looks dapper as always. His performance in the dialogues involving Santhana Dharma is noteworthy and would appeal to the die-hard fans.
Bobby Deol as Aurangzeb has a regal presence. The actor disappears for a long period after a solid introduction, still Bobby makes a strong impact getting into the headspace of Aurangzeb’s fanatical ways with ease. He plays the part with subtle menace and the fiery body language definitely helps. Among the rest Nassar, Sunil and Subbaraju as part of Veera Mallu’s team have their moments specifically in the first half, but they are soon relegated to the background.
The music of MM Keeravani is fairly good. The folk number Kollagottinadhiro has an upbeat tune but for a movie of this scale the songs needed to be much better. The background score though uplifts the action episodes.
The cinematography of Manoj Paramahamsa and Gnana Shekhar VS is also mixed, in some sequences standing out, in others an eyesore. The production design of Thota Tharrani has grandeur but suffers on the account of a familiar pallet. Its a massive letdown from the production designer after a solid work in Kuberra.
As far as direction goes its difficult to pin point one in particular but the screenplay’s attempt at juggling nationalism, rebellion etc feels too cluttered.
The cliff hanger does promise an epic fight going forward but chances of part two are very bleak and would be probably best to drop.
Final word: Hari Hara Veera Mallu is worth watching only if you are a die hard Pawan Kalyan fan or just want to see grandness without soul.
Ahaan Pandey and Aneet Padda from Saiyaara. Both of them are rock solid in demanding roles
The core plot point of Saiyaara doesn’t make any pretense of being new, in fact it’s a classic Vishesh Films territory with a YRF soul. However, what makes the film click is the emotional core involving the two leads. The soulful music by various composers and its integration is also wonderfully done. Both Ahaan and Aneet get the tone of their characters perfectly, the close-up shots in particular where they have to emote just through body language is simply brilliant.
Mohit Suri’s Saiyaara has had a fantastic prerelease buzz transforming into very good openings, additionally the movie has also struck a chord with numerous audiences something which even some of the big films have failed to do. On paper Saiyaara is a romantic drama harping back to the times of Rockstar and Mohit’s own Aashiqui 2. It’s about passionate love bordering on madness. However, the film still works because it’s a familiar tale well told.
The broad storyline of Saayiara focuses on two individuals Krish Kapoor (Ahaan Panday in his debut) and Vaani (Aneet Padda in her first major role). Krish Kapoor is talented, but a hot-headed musician, his hot headedness and angst is established early on where he gets into a brawl, it’s related to the heated topic of nepotism. A big reason for Krish Kapoor’s angst is the alcoholic father played by Varun Badola. Vaani on the other hand has a way with words but suffers from confidence problems., she carries a major emotional baggage. This is due to her ex-boyfriend, he had ditched her at the last moment of a register marriage. The two meet by chance leading to a tumultuous romantic journey, two broken souls healing each other and a medical condition threatening to destroy their happily ever after.
The best part of Saiyaara is how Mohit Suri along his writers build up the love story. How Krish and Vaani find solace changing each other’s lives has been well depicted. A specific mention must be made of the portion where Krish Kapoor talks about his desire for fame and not wanting to die in poverty. The subsequent scene involving Varun Badola and Vaani also opening up about her emotional baggage leading to a fresh start moves the viewers. The pre interval block with a major revelation also doesn’t feel jarring because there is enough foreshadowing.
In the second half the viewers see a different side of Krish. A devoted boyfriend who puts his love above the desire for fame, he gives major boyfriend goals much like Ranveer Singh in Rocky Aur Rani Ki Prem Kahani. The romantic moments are heartwarming also aided by the striking chemistry between the two leads. Yes, some parts of the second half like the return of Vaani’s ex-boyfriend and the scenes between them do act as a speed breaker but as viewers you are still invested in the proceedings.
The music composed by Mithoon, Tanishk Bagchi and others also lift the movie. Specific mention must be made of the title track sung by Faheem Abdullah. It’s an absolute earworm both singing and composition wise. The song comes at the right juncture and is also aided by Ahaan Pandey’s performance.
Mention must also be made of how the movie dwells into digital journalism and the culture of instant gratification songs. There is an important dialogue where Vaani talks about the songs that have endured the test of time and how these were created.
