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Dil Bekaraar: A Slice Of Life Show With The Right Mix Of Romance And Drama

The first thing that comes to your mind after watching Dil Bekaraar is the influence of Jane Austen. Much like Jane Austen’s Pride and Prejudice here too you have a family of five daughters. The setting and the atmospherics are very reminiscent of her novels. For those who are not aware the story of Dil Bekaraar is based on Anuja Chauhan’s best seller Those Pricey Thkuar Girls, director Habib Faisal takes the core from that and places it in 80’s Delhi.

Out of the five girls the star daughter is Debjani Thakur (Sahher Bambaa). She works as a newsreader at Desh Darpan (a state- owned TV news channel). Akshay Oberoi plays Dylan Singh Shekhawat. Dylan is an ambitious journalist who wants to bring out the truth. He is caught in a story which is related to Bhopal gas tragedy. The parents of Dylan and Debjani are friends. L.N Thakur played by Raj Babbar is the patriarch of the Thakur family, Poonam Dillon plays the wife. Rounding off the senior cast is Padmini Kolhapure who plays the always suspicious and sometimes hysterical chachi. Dylan plays cards every day in the evening with L.N Thakur. Their love story starts off from there. What follows is a mix of romance, family drama, political agenda etc.

Dil Bekaraar works best when it focuses on the love story along with the family drama. The romance between Debjani and Dylan is built well. The writing is solid and the tempo is well maintained. As a result you want Debjani and Dylan to end up together. Akshay Oberoi as Dylan is the perfect casting choice for Dylan. He has got the charm and also the screen presence that is required for this character. Sahher Bambaa as Debjani is another inspired casting choice for Debjani. In simple terms, she is successful in bringing out the nuances of her part as the brave, fiery and no-nonsense woman.

Another interesting aspect of the series is the characters of Raj Babbar, Poonam Dillon and Padmini Kolhapure. The director has portrayed them in an interesting manner. The parents have their own individual anxieties and flaws. At the same time they are trying to be a protector cum guide for their opinionated daughters. The character of chachi has also been written in an interesting manner. She is someone who is constantly suspicious of her husband, the reason being she suspects him of having an affair. However, given her age and background she isn’t in a position to leave him. As a result she relies heavily on superstition and gossip to get over her heartache. All the above mentioned characters along with others add a different perspective to the show. These different perspectives make these characters instantly relatable. You immediately connect with their insecurities. The trio of Raj Babbar, Poonam and Padmini in particular are a delight to watch.

Habib Faisal is also successful in capturing the concerns of the 80’s like property redevelopment, arranged marriages etc. The placement of the Bollywood songs is also cleverly done.

Where the show falters though is its treatment of the political issues. There is an attempt to reflect today’s burning problems like press freedom, being called anti-national etc but it doesn’t exactly gel with the nature of the series. They come across as forced and unnecessary. Another issue is that some of the family subplots could have been handled more efficiently. The bonding between the sisters doesn’t get sufficient time too.

In the final analysis Dil Bekaraar is a worth a ride. This Thakur family will bring a smile to your face.

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Antim: More Than Just Another Salman Khan Film

Mahesh Manjrekar’s Antim is a sincere attempt at confronting the socio-political issues like land grabbing among other things. For those who are not aware, Antim is based on the critically acclaimed Marathi film Mulshi Pattern. The director takes the core of that plot and gives it a Bollywood treatment. The best example of this is Salman Khan’s Rajveer Singh. It is not a full fledged role but Mahesh gives ample masala moments which will satisfy Salman fans. There is also a shirtless action sequence  between Salman Khan and Ayush Sharma. The burden of Antim, though, eventually falls on the shoulders of Ayush Sharma. After a disastrous debut in Loveyatri the actor makes a solid comeback with this one. It is a character with lot of shades and Ayush is successful in bringing out those nuances. Some rawness is still there but the growth is very visible.

