Thalaivi: Starts Off Promisingly But Loses Steam Midway
Gangs Of Banglore: An Universe With Its Own Force And Laws
There is no denying that Agni Sridhar has led a fascinating life. He had studied law in Bangalore and was keen on entering The Indian Civil service but circumstances took such a turn that he had to join crime. Starting from early 1980’s he found himself stuck in middle of a gang war that shaped modern Bangalore. Later on he also turned into a journalist apart from becoming a filmmaker.
Gangs of Bangalore is much more than just a tale of murder and blood, it is also about a system that runs parallel to the world that ordinary people inhabit. It is an universe with its own force and laws. It is a difficult to pen down such a detailed life and strain of it shows more than once. Gangs of Bangalore is very much readable but at the same time it is exhausting too given the number of details. It is like the author had assumed that everyone is familiar with the names. The book could have done with some serious editing.
The thing which I liked most about the book was his observations on the underworld and how this parallel system ran. He gives some nice insights into his associates, police officers and others. Although we have seen in films like Satya and Shiva about the connection of politicians and the underworld it still makes for an interesting read as this is an firsthand account of someone who has been in that place.
There are references to how the politicians pampered the underworld, the reason being they were of use during the elections. How the police are used by the politicians has also been vividly presented.
Towards the end of his time in the underworld Sridhar had a brush with Bombay dons and their boys. There is an interesting comment that he makes about the difference between the Bangalore and Bombay criminals. He says that people in Bombay do not fight for personal revenge like they do in Bangalore. These kinds of reflections elevate the book.
Another thing which I liked was how Agni Sridhar didn’t hide his faults and presented an objective picture of himself. At no point does he glorify what he is doing.
The biggest drawback of the book is the number of characters and their inter-relationships. While Sridhar’s memory in remembering the episodes is truly remarkable but at the same time it is exhausting for the readers too. For those who are familiar with 80’s Bangalore may have an easier time but for others it is going to be an arduous task.
Read Gangs of Bangalore if you are in the mood for some history but also be prepared to have some patience.
The Empire: A Visual Stunner That Could Have Done With More Gravitas
Cinderella 2021: A Vibrant Take On An Old Fairytale
Just like 2019’s Aladdin which updated the old story by giving it a feminist touch through Naomi Scott’s character, here too director Cannon brings in certain freshness; to the often told story. The new aspect being the aspirations of the protagonist Ella played by Cabello. Ella is looking to become a dressmaker and love is not something that she is looking at. Apart from the Ella’s character the feministic streak can be seen in the Prince’s sister one too. The climax gives a pleasant surprise which for obvious reasons cannot be revealed here. There have been many adoptions of the fairy tale but since I haven’t seen all the focus here is purely on this one.
The story of Cindrella 2021 is set in a tiny village that is very much old fashioned and doesn’t allow womenfolk to be in business. As Ella chases her dreams of becoming a dressmaker her path crosses with that of Prince Nobert (Nicholas Galitzine). Prince Nobert is struggling with his own problems, in his case it is not knowing whether he wants to become the future king or not.
The smartest about this movie is how the director uses the musical element to turn the fairy tale into a jukebox material. There are a barrage of songs for every situation, sometimes it gets tiring but there are still wonderful to watch thanks to the cinematographer Henry Braham for how he pictuarizes them. The dances are also quite good to watch. It also helps all the actors seemed to have thoroughly enjoyed themselves; these include not just the leads.
Another big strength of this musical is how Cannon portrays the aspirations of Ella. It has been done in such a way that many girls will be able to connect with it. Cabello is throughouly charming and makes you root for her.
The love story with the prince feels hurried but it has got its share of moments. My favourite scene of the leads is when Prince Nobert opens up about his insecurities and says that he wanted to be a king during his childhood but now he isn’t too sure.
Another striking character is that of the sister (Tallulah Grieve). She is someone who has more of an inclination to ascend the throne however there is an impediment which is being born as a girl. Her scenes are less but they still make an impact.
Given that it is a fairy tale it is given that the issues would be sorted without much fuss. Here too the villager’s attitude changes so fast that you wonder why they weren’t solved years ago. But this is a kind of a film where you have to go with the flow.