It goes without saying that Ahaan Panday and Aneet Padda successfully carry the movie on their shoulders. Ahaan Pandey seamlessly captures the different shades of Krish from the hot-headed nature to the gradual transformation. The simmering anger feels authentic and there is a certain boyish charm. Aneet Padda also gets into the skin of her role particularly in the emotional scenes of the second half. Portraying a character with serious illness isn’t easy but Aneet scores full marks for a job very well done. In fact, both Ahaan and Aneet establish themselves as potential stars going forward.
In the supporting cast Geeta Agarwal and Rajesh Kumar provide good support as Vaani’s concerned parents, they lend in a lot of warmth. Varun Bodala as the alcoholic father also has his moment during an apology sequence but the shift in the dynamics could have done with better writing. Shaad Randhawa in a brief appearance as a rapper singer moddled on Yo Yo Honey Singh suffers from a sketchy characterization not bringing much to the table.
Final word: Sayiaara is worth watching for those who like passionate romantic dramas with soulful music.
Anupam Kher as the grumpy grandfather coming to terms with Tanvi’s autism gives the movie a strong emotional core. The scene where Tanvi finally addresses him as dadu instead of colonel Pratap Raina is very heartfelt moving the viewers. In the title role Shubhangi Dutt delivers an authentic performance making a promising debut.
Additional writers: Ankur Suman and Abhishek Dixit
Production Companies: Anupam Kher Studio and NDFC
Music: M M Keeravani
Cinematography: Keiko Nakahara
Running time: 2 hours and 30 minutes
In the last few years there has been an increase in the trend of Hindi movies dealing with the topic of differently abled. Whether it is Tushar Hiranandani’s Srikanth with Rajkummar Rao as the visually impaired businessman, Kabir Khan’s Chandu Champion about a paralympic champion. This year the Aamir Khan produced Sitaare Zameen Par was an earnest attempt at normalizing people with down syndrome and autism challenging our general perception of normal. A common core point of all these movies is being different doesn’t make you a lesser person. This section are also capable of doing brilliant things.
Anupam Kher’s second directorial after a long gap pretty much follows the formula of the ones mentioned above. It makes a strong case for inclusivity even though excessive cinematic liberties does somewhat hamper the experience. A tighter second half would have definitely justified the title even more. The story of Tanvi (The Great) begins with Vidya Raina (Pallavi Joshi) she has worked a lot on the topic of autism; Vidya Raina is invited to a conference in United States. Vidya Raina is a single mother, as a result she takes her daughter to Lansdowne in Uttarakhand. Anupam Kher is Tanvi’s grandfather and retired Colonel Raina. Tanvi’s dynamics with her grandfather isn’t so great. Additionally, Colonel Raina has a hard work in wrapping his head around the concept of autism. The movie focuses on how the two gradually develop a bond and Tanvi’s desire to join the army in order to fulfill her father’s dream of saluting the Indian flag at Siachen Glacier.
A strong aspect of Tanvi (The Great) is the evolving relationship between the granddaughter and the grandfather. How the two learn to co-exist with each other particularly Colonel Raina gives the movie some of its best moments. The gradual transformation of Colonel Raina from his initial resistance to eventually admiring the fighting spirit of Tanvi is a delight to watch.
Shubhangi Dutt and Anupam Kher
Anupam Kher along his writers also do a fine job in creating the right emotional core. There is a specific reason for Tanvi’s desire to join the army, it’s not about killing the enemy in a war. It’s more about fulfilling her father’s wish and this has come out in an impactful manner.
The portions of Tanvi going through the hard grill of military training in spite of physical challenges has been both well written and enacted. Particular mention must be made of Aravind Swamy playing Tanvi’s mentor cum coach Major Srinivasan. He plays a hardened military man who is both strict as well as supportive. Major Srinivasan’s connection with Tanvi’s late father and how this leads to an emotional bond has also come out well.
