Category: Hindi Movie Reviews

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Kesari Chapter 2 (The untold story of Jallinwala Bagh): A stirring tale of colonial injustice

Kesari Chapter 2 poster

An aspect which makes Kesari Chapter 2 stand out is the characterization of Ananya Pandey’s Dilreet Gill an idealistic young woman breaking conventions. Director and writer Karan Singh Tyagi is successful in pushing all the right buttons making the viewers emotional and evoking feelings of disgust towards the British.

Starcast: Akshay Kumar, R Madhavan, Ananya Pandey, Simon Paisley Day, Reginna Cassandra and others

Genre: Drama

Director and writer: Karan Singh Tyagi

Dialogues: Sumit Saxena

Cinematography: Debojeet Ray

Based on: The Case That Shook The Empire By Raghu Palat And Pushpa Jalat

Producers: Karan Johar, Adar Poonawala etc

Production Companies: Leo Media Collective and Dharma Productions

Music: Shaswat Sachadev, Kavita Seth and Kanishk Seth

Running time: 2hours and 14 minutes

The subject of Jallinwala Bagh massacre has a huge emotional resonance irrespective of how many times filmmakers explore the topic. The beats of Kesari Chapter 2 has a certain resemblance to the Ram Madhvani web series The Waking of a Nation in terms of the courtroom proceedings and how the narrative unfolds the events leading up to the mass genocide however Kesari Chapter 2 is very much its own beast, the movie is based on the novel written by Raghu Palat and Pushpa Jalat focusing on the fight of Shankaran Nair. It’s hard to say how much has been fictionalized particularly the characterization of Ananya Pandey however the movie is successful in immersing the viewers in spite of familiar troupes particularly the courtroom proceedings. Subtlety and logic isn’t Kesari Chapter 2’s biggest strength but nevertheless the movie is successful in evoking patriotic feelings.

Ananya Pandey as the young lawyer Dilreet Gill

Kesari Chapter 2 doesn’t waste any time in setting up the proceedings. The first ten to fifteen minutes are devoted to the massive bloodbath led by Simon Paisely Day’s General Dyer. The presentation is very graphic in nature unlike Ram Madhvani’s The Waking of a Nation however it does work. The piles of blood soaked bodies coupled with cinematography department makes the audiences blood boil. We see the massacre from the perspective of a young boy Pargat Singh (played by an excellent Krish Rao). From here we move to Akshay Kumar’s Sir C Shankaran Nair. Shankaran Nair is a hot shot lawyer working for the British. He also receives the honor of Knighthood from the British government the same day when the Jallianwala Bagh massacre happens. Shankaran Nair is known for his excellent arguments and the way he manipulates the proceedings. This is established early on in a case involving Pargat Singh’s father. However things take a huge turn after the set up of a so called commission meant to enquire the events leading up to that harrowing day. Shankaran Nair’s belief in the British justice system takes a massive hit as Shankaran starts digging deep. What also shakes his conscience is a meeting with Pargat Singh. However in spite of the misgivings Shankaran Nair decides to not dwell further but that changes with the entry of the fiery Dilreet Gill (an excellent Ananya Pandey). This is the story in a nutshell.

A strong aspect of Kesari Chapter 2 is how Karan Singh Tyagi has designed the character of Akshay Kumar. Yes the transformation of Shankaran Nair and his deep faith in the British justice system could have done with little more nuances still the way the director has presented the various dilemmas faced by the man keeps the viewers engrossed. A particular mention must be made of the emotional turmoil which Shankaran Nair goes through at various stages. His fighting spirit in spite of the numerous hurdles coupled with Akshay’s act makes the viewers root for Shankaran Nair. Of course an argument can be made on why not have R Madhavan play the titular role given his South Indian background, still Akshay’s fiery performance particularly in the scenes where Shankaran Nair confronts General Dyer about his racist behavior makes the casting work.

As already mentioned Ananya Pandey’s Dilreet Gill plays a young woman breaking numerous conventions particularly given the period the movie is set in. Of course how much of the characterization is similar to the truth and book is a question mark still Ananya Pandey plays a very crucial role in making the movie more interesting. A scene which specifically needs to be mentioned here is Dilreet Gill’s response to the press who are surprised with Shankaran Nair having a female counsel. She responds by saying what is so surprising doesn’t the British have a queen. On the surface it may appear as a simple moment but the sarcasm behind it questioning a certain type of attitude makes it a brilliant scene. The character of Dilreet Gill has various shades and Ananya does complete justice more than holding own opposite Akshay Kumar. The scene in the railway station where she confronts Shankaran Nair on how he shouldn’t run away and instead should fight back against the crown is a significant reminder of how far the young actress has come. Another portion worth mentioning is the cross examination scene involving an important character Martha Stevan’s. From the initial nervousness to taking things head on Ananya does a marvelous job.

