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Adolescence: A haunting cautionary tale particularly for parents

Behind the scenes third episode of Adolescence web series

Adolescence directed by Philip Barantini is a thought provoking tale on the modern pressures faced by parents in this rapidly changing world thanks to the massive technological developments. The director does a fantastic job in exploring the issues of societal pressures and online radicalization among others.

Starcast: Stephen Graham, Owen Cooper, Ashley Walters, Faye Marsay and others

Direction: Philip Barantini

Creator and writer: Stephen Graham

Additional writer: Jack Thorne

Music: Aaron May and David Ridley

Producer: Jo Johnson

Production Companies: Its All Made Up Productions, One Shoe Films etc.

Cinematographer: Matthew Lewis

No of episodes: 4

Streaming site: Netflix

Raising a child successfully is easily one of the most difficult tasks for any parent more so in today’s digital age. The influences from outside specifically the online culture comes with its share of both positives and negatives. Additionally giving your child sufficient time isn’t easy for those who have hectic working schedules. The latest Netflix show Adolescence has been the talk of the town ever since its release. The series has struck a huge chord with not just the western audiences but it has also broken language barriers. A prime reason for that is the shows central theme which has a universal resonance.

The central plot of Adolescence is the arrest of James Miller (an outstanding Owen Cooper). James is arrested for the murder of his fellow female classmate in the nearby woods. Stephen Graham and Christine Tremarco play James Miller’s parents Eddie Miller and Manda Miller respectively. Naturally both of them are heartbroken at this revelation. Their life undergoes a 360 degrees turn struggling to comprehend on how their seemingly good son can be capable of a crime like this. Adolescence doesn’t play out like a traditional whodunit because after a point it is firmly established that James is indeed the killer. The focus is more on the psychological and emotional trauma faced by the family.

A major strength of Adolescence web series is how Philip Barantini along with Stephan Graham present a realistic picture on the issues faced by modern parents. On many occasions Adolescence holds a mirror to today’s society hitting a raw nerve. By the end of the show many parents or going to be ones will definitely think about how much are they really present in the lives of their children.

The show also does a very good job in portraying the hidden struggles which youngsters face unknown to the parents and how a huge divide is coming between the parents and children. Adolescence also presents a disturbing picture on the dangers of online bullying and incel culture. Incel culture refers to a community of men who are frustrated with their inability to attract women sexually. They often blame the women for their failures.

Another big strength of Adolescence is the characterization of the central character coupled with Owen Cooper’s outstanding act. The series doesn’t entirely demonize James Miller, instead the show treats him as a victim of an ecosystem which fosters alienation. The perfect example of this is the scene between James and clinical psychologist Briony Ariston (Erin Doherty).

Erin Doherty as the clinical psychologist

In this portion a psychological insight is given into the actions of James with specific focus on the culture of incel and online bullying. There is a dignity and sensitivity in the way these portions have been filmed. The entire track reminds the viewers of James not being a complete adult yet. The fact that James is still a growing boy makes the situation even more tragic.

Mention must also be made of Ashley Walters as DI Bascombe. There is a nuanced approach in the way the role has been written and performed. At no point DI Bascombe comes across as overly aggressive or antagonistic.

Ashley Walter as DI Bascombe

As James Miller Owen Cooper expertly handles a complex role way above his age. A particular mention must be made of his performance in the third episode. The unhinged manner in which he plays the series most crucial portion firmly establishes him as a talent to look out.

Stephen Graham is another actor who stands out with his heartfelt portrayal of an emotionally charged father. The way he portrays the feelings of guilt, grief and self doubt is a sheer delight to watch. The actor specifically stands out in the scene where he questions his entire existence of being a parent. One of the most stand out scenes belong to Stephen Graham and Manda Miller. There is a very poignant conversation between them when Stephen Graham’s Eddie says the following dialogue.

Stephen Graham is another actor who stands out with his heartfelt portrayal of an emotionally charged father

“I used to play with him, then work picked up and I started coming home late. Maybe I didn’t give him the time I should have”. This dialogue very aptly sums up the importance of an emotional presence in the life of a child.

Another very striking aspect of Adolescence web series is the way the show has been shot. Cinematographer Matthew Lewis has filmed each episode as continuous shots with no visible cuts. This adds to the immersive nature of the show.

The one slight flaw in Adolescence is the lack of complete perspective from the side of girl’s family. Obviously the girl’s parents would also be going through major emotional upheavals. But this isn’t touched upon in the slightest.

Final word: Adolescence is a spine chilling drama very much worth your time. The show is truly a banger.

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My Melbourne: A heartwarming anthology

My Melbourne deals with important social issues with the standout segment belonging to Kabir Khan and Puneet Gulati. It’s the most crowd-pleasing one in a good way talking about race and how the medium of sports can break cultural barriers
  • Starcast: Ryanna Sky Lawson, Jake Ryan, Arushi Sharma, Jackson Gallagher, Arka Das, Setara Amiri and others
  • Directors: Onir, Rima Das, Imtiaz Ali, Kabir Khan etc
  • Writers: Nazifa Amir, Shivangi Bhowmick, Samira Cox etc
  • Cinematography: Brad Francis
  • Music: Anurag Sharma and Brad Francis
  • Producer: Mitu Bhowmick Lange
  • Production Company: Mind Blowing Entertainment
  • Running time: 1 hour and 40 minutes

The trend of anthologies has provided an interesting alternative to mainstream cinema. This is primarily due to two reasons, one there is no pressure of box office as a result you can experiment more, and secondly big stars aren’t needed for an anthology movie. Much before the 2013 Bombay Talkies you had the 2010 anthology I Am, a collection of four short movies directed by Onir. The anthology I Am dealt with plots ranging from child abuse, gay rights, the inner turmoil of a Kashmiri pandit who returns back to her native state after a huge gap of 20 years etc. Since then, numerous anthologies have come from both Hindi and the southern industry.

I am directed by Onir

The plotlines of My Melbourne anthology are based on four real life incidents covering the themes of race, gender, sexuality and disability. A common aspect binding the four together are its theme of finding hope in the most unlikely of places and how there’s always a ladder called faith.