The movie has numerous familiar faces in the supporting cast apart from Anupam Kher and they all do well within their respective roles. Aravind Swamy though shines the brightest followed by a dashing Jackie Shroff in the role of a senior army man Brigadier Joshi. Tanvi’s exchanges with Brigadier Joshi specifically the portion of her affectionally calling him Tiger is nice to watch. Jackie Shroff brings in a certain warmth. The same applies to Boman Irani as music teacher Raza, as Tanvi’s confidante the actor brings in his usual finesse. Pallavi Joshi as the single mother is good too but her track needed better writing. The portions of Vidya Raina in US and the angle of her autism project feels somewhat superficial not adding much to the proceedings.
Shubhangi Dutt and Boman Irani
Infact the movie’s second half could have done with far more crispness. A feeling of restlessness creeps in. Also, the journey of Tanvi in the latter half resembles more of a masala Hindi movie undoing the nuanced first half. There is a certain sense of repetitiveness with the same point being hammered in.
Technically speaking Tanvi (The Great) is a visual treat. Cinematographer Keiko Nakahara captures the hilly terrains of Lansdowne and the misty mornings beautifully through this lens. MM Keeravani’s songs are also tuneful with Man Chala Manwa and O Mera Manmohana standing out.
It goes without saying that Tanvi (The Great) is largely reliant on the performances of Shubhangi Dutt and Anupam Kher, both are first rate in their respective parts. Shubhangi is terrific in capturing the fighting spirit, she nails the different shades of her character from a certain innocence to becoming an idol. Anupam Kher as the grandfather is also terrific delivering one of his better performances. He brings in an emotional resonance as a disgruntled old man whose outlook undergoes a significant change.
Final word: Tanvi (The Great) doesn’t match the qualities of its protagonist completely. Nevertheless, for those who like optimistic stories with a message the movie makes for a good watch.
F1 directed by Joseph Konsinki has all the staple elements of an underdog story mixed in a sports template. However, what makes the movie work is the packaging, the car racing sequences have the right amount of thrills keeping the viewers on the edge. The behind-the-scenes chaos also adds a certain amount of gravity to the proceedings. Brad Pitt and Damson Idris lead the acting department
Starcast: Brad Pitt, Damson Idris, Kerry Condon, Javier Bardem and others
Genre: Sports
Direction and story: Joseph Konsinki
Screenplay: Ehren Kruger
Producers: Joseph Konsiki, Brad Pitt, Jerry Bruckheimier and others
Production Companies: Apple Studios, Dawn Apollo Films etc
Cinematography: Claudio Miranda
Music: Hans Zimmer
Sports movies across the world follow a certain template an individual rising out of ashes after a major incident and a team which is down and out. How the protagonist puts the team back on the map forms a major core. F 1 pretty much follows these rules however the way Joseph Konsinki uses the sport of Formula one racing makes a big difference. The movie perfectly fits the tag of popcorn entertainer something to be enjoyed on the big screen. Not surprisingly the film has been smashing records right, left and center.
The plot of F1 revolves around Sonny Hayes (a charismatic Brad Pitt). Sonny Hayes was a popular Formula one driver however a devastating crash turned the life of Sonny Hayes upside down. He is now working as a taxi driver in New York and also competing in underground races, things take a major turn when the Formula one team owner and friend Ruben Cervants( Javier Bardem) offers a comeback. Sonny now has a chance at beginning life fresh on the circuit, at the same time he is tasked with mentoring a rookie but talented Joshua Pearce (Damson Idris). This is the story in brief.
A standout aspect of F1 is the realistic racing sequences, as a viewer you are sucked into the world of racing even if you aren’t into watching Formula one races. The intense competition between the racers as one tries to outdo the other has been shot in a thrilling way. It gives goosebumps thanks to the wonderful cinematography of Claudio Miranda. Hans Zimmer’s background score also adds to the immersive experience; it contributes significantly to the high-octane thrills.
F1 also benefits from the portrayal of behind-the-scenes chaos coupled with the corporate politics among other things. These aspects add a compelling layer specifically for those who aren’t much acquainted with the world of racing.
The portrayal of the underdog team also makes the viewers root for Sonny Hayes, Joshua Pearce etc. How they take on the big giants like Ferrari, Mercedes and Red Bull relying on strength of will power is a treat to watch.