The Empire
Based on Alex Rutherford’s book The Raiders from the north The Empire traces the journey of Babur (Kunal Kapoor) from his ascendancy to power as a teenage Baadshah and also losing his kingdoms in the Fergana valley to eventually capturing back his rightful throne.
Apart from the above mentioned things the series also tells how Babur landed on the Indian frontier and set up his own kingdom by defeating Ibrahim Lodi. Apart from Kunal Kapoor as Babur the ensemble cast also includes Dino Morea, Shabana Azmi, Drashti Dhami, Aditya Seal etc.
Director Mitakshara Kumar is successful in bringing alive the visual tapestry of the book on to the screen but where she falters is the inconsistent screenplay. Apart from the inconsistent screenplay the casting of the lead character is another sore point.
While Alex Rutherford was successful in making you root for Babur through his writings the same cannot be said about The Empire series. In fact Dino Morea as the antagonist Shaibani Khan has the more interesting character.
The most striking aspect of The Empire is undoubtedly its scale. The entire technical department deserves a huge appreciation here. Whether that is the camerawork by Nigam Bomzan or the production design by Priya Suhas.
Dino Morea’s Shaibani Khan is easily the most interesting character of the series. Initially we see him just as a ruthless villain however as the series goes along a psychological insight has been given into why he is the way he is.
His scenes with Babur’s sister played by Drashti Dhami show a different facet to Shaibani. Their scenes have been beautifully done. In spite of similarities with Ranveer’s Khilji Dino Morea still makes a solid impression.
The female characters of Drashti and Shabana Azmi are another good aspect of the series. Drashti particularly shines in her role of Khanzada Begum. She moulds herself well in a character that requires her to be bold yet restrained and impactful.
Shabana Azmi on the other hand has less screen time compared to Dhrashti but the veteran actress makes her every scene count. Both these characters play an active role in the politics of the kingdom and aren’t mere bystanders.
One of the biggest flaws of the Empire series is the ageing of Kunal Kapoor’s character. Kunal Kapoor’s doesn’t appear to age at any point even when Aditya Seal’s Humayun reaches a certain age.
There is an attempt to make Babur aged in the last two episodes, but it isn’t convincing in any way. Kunal Kapoor as I earlier said is a miscast. He is physically fine for the role but lacks the emotional heft required. Someone like Hrithik Roshan would have been a perfect choice for this role both physically and emotionally.
Another issue with the show is the hangover of Padmaavat and also Bahubali. The Bahubali aspect can be seen in the character of Rahul Dev who plays the loyal Wazir Khan, his similar to the role of Satyaraj’s Kattapa. Rahul Dev tries to bring in some nuances but there is nothing much he can do with a character like this.
The screenplay is good in quite a lot of scenes but for a show like this it needed to be more compact. There are no unpredictable twists and turns as such which will keep you guessing. In a nutshell The Empire is a watchable show but doesn’t reach the brilliance of the book.
Tharagathi Gadi Daati
“Targati Gadhi Dati” directed by Malik Ram is a remake of a Hindi series called “Flames”. The film doesn’t break any new boundaries as far as the plot is concerned but it is still watchable thanks to the lead characters and also the nativity touch that the director gives.
The story of this series is about Krishna aka Kittu( Harshith Reddy). He falls in love with Jasmine (Payal Radhakrishna). In order to impress her Kittu joins tuition as she is interested in studies. However the dreams of Kittu is different as he is more interested in becoming a chef than studies.
The rest of the story is about how Krishna and Jasmine get together, fall apart and finally what helps them get together.
What works best for the series is the innocence of teenage love portrayed through the lead characters. Director Malik Ram is successful in making the youngsters connect to the love story of Krishna and Jasmine. It also helps that the lead actors are in perfect sync. Payal Radhakrishna in particular stands out.
Another good thing about the series is the friendship bond between the characters of Harshith Reddy along with Nikhil Devadula and Snehal. The contrasting nature of these three characters is interesting to watch.
For example Krishna is some who is reserved, shy and initially comes across as someone who is not comfortable before girls. Nikhil Devadulu’s one on the other hand is shown to be an extrovert guy who is game for everything. Both Nikhil and Snehal work well in their respective parts.