1. Nandini

My Melbourne kick starts with Nandini directed by Onir and William Duan. The story focuses on an emotional reunion involving a father and son. Indraneel (Arka Das) is living with his boyfriend Chris (Jackson Gallagher). Out of the blue the estranged father Mihar (Mouli Ganguly) comes to Melbourne. The reason being a ritual for late Indraneel’s mother. The plot focuses on the unspoken emotions between the father and son along with the theme of acceptance. Director Onir brings his trademark understatedness to this sensitive tale. The struggles faced by the queer community in terms of family acceptance has been brought out in a subtle yet highly effective manner. More than the dialogues the affective building of tension makes it an engaging watch. The romance between Arka Das and Jackson Gallagher is also subtly depicted through affectionate gestures. The eventual reconciliation between the father and son will make the viewers emotional.

2. Jules

The second story Jules has been co-directed by Imtiaz Ali and Arif Ali. This segment revolves around a newlywed Indian Woman Sakshi (Arushi Sharma). Sakshi has many dreams, but her confidence is very low. This is majorly due to the fear of a new place along with an oppressive husband who treats her as a piece of furniture. She uses social media as a shield to cover up her insecurities. However, in true Imtiaz Ali fashion Sakshi’s life undergoes a huge change when her path crosses with that of Jules (Kat Stewart). Jules is a 52-year-old homeless woman with a foul tongue and a strong survival instinct. In this story Imtiaz Ali and Arif Ali have covered the theme of patriarchy. Jules suffers somewhat due to a slightly sketchy writing. The dynamics between Sakshi and Jules could have done with more exploration still the segment has its moments due to the message and also the wonderful acting performances. Arushi Sharma does a very fine job in portraying both Sakshi’s vulnerabilities and also her eventual transformation. Kat Stewart looks every inch the character particularly her body language.

Kate Stewart as Jules

3. Emma

Emma directed by Rima Das and Samira Cox deals with the theme of disability. Featuring an all-Australian star cast the segment features Ryanna Lawson as Emma. Emma is a talented deaf dancer in her early 20’s. The main theme of Emma is how she overcomes both self-doubt and a certain discrimination from her own community. An important part of her journey is Nathan (Nathan Borg) Nathan is a successful deaf dancer; through him Emma finds the strength to pursue her dreams. A major strength of Emma is how Rima Das and Samira Cox have explored the topic of Usha syndrome. Usha syndrome is a combination of both hearing and vision loss. Ryanna Lawson playing Emma delivers a solid act perfectly capturing the characters internal conflict.

4. Setara

The last one Setara directed by Kabir Khan and Puneet Gulati is the most mainstream among the four stories in a good way. Kabir Khan brings his trademark underdog story troupes with great affect as already witnessed in 83 and Chandu Champion. The director’s political knowledge also comes in very handy. This segment deals with the issue of race. Setara Amiri plays a fifteen-year-old girl. She has relocated to Melbourne fleeing from the Taliban rule in Afghanistan. Along with the mother and an elder sister Setara is trying to rebuild her life. A strong aspect of Setara is how the two directors have explored the issues faced by the refugees and how sports can play a key role in overcoming adversities and also break cultural barriers. The later aspect comes out in an impactful manner in the way Setara plays for the Australian school team. Another noteworthy thing about this segment is how the story plays around with the common notions attached to Muslim women wearing hijab. Setara is somebody who stays true to her cultural identity but that doesn’t come in the way of her playing cricket through which she makes her own distinctive mark. Setari Amiri’s portrayal of a confident schoolgirl is a treat to watch.

Setara directed by Kabir Khan

Final word: My Melbourne makes for a wonderful viewing particularly for fans of intimate stories

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The Diplomat (“A True Hero needs no weapon): A focused rescue drama with a restrained John Abraham

Director Shivam Nair along with writer Ritesh Shah craft a fast paced tale drawing the viewers into the world of diplomats operating in a tense political atmosphere. The fast paced storytelling is also an hindrance due to the rushed nature. Thankfully the movie doesn’t become overtly jingoistic with unnecessary dialogue bazzi
  • Starcast: Sadia Khateeb, John Abraham, Jagjeet Sandhu, Kumud Mishra, Sharib Hashmi and others
  • Genre: Thriller/drama
  • Director: Shivam Nair
  • Writer: Ritesh Shah
  • Producers: John Abraham, Vipul D. Shah, Krishna Kumar and others
  • Music: Anurag Saikia
  • Cinematography: Dimo Popov
  • Banner: T- series Entertainment, JA Entertainment etc
  • Running time: 2 hours and 17 minutes

Shivam Nair’s The Diplomat focuses on the real life struggles of an Indian citizen duped by a Pakistani man. The Pakistani man played by Jagjeet Sandhu in the movie is already married several times. Sadia Khateeb of Raksha Bandan fame plays Uzma Ahmed. She seeks a refugee at the Indian embassy where John Abraham’s JP Singh works. He is an Indian diplomat working in Pakistan. In simple terms the story focuses on the physical and emotional turmoil faced by Uzma and how she eventually makes it back to India overcoming various hurdles starting from JP Singh’s initial distrust about her identity.

Sadia Khateeb as Usma in second picture

A strong aspect of The Diplomat is how it sucks the viewers into the world of diplomats. The tense political atmosphere in which they work has been wonderfully showcased. Given the environment that they work in to trust someone on face value isn’t easy and this comes out in an impactful manner in the way JP Singh is initially apprehensive about Usma. There is a cold hearted approach in the way JP goes about interrogating Usma, at the same time we see JP having a constant inner battle on whether she is actually innocent or a spy in disguise. This has been both wonderfully written and enacted.

As already mentioned the tagline of The Diplomat is a true hero needs no weapon. The way JP Singh operates even in the most volatile situation does absolute justice to this theme. John Abraham at no point goes out of character getting out of tricky situations with his mind power than using fists.

Given the background of India and Pakistan Shivam Nair and Ritesh Shah could have easily gone overboard with bombastic dialogues and crowd pleasing action however the makers do away with these troupes. Of course patriotism is an inherent part of a movie like The Diplomat and the character of Jageet Sandhu is purely evil playing on the Hindutva slant at at the same time though it doesn’t paint all Pakistan’s or Muslims as pure monsters. A good example of this is the character played by Kumud Mishra. He is a Pakistani lawyer who plays a significant role in Uzma going back home. Similarly there is a very crucial scene when the Pakistani Judge doesn’t succumb to the pressure tactics of Jageet Sandhu’s Tahir by telling him to not make his personal matter an India Pakistan issue. This is refreshing to watch.