R Madhavan plays Advocate Neville McKinley. He enters the movie at a crucial moment just before the interval. Nevile McKinley is an eccentric counsel with a certain misguided grudge towards Shankaran Nair. The back story of Nevile McKinley has some interesting touches which could have been explored more however to the actor’s credit R Madhavan adds a lot of spice to the courtroom proceedings even though the writing trudges along a familiar path. Of late R Madhavan has been playing more of grey/negative roles whether it is Vikas Bahl’s Shaitaan or this years Test. Once again R Madhavan does a very fine job proving to be a worthy opponent for Akshay. The way he portrays the different shades of the role is a treat to watch.

R Madhavan and Akshay Kumar face off

Simon Paisley Day in spite of the heavily accented Hindi like his collogues is very successful in making the viewers detest him. The backstory of Dyer involving scenes of being bullied give a psychological insight into the man’s behavior. Among the other actors Amit Sial impresses with his understated villainy. Reginna Cassandra as Akshay’s wife adds an emotional depth in spite of the limited screen time and a not so great characterization.

Simon Paisley Day as General Dyer

An another interesting aspect of Kesari Chapter 2 is how it portrays the issue of press being controlled either through manipulation or being shut down. Looks like nothing much has changed from them.

The technical department led by cinematographer Debojeet Ray is very effective in creating the right atmospherics. There is an authenticity to the way the period has been recreated whether it is the blood stained grounds of Jallianwala Bagh, the colonial courts or the even the place of viceroy which has numerous shots of lavish parties. The soundtrack by nature isn’t of the popular variety still the few songs make for a wonderful listen and watch. The recreated version of Teri Mitti with Nair visiting the massacre sight of course takes the top spot. At the same time “Oh Shera and “Kithe Gaya Tu Saaiyan” also tug at the viewers heartstrings.

Talking about the flaws the heavily accented Hindi of the Foreign actors leave a bitter after taste. Even Akshay Kumar’s attempt at speaking Malayalam in one scene comes across as very jarring to say the least. Also the way Dilreet and Shankaran Nair find evidences against the British make it look like an piece of cake. The courtroom proceedings follow a set template, this adds to a certain fatigue during some moments.

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Santhosh: A disturbing tale with no easy answers

The two leading ladies of Santhosh Sunita Rajwar and Shahana Goswami

Unlike its title there isn’t much to cheer here, director Sandhya Suri presents a grim scenario dealing with various burning topics like police brutality, the everyday struggles of the marginalized sections and the failures of our justice system among others. The scenes of police brutality and the misuse of power are very raw in nature, it isn’t surprising that Santhosh has made both the censor board and the government uncomfortable

Starcast: Shahana Goswami, Sunita Rajwar and others

Genre: Crime drama

Director and writer: Sandhya Suri

Producers: Mike Godridge, James Bowsher etc

Production Companies: BBC Film, Good Chaos etc

Cinematography: Lennert Hillege

Running time: 2 hours and 8 minutes

Sandhya Suri’s Santhosh has been through many hurdles due to its raw depiction of social issues raising uncomfortable questions. The censor board has blocked Santhosh release date due to the movie’s tone, unlike most mainstream masala films with cops Santhosh examines the misuse of power by the cops, this includes custodial torture. The movie also takes the burning topics of islamophobia and casteism head on. However the hurdles created by the censor board hasn’t stopped Sandhya Suri from taking the movie to various film festivals, this includes the 77th Cannes Film Festival and MAMI Mumbai Film festival among others. After seeing the movie it’s very clear on why the movie has rattled so many.

Santhosh primarily focuses on the journey of Shabana Goswami’s Santhosh Saini. Santhosh had lost her constable husband during a riot. The in-laws of Santhosh have certain issues with her due to a supposed ill behavior. The pension of her husband isn’t substantial enough, additionally Santhosh could also lose her husband’s quatre. Santhosh is left with no other option other than to join the police force, this happens due to a government scheme. As a police constable and a women Santhosh soon becomes aware of the numerous biases and the discriminatory practices within the department. Things take a major turn when a girl from a lower spectrum of society is raped and murdered. A new officer Geeta Sharma played by Sunita Jarwar takes charge of the case. This is the story in brief.

A strong aspect of Santhosh is the delicate balancing of the numerous issues addressed by the movie. At no point the movie feels like an overstuffed menu, this is because of the taught writing and direction. There is a seamlessness in the flow of proceedings.

