Author: admin

Posted on

The Girl On The Train: A Train Wreck

Ribhu Dasgupta’s remake of The Girl on the Train is a perfect example of how you shouldn’t add unnecessary masala. For those who are not aware the movie is based on the book of the same name written by Paula Hawkins. The book has already made been made into an English movie starring Emily Blunt. Ribhu Dasgupta takes the original source material and adds his own twists and turns. But the problem is that none of the twists are convincing. In fact it dilutes the impact of the book, which focused on the psychological trauma and the emotional abuse that the victim is unwittingly surrendering to. In totality this Hindi version feels choppy and is a huge letdown for those who enjoy murder mysteries.

The plot of the book revolved around an alcoholic Rachel who is recovering from a broken marriage and alcohol addiction. Her condition causes her to forget things in a state of inebriation. Every day she takes the train to London and passes by her former husband’s house, the husband now lives with his new family wife Anna and daughter Evie. While she is travelling Rachel catches glimpses of a seemingly perfect couple Scott and Megan from the window of her train. Things take a drastic turn when Rachel witnesses something shocking. This is the synopsis of the book.

In the Hindi version Parineeti chopra plays Mira Kapoor. Mira Kapoor is an out of work lawyer and spends much of her time drinking and obsessing over her ex- husband Shekar played by Avinash tiwary and also his new wife. Mira’s alcoholism is out of control and as a result her work has suffered. The only thing which brings Mira solace is observing a woman called Nusrat on the balcony whom she sees everyday as she takes the train. She begins to fantasize about her and slowly she gets consumed by her. For Mira Nusrat represents what she has lost. But one day she sees her with a new man and Meera suspects her of having an extra- marital affair. She feels lot of anger towards Nusrat and in a drunken stupor decides to confront her. The next day news comes that Nusrat has died and Mira becomes the prime suspect.

The biggest problem with The Girl on the Train is the director’s inability to build on the source material. This can be best seen with the characterization of Avinash Tiwary. In the book the character of Rachel’s husband’s was built very well and as a result the character’s change over into the grey zone didn’t feel abrupt. But here the character has been sketchily written. The reasons for the behavior of Avinash Tiwary’s character isn’t convincing at all.

You don’t at all understand why Shekar had to manipulate Mira into being an alcoholic. The relationship between them is hardly explored. Another thing is Shekar has an affair with another woman while he is married twice. Therefore he could have easily had an affair while he was in marriage with Mira. As a result of these factors the characterization of Avinash Tiwary just doesn’t make any sense.

The unnecessary deviations from the book don’t help the films cause either. The entire character of Kriti kulhari who has vendetta towards Mira just doesn’t make any sense. The character’s belief that her father was innocent and that Mira purposefully sent him to jail borders on naivety.

Honestly the film would have worked better if the director had struck to the original source instead of the unnecessary deviations. Because of the contrived ending and the implausible twists the emotional impact of the book is completely missing.

Parineeti chopra delivers a sincere performance and does her level best to elevate the material. Kriti Kulhari and Avinash Tiwary are let down by the poorly written characters. Aditi Rao hydari as Nursat doesn’t create any impact whatsoever. Her glazed look is a pain to watch. Others don’t even try.

On the whole The Girl on the Train is a train wreck which is best avoided.

Posted on

Gangubai Kathiawadi: A Solid Spectacle With A Beating Heart

Over the years Sanjay Leela Bhansali has become synonymous with telling stories on a larger than life canvas. His last three films Ram Leela, Bajirao Mastani and Padmavat are good examples of that. This larger than life canvas has also backfired in films like Ranbir Kapoor’s Saawariya but there is no denying the artisticness of Bhansali irrespective of whether you agree with his storytelling or not.

In Gangubai the director takes up a gritty real life story and narrates it with his trademark dramatic touch. The result is a largely satisfying film which touches upon a very important topic. He is also aided by the supremely talented cast led by his formidable leading lady. Alia Bhatt sinks her teeth into the role and comes up with the best performance of her career but more on that later.