The supporting characters don’t have much to do but the character of Krishna’s father who is also a teacher gets a decent part. Raman Bhargav does a good job in his role.
Cinematographer Monish Bhupati Raju effectively captures the locales of Rajahmundry and its surrounding areas.
The music and the background score are also pleasant. They make for a good hear.
In a nutshell “Tharagati Gadhi Daati” doesn’t offer anything new for those who are looking for something different but if you are in a mood for some breezy romance give it a try.
Partition Through The Angle Of Bollywood Movies
Dhoopki Diwar
Director Haseeb Hasan’s “Dhoop Ki Deewar” is a show which needs to be watched for various reasons. It is not just an intense love story but it also takes a strong anti- war message. The director shows deep sympathy for the jawans of both the families and makes them appear as human beings instead of just Indians or Pakistanis. It is not a surprise that the series was banned in Pakistan given it goes where all filmmakers wouldn’t go.
The show begins off with an intense India and Pakistan cricket match. You have two families, one from Amritsar and one from Pakistan cheering for their respective nations. As the first episode goes along we come to know that both these families are army ones. The main leads are Sara Sher Ali played by Sajal Ally and Vishal Malhotra played by Ahad Raza. The fathers are fighting in the Indian- Pakistan border in Jammu & Kashmir. Sara and Vishal are not aware that their lives are going to change forever.
The end of the cricket match comes with the news that the two army men have died fighting for their countries. This is followed by the media of both the nations taking interviews of Sara and Vishal after the funeral. A social media war erupts when Vishal calls his father more brave and it doesn’t go down too well with Sara. Both of them have a heated argument, the media tries to encase on this but the families put their foot down.
Soon the noise dies down as Sara and Vishal get busy with their lives which includes dealing with the unexpected grief in the families. An astonishing thing which happens here is that they chat on Skype sometimes where they discuss the family problems and other things. Initially when Sara’s mother ( Samina Ahmed ) gets angry with her daughter for keeping in touch with Vishal but she soon starts bonding well with Vishal’s mother on phone. It is not just the mothers even the grandparents start interacting on Skype. A friendship develops between the lead characters and it starts leading to love. However a happy ever after is difficult given that both of them belong to different nations.
“Dhoop Ki Deewar” starts off an high and for most part it sustains as well. However there are couple of episodes where the family drama could have shown in an crisper manner. The show reaches it full peak when friendship starts developing between Sara and Vishal.
There are many things that director Haseeb Hasan gets right with the series and one of them are the consumption of entertainment across the nations. For example Vishal is shown to be a fan of Atif Aslam’s songs. The Indian family is shown to be fond of Pakistani dramas while the Pakistani family on the other hand is shown to be fond of Indian dramas. You also have Pakistani girls dancing to the songs Bollywood movies. All these things have been shown in an entertaining way.
While the love story is primary focus Haseeb Hasan never loses track of the other important characters. In fact some of the best moments in the series are the discussions between the mothers and grandmothers of Sara and Vishal.
The love track keeps you guessing regarding where it is going to end. At one point you feel that Sara and Vishal may have a happy ending however that soon changes in the final few episodes. The climax has the potential to move you and there is no way that you wouldn’t feel emotional.
There is a theme song ‘Judaaiyan Kyun’ which keeps playing whenever there is a highly emotional moment between the leads. This song elevates the narrative in a huge way particularly in the final episodes.
Haseeb Hasan also deserves credit for how he shows one half of the story based in an Indian household in Amritsar. It would have been a challenging task since the entire cast is Pakistani but he manages to pull it off.
The performances by the entire cast is super too with Sajal Ally and Ahad Raza leading the pack. Both of them deliver equally and that also helps in making the audiences root for the lead characters. In a nutshell “Dhoop Ki Deewar” is a show which shouldn’t be missed.
Looking At Partition Through Bollywood Lens
Let us recollect a few movies on partition in the context of our 75th year of Independence.