Talking about the flaws the fast paced screenplay is both a plus and minus. Because of the fast paced screenplay some of the plot points aren’t properly developed. This is particularly true in the case of Tahir duping Uzma. Their interactions before the ordeal she goes through has been sketchily written. How she easily trusts Tahir talking about her failed marriage and the health issue of her daughter is just skimmed through. Even the subplot of the daughter is written in an haphazard manner and forgotten soon. Even the family track of JP Singh particularly his talks with the son breaks the movie’s flow. Lastly attempts at comedy through the character of Sharib Hashmi also becomes a speed breaker. Thankfully these screenplay defects don’t derail the movie completely, a major reason for that is an evolving bond between JP Singh and Uzma along with the emotional core of Usma’s struggles.

Sadia Khateeb as Uzma is the movie’s beating heart. She delivers a first rate act perfectly capturing the horror of a woman who is shocked by her own naivety in trusting a stranger and is desperate to get out of the hell. The way she portrays the fighting spirit of Usma is very commendable. John Abraham in a refreshingly different role plays his part with the right amount of restraint, the various shades of JP starting from the initial suspicion, then the inner dilemmas and eventually becoming a strong pillar of support has been wonderfully portrayed by the actor.

John Abraham plays the various shades of JP Singh well

Special mention must also be made of Jagjeet Sandhu. He plays the detestable Tahir with gay abandon making the viewers hate him to the hilt. Kumud Mishra in a small but important role also makes his presence amply felt. Revathy as Sushma Swaraj also does a fine job again in a brief yet important role. Sharib Hashmi though is thoroughly underutilized.

Jagjeet Sandhu plays the detestable Tahir with gay abandon

Talking about Dimo Popov’s cinematography his work deserves a specific mention in a tense chase sequence involving Tahir and JP.

Final word: The Diplomat is worth a watch particularly for those interesting in knowing how diplomats operate.

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‘Court-State Vs A Nobody: Delivers an important message on the misuse of POCSO

The set up of ‘Court- State VS A Nobody has certain elements from the Jolly LLB movies. Much like Arshad Warsi and Akshay Kumar Priyadarshi also plays an underdog lawyer waiting to prove his mettle. The movie does suffer from logical drawbacks particularly in the second half still the performances coupled with the emotional core make it sail through
  • Starcast: Priyadarshi, Harsh Rohan, Sridevi Appala, Sivaji, Saikumar and others
  • Director and writer: Ram Jagadeesh
  • Genre: Legal drama
  • Additional writers: Karthikeya Srinivas and Vamsidhar Srigiri
  • Music: Shravan Bhardwaj
  • Producer: Prashanti Tripirneni
  • Banner: Wall Poster Cinema
  • Running time: 2 hours and 29 minutes

Before dissecting ‘Court- State Vs A Nobody it is necessary to applaud Nani for backing a social issue like this through his production house Wall Poster Cinema. While it is debatable on why back a movie showcasing the negative side of POCSO instead of a positive one at the same time though a subject showcasing the misuse of POCSO is also necessary to make people more aware about the law. In the age of pan India cinema where there is an increase of macho heroes stories of underdogs standing up for the marginalized sections is very important.

Nani should be applauded for backing a social issue like the misuse of POSCO in the age of Pan India cinema

The core plot of ‘Court- State VS A Nobody revolves around the false imprisonment of a 19 year old boy Chandrasekhar (Harsh Rohan). Chandrasekhar hails from a poor family, he isn’t into studies much, instead he juggles between multiple part time jobs. On the other hand you have Jabilli (Sridevi Appala). Jabilli come from a rich family. Mangapathi (a terrifying Sivaji) plays the powerful uncle. Mangapathi is a despicable bigot with regressive views. Jabilli and Chandrsekhar slowly fall in love, the situation takes a very dark turn for Chandrasekhar when Mangapathi with his influence and connections falsely implicates Chandrasekhar under the POCSO which is actually meant to punish sexual preparators. The rest of the story focuses on how Priyadarshi’s Surya Tej gets involved with Chandrasekhar eventually delivering justice.

The first half alternates between a budding love story and Surya Teja’s attempts to establish himself as a solid lawyer. Both these segments have their high points at the same time a certain repetitiveness also creeps in the portrayal of teenage love. The initial conversations between Chandrasekhar and Jabilli on the phone feel like a series of verbal abuses but things start getting better when they actually fall in love. The tender moments between them in particular leave a strong mark. The audiences feel very sorry for Chandrasekhar when he is falsely accused and root for him to come out safe.

The complexities involved in a legal case like this and how this makes the situation very difficult for Chandrasekhar has come out well in both the writing and direction. The director also does a very good job in exploring the psyche of Mangapathi. The way he behaves likes a self appointed custodian is representative of the numerous bigot male family members that we do read and also come across in real life. By its very nature Mangapathi character is loud, Sivaji delivers a terrific performance fully embodying the class and caste fanaticism of Mangapathi. The senior actor is truly having a fantastic second innings. First the role of a strict yet lovable father in the web series ’90’s a middle class biopic and now this.

The characterization of Surya Tej coupled with Priyadarshi solid act is another plus for the movie. Surya Tej is an underdog with major ambitions of making it as big an independent lawyer. There is a crucial point in the movie where Surya Tej feels cheated due to an important CCTV footage. There is a palpable pain in the way Surya Tej expresses his anger to Chandrasekhar’s friends.

Through the character of Surya Tej the focal point of the movie which is the misuse of POCSO has come out very well. There are important dialogues where Surya Tej talks about the judicial system needing to follow a certain discretion by understanding the difference between an act of rape and a supposed sexual act. He also breaks the societal stereotypes by talking about how a boy and a girl being in one room doesn’t always mean sexual intimacy. In the same scene valid points are also made on making the citizens more aware about the laws of our country. This aspect comes out in the dialogue where Surya Tej talks about the one mistake which Chandrasekhar did by going into the room with Jabilli.

Talking about the courtroom drama some parts in the screenplay suffer on discrepancies. For example allegations on Chandrasekhar are accepted without any medical examination along with the fact that it takes so long for Jabilli to make an appearance in the court.