The dynamics between Sonny Hayes and Joshua Pearce from starting off on a not so friendly note and eventually becoming the perfect team has also been wonderfully written and enacted. The performances led by Brad Pitt and Damson Idris is first rate too. Brad Pitt’s Sonny Hayes is a mixture of cockiness and emotional depth, the actor nails both the shades. A particular mention must be made of his performance in the scenes with Kerry Condon playing an APXGP technical director. Damson Idris is equally compelling as a new age talent trying to strike a perfect balance between the demands of social media while focusing on his ambitions. Kerry Condon also stands her ground as a female proving her worth in a male bastion. Lastly Javier Bardem as the desperate team owner also makes his presence amply felt.
Final word: F1 is an edge of seat experience and perfect watch for those who want big screen spectacle.
The best thing about this Nagesh Kukunoor directed web series is the multiple perspectives. This includes both the special investigative team and also the perpetrators behind the assassination of late Rajiv Gandhi. The quote of “One man’s terrorist is another man’s freedom fighter,” has been explored well
Starcast: Amit Sial, Sahil Vaid, Bhagavati Perumal, Girish Sharma, Shafeeq Mustafa and others
Genre: Crime thriller
Director: Nagesh Kukunoor
Story: Rohit G. Banawilkar, Nagesh Kukunoor and Sriram Rajan
Based on: Ninety Days: The True story of the Hunt For Rajeev Gandhi Assassins
Producers: Nagesh Kukunoor and Sameer Nair
Production Companies: Applause Entertainment and Kukunoor movies
Cinematography: Sangram Giri
No of episodes: 7
Streaming site: SonyLIV
2025 has been a fantastic year for Applause Entertainment with consecutive hit web shows starting from Black Warrant and Criminal Justice Season 4, now their latest web show The Hunt: The Rajiv Gandhi Assassination Case has opened to rave reviews. The Hunt truly deserves all the praise that has come its way. The broad storyline of this Nagesh Kukunoor directorial has shades of Shoojit Sircar’s Madras Cafe also based on the assassination of Rajiv Gandhi, however the tone and also the timeline varies significantly. Madras Cafe was about the events leading up to the assassination of Rajeev Gandhi due to India’s intervention in SriLankan’s Civil War. This web series though focuses on the manhunt following the assassination. Apart from being an investigative thriller Nagesh Kukunoor and his writers have also dwelt into the political tensions.
Madras Cafe directed by Shoojit Sircar
A major strength of The Hunt web series is the depiction of numerous challenges faced by the CBI team. How the squad gradually assembles all the pieces to track down the LTTE operatives in a terrain where the LTTE has widespread sympathy has been wonderfully written and enacted. The constant game of wits between the two sides plays out in a gripping fashion keeping the viewers thoroughly engrossed about the outcome.
Nagesh Kukunoor also deserves praise for the balance of intense moments with the personal side. There is a portion of the feared Sivarasan and the aid Suba (Gouri Padamkumar) enjoying a Rajinikanth movie like any normal couple. Similarly, there is a scene of Subha painting her nail while guarding the hideout with a rifle. These moments are lovely to watch. On the other hand, you have two investigators exchanging their views on the food in North versus South, this is just before meeting an informant. This juxtaposition of the professional investigation and some carefree moments makes the show very enjoyable.
Through the track of LTTE supporters Nagesh Kukunoor along with his writer’s dwell into how the armed rebels are considered heroes by the local population. This is where the theme of one person’s hero being another person’s terrorist comes. The viewers also see the officers doing certain things that don’t align with their personal beliefs. The web series at no point takes sides leaving the viewers to make their own judgments.
Mention must also be made of Sangram Giri’s cinematography. He does a very fine job in capturing the atmospherics of 1990’s Tamil Naidu. There is in a lived-in feel. Specific mention must be made of his work in the tension filled last moments.
The mixture of characters conversing in Hindi and Tamil also doesn’t get jarring due to the fluent pronunciation. Sahil Vaid in a breakthrough act nails his Tamil dialogues, breaking out of hero’s best friend mold Sahil gives a very good account of himself. Amit Sial as DR Kartikeyan too brings in the both the required gravitas and authority as per the requirement. Bhagavati Perumal is also good however the two actors who stand out the most in the supporting roles are Shafeeq Mustafa and Gouri Padmakumar. They play their roles to absolute perfection capturing the various nuances.