The story of Gangubai is set in the 60’s and is inspired by a chapter from S Hussain Zaidi’s book Mafia Queens of Mumbai. With the help of the cinematographer Sudeep Chatterjee Bhansali immediately transports you into the area of Kamatipura. The plot is divided into three chapters. First you have Ganga being brought into the streets of Kamathipura and sold by her lover Ramnik. Ganga had aspirations of becoming a Bollywood heroine and Ramnik used that to his advantage and coaxed her to run away from home under false pretences. Seema Pahwa plays the brothel owner Sheela Masi. It is good to see the actress taking a break from her usual mother roles and doing something different, she is delightfully evil.

Much like the other four thousand woman of Kamatipura Ganga has no other option other than to make a living there. She gives up all hope and in a heartbreaking scene we see her standing in the front of a brothel, leaning on its door and seducing men by calling out to them in whispers. From here we see the character transforming into a fire brand go getter who gradually climbs up the ladder. She wears her past proudly on her sleeve, for example there is a scene in the later half where she introduces herself to Jim Sarbh’s character as Gangubai the prostitute. The interactions of Gangu with the supporting characters and how that shapes up her life also form an important part of the story. One of the most important supporting characters is that of Ajay Devgan’s Rahim Lala. He is a Muslim gangster who is a huge pillar of support for Gangu along with being her rakhi brother. Ajay is in smashing form and brings his trademark swagger.

There is a line in a film which says Gangubai wasn’t Mahaan but she wasn’t a devil either. This perfectly sums up the approach that Sanjay Leela Bhansali has taken. Early on in the film we see Gangubai freeing a girl from a prostitute house and sending her back home. This is done with a certain political purpose as we get to know later. There is also a scene where she sets up the marriage of a prostitute daughter with a son of a Muslim Tailor Afshan ( Shantanu Maheshwari); here also there is a reason why she does that. In these scenes we can see the shrewdness that Gangubai has learnt from the harsh circumstances that she has gone through. At the same time there is a genuine empathy that she has for sex workers, there is a reason why she wants to become to become the madam of Kamathipura. The reason is she wants to improve the lives of the sex workers. This comes out perfectly in her stunning speech at Azad Maidaan. Bhansali does a splendid job in bringing out these two shades.

Gangubai’s love story with Afshan also gives the film some of its best moments. Their romance is subtle but yet heartwarming. The two love songs Jab Saiyaan and Meri Jaan have been perfectly used by the director. They don’t come across as speed breakers. Out of the two my favorite one is Meri Jaan. You wish that Gangubai had a happy ending with Afshan.

Another track worth mentioning here is the friendship between Gangubai and Kamili played by Indira Tiwari. Their on screen bond is a treat to watch. There is a strong emotional scene between Gangubai and Kamili when the latter is on the verge of dying. It is a scene which is highly moving.

The scenes between Ajay Devgan and Alia are also good to watch but you wish there was little more of Ajay. The same goes to Vijay Raazi’s Rajyabhai. He plays an opponent to Gangu. Their rivalry is fun to watch but Vijay Raaz comes across as underutilized after a point.

As I earlier said Alia sinks her teeth into the role. Since the release of the teaser there has been a certain talk about alternate casting but once you see the film you realize why Sanjay Leela Bhansali stuck to her.

The best thing about Alia’s performance is the authority that she brings in her voice when the character makes the transition from being a helpless prostitute worker to the madam of Kamathipura. Her comic timing in the lighter bits is also too good. In short this is truly an award winning performance. Out of the supporting cast Indira Tiwari and Shantnu stand out the most.

The music of Gangubai mostly works but the one featuring Huma Qureshi could have been done away with. The song Dholida isn’t too high on lyrics but it still highly watchable thanks to Energetic performance of Alia. The second part of the song makes more of an impression.

The one area where the movie falters is its pre-climax and climax, Gangubai’s conversation with Jawaharlal Nehru could have been more impactful, in the sense she should have been talking to him with more humility. Also the climax where a swarm of people are cheering Gangubai stretches a little too much.

Watch Gangubai for its leading lady and the importance of its real life story.

Posted on

Anthologies: A Format that Needs A Reformat

Today’s feature is about the emerging trend of Anthologies. Initially anthologies were only made in Hindi starting from Bombay Talkies but now the trend has stepped into Telugu and Tamil as well. The reason for anthologies to be interesting is that it gives filmmakers an opportunity to explore different genres, it also gives an opportunity for actors to play different parts. Of late, the genre is losing its shine as a result of stories which are one dimensional. Case in point being Paava Kadhiagal along with the recently released Pitta Kathalu. But before that I will give a brief description about six anthologies, four of which I liked and two I didn’t.