Given the nature of the movie there isn’t much scope for the cinematography department still the courtroom setting has an authentic feel. There is only one song in the movie which is a love ballad called Premalo. It’s quite a tuneful number capturing the teenage love perfectly.

Premalo song perfectly captures the teenage romance

As far as the young leads go both Harsh Rohan and Sridevi Appaalla do a very fine job in making the viewers emphasize with the characters. Harsh Rohan though has the tougher role given the background of Chandrasekhar. He gets the more emotionally demanding scenes and the young actor makes full use of it. Mention must also be made of Sai Kumar as a top lawyer and the boss of Surya Tej. There’s a very crucial scene where his character gives an advice to Surya on the importance of bouncing back and how a lawyer should properly perceive the case scenarios before coming to the conclusion of who is right and who is wrong. Rohini as Jabilli’s mother lends a quiet strength in the scenes where she finally understands her daughter and gives it back to Mangapathi. Harshvardhan as the cunning lawyer does a fairly impressive job although his character arc could have been better designed.

‘Court- State VS A Nobody is an admirable attempt at portraying an important social issue. In spite of the logical lapses the movie benefits from a strong emotional core.

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Officer on Duty: A taunt investigative drama

The best thing about Officer on Duty is how director Jithu Ashraf humanizes the protagonist who is deeply flawed both as a police officer and human being. However the film is also guilty of repeating familiar troupes involving violence and brutality against women.
  • Starcast: Kuchacko Boban, Priyamani, Jagadish, Vishak Nair and others
  • Director: Jithu Ashraf
  • Genre: Crime drama/ thriller
  • Writer: Shahi Kabir
  • Cinematography: Roby Varghese Raj
  • Music: Jakes Bejoy
  • Producers: Martin Prakkat, Renjith Nair and Siby Chavara
  • Production Company: Martin Prakkat Films
  • Running time: 2 hours and 17 minutes

In Indian cinema portrayal of cops as can be broadly divided into two major categories. On one hand you have the very righteous police officers like Ajay Devgan from the Singham films or even Prakash Jha’s Gangajaal. On the other hand you have someone like Sangaram Bhalerao akka Simmba inspired by the junior NTR starrer Temper. In both Temper and Simmba the leading men start off as corrupt police officers more interested in acquiring money than helping common men. Eventually though they undergo a huge metamorphosis.

Jithu Ashraf’s Officer On Duty on the other hand focuses on an extremely short tempered cop with a huge emotional baggage. The movie wastes no time in establishing the personality of Kuchacko’s CI Harishankar. We see him getting extremely angry at his subordinates and also hitting a women on her stomach just because he considers her a suspect. His relationship with the wife Geetha (a solid Priyamani) is on the verge of dismantling. At the same time Harishankar carries the baggage of an emotional trauma due to the death of his elder daughter, she is the victim of a vicious gang who runs a big chain of drug trafficking and also sexual crimes. Initially the movie appears to be about a minor crime related to a fake gold chain but as the plot progresses things start getting sinister with some major revelations.

BTS shot from Officer on Duty

A strong aspect of Officer on Duty is how Jithu Ashraf along with Shahi Kabir gradually reveal the various layers. How a minor case of a fake gold chain snowballs into something very dangerous keeps the viewers guessing about where the movie is heading. The characterization of the central character coupled with a fantastic Kuchacko Boban is another major plus for the movie.

The violent streak in Harishankar is wonderfully balanced with the psychological trauma he is going through. A very good example of this is the scene where Harishankar stumbles upon a hanging body triggering a panic attack. How Harishankar reacts and the subsequent portions leading to an important flashback leads an emotional weight to the proceedings.

The introduction of the drug trafficking gang lead by a psychotic Vishak Nair in the role of Christie adds further intrigue to the proceedings. The second half features numerous intense sequences where Harikrishna is desperate to catch this criminal gang. There is an important mini flashback in the second half dwelling into a personal animosity linked with the wife of Harikrishna. In this portion there is a dastardly police officer whose inhuman behavior act as a major trigger for the heinous set of crimes.

The sequences of substance abuse portions doesn’t boast of any novelty as it is mostly a series of close up shots involving white powder still the movie keeps the viewers engaged. A particular mention must also be made of the gruesome action sequences. These portions by nature aren’t everyone’s cup of tea still it’s a treat for those who enjoy raw and hardcore action. There are numerous shots of Harikrishna and Christie getting physically wounded but still taking on each other.

Jakes Bejoy’s background music also plays a major part in adding to the atmosphere of dread. His music is also of a good standard. The cinematography of Roby Varghese Raj is very gritty giving it an authentic feel.

As already mentioned Kuchako Boban is simply top notch in a complex part. He plays the troubled police officer with utmost ease. He particularly shines in the intense sequences. Priyamani as Geeta also makes her presence amply felt. In spite of having less screen time she is successful in bringing out the inner strength of strong mother.

Mention must also be made of Jagadish as Chandrababu. The actor delivers a heartfelt performance as the father going through a tough time. Among the baddies Vishak Nair and Ramzan stand out. After his terrific negative role in Kangana Ranaut’s Emergency Vishal Nair impresses once again perfectly embodying the ruthlessness and the psychotic nature of Christie.

Harishankar versus Christie

Final word: Officer on Duty is worth watching if you are a fan of violent crime thrillers/drama

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Waking of a Nation: A slow burn but an engaging watch particularly for history buffs

The web series suffers somewhat from the constant back and forth and also the theatrical nature of the courtroom proceedings still the series is worth watching. Apart from exploring the events leading up to the Jallianwala Bagh massacre the series also gives an underlying message on the importance of unity
  • Starcast: Taaruk Raina, Sahil Mehta, Nikita Dutt, Carl Wharton and others
  • Director and creator: Ram Madhvani
  • Writers: Shantanu Srivastava and Shatrujeeth Nath
  • Genre: Historical Drama
  • No of episodes: 6
  • Streaming site: Sonyliv
  • Cinematography: Kavya Sharma
  • Music: Sameer Uddin
  • Producers: Ram Madhvani and Amita Madhvani

The Jallianwala Bagh massacre is easily one of the most gut wrenching chapters in Indian history. The blood bath which took place on the peaceful protesters that day can never be forgotten. The Jallianwala Bagh episode has already been explored with gut wrenching affect by director Shoojit Sarcar in the moving biopic of Sardar Udham Singh portrayed masterfully by Vicky Kaushal. The 2006 movie Rang De Basanti also featured a crucial subplot related to the Jallianwala Bagh massacre. Ram Madhvani’s latest directorial is more about the events which trigged the massive bloodbath through the character of Kantilal Sahani (Taaruk Raina).