Sahil Vaid in a breakthrough act
Shafeeq Mustafa and Gouri Padamkumar
While gripping for most part The Hunt could have benefitted with more contextual set up about IPKF (Indian Peace Keeping Force). Also, Rajiv Gandhi’s involvement for those not aware needed a little more detailing. The last episodes also somewhat drag making you wish Nagesh Kukunoor had wrapped things more crisply.
Final word: The Hunt: The Rajeev Gandhi Assassination Case is a binge worthy watch for fans of layered thrillers featuring psychological warfare
Director Vivek Soni takes the classic trope of gradual love in an arranged marriage to deliver stinging lessons on patriarchy. Men who appear to be modern on surface but actually placing themselves in authority. Vivek Soni along his writers do a fine job in calling out the double standards particularly in matters related to sexuality and desires
Starcast: R Madhavan, Fatima Sana Sheikh, Ayesha Raza, Namit Das, Manish Chaudhary and others
On the surface the plot of Aap Jaisa Koi feels a cross between Karan Johar’s Rocky Aur Rani Ki Prem Kahani and R Madhavan’s own Tanu Weds Manu. Much like Alia Bhatt in Rocky Aur Rani Ki Prem Kahani Fatima Sana Sheikh also plays a fiercely opiniated Bengali here. R Madhavan’s character of a middle aged bachelor has shades of the soft Manu. Thankfully though Aap Jaisa Koi has its own identity specifically the subplot of Ayesha Raza representing the numerous married women facing casual sexism and misogyny and how she breaks out of the conventions by following her heart.
The story of Aap Jaisa Koi primarily revolves around two people belonging to different age brackets as well as varied thought processes. R Madhavan is a 40 plus Sanskrit professor Shrinenu Tripathi. Shrinenu is painfully shy, he hasn’t even kissed till now. In short an absolute virgin becoming the butt of jokes. The friend played by Namit Das introduces him to an anonymous world of chatting with unknown women, the site is Aap Jaisa Koi. The chats in this site have sexual undertones which Shrinenu thoroughly enjoys. Fatima Sana Sheikh is Madhu Bose. a lecturer from Kolkata. Both of them meet in an arranged marriage set up and sparks fly soon. However the path is far from easy. The obstacles are societal expectations and the traditional expectations of gender roles. This is the story in brief.
A strong aspect of Aap Jaise Koi is the integration of different social issues like women’s desires along with the hypocritical attitude of men towards their choices. There is a key scene in the second half where Shrinenu and Madhu Bose have a split when everything is going right, the break up is connected to the dating site. Madhu Bose was also on the same site for a while chatting with many men. Shrinenu considers Madhu Bose a whore just because she chatted with numerous unknown males .The heated dialogues between the two exposes the double standards of men like Shrinenu who think of themselves as progressive but in actuality they are sexist.
In the beginning portions there is a heavy hangover of Manu in R Madhavan’s role but unlike that movie Shrinenu here comes with more shades. Post the bitter break up there are scenes of Shrinenu grappling with prejudices that he has never questioned so far. After a long time R Madhavan has returned back to the romantic set up and the actor is a delight to watch conveying the internal turmoil with just his body language. Fatima Sana Sheikh is confidence personified perfectly embodying the feministic attitude, additionally she looks gorgeous as well in the sarees.
Mention must also be made of Ayesha Raza’s heartfelt portrayal of a woman who hasn’t got the emotional love and often faces casual sexism from her husband. In spite of doing a job from home the husband doesn’t take her seriously, instead Manish Chaudhary’s character thinks that he is doing some favor by allowing her to work. This is where the theme of ingrained patriarchy comes in. This is cycle of inherited attitudes is very visible in Shrinenu’s view points towards Madhu being on Aap Jaisa Koi app. Manish Chaudhary is successful in making the viewers hate him, he perfectly embodies the character’s attitude making the role relatable.
The songs composed by Rochak Kohli and Justin Prabhakaran are soulful too. Jab Tu Sajan and Mila Tujhe stand out among the compositions. Both these numbers perfectly capture the blossoming romance.
Final word: Aap Jaisa Koi is a simple tale with feministic undertones. If you are in the mood for something breezy and are an R Madhavan fan do watch it.