The basic premise of Antim is farmers losing their land to mafias. Sakharam played by Sachin Kundelkar is one such farmer. He has sold his land and is now working as a watchman in the house of one such person Shinde. His son Rahul (Ayush Sharma) had only studied until eighth class. He doesn’t do any job. One day a situation comes when Sakharam is humiliated by the owners for no fault of his. His son Rahul gets enraged at how his father has been treated. After that Sakharam loses his job and the entire family is forced to migrate to Mumbai market yard. It is here that Rahul’s journey as a gangster begins.  Before leaving for Mumbai Rahul vows to take the land back from Shinde, he also threatens Shinde that he would humiliate him.

Ironically though once he becomes a gangster he joins hands with the same mafia and helps them in grabbing farmers’ lands. During one such incident he guns down the teacher who had taught him in school. Not surprisingly Sakharam isn’t happy with his son and as a result the relations are strained. Along with Sachin Kundelkar the supporting cast also comprises the likes of Jisshu Sengupta.

What really works for Antim is Mahesh Manjrekar understanding of the socio-political issues. The farmer’s plight isn’t something particularly new but the director makes you empathize with his treatment. Sachin Kundelkar’s character particularly stands out in the supporting cast. The director makes a strong statement on farmers being forced to work as labourers in their own land. There is also a commentary on the rise of multinationals and power hungry politicians. All these issues are smartly integrated in the narrative.

The location of Mumbai Market yard plays a significant role in the script. It is used as a metaphor to talk about the journey of Rahul.  The ending makes you emotional in spite of the Nayakan hangover.

The scenes between Rahul and Sakharam give the film some of its best moments. Rahul’s desperation of wanting his family back is sure to touch a chord.

Salman’s Rajveer Singh is also smartly used by the director. Rajveer is also a son of a farmer who has lost his land. Just like Rahul’s family they also had to migrate. However, unlike Rahul Rajveer becomes a cop.

The scenes between Salman and Ayush are also fun to watch as it is not your usual cat and mouse game between a good cop and the bad guy.

What pull Antim down are its brutal action scenes. The action scenes could have been easily trimmed. Also the majority of the supporting cast act as mere screen fillers than anything else. Jisshu Sengupta in particular is very annoying in his role. Sachin Kundelkar is easily the best of the lot. He brings in varied emotions with his character. Salman Khan comes second with his restrained performance. Mahima Makhwana is the only predominant female character in this male universe. Mahima is quite impressive in her role. The music is also something which could have been much better. The songs come across as speed breakers. Even the Ganapati one featuring Varun Dhawan doesn’t really work. The only song which works to an extent is the romantic one featuring Ayush and debutant Mahima Makwana. The length is another lag. It needed sharper editing.

Watch Antim for Ayush Sharma’s transformation and the farmer’s issues.

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Dhamaka: Watch It For Karthik Aryan And The Thrills

In his short career so far Ram Madhvani has proved his worth as a director with works across genres. In both Neerja and Let’s Talk the director made use of the limited space and kept you thoroughly engrossed. He has casted actors against the type and drawn wonderful performances from them. For example Sonam Kapoor delivered her career best performance in Neerja. Similarly Sushmita Sen got a rare author backed role in the web series Aarya, the actress made complete use of that opportunity.

In Dhamaka, Ram Madhvani places his bet on Karthik Aryan. Karthik is someone who is best known for his boy- next door image thanks to films like Luka Chhupi and Pati Patni Aur Woh. Many eyebrows were raised when the announcement came of these two working together. However, after watching Dhamaka it becomes clear that Karthik has reinvented himself as Arjun Pathak. For those who are not aware the film is a remake of the South Korean one Terror Live.

Dhamaka begins on a romantic note with Arjun Pathak recalling the lovely moments that he has spent with his wife Saumya Mehra Pathak (Mrunal Thakur). This sequence sets up the story nicely. As the story progresses we come to know that Arjun Pathak was a prime time anchor on a popular news channel, However, he has now been demoted to a Radio Jockey in the same media house. On the personal front too things aren’t going too well as his marriage is on the brink of divorce. One day a random caller Raghubir Mehata ( Soham Majumdar) calls and threatens to blow up the Mumbai sea link bridge. Arjun Pathak doesn’t take it seriously and thinks that it is a hoax. However, he later realizes that it isn’t a hoax and things start getting out of control. Just like A Wednesday initially we think that the caller is a terrorist but he turns out to be a common man with anger against the government. His father was a construction worker. This is just a summary of the story.