The first one is Bombay Talkies. It is a collection of four stories directed by Karan Johar, Zoya Akhtar, Dibakar Banerjee and Anurag Kshyap. It was made as a celebration of 100 years of Indian cinema. The stories were about how cinema impacts the life of the common man except for the first one directed by Karan Johar. The first one was about homosexuality and in a way an odd one out. But that didn’t become bothersome as it was about breaking out from your shackles and coming to terms with your sexuality. Out of the four this one was my favourite.

Onir’s I am was more serious given the issues that it tackled from child abuse to Kashmir etc. In spite of the heaviness of these themes it was thought provoking and never boring or depressing. The anthology felt necessary and was a welcome break from the commercial format.  

The third one is Putham Pudu Kaalai. It is an anthology set in the times of COVID- 19 and deals with lives of the people amidst the pandemic.

In Putham Pudu Kaalai the first four stories are set in the upper middle class milieu except for the last one directed by Karthik Subbaraj. The story of Karthik Subbaraj is about two thieves and through them the director talks about how greed leads to nothing. It also explores how miracles can indeed happen sometimes.

The best way to describe Putham Pudu Kaalai would be as an uplifting exploration of love and longing amid the pandemic. My favourite story out of the five is the first one directed by Sudha Kongara. The story is about a reunion between two lovers in their middle age and how the lockdown enables them to enjoy the company of each other. One of the major reasons why the story works is due to the chemistry between Jayaram and Urvasi. 

 The last one is Unpaused, just like Putham Pudu Kaalai this anthology is also heart warming. One of the stories in Unpaused is about a woman who thinks of killing herself after she discovers that her husband is a sexual predator. But just then a stranger rings the bell.  Apartment talks about finding your inner strength and shows that death is not the solution. In totality the anthology was both uplifting and melancholic. 

Now let’s move to Paava Kadhaigal and Pitta Kathalu. All the stories of Paava Kaidhagal revolve around caste and Honour killings. There is nothing wrong in making films about caste and honour but it should not be in such a way that it makes you lose faith in human beings. In all the four stories the parents are the villains which is even more disturbing. Vetremaran’s segment particularly made me angry. It was too prolonged and it also didn’t help that you had fine actors like Prakash Raj and Sai Pallavi. Because of their acting you feel the pain more. 

In Pitta Kathalu three of the four stories portray women as villains. For example in the first story you have Lakshmi Manchu’s character who takes advantage of a girl in order to rise in politics. It is a typical story which vilifies an ambitious woman. Nag Ashwin’s X Life is the only different one in the anthology. It talks about people’s obsession with gadgets and how they are losing the human touch.  I would end by saying that it is high time that the filmmakers reflect on the kind of stories they are making just because they have freedom. They need to move out of stories which have abuses, extramarital affairs etc.

Posted on

Drishyam 2: Super Follow Up To Drishyam 1

Sequels are always a tricky business given the expectations of the people and it is very rare that a sequel is as good if not better than the original. Drishyam 2 is one such where it completely lives up to the expectations of those who loved the first part. It is a perfect example of how to make a good thriller. The twists and the turns keep you completely hooked. The climax and the pre climax deserve particular mention.

For those who haven’t seen the first part the plot revolved around a Cable TV operator George Kutty who is leading a happy life with his wife and daughters. Things take a turn for the worse when his family commits an accidental crime and the burden of protecting them and their secret falls on him.

The story of Drishyam 2 begins six years after the incident. George kutty now owns a theatre and also plans to make a movie. The two daughters are also grown up. Anju played by Ansiba Hasan is a subdued college student.  Anu played by Esther Anil is somewhat rebellious. Meena is still the naïve wife who picks on her daughters and isn’t very happy with her husband’s plans. Asha Sharath also reprises her role of ex cop Geeta Prabhakar.