Director Ram Madhvani on the set of the web series Waking of a Nation

Kantilal Sahani is a member of the Hunter commission . Kantilal Sahani is a young lawyer newly returned from London. He is a beneficiary of western education. This makes him an outsider amongst the friends group something which he is always reminded about. This character of Kantilal Sahani is supposedly inspired from Sri Chamanlal Harilal Setalvad. A man known for cross examining General Dyer. Through the turbulent journey of Kantilal Sahani the web series explores the ideological struggles of the times between various aspects like reform and revolution etc. The close knit friends of Kantilal Sahani include Ali Allahbaksh (Sahil Mehta) and Poonam Aulakh (Nikita Dutta) among others. The friends represent different perspectives of the Indian freedom movement embodying the diversity of India both religious and ideological.

An image from Waking Of a Nation

A strong aspect of the web series is how Ram Madhvani along with his writers dwell into the political environment leading up to the bloody massacre. Ram Madhvani and the writers are particularly successful in shedding light on the controversial Rowlett act. This Rowlett act gave Britishers complete freedom to imprison individuals without any trial.

A major portion of the web series is about the aftermath specifically the hunter commission inquiry meant to investigate the massacre. The courtroom drama though bordering on theatrics offers a fresh lens.

A very interesting aspect of the web series is also how Ram Madhavani depicts the massacre. He avoids the explicit route instead the reliance is more on sound design and the panic stricken reactions of the people present there along with the not visible carnage makes for a haunting experience.

He allows the viewers to interpret and fill in the gaps using their own imagination. This method leaves a much more impact than the use of graphic method.

The friendship angle and the creeping ideological differences between Kantilal Sahani and his friends has also come out well. The journey of Kantilal Sahani both internally and externally has been well written and brilliantly performed by Taaruk Raina. There is a very poignant moment where Kantilal Sahani imagines his group of friends whom he has lost along the way. The audiences see Kantilal pouring out his anguish on how he has been left behind with so many families looking at him as a beacon of hope. In the same portion there is a key revelation acting as a layer of guilt. This acts as a major trigger point for the case Kantilal is fighting. Previously the viewers see that Kantilal has major ambitions of going to London. While he is fighting the case an unofficial offer is made to him but Kantilal refuses.

These events show the growth of Kantilal. There is another equally poignant bit where he reads out the names of the people who have lost lives in the massacre. The pain in the eyes of Kantilal perfectly reflects emotions which others in the room are also undergoing.

The web series also subtly touches upon the aspect of racial discrimination followed not just by the British but Indians too along with the tendency of discrimination on the basis of religion and caste. The underlying message of how we need to be united irrespective of which religion and caste we come holds a lot of relevance to today’s political environment.

Waking Of a Nation is very non linear in style with multiple timelines. This for a section of people can prove to be a major hindrance. Also the web series can feel sluggish for some given the deliberate slow pace.

The cinematography of Kavya Sharma is also of a very high order. He brings the colonial times to life with his fantastic cinematography. His camerawork deserves a special mention too in the recreation of 1919 Amritsar along with the massacre. The soundtrack of Sameer Uddin is haunting as well perfectly capturing the emotional turmoil.

Apart from Taaruk Raina Sahil Mehta also deserves major appreciation for his striking performance in the role of Allahbaksh. Allahbaksh is often assertive with his ideology and acts as a major foundation for the change in Kantilal.

The British characters thankfully don’t speak in broken Hindi. Among the foreign actors Carl Wharton is top notch as the head of human rights commission. Alexander West as General Dyer is also successful in making the viewers hate him. Paul Mcewan as Michael O’ Dyyer is understated yet highly effective as a man who is extremely calculative.

Alexander West as General Dyer

Final Word: Waking of a Nation is a searing take, a must watch for fans of detailed history lessons.

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Nadaaniyan (innocence/ naivety) : A confident debut from Ibrahim Ali Khan

Director Shauna Gautam along with the writers don’t break any new grounds here as the movie feels like a recycled version of several Dharma rom coms still the plot moves at a brisk pace and some of the emotional moments in the later half do land. It also helps that Ibrahim and Khushi share a cute chemistry
  • Starcast: Ibrahim Ali Khan, Khushi Kapoor, Sunil Shetty, Mahima Choudhary, Dia Mirza, Jugal Hansraj and others
  • Direction: Shauna Gautam
  • Genre: Romantic comedy
  • Screenplay: Ishita Moitra, Jehan Handa and Riva Razdan Kapoor,
  • Story: Riva Razdan Kapoor
  • Music: Sachin Jigar
  • Cinematography: Anuj Samtani
  • Production Company: Dharmatic Entertainment
  • Producers: Karan Johar, Somen Mishra and Apoorva Mehta
  • Running time: 1 hour and 59 minutes
  • Streaming site: Netflix

Nadaaniyan streaming on Netflix much like the 2023 Archies serves as more of a launch pad for star kids in this case Ibrahim Ali Khan rather than telling a cohesive story. Unlike Archies though Nadanniyan isn’t unwatchable, the storyline moves at a brisk pace leaving viewers little time to ponder on the flimsy scenarios particularly for the undemanding audiences. The movie also does succeed in positioning Ibrahim Ali Khan as the next chocolate boy something which I will get to later.

Nadaaniyan begins with establishing the character of Pia Jaisingh (Khushi Kapoor). Pia is an elite Delhi girl dealing with the issues of a broken family. She is on the verge of loosing her sister like best friends due to certain lie. In order to save her friendship she persuades the new joinee Arjun Mehta (Ibrahim Ali Khan) to become her boyfriend for Rs 25, 000 per week. Arjun comes from a less polished background, he agrees to this proposal for furthering his own ambitions. What starts off as pretending to be boyfriend and girlfriend takes a very drastic turn when things become serious. This is the story in brief.