One of the most striking aspects of Dhamaka is how Ram Madhvani uses the location of the newsroom. The story is mostly confined to the newsroom. The director once again shows his ability in capturing the emotions within a confined space.  The multiple cameras set up are used effectively by the director. This can be particularly seen during a breaking news scenario.

Another thing that keeps you engrossed is the dilemmas of Arjun Pathak. He is reporting a terrorist attack from the newsroom and negotiating with a man who is responsible for it. On the other hand, his wife Saumya Mehra is reporting live from the site and is helping hostages. All this keeps you engaged throughout. Mrunal Thakur’s Saumya Mehra is a righteous journalist whose values are different from Arjun. Mrunal has a short role but she serves her purpose well as the moral compass.

Dhamaka tries to tackle many things at once. You have corrupt ministers, the angst of the common man, the business of selling news, the world of TRPS etc. These are too many things to handle and the strain of it eventually shows, but the relevance of these issues can’t be ignored either.


The biggest ace of the film though is Karthik Aryan’s performance. Arjun Pathak is a far departure from the usual Karthik Aryan roles. There are a lot of nuances to the character and Karthik Aryan does absolute justice to it. It is a treat to watch the actor embracing the grey shades of the role.

One of the major flaws of Dhamaka is its inability to sustain after a thrilling start. The film begins off with a high note; it is successful in establishing the story without wasting any time but as the plot progresses a sense of monotony creeps in. Another issue is that the supporting characters are one note types with no nuances. The biggest example of that is the character of Amruta Subhash. She plays an assertive boss who only cares for TRPS. It is a part which comes across as too loud. The supporting characters in Neerja and Aarya were far better than what you see here.

In the final analysis, Karthik Aryan delivers a Dhamaka performance but the same cannot be said about the film.

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Thalaivi: Starts Off Promisingly But Loses Steam Midway

The life of Jayalalithaa makes for an engaging dramatic story. She was someone who treaded her own path in the industry and later became an iron- fisted politician. There are highs and lows in her life both as an actress and also as a politician. Not surprisingly many biopics were announced after death. You have already had Gautam Menon’s web series Queen starring Ramya Krishna as Jayalalithaa. There was also the announcement of Nithya Menon playing Jayalalithaa alongside the Kangana Ranaut’s one directed by AL Vijay.

Out of the two AL Vijay’s one has been creating lot of buzz. Apart from the real life personality Kangana playing the title role has also helped in the buzz. After seeing Thalaivii the first thing that comes to your mind is how much of Kangana’s presence affected the film particularly in the second half. Al Vijay does a good job in exploring in the Jayalalithaa and MGR relationship along with the impact that MGR had in her joining politics. The MGR character is played by the terrific Aravind Swamy. But the film dips badly in the second half and never really recovers.

There is nothing wrong in playing to the gallery but AL Vijay along with writer Vijayendra Prasad overplayed the masala. It also doesn’t help that the film becomes melodramatic. It is a shame because Thalaivii had lot of potential.

Thailavii begins off with a disturbing scene where Jayalalithaa is molested in the Vidhan Sabha. She compares herself to Draupadi and makes a vow that she will enter the assembly only after becoming the chief minister. From there we move to Jaya’s acting journey. We see her dancing around the tress and also wearing some striking retro costumes. The first half is mostly devoted to establishing the bond between Jaya and MGR. We see MGR helping her in being more comfortable in front of the camera. Slowly Jaya starts having a significant space in MGR’s life. It doesn’t go down too well with Raj Arun who plays the trusted man of MGR. There are also glimpses of Karunanidhi played by Nassar and MGR entering into politics. The second half takes a big shift as the plot looks at Jayalalithaa’s political entry and how she became a revered leader.

One of the things that AL Vijay gets right is recreation of the period. The atmospherics in the first half fits the time zone aptly. The costumes are beautiful without making it come across as gaudy. The set design is also appropriate and there are times where you will get nostalgic.

Aravind Swamy, as I earlier said, is brilliant. He does an outstanding job in making sure that MGR doesn’t come across a caricature. He particularly shines in the second half as the politician. His scenes with Kangana are emotionally quite moving. A scene which I really liked was after her bharatnatyam performance. He says to her that if he hadn’t come as a chief minister he would have whistled there itself. After that we see him closing the door and giving a loud whistle much to Jaya’s surprise.