But beneath the normalcy the family is still scarred by what happened in the past. Director Jeetu Joseph paints a realistic picture of the trauma. Anju develops a medical condition because of it. This includes having nightmares and feeling fear whenever she sees the police. Meena’s character is constantly worrying about where her husband had buried the body and someone will find it one day. Whenever her husband goes out of town she asks her neighbor Sarita to sleep with her as she cannot sleep alone. Anu the youngest has kind of moved on.

However it is not just the family which has changed, the people around them have also changed. In the first part the people of the town were rooting for George Kutty’s family horrified by the police actions. This time around they have loosened their tongues. Most of them believe that they indeed committed the crime. What really happened on that day becomes a matter of gossip everywhere. The situation changes when the current IG deploys shadow police officers to get the truth out of George Kutty and his family.

Just like the first part the biggest strength of Drishyam 2 is its writing. It is tough to write a sequel to a story where the crime is the same but Jeetu Joseph does a super job in building up the plot. He also brings freshness to the sequel while retaining the spirit of the prequel.

A suspense thriller is not only about how you begin but it is also about how you end. The courtroom scene in the pre climax mirrors a crucial scene from the first film. Just when you think that Geroge Kutty is going to be punished a new twist shows up where we realize that George Kutty has pulled the rug from under the feet of everyone including the audience.

Drishyam 2 also scores high on emotions. There are many scenes which move you. If the movie has to be summed up in one line it is what the judge tells the IG in the end that both families deserve justice. The director is successful in making you empathize with both Mohanlal and also Asha Sharath, but more with Mohanlal. There are no heroes and villains here.

Mohanlal carries on from where he left off in the first part. He makes George Kutty’s character his own proving once again why he is a legend. The supporting cast also does well but Asha Sharath deserves a particular mention for her performance as a mother who wants her son’s killers to be punished.

In totality Drishyam 2 is a highly satisfying sequel to the first film. 

Posted on

White Tiger: A Piercing Take On The Underbelly Of The Rich

It is not often that a director does justice to a novel. But Director Ramin Bharani does more than enough justice to the written material. Apart from capturing the spirit of the novel it also raises many pertinent questions. The film dwells deep into the caste mechanisms and how the rich put the poor in their place. The best way to describe it would be as an anti slumdog Millionaire. In this case it is a compliment to the film White Tiger. 

The movie begins off with establishing the character of Adarsh Gaurav’s Balaram. We see Balaram narrating his story starting from the rural village of Laxmangarh. From Laxmangarh we go to Delhi where Balaram works as a servant to his master Ashok and Madam Pinky. The couple is played by Rajkumar Rao and Priyanka Chopra respectively. Balaram is fascinated by Ashok but that soon turns into bitterness because of a particular incident. Ashok and Pinky believe that their goodwill changes the class structure of the society. However they come with their shades of grey particularly Rajkumar Rao’s Ashok. Whenever Pinky speaks about education and equality her in-laws think that she is speaking too much. This is the synopsis. 

The best part of White Tiger is how director Ramin Bharani manages to handle the heavy duty themes of caste, corruption and globalization. It never feels heavy handed and yet the message comes across perfectly. Ramin Bharani also  deserves kudos for avoiding the clichés of the exotic India. He adopts a dark satirical tone while laying bare the hypocrisies of modern India.  On one side of the coin you have the outright brutality of Ashok’s father and brother. On the other side there is the well meaning but ineffectual kindness of Ashok and his wife. 

One major change when compared to the book is Priyanka Chopra’s character. Unlike the book here Pinky is better written and has an arc. Not surprisingly Priyanka fares far better with her American accent than Rajkumar Rao. Priyanka shines in her extended cameo and works well as a catalyst for the change in Gaurav. 

The director also deserves appreciation for he builds up the character of Balaram. Initially we get the feeling of Balaram romanticizing his master. At one point he even calls Ashok as his ex. From there the transformation of the character has been done in an effective manner. In fact, no feeling of sadness for Ashok comes when he is killed by Balaram. There is a feeling that Ashok deserves it. 

The cinematography Paolo Carnera also plays a significant part in building up this universe. He captures the two distinctly different words with flair. In short, the cinematographer is successful in capturing the texture of the novel on to the screen.

The lines written for Adarsh Gaurav deserve a special mention. His observation of his master results in dialogues which hit the right spot. 