Director Rohan Sippy along with the writers do an excellent job in keeping up the viewers interest till the end. What makes Season 4 stand out is the exploration of issues like mental health and the grey areas in marriage. Pankaj Tripathi as lawyer Madhav Mishra slips into the part with practiced ease combining humor with empathy
Starcast: Pankaj Tripathi, Surveen Chawla, Mohammed Zeeshan Ayub, Shweta Basu Prasad, Mita Vashisht and others
Genre: Drama/thriller
Director: Rohan Sippy
Writers: Sandeep Jain, Sameer Mishra and Harman Wadala
Creators: Harman Wadala and Rahul Ved Prakash
Producers: Sameer Nair, Deepak Segal and Sameer Gogate
Production Companies: Applause Entertainment and BBC Studios India
No of episodes: 8
Streaming site: Jio Hostar
Starting from 5th April 2019 The Criminal Justice web series is one of the longest running web shows next to Panchayat which has also completed four. The character of Madhav Mishra played by a delightful Pankaj Tripathi is a much admired for his wit and the way he solves cases. It is one of those rare web series where as a viewer you need not see from the starting season given that the cases aren’t interlinked, each one is a fresh chapter with a few recurring actors and actresses. For those who are not aware the base of Criminal Justice web series is a British Television series of the same name.
As the title suggests season 4 of Criminal justice is primarily about the fragile family dynamics. Raj (Mohammed Zeeshan Ayub) and Anju (Surveen Chawla) were once upon a time a couple, now they stay separately but aren’t divorced. In spite of their fractured marriage Anju lives in the same apartment as Raj. The reason being the daughter Ira (Khushi Bhardwaj). Ira is suffering from Asperger’s syndrome. Asha Negi is Roshini a nurse who has been taking care of Ira and slowly becomes an important member of the family particularly for Raj. Raj’s mother and Anju have made peace with their relationship. This settled dynamics receive a jolt when Anju and the maid find Raj holding a blood-soaked Roshni. What follows is a courtroom drama shuttling backing and forth with the ever reliable Madhav Mishra
A strong aspect of Criminal Justice Season 4 is the dual narrative running simultaneously with the legal proceedings. The complex personal relationships with shades of grey coupled with the difficulties in raising a neurodivergent child has been etched well by both the director and writers. These two aspects give the series an emotional resonance making it more than just another case.
The investigation aspect with numerous layers also catches the viewers unawares on many occasions. You are always guessing on whether Raj is really the killer or there is something more to this. At one point there are seeds of doubt on Ira too, on whether she was somehow involved. Just when you think everything is solved the web series throws an expected googly leading to a brilliant revelation. The ending leaves the viewers with many thoughts on justice and sacrifice.
The angle of Asperger’s syndrome and the difficulties in raising a neurodivergent child has also been dealt with the required sensitivity. Rohan Sippy and the numerous writers have done a very fine job in starting a conversation about this condition, they show how people living with Asperger’s can also bring a fresh perspective. Khushi Bharadwaj plays her part with the right amount of authenticity, even though the screen time isn’t a lot.
As expected Pankaj Tripathi as Madhav Mishra is a delight to watch like the previous seasons. His sharp humor adds a lot to the courtroom proceedings, apart from the subtle comedy Pankaj Tripathi also brings an empathy in the scenes with Mohammed Zeeshan Ayub and Surveen Chawla. His scenes with the wife and the brother in law bring a smile to the viewers face. At one point the wife played by Khushboo Atre becomes an unexpected pillar of support as well.
Mohammed Zeeshan Ayub as Raj is also terrific in portraying the moral complexities of the role. He brings out the inner turmoil brilliantly. Surveen Chawla too is very good. She touches the viewers heart with an emotional performance specifically in the climactic portions. Mita Vashisht and Shweta Basu Prasad in the roles of opposition also bring strength to their respective parts. Their performances add a lot in making sure that the courtroom proceedings resemble a tense chess game.
Mohmammed Zeeshan Ayub and Surveen Chawla
Asha Negi as Roshini is sincere but her relationship with Raj is loosely etched making it difficult for the viewers to care.. The love track of Raj and Roshini has a rushed nature instead of an organic development.