The joy of getting freedom from the Britishers was soon eclipsed by the horrors of partition. Many horrific things happened during that time as people turned inhuman and attacked fellow human beings. There were riots on huge scale based on religion. Apart from the violence partition is also remembered for the mass migration of people. People started moving from Pakistan to India and India to Pakistan in crores; one of the biggest forced migrations that the world has ever seen.
This write up is mainly about four films which explored different sides to partition like love, hatred and hope.
1. Bhaag Milkha Bhaag – The core of Bhaag Milkha Bhaag film is the partition scenes where young Milkha runs from his riot torn village in Pakistan to a refugee camp in India. The scenes where he is waiting for his elder sister and hoping that she is alive are heartbreaking to say the least. Even as an adult the memories of his childhood continue to haunt him. The partition scenes are important for two reasons. One is they make audience understand the journey of Milkha from stealing coal for a living to eventually becoming the person that he is. The other reason is – it shows that running was part of Milkha’s life from childhood and continued to be his forte which ultimately shaped his athletic career. Farhan’s fantastic performance added to the overall experience.
2. 1947: Earth – 1947 Earth was a love triangle set in the backdrop of partition. The story of 1947 Earth is based on a novel ‘Cracking India’ written by Bapsi Sidhwa. In this film Nandita Das plays a beautiful Hindu woman working as a nanny in a rich Parsi family who is caught between the affections of two Muslim men. One of the men is played by Aamir Khan. Alongside the love triangle you also have the devastating consequences of partition. Through this film director Deepa Mehta shows how hatred can make any person behave like a beast. Aamir Khan’s character isn’t a negative one to begin with but he changes when the surroundings around him are filled with religious hatred. The character transformation is complete when he betrays the woman that he loves and hands her over to rioters.
3. Begum Jaan – A remake of a Bengali film ‘Rajkahani’ Begum Jaan directed by Srijit Mukherji is the story of a Kota owner played by Vidya Balan. Her Kota runs along the Radcliffe line (Indo-Pak border). She along with the inmates of kota are asked to vacate the haveli and go away. Vidya’s character is desperate to save her haveli and declining business amidst the changing political scenario of the partition. On one side of the coin you have Begum Jaan’s efforts to save her Kota, on the other side there is the track of two officers, one Hindu and other a Muslim. They were friends till recently but now they are separated working for two different countries. The two officers use the character of Chunky Pandey, a local goon to put pressure and fear in the women to leave the haveli forever. In her desperation she along with other women fights and dies a heroic death.
This story is an example of how an artificial boundary can create havoc in the lives of ordinary people who have nothing to do with political developments.
4. Pinjar – Pinjar is a story based on Amrita Pritam’s novel ‘Pinjar’. It tells the story of a young woman of Hindu background Puro played by Urmila Matondkar. She is living a happy and comfortable life with her family. When she goes for an outing with her younger sister she is followed by a mysterious man called Rashid. Rashid’s family has an ancestral dispute with Puro’s family. Puro’s family had made Rashid’s family homeless by taking over their property. The task of taking revenge falls on Rashid as his family tells him to kidnap Puro. Rashid does accordingly but he couldn’t be cruel to Puro. He marries her.
While all this happening partition is going on in the background. In a way Rashid marries her to save her from being killed by Muslim rioters. Ultimately he wins her over with his love and affection. They form a strong relationship. Rashid also helps her in the search of her brother and eventually brother and sister meet. Director Chandra Prakash Dwivedi narrates how love can rise above hate. The brother character played by Sanjay Suri asks her to leave Rashid and return home. But Puro doesn’t agree as she is deeply in love with Rashid. While the film is emotional throughout the climax deserves particular mention.
While the above films are set during the partition there are other fictional films too which show post partition stories. These films include love stories, cross border brotherhood etc. Some examples of post partition films are Garam Hawa, Gadar Ek Prem Katha, Veer Zaara, Bajrangi Bhaijaan, Filimistaan etc. The Pakistani film industry has also made movies on partition like Kartar Singh in 1999 and Khamosh Pani in 2003.
Out of these Garam Hawa is a more serious and much acclaimed film. It is about a Muslim Family who is struggling to deal with the changes in post partition India and is undecided whether to stay in India or go to Pakistan. Nitin Kakkar’s Filmistaan is about an assistant director who is mistakenly kidnapped by a Pakistan terrorist group. This film uses Bollywood as a tool to talk about the cultural similarities between people on both sides of the border.