The biggest issue with Thalaivii is the rushed portrayal of Jayalalithaa’s entry into politics. An important incident related to the misuse of MGR’s Midday Meal scheme doesn’t have the emotional impact that it needed to have. There are many instances in the second half where you feel that the makers are playing to Kangana’s image instead of focusing on the core story.

The character of Karunanidhi also doesn’t leave any impact whatsoever. Nassar has the presence but is severely underutilised and comes across as a caricature.

Coming to Kangana Ranaut the actress tries hard to fill in the big shoes. She fares better as an actress than as a politician. The makeup and the effort to look hefty in the second half just doesn’t work.

A personality like Jayalalithaa deserves a far better attempt than this.

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Meenakshi Sundareshwar: A Slice Of Life Entertainer Propelled By Its Leads

Meenakshi Sundareshwar directed by Vivek Soni rests on a thin plot but the director makes it work with his packaging. He is also aided by his two charming actors in the lead roles. The major theme that Vivek Soni touches upon is the perils of long distance marriage. There are certain other themes which are used as a plot device to build up the drama.

The story of Meenakshi Sundareshwar is set in Madurai. The film begins off by setting up the character traits. Sanya Malhotra’s Meenakshi is a huge movie buff; she has also got the habit of reading books every night before she goes to sleep. In addition, she is also a crazy fan of Rajinikanth. She sees all his films first day first show. Abhimanyu Dassini’s Sundareshwar is a polar opposite. Movies put him to sleep, his only interest is coding. In general he is an introvert who holds back.

In a scene straight out of Tarun Bhaskar’s Pelli Choopulu Sundareshwar’s family comes to the wrong house, the leads come to know about this after they have chatted for a while. This is not the only similarity that the film shares with Pelli Choopulu. Sundareshwar’s father has a very low opinion about his son and he feels that his son is wasting his time in trying to make a career out of coding. Instead, the father wants him to join the family business of sarees. On the first night Sundareshwar gets a message from a company that he has to join urgently. Initially the long distance marriage is all hunky dory as they keep chatting on Skype but the lack of communication soon catches up and cracks begin to appear. Sundareshwar’s problems are further compounded by the fact that he has to hide his marital status from the boss. The reason being the company only wants bachelors. The rest of the story is about how the couple makes their marriage work.

The success of Meenakshi Sundareshwar lies in how Vivek Soni deals with the conflicts between the lead characters. Many young married couples would be able to relate to those problems. There is an important message that the director delivers. The message is about the importance of communication in a relationship. The best thing is that this message is conveyed in a non-preachy manner.

The differences in the personalities also form an important part of the film. These differences are used by Vivek Soni to explain why they are making rash decisions or even holding back when they don’t need to.

The film is also visually stunning thanks to the cinematography by Debojeet Ray. It presents Madurai in a gorgeous way. The music by Justin Prabhakaran is soothing to the ears,

For any romantic film chemistry between the leads plays an extremely important part, fortunately Sanya Malhotra and Abhimanyu Dassani don’t disappoint. They make for a charming pair. Sanya Malhotra particularly shines as a smart, confident woman. Her imitation of Rajinikanth in certain scenes is also fun to watch. Abhimanyu Dassani has less to play with but he still shines with his understated portrayal. The patch up of Meenakshi and Sunderswar happens in a theater which is playing Rajinikanth’s Darbar, it is over the top but it goes well with the mood of the film. The supporting characters don’t have a lot to do but they are efficient in their respective parts.

There is a special thanks which is given to Alia Bhatt at the beginning of the film. The reason for the thank you card is that Vivek Soni had first given the script to her; he wanted to know her opinion about the plot. He was an assistant directors on the sets of Shaandar and Udta Punjab, there they become friends and continued to stay in touch.

Alia loved the innocence of the characters and was thoroughly impressed. She then connected Vivek Soni to Karan Johar. That was how Karan Johar came on board and produced the film under Dharmatic entertainment.