One of the things which work in Nadaaniyan is its self aware tone. Right from the first frame director Shauma Gautam succeeds in establishing the character traits particularly that of Pia and her rich folk without wasting any time. The director does a fine job in capturing how a lot of gen z looks at the concept of love. The characters use the help of AL to express romantic feelings. At one point Pia makes Arjun Mehta pose romantically just to get some social media likes.

Although Nadaaniyan operates on a strictly surface level it has also got some nice emotional touches particularly in the later half when Pia and Arjun actually fall in love. Pia is someone who comes from a patriarchal family where the father played by a daper Sunil Shetty thinks that the law firm Jaisingh&Sons needs a male heir to carry forward their legacy. Jugal Hansraj and Dia Mirza on the other hand play the cool parents of Arjun. How their actions indirectly play a strong role in strengthening their love is interesting to watch.

Talking about debutant Ibrahim Ali Khan the young actor has a very striking resemblance to father Saif Ali Khan. He gives a major deja vu of the 90’s Saif with his chiseled physique and overall body language. Ibrahim makes an impressive debut particularly in the key dramatic scenes like the portion where Arjun has a breakdown expressing his emotional vulnerability. Khushi Kapoor’s Pia Singh starts off as more of a barbie doll but as the plot progress Pia emerges as a strong personality. Khushi like Ibrahim also does a competent job in the emotionally charged moments. The chemistry between Ibrahim and Khushi is also good within the confines of the flimsy script.

Ibrahim Ali Khan gives a major deja vu of father Saif Ali Khan in the 90’s

Sunil Shetty and Mahima Choudhary lend some much needed gravitas as a once married couple dealing with problems of their own. Jugal Hansraj and Dia Mirza play the lovable parents to the hilt. Both of them play their roles with a lot of warmth.

Dia Mirza and Jugal Hansraj

A major problem with Nadaaniyan is how it borrows quite a bit from the staple cliches found in Dharma romantic films. This is very evident in the characterization of Mahima Choudhary who initially looks down upon Arjun just because his father is a doctor and not some businessman. The depiction of class divide is very similar to the one already seen in 2012’s Student of The Year. The movie also briefly dwells into the issue of patriarchy through the mindset of Sunil Shetty’s role but it doesn’t dig deep enough.

Anuj Samtani’s cinematography goes perfectly well with the nature of the movie. It’s very glossy giving it a rich look. Sachin Jigar’s music has a couple of soulful songs. Among the songs the title track is the best of the lot. Sung by Jonita Gandhi, Sachin Jigar and Varun Jain the track perfectly captures the movie’s central theme of youthful mistakes, love and discovery. Mention must also be made of Ishq Mein sung by Sachet Tandon. Ishq Mein perfectly embodies the euphoria of love.

Final word: Watch Nadaaniyan if you are curious to know on how Ibrahim Ali Khan has fared in his debut or are in the mood for something undemanding.

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Dabba Cartel : Solid performances marred with uneven narrative

More than a crime drama, ‘Dabba Cartel’ works as an interesting character study of women across different strata of society.

Dabba Cartel (Hindi), 28-02-2025, Action, Drama, 7 episodes, 16+, OTT

  • Main Cast: Shabhana Azmi, Jyothika, Shalini Pandey, Nimisha Sajayan, Anjali Anand, and Sai Tamhankar
  • Director: Hitesh Bhatia
  • Producer: Farhan Akhar, Ritesh Sidwani, and Shibani Akhtar
  • Music Director: Gaurav Raina and Tarana Marwah
  • Cinematography: Eeshit Narain
  • Rating: 3/5

Hitesh Bhatia’s Dabba Cartel centres on various women across different social strata. The director is successful in creating interesting characters and also making some impactful social commentary.

More than a crime drama, Dabba Cartel works as an interesting character study of women across different strata of society.

Synopsis

There is Raji (Shalini Pandey) running a small Tiffin service with her maid Mala (Nimisha Sajyayan), this soon becomes a drug cartel service thanks to Mala.

Mala secretly distributes a certain kind of Viagra to get extra cash. As a frustrated single mother grappling with society’s degradation of her, she wants to make sure that her daughter gets the best education.

Adding to the mix is a local broker, Shahida (Anjali Anand), and Varuna (Jyothika), the wife of Shankar Dasgupta (Jisshu Sengupta), a top executive at a pharmaceutical giant. Varuna, an ex-employee of the company, is now a regular housewife. Her relationship with her husband is on the brink of disintegration.

Shabana Azmi plays Raji’s mother-in-law referred to as Baa aka Sheila. She has a dark secret of her own. Due to certain circumstances, these five women form a group. On the surface, the connection between women and a drug cartel may seem dubious but here it’s more about survival rather than power.

Strengths

Shabana Azmi in Dabba Cartel
Shabana Azmi in ‘Dabba Cartel’. (X)

A strong aspect of Dabba Cartel is how Hitesh Batia uses the set-up of the pharmaceutical company. It becomes a very useful accessory for women to run the drug cartel while using the Tiffin service grounded in home-cooked meals as a front.

This setup is used cleverly to play up on some of the societal norms that we reduce women to particularly homemakers.

Thankfully director Hitesh Bhatia, along with the writers Vishnu Menon and Bhavana Kher ground the narrative from the lived experience of these women. The show is shaped more by the biases which play a significant role and the subsequent decisions they make under pressure.

The show also excels in its depiction of gender dynamics. The male characters, particularly the husbands are very dismissive of their wives, particularly Shankar.

There is a brilliant confrontation between Varuna and Shankar, concerning an important revelation. This revelation acts as a major drive for Varuna.

In more ways than one Dabba Cartel is a character-driven show rather than a plot-driven one.

Flaws

A major problem with Drug Cartel is some of the patchily written tracks. For example, in the beginning episodes, a character called Chavan is given a lot of importance but is soon forgotten after a point.

Even the LGBTQ+ track involving Anjali Anand’ Shahida and Sai Tamhankar’ Preeti isn’t organically woven. Varuna’s acceptance in the group could also have been better written particularly given that she is an outsider for others.

Characterisation

Gajraj Rao in Dabba Cartel
Gajraj Rao in ‘Dabba Cartel’. (X)

The supposed invisibility of these housewives becomes their biggest weapon. Mention must also be made of the track involving Gajaraj Rao and an eager-to-prove police officer played by Sai Tamhankar.