The only point where White Tiger feels like a letdown is the casting of Rajkumar Rao as Ashok. The actor gets a clumsily written part and the American accent that Rajkumar Rao puts on becomes bothersome. 

Not surprisingly the film belongs to Adarsh Gaurav. The actor sinks his teeth into the role and comes up trumps. This film should open doors for the actor. 

On the whole White Tiger is a film which deserves your attention and time. It is must watch particularly for the many masters who take their servants for granted. 

Posted on

Tandav: A Potent Mix Of Shakespeare And Politics

It is quite easy to see why director Abbas Ali Zafar’s Tandav has irked the BJP government and the bhakts. This nine episode series portrays many of today’s issues starting from the farmers protest to fake encounters. In the very beginning there is a scene where we see police officers killing three people in a fake encounter. You also have a Muslim youth who is arrested the next day for participating in the farmers protest. There is also the whole angle of JNU, though in the show it has been replaced as VNU for obvious reasons. Mohammed Zeeshan Ayub’s character as the idealistic student leader is clearly inspired from Kanhaiya Kumar. Tandav is Abbas Ali Zafar’s boldest work to date. Yes there are times where the show slackens but it still deserves a watch.

The plot of Tandav runs along two tracks simultaneously. On one side of the coin you have Saif Ali Khan’s Samar Pratap Singh. Samar is a popular politician in the country’s biggest political party JLD. Samar is tired with the senior players running the party. He is particularly vexed with his father Devki Nandan played by Tigmanshu Dhulia in an extended cameo. Devki Nandan is about to have his new term as India’s Prime Minister. It is a turn that Samar isn’t too happy about as he believes that he deserves the Prime Minister’s position. Writer Gaurav Solanki adds a Shakespearean touch to the storyline. Sara Jane Dias plays Samar’s wife and Sunil Grover is the faithful aide Grupal. Dimple Kapadia plays Devki Nandan’s mistress and an important member of the party. At the end of the first episode Samar poisons his father to fulfill his ambition of becoming the next Prime Minister. However he doesn’t end up becoming the Prime minister due to a huge turn of events.

On the other side of the coin you have the character by the name of Shiva who epitomizes idealistic values. Shiva and his fellow mates capture the attention of the media when they bring the farmers protests to their attention in order to save a fellow student (a Muslim) from illegal confinement. Shiva is a UPSC aspirant but he doesn’t know that his destiny is going to change in a big way. He is pushed into college politics after persuasion from his friends. Another important member of this gang is Sana Mir played by Kritika Kamra. Sana comes with her own baggages which include an affair with college professor Jigar played by Dino Morea. What follows is a potent mix of Shakespeare and politics which keep you engaged.

The best thing about the show is how the writer integrates so many issues that are bothering our country. Yes, there is a downside to that as well but writer Gaurav Solanki deserves kudos for how he ties all the issues together.  

A.R Rahman’s popular Yuva anthem from Mani Ratnam’s film has been used smartly by the director. The anthem is used at the right moment and it arouses in you anguish at the current state of politics.

The interactions of Samar and his aide Grupal is a major highlight of the show. There is a scene where Samar asks him whether he ever feels guilty about the things he does. Grupal replies by saying that he erases his guilt by feeding his cat. He further adds that after eating the cat sleeps on his lap and he feels at peace with himself, a very symbolic comment on our many so called ‘philanthropists’.

The Shakespeare an angle has also been well used by the director. The scenes of Saif hallucinating about his dead father are used to convey Samar’s guilt and show that he is also a human being with emotions.

Where the show falters though is the treatment of certain subplots and certain characterizations. For example the whole track of the mystery caller who gives information to Dimple Kapadia’s character isn’t properly etched. The character of Saif’s wife also needed to be better.

In this huge ensemble the actors who stand out are Sunil Grover, Dimple Kapadia and Saif Ali Khan. Known for his comic image Sunil Grover does a complete U Turn here. He is first rate in his portrayal of a powerful henchman. After Omkara Saif Ali Khan impresses yet again in another negative role. The actor blends well in the setting without overpowering it. Dimple Kapadia is also very impressive in all the scenes that she is in. Mohammed Zeeshan Ayub fits the character perfectly and proves to be a good counterpart to the selfish character of Saif. On the whole Tandav is an inside look of how Indian politics works and about the different players involved in it.