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Sooryavansi: Bollywood Finally Gets Its Big Ticket Entertainer

Out of all the industries Bollywood has been struggling to get a big hit since the revival of theaters. It has been a combination of several factors; you have had films like Chehre with niche content. On the other hand a big film like Radhe couldn’t meet the expectations of masses. Lot of hopes are pinned on Rohit Shetty’s Sooryavansi to revive Bollywood business  and the director doesn’t disappoint. Rohit Shetty’s films have never been about great plots, it is always about delivering entertainment to the masses whether that is Golmaal series or films like Singham and Simmba. Story wise Sooryavansi is pretty straight forward but what makes it click is the director’s treatment and the infectious energy of Akshay Kumar. After the underwhelming Lakshmi and Bell Bottom the actor is back in his elements. The cherry on the cake are the extended cameos of Ajay Devgan and Ranveer Singh. The scenes featuring the trio are a delight to watch. The film also gives a message on communal harmony which I will be talking about later.

Sooryavansi begins after 13 years of the 1993 bomb blasts in Mumbai, when a terrorist group is back in action and is planning another mission. DCP Veer Sooryavanshi (Akshay Kumar) is the head of the Mumbai Anti- Terrorism squad. He is assigned the task of finding their whereabouts and stopping the attacks. Akshay’s character has got a personal connection to the 1993 blasts as his parents had died in it. Director Rohit Shetty adds another personal layer with the character of Riya (An efficient Katrina Kaif). Both of them are on the verge of divorce. Rohit Shetty packs in Sooryavanshi’s personal life and also his camaraderie with the members of his ATS force. He weaves all these elements in a satisfactory way in the climax. Apart from the above mentioned actors, the film features a huge ensemble which consists of Jackie Shroff, Gulshan Grover, Kumud Mishra etc.

What really works for the film is how the director sketches the character of Akshay Kumar. You have elements of both intensity and also quirkiness, the intense part is taken from Ajay Devgan’s Singham and the quirky part is from Ranveer Singh’s Simmba. Akshay Kumar combines both these elements really well in his performance. He is intense when required but is equally adept at evoking laughter in the lighter scenes. A running gag in the film is about how Sooryavanshi keeps forgetting names. While the gag feels overused after a point it still delivers plenty of laughs. The most laughs comes in the climax where there are many in house jokes between the three cops. Both Ranveer and Ajay have a blast in their extended cameos.

The pace of the film is another asset. The tension is built up well and things get more intriguing in the second half. The editing for most part is fine but the climatic portions do feel stretched.

As I earlier said the film touches upon communal harmony. It also talks about Hindu-Muslim unity. The director’s understanding of religious dynamics hasn’t got the nuance which is required but it has to be said that it still makes an impact. There is a song called Hum Hindustani where some Muslims help Hindus in carrying the Ganesh idol. This happens amidst people running away when there is fear of bomb. The song is beautifully shot and is sure to make you emotional.

Actors like Jackie Shroff and Kumud Mishra have small parts but they make an impact in the screen time that they have got.

Sooryavanshi isn’t for those who are looking for something new. It glorifies cops like Singham and Simmba which is problematic. However, if you are looking for some mainstream entertainment you will in all probability like it.

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Call My Agent: A Satire Which Needed More Bite

For those who are not aware Shaad Ali’s Call My Agent is a remake of a French show with the same name. Since I haven’t seen the French one I will be looking at the Bollywood version as a standalone one. Call My Agent is a series which had the potential to be a solid satire on how the Filmy universe of Bollywood works. However, what we get instead is a half baked product which never becomes more than the sum of its parts. The series also ends with a hint of season 2 coming, but the makers need to come up with a tighter script next time around.

The Bollywood version of Call My Agent revolves a company called ART and the team of agents headed by Soumyajit Dasgupta (Tinu Anand). Rajat Kapoor plays the senior most agent in the company. He is a hustler by nature; He has a daughter from an undisclosed family in Goa. The daughter is played by Radhika Seth. Soni Razdan is the second senior most agent. Aahana Kumara plays a volatile woman with a colorful love life. Ayush Mehra plays the other important member of ART. There are also a host of cameos from Dia Mirza, Jackie Shroff, Akshara Hasan, Sarika, Nandita Das etc.