Gajraj Rao’s character is an officer from Narcotics who wants to unveil the duplicities happening in the pharmaceutical company VivaLife. His detective-like persona coupled with the desperation of Sai Tamhankar’s Preeti in solving her first major case adds an interesting layer to the web show, particularly in the middle episodes.

Some of the tension-filled moments where a heist kind of mission takes place with the use of the song from the famous Excel Entertainment movie Don add a touch of mischievousness.

Performances

Shalini Pandey and Jyothika in Dabba Cartel
Shalini Pandey and Jyothika in ‘Dabba Cartel’. (X)

Not surprisingly, Dabba Cartel is mostly shouldered by its female cast with particular mention of Shabana Azmi, Nimisha Sajayan and Jyothika.

Shabana Azmi has a towering presence and portrays the role with her usual finesse, she conveys a lot through her eyes and overall body language. Nimisha Sajayan does a very good job of capturing the fiery nature of a woman from a marginalized community.

The character’s need for respect has been portrayed brilliantly by the actor. Jyothika as the seemingly happy housewife with a growing resentment is also a delight to watch.

Among the men, Gajraj Rao leaves the biggest impact as the no-nonsense investigator followed by Jisshu Sengupta.

Technical aspects

The music composed by Gaurav Raina and Tarana Marwah is funky jellying perfectly with the nature of the series.

Eeshit Narian’s cinematography is also of a very good standard. He effectively captures the rooted middle-class milieu through his lens. His cinematography is particularly impressive in the scenes of the crowded alleys and the heavy monsoons.

Final take

To sum it up Dabba Cartel doesn’t completely deliver, still, the show is worth watching for its fantastic female cast.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/dabba-cartel-web-series-review-solid-performances-marred-with-uneven-narrative/

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Superboys of Malegaon : A solid emotional roller coaster

Reema Kagti’s ‘Superboys of Malegaon’ is an entertaining love letter to the magic of cinema, at the same time it also sheds light on important topics like art versus commerce and the importance of writers.
Superboys of Malegaon (Hindi), 28-02-2025, Comedy, Drama, 2 hours 7 minutes, U/A, Theatre
  • Main Cast: Adarsh Gaurav, Vineet Kumar Singh, Shashanka Arora, Anuj Singh Dahan, Saqib Ayub, Manjari Pupala, and Muskkaan Jafferi
  • Director: Reema Kagti
  • Producer: Zoya Akhtar, Reema Kagti, Farhan Akhtar and Ritesh Sidhwani
  • Music Director: Sachin- Jigar
  • Cinematography: Swapnil S Sonawane
  • Rating: 4/5

Malegaon is a town burdened by poverty, communal tensions, and hardships, and Sheikh Nasir, a local man, brings joy to the town by creating his own films.

Starting with a spoof of the classic Sholay, along with his friends, Nasir made movies that entertained the community, offering a temporary escape from their challenges.

The 2008 documentary, Supermen of Malegaon, by Faiza Ahmed, highlighted the struggles of Malegaon residents.

Synopsis

And now, Reema Kagti’s Superboys of Malegaon is based on director Sheikh Nasir, with Adarsh Gaurav playing the lead role. It is set in 1994.

Nasir’s elder brother owns a movie parlour, where English movies are often shown, but they don’t sell many tickets. He warns Nasir that English films will no longer be screened.

Adarsh Gaurav in Superboys of Malegaon
Adarsh Gaurav in ‘Superboys of Malegaon’. (X)

While purchasing a pirated copy of Aamir Khan’s blockbuster Raja Hindustani, Nasir encounters a VCR tape seller who introduces him to the magic of film editing.

This sparks an idea in Nasir’s mind, and he begins splicing slapstick comedy sequences from Chaplin with Kung Fu action scenes. This combination makes his parlour a huge success, but the joy is short-lived after an anti-piracy raid.

Deciding enough is enough, Nasir boldly chooses to make homegrown films with the support of his friends. The rest of the story focuses on both their professional and personal journeys.

What works

Shashank Arora in Superboys of Malegaon
Shashank Arora in ‘Superboys of Malegaon’. (X)

A major strength of Superboys of Malegaon is how Reema Kagti has captured the magic of movies through the central characters. For these super boys, watching a movie makes their real-life situations more bearable. The movie opens with these guys somehow going through everyday turmoil and then rushing to get the best seats so that they can forget about the everyday drudgery.

When one of the friends is diagnosed with a disease called cell carcinoma the doctor breaks the news by saying “Wahi jo Anand me Rajesh Khanna ko Hua tha.”  Similarly when Nasir talks to his wife about returning the money she simply says I don’t want money, just give me the credit of producer.

Cinema is what drives these super boys. A major reason for them reuniting again after a huge upheaval is cinema as well. Cinema is what gives them and the town of Malageon its distinct identity.

Breaking the stereotypes

Superboys of Malageon is also refreshing in how it places working-class Muslims at the centre of the plot. In the recent past, we have seen a lot of jingoism in the way Muslims have been presented.

A still from the film Superboys of Malegaon
A still from the film ‘Superboys of Malegaon’. (X)

But here Reema Kagti along with the writer Varun Grover shatters those stereotypes by focusing on the everyday lives of working-class Muslims.

The movie also does a wonderful job of showcasing the struggles of a writer through a fabulous Vineet Kumar Singh.

There is a hugely poignant moment when Vineet Kumar’s character Farogh says “Writer baap hota hai”. This portion may come across as an isolated scene but the undertones of what Reema Kagti and Varun Grover want to say come across strongly.

Mention must also be made of how the plot dwells into the struggles of balancing artistic vision with fewer compromises.

The camaraderie between the central characters and how it celebrates their friendship through the ups and downs is a sheer delight to watch as well. There are moments in the movie which make the viewer smile as well making them moist.

Strong performances

Another major backbone of the movie is the towering performances starting from a stellar Adarsh Gaurav. Adarsh pulls off the various shades with absolute finesse.

Characters in Superboys of Malegaon
Characters in ‘Superboys of Malegaon’. (X)

He does a very fine job in capturing the passion of Nasir, there are occasions where Nasir comes across as both insecure and selfish leading to a downfall. Adarsh nails the grey shades too.