Some of the powerful scenes in Santhosh include the police being more concerned with installing so called moral and cultural values in young couples through threats or taking bribes. There is another hugely poignant portion where the police turn a blind eye to the sufferings of the lower strata. As a female constable Santhosh herself is faced with numerous instances of power hierarchy. For example in the one of the earlier scenes she is seen taking an officer’s puppy for a walk, on the surface it may appear as a simple moment but it brings forth a lack of agency due to her position along with the gender aspect.

Through the character of Santhosh Sandhya Suri presents a hard hitting picture on what it means to be a poor woman. The reason for Santhosh joining the department is due to the adverse circumstances around her. As a result she suppresses her frustrations knowing very well that her opinions carry little weight in this fractured system.

Santhosh’s only solace is her equation with Sunita Rajwar’s Geeta Sharma. Geeta becomes an unlikely mentor for Santhosh. There is a genuine empathy that Geeta feels for Santhosh being a woman and a police official herself. The scenes of friendship and compassion between them give the movie some of its best moments. Sunita Rajwar best known for her role of a nosy neighbor in Gullak web series shows a vastly different side of her. She does a very good job in balancing the stern attitude with moments of genuine compassion. In the titular character Shahana Goswami does a very good job in portraying the different facets of her role. The actress is particularly good in portraying emotions just through body language.

Talking about the aspect of islamophobia this comes out strongly through the repeated torture of a Muslim man. There is a very chilling scene involving a guy called Saleem he is repeatedly beaten and thrashed forcing him to confess for a crime he hasn’t committed. Even Santhosh ends up partaking in the brutality, its connected to her husband’s death. This Muslim man is a soft target as its easier to pin the blame on a minority community rather than going against the deeply entranced power structure. In these portions the aspect of religious prejudice comes out in an hard hitting manner.

The movie also benefits from the rugged atmospherics. The plot is set in a fictional state of Chirag Pradesh but in actuality parallels can be drawn to any part of India where the upper caste dominate the socio political landscape. The cinematography by Lennert Hillege is of the highest order too, a specific mention must be made of the intense close up shots reflecting the inner anguish faced by Santhosh. This comes out starkly in the portions of Santhosh brooding in her staff quatres or being stranded in the middle of the road. It reflects the moral crossroads which Santhosh finds herself in. The sound design of Nikola Medic, Bruno Tarriere etc also adds to the dramatic element.

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Jatt: A Sunny Deol mass extravagance

Jatt written and directed by Gopichand Malineni is the perfect example of Bollywood’s growing obsession with fusion cinema the garnishing of South Indian tadka in a north body. For fans of Sunny Deol particularly the single screen ones the movie will be an absolute delight. At the age of 67 Sunny Deol still packs a punch with his dhai Kilo Ka Haath. The group of villains led by Randeep Hooda are formidable too

Starcast: Sunny Deol, Randeep Hooda, Regina Cassendra, Vineet Kumar Singh, Saiyami Kher, Jagapathi Babu and others

Genre: Action drama

Story, direction and screenplay: Gopichand Malineni

Dialogues: Sai Madhav Burra and Saurabh Gupta

Producers: Naveen Yereneni, T.G Vishwa Prasad and others

Production Companies: Mythri Movie Makers, Zee Studios and People Media Factory

Music: Thaman S

Running time: 2 hours and 38 minutes

The mega success of the films Pushpa 1 &2, RRR, KGF 1&2 and Kalki 2898 AD has created an identity crisis for Bollywood’s commercial cinema. A certain desperation has come in wanting to have the south Indian Masala in a North Soul. A very good example of this is last year’s Baby John directed by Atlee’s assistant Kalees. On numerous occasions Varun Dhawan was trying to ape the charismatic Vijay Thalapathy forgetting his own strengths. Not surprisingly the movie ended up as a box office turkey. Just a few weeks back there was AR Murugadoss Sikander with Salman Khan. Instead of being an Eid treat it ended up as a massive disappointment even for hardcore Salman fans. Jatt directed by Gopichand Malineni doesn’t match up to Atlee’s Jawan which had a good fusion of South Melodrama combined with the Starpower of Shah Rukh Khan. However, Jatt is a competent cocktail of action and melodrama powered by Sunny Deol’s larger than life persona.