Final word: Criminal Justice Season 4 is a binge worthy watch for fans of the previous seasons and of course the magnetic Pankaj Tripathi.
The first half of 3 BHK Flat feels like a series of never-ending problems with the tone of a sappy TV serial, fortunately post interval takes a much better turn. The second half has two important subplots. One is Meetha Raghunath’s Aarti deciding that she will no longer put up with marital abuse and starts life new, the second one is the transformation of Siddarth’s character where he decides that he has had enough of the mechanical IT Job, he begins his studies afresh by doing engineering These two tracks elevate the film from being a typical middle-class story of sacrificing sons and daughters
Starcast: R Sarathkumar, Siddarth, Meetha Raghunath, Devyani, Chaitra J Archar and others
Genre: Drama
Direction and screenplay: Sri Ganesh
Based on: Tamil short story Aravindh Sachidanam
Producer: Arun Viswa
Production Company: Shanti Talkies
Music: Amrith Ramnath
Cinematographers: Dinesh B Krishnan and Jithin Stanislaus
Running time: 2 hours and 20 minutes
The core plot of Sri Ganesh’s 3 BHK Flat has a certain relatability specifically for young men who have grown up in certain households, the burden of expectations where the father looks at them as a beacon of hope. This hope acting as a catalyst for major life decisions and of course shunting between different houses with a shared dream of having one own’s home. The beginning portions of 3 BHK Flat has all the trappings of sacrificial drama, at one point boredom creeps in as well thankfully the movie doesn’t end up being regressive with its plot developments.
R Sarathkumar plays Vasudevan. He is a typical middle-class man with dreams of having an own home. The financial status of Vasudevan is quite wobbly; he has his hopes pinned on the son Prabhu (Siddarth). However, these expectations become a hurdle for the son, in spite of putting in all the hard work Prabhu remains a failure for a major portion of the movie. Devyani plays Vasudevan’s wife Shanti, she is the typical emotional pillar thankfully with a voice of her own. Meetha Ragunath plays the sister Aarti. This is the story in brief.
One of the things which work in 3BHK Flat are the atmospherics. Director Sri Ganesh does a fine job in setting up a lived-in atmosphere, whether it’s the conversations between the characters or the design of the different houses which the characters shuttle at numerous junctures. The characterization of Siddarth’s Prabhu is also relatable for most young boys growing up in typical middle-class families. The constant turmoil which Siddarth goes through for a large part of the movie hits the viewers hard making them empathize with him. The build up to the change is also smartly done without making it look abrupt. Siddarth does a very fine job in capturing the different nuances.
R Sarathkumar as Vasudevan also makes a strong impact in spite of coming across as not so likeable in some portions. The way he has portrayed the physical and emotional transformation from a 40-year-old to 60 plus is commendable. The scenes between him and Siddarth have numerous poignant moments. Meetha Raghunath is also wonderful more so in the post interval portions. Her act in the breakdown portion deserves a specific mention and the question that she asks about whether marital abuse is only about physical violence is so relevant. Meetha Raghunath is excellent in portraying the fighting spirit of Aarti. Devyani is also striking in her scenes giving good support. Rana Daggubati’s voice over as the different houses adds an interesting element although it doesn’t bring anything substantial.
Mention must also be made of how Sri Ganesh talks about important topics without making it come across as overtly political. There is a portion about the rising real estate making it difficult for a common man to fulfill his dreams, similarly the impact of societal pressures in choosing studies has also come out well. The songs composed by Amrith Ramnath have a soulful nature. Tracks like Kalaleene have an emotional resonance, at the same time Aagiponu Nenu works as an engaging motivational number.
A major problem with 3BHK Flat is a TV Serial treatment of the first half. As viewers you get a feeling of depression with the overdose of problem faced by Vasudevan and his family. The tonality of a sappy daily soap induces a certain tediousness making you wish that the movie moves at a crisper pace.
The cinematic liberties which the movie takes in the third act isn’t for all too. For some Prabhu quitting a well-paying tech job at 34 to pursue his passion while having aged parents at house will be tough to swallow.
Final word: 3 BHK Flat makes for a good watch if you are fan of middle-class dramas without the overtop commercial ingredients.