The most interesting bits of Call My Agent are the long list of cameos from the stars. My most favorite one is that of Dia Mirza. She plays an actor in 40’s who faces the tough choice of getting cosmetic surgery or losing a Hollywood role. In that episode Shaad Ali covers topics like ageism in the industry. In a non preachy manner the director addresses some important issues.

Another interesting cameo is the one of Lara Dutta. In this episode we see Lara Dutta being in a fix about starring in a multiplex film that requires her to be on the set of the ravines of Chambal.

The chief reasons why these cameos work is because they seemed to have enjoyed playing these parts.

Out of the agents only Ayush Mehra and Aahana Kumara work well in their parts. The chemistry between these two characters is far more believable than Aahana Kumara’s lesbian track. Her lesbian affair with Jasleen ( Anuschka Sawhney) is more awkward than enjoyable.

The biggest flaw of Call My Agent are the characters of Rajat Kapoor and Soni Razdan. Rajat Kapoor is sorely miscast and his body language isn’t appropriate for the role of master negotiator he is supposed to play. Soni Razdan is supposed to be a veteran in the company but we never see her handling any stars. She is mostly restricted to observing and giving advice.

Another problem with Call My Agent is that it stays superficial and never digs deep. You get a huge hangover of Madhur Bhandarkar recent films and that is never a good sign.

In a nutshell Call My Agent is a case of looking glossy from outside but shallow from inside.

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Jai Bhim: A Hard-Hitting Drama that Holds A Mirror To Society

Before dissecting Jai Bhim it is necessary to give a huge round of applause to the pair of Surya and Jyotika for producing a film of this sort. Director T.S Gnanvel uses Surya’s role of a firebrand lawyer to talk about the horrors of custodial torture and the deep- seated rot in our criminal system. The role of Surya is based on the real life lawyer Chandru who fought for the downtrodden. The director makes sure that the actor’s star power doesn’t over power the narrative. It also helps that Surya blends in with the narrative. He delivers his lines with absolute conviction and makes you believe that he really believes in them.  The breakthrough performance though comes from Lijo Mol Jose as Sengani.

The film begins off in the year 1994. You have a couple who belong to a tribal community called Irulas, it is a tribal community in Chennai. They are living a life of dignity and have dreams of a successful future. One day theft happens in the president’s house and Sengani’s husband Rajkannu (Manikandan) is framed as a thief. From here on we see the open showcase of police brutality, atrocities and the game of power that crushes the marginalized. The scenes of the police atrocities are blood-curdling but they still need to be watched for the way it showcases the reality. The other important members of the cast include Prakash Raj and Rao Ramesh. Prakash Raj on one hand is the righteous police officer who becomes an ally for Surya later on; Rao Ramesh on the other hand is the lawyer who will go to any lengths to protect the evil police officers.

The best part of Jai Bhim is how the director builds up the characters of the couple. There is no big rush to introduce the character of Surya. As a result you journey with these characters and when tragedy strikes your heart goes out for them. However, the issue here is not confined to the couple only. The bigger picture is how so many men and women of that community are subjected to all this. Their only fault being born as Irulas.

There are many scenes in the film which shake your conscience. A scene which deserves a particular mention is the opening act. You see the police officers literally segregating people based on caste. This scene sets the tone for what is to follow.

Sean Roldan’s music tells a story of its own. The songs are not mere fillers but they move the story forward. The best example of this is the song which is used to establish what the character of Surya stands for.

Jai Bhim has also got some subtle humor. Most of this comes from MS Bhaskar who plays a Brahmin lawyer. His character is of someone who subscribes only to faith and has no ideology. We mostly see him pass comments on the proceedings. Some of his comments raise chuckles.

The cinematographer SR Karthir also deserves appreciation for the way he captures the atmospherics of both the court scenes and also the Irula village.

The biggest achievement of Jai Bhim is how T.J Gnanavel is successful in achieving the balancing act. He is able to do equal justice to the characters of both Sengani and Chandru.

Out of the rest Rao Ramesh makes a meal out of his negative role. He is successful in making you hate him. His scenes with Surya elevate the courtroom proceedings.

By the end of Jai Bhim you will clap for the real life Chandru and want to find out more about him.