Anil Sharma’s Gadar Ek Prem Katha is a fictional love story between a Sikh truck driver and a Pakistani Muslim Girl. In contrast to the jingoistic tone of this film you have Kabir Khan’s Bajrangi Bhaijaan.
Bajrangi story is about a young Pakistani girl Shahida played by Harshali Malhotra. Shahida is a speech impaired girl who loses her way in India. Here she comes across a devout Hanuman bhakt Pawan played by Salman Khan. Pawan comes to know that Shahida belongs to Pakistan and the eventual responsibility of taking her back to her family falls on the shoulders of Pawan.
Kabir Khan makes many points in this film. For example he talks about how hatred sells more easily than love through Nawazuddin Siddiqui’s character. The film also explores the deep rooted religious prejudices which include Pawan’s as well.
Briefly this is how the theme of Partition reflected in Bollywood movies in all these years. The list, of course, is nowhere complete and would never be but this is an attempt from my side to recollect those tragic moments.
https://www.primepost.in/looking-at-partitiion-through-bollywood-lens/
Shershah: An Engaging War Drama Within The Confines Of A Familiar Space
Indian war films do follow a certain template and the challenge as a director is how you make it engaging within that genre. Director Vishnu Vardhan’s biopic on Vikram Batra has all the typical ingredients but to the credit of the director he takes a restrained approach, the result is a very watchable film. It also helps that leading man Siddarth Malhotra is in good form. The film can be a game changer for Siddarth. Shershah was a code name given to Vikram Batra during the war.
For those who are not aware Vikram Batra was an officer of Indian army. He was posthumously awarded with Param Vir Chakra for his actions during the 1999 Kargil war. He led one of the toughest operations in mountain warfare in Indian history.
The film’s narrative arc is quite similar to Jahnvi Kapoor’s Gunjan Saxena which was also produced by Dharma. In the opening scene we see Captain Vikram Batra and his troops in middle of the action while they are on their way to destroy the last Pakistani bunker that would recapture the peak. From here we move to the structure of a flash forward narrative. The story of Vikram Batra is narrated by his twin brother also played by Siddarth Malhotra.
The most interesting aspect of the film is Vikram Batra’s equation with the Kashmiri people during his first posting as a lieutenant. We see him getting along with a lot of ease with the local people. He calls them Chacha, uncle etc. The elders also trust Vikram Batra more than his senior officers.
A good example of that is the scene where an elderly man talks to Vikram Batra regarding his son. The son had joined the militants and now he wants to come out of it. While it is difficult to imagine whether all this happened in reality but nevertheless it makes for an engaging watch.
The film comes alive more in the second half when the action shifts to the war. The cinematography by Kamalijeet Negi effectively captures the atmospherics of war and the action scenes along with V affects combined get you into the mood.
The music by Tanishk Bagchi, B Praak etc is also fine and the songs don’t act as speed breakers. My favourite song is the Ranjha one.
The supporting characters have also been written with certain amount of care. Whether that is Shiv Pandit or Sahil Vaid. These supporting characters add quite a lot to the film. Shiv Pandit is particularly impressive out of the supporting cast. The camaraderie that Vikram Batra shares with these men is quite nice to watch.
The love track between Siddarth Malhotra and Kiara Advani’s character Dimple has its share of moments but it isn’t something memorable. It also doesn’t help that Kiara’s Punjabi accent is all over the place.
A big strength of the film apart from its real life story is Siddarth Malhotra’s performance. The actor looks the part and manages to capture the spirit of the real life Vikram Batra. The part of the twin brother isn’t much but he shines there too.
What pulls down the film is some unnecessary things. For example there is a Madhuri Dixit reference in a middle of a war. It feels quite out of place and could have easily been done away with.
Also the writing will remind you of several other war films like Uri etc. But that has also got a lot to do with a fixed template that lot of filmmakers have been using to narrate these kind of stories. A film like Raazi is an exception.
In a nutshell watch Shershah for the spirit of Vikram Batra.