Vineet Kumar Singh as Farogh does an excellent job of representing the struggles of an aspiring writer who eventually finds recognition. Shashank Arora plays the role of Shafique in an understated yet very impactful manner.

For a lot of the movie, Shafique comes across as a reticent man with aspirations of seeing himself as a hero, his dream eventually comes true making the viewers clap.

The women get limited scope, still, Muskkaan Jafferi is solid as Nasir’s lawyer life. Their romantic moments in the second half bring a smile to the viewers’ faces.

Manjiri Pupala stands out as a local performer who gets cast for the role of Basmati in Nasir’s version of Sholay’s Basanti.

She does a very good job of portraying the inner strength of an abused housewife. The conversations between her and Shashank are wonderful to watch, making the viewers wish things had panned out differently.

Swapnil S Sonawne’s cinematography is also of a very high standard. He captures the place of Malegeon and its local aesthetics wonderfully.

There is a lived-in feel that effortlessly transports the viewers. Sachin Jigar’s music elevates the emotions, particularly in the scenes of heartbreak and triumph.

Final take

To sum it up Superboys of Malegaon is highly recommended. Don’t miss it.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/superboys-of-malegaon-movie-review/

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Aashram Season 3 Part 2 : A strong conclusion

Director Prakash Jha once again succeeds in delivering a strong socio political drama headed by the fantastic cast. In spite of a few elongated stretches the series makes the viewers introspect about the hold that these fake babas have.
Aashram season 3 part 2 (Hindi), 27-02-2025, Drama, Thriller, 5 episodes, 16+, OTT
  • Main Cast: Bobby Deol, Aaditi Pohankar, Chandan Roy Sanyal, and Tridha Choudhary
  • Director: Prakash Jha
  • Producer: Prakash Jha
  • Music Director: Sunny Inder
  • Cinematography: Chandan Kowli
  • Rating: 3.5/5

The filmography of Prakash Jha has always been dominated by subjects of social importance.

Whether it is his initial films like Mrityudand (1997) focusing on injustice practices set in Bihar or even the later ones like Gangajaal, Apaharan and others.

The filmmaker has often drawn inspiration from real life. Of course, the results haven’t been always great, particularly in the last few years but the director’s commitment to portraying socially relevant issues is undeniable.

Synopsis

His web series debut Aashram streaming on Amazon MX player, which released its first instalment in 2020, marked the rebirth of both Prakash Jha and Bobby Deol. The core plot of Aashram revolves around a magnetic godman, played by a brilliant Bobby Deol.

Bobby Deol’s Nirala Baba pretends to be a messiah but in actuality, it is just a façade. Aaditi Pohankar’s Pammi starts off as one of his numerous devotees but things take a huge turn when she realizes that Nirala is no saint but a monster with ulterior motives.

In the second season, the viewers see Pammi turning against Nirala fighting a huge battle, and undergoing many tribulations, including the death of her close ones.

Additionally, the mother believes that her daughter has gone ashtray and is maligning the name of Baba Nirala to cover her wrongdoings.

The first part of Aashram’s third season saw Pammi getting some political support but due to certain change of events, she ended up behind bars.

A revenge

Aditi in Aashram Season 3 Part 2
Aditi in ‘Aashram Season 3 Part 2’. (X)

In the second part of Aashram’s third season, the focus is primarily on how Pammi makes a return back to the Aashram and systematically plots her revenge.

She puts a façade in front of Nirala Baba by saying that she has unnecessarily wronged him and now wants to correct her mistakes.

Baba Nirala arranges her bail and gets her shifted to the Aashram much to the disdain of his friend and partner in crime Bhopa Swami (Chandan Roy Sanyal).

Pammi pretends to be an ardent devotee but her actual intentions are different. The rest of the story focuses on how Pammi reveals the true colours of Nirala Baba to the court along with the back story of this magnetic godman who has several skeletons buried in his closet.

Strengths and flaws

A strong aspect of Aashram season 3 part two is how Pammi goes about her plan in an unhurried manner. The way she tempts Bhopa Swami turning Bhopa and Nirala against each other is interesting to watch.

A still from the film Aashram Season 3 Part 2
A still from the film ‘Aashram Season 3 Part 2’. (X)

The scenes of Pammi seducing Bhopa gradually might test the patience of some viewers but are necessary in the larger scheme of things.

The back story of Baba Nirala and how his manipulations come back to haunt him has been wonderfully written and enacted. The portions of Baba Nirala’s psychological battles are also gripping to watch.

The series also does a very fine job of raising uncomfortable questions about power and faith. Prakash Jha also does a fine job of showcasing devotion being a double-edged sword and how playing with someone’s faith through numerous lies can take you down however big your empire is.

The characterizations of the three central characters coupled with the performances are another major backbone, the transformation of Pammi from a victim to an avenger treading on a very dangerous path is a delight to watch.

Performances

Aaditi delivers a fantastic act perfectly capturing both the pain and anger while systematically plotting Baba Nirala’s downfall, the way she seduces Bhopa Swami by turning on the charm pretending to have accepted defeat makes for great viewing.

Bobby Deol in Aashram Season 3 Part 2
Bobby Deol in ‘Aashram Season 3 Part 2’. (X)

Bobby Deol as Nirala Baba delivers once again. This character has played a huge role in the rebirth of Bobby and that is clearly visible this time too.

Bobby once again delivers a first-rate performance portraying the various shades of his character with ease. The actor particularly shines in the scenes when the tables are turned against him like the dramatic breakdown during a crucial moment. His obsession with Pammi has undertones of genuine love.

Chandan Roy Sanyal has a bigger canvas to play with in comparison to the other seasons and the actor does a terrific job.

The devilish charm with which he portrays the role is a delight to watch, at the same time we also see a vulnerable side to him after he gets castrated by Nirala leading to a change in their dynamics. The confrontation scene between the two towards the end is a wonderful example of this.

Among the rest, Tridha Choudhary does a very fine job as a woman who quietly helps Pammi. Darshan Kumar as the determined police officer is also pretty solid although the screen time is quite limited.

Final take

To sum it up Aashram Season 3 Part 2 is a very satisfying conclusion.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/aashram-season-3-part-2-web-series-review-a-strong-conclusion/