The storyline of Jatt kicks off in the year 2009 in the jungles of Sri Lanka. Randeep Hooda’s Ranatunga is a former LTTE fighter. He along with his brother Somulu (an entertaining Vineet Kumar Singh) and a few more stumble upon a buried treasure amidst the ruins of a civil war. This revelation of a buried treasure pushes Ranatunga and co into the depth of greed. Soon Ranatunga establishes a vast criminal Network with the help of acquired gold. A major strength of Ranatunga apart from his brother Somulu is the wife played by an excellent Reginna Cassandra. At this point you have the entry of a mysterious stranger played by Sunny Deol. True to the title Sunny Deol plays a powerful Jatt with no fear and truly a bulldozer capable of demolishing any number of men. His arrival in the town causes a big mayhem starting off from a scene in a roadside shack which is a perfect mixture of comedy and action.

It goes without saying that Sunny Deol is the lifeline of Jatt. The actor makes even the outlandish of situations work with his powerful presence. He delivers the punchlines with the required intensity and also shines in the melodramatic portions. Jatt is an absolute goldmine for Sunny Deol hardcore fans. The actor also raises chuckles with his understated comic timing. The best example of this is the scene involving a simple apology request over a dropped idli. A lot of the first half has this as a recurring point raising many chuckles. Of course, in the action scenes he pummels the bad guys in Nandamuri Balakrishna style but because of the conviction the suspension of belief becomes easier. Talking about the punchlines a special mention must be made of the scene where he says “Yeh Dhai kilo ke hath ki taakath north dekh chuka hai, ab south dekhage (North has already seen the power of this 2.5 kilo arms, it’s South turn now).

Randeep Hooda as Ranatunga

Jatt also benefits from the strong batch of villains. Randeep Hooda does a very fine job in conveying Ranatunga’s greed for power and money. The way he hacks people with a cold and calculated demeanor makes him for a perfect despicable opponent. Vineet Kumar Singh as Somulu too has a lot of fun as a deranged younger brother. After Chhavva and Superboys of Malegaon Vineet showcases a different facet of him. Regina Cassandra too springs a pleasant surprise as Ranatunga’s spouse and partner in crime. She perfectly conveys the ruthlessness and ambitious nature while being elegantly dressed.

Reginna Cassandra also springs a pleasant surprise

Saiyami Kher and the fellow women officers offer an interesting counterpoint to their male ones. They are miles ahead in terms of both bravery and honesty. Saiyami Kher brings in an emotional depth as a determined police officer with strong mental strength. Talking about the other actors Jagapathi Babu as CBI officer Sathyamurthy has a strong presence but the veteran is mostly seen travelling first in a private plane and then in a car heading towards to the village where Ranatunga is causing carnage. His only job is to applaud the strength of Sunny Deol’s character.

A major problem with Jatt is too much of gruesome violence even for the standards of mainstream commercial cinema. The violence is often graphic making it a difficult watch particularly for the ladies and family audiences. The women characters often become the punching bag for the gruesome acts of violence. The movie features numerous shots of them being assaulted and in some cases helpless too.

The inherent South melodrama makes Jatt a tough watch too specifically for those who don’t have much exposure to South commercial cinema. A perfect example of this is the character played by a highly melodramatic Zarina Wahab. Thaman’s songs don’t add much to the plot. A special song by Urvasi Rautela in particular leaves a bitter after taste with its tacky choreography. The background score is very loud and jarring in nature however in some portions it does make an impact like the fight scenes featuring Sunny Deol and his entry.

Final word: This Sunny Deol mass extravagance is a treat for those like the fusion of south larger than life with north tadka. For the rest though its avoidable.

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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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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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Chhaava review: A strong ode to Maratha valour

This Laxman Utekar’s directorial is a delight for admirers of Maratha warriors. Just like the recent historicals, ‘Chhaava’ too has a strong undercurrent of saffronisation. Still the solid technical work coupled with the towering performances makes this a worthy big screen spectacle.
Chhaava (Hindi), 14-02-2025, Historical drama , 2 hours 41 minutes, U/A, Theatre
  • Main Cast: Vicky Kaushal, Rashmika Mandanna, and Akshaye Khanna
  • Director: Laxman Utekar
  • Producer: Dinesh Vijan
  • Music Director: AR Rahman
  • Cinematography: Saurabh Goswami
  • Rating: 3.5/5

In the last few years, Hindi cinema has seen a huge increase in the Hindutva influx, this doesn’t just pertain to the numerous war dramas, but this list also includes historical fiction based on the wars involving the Hindu kings, particularly the Rajput and Maratha warriors.

Very good examples of these are Sanjay Leela Bhansali’s Padmavaat (2018)  and Om Raut’s Tanhaji (2020). In these films, the Muslim rulers are presented as merciless invaders from whom the Hindu nation should be saved.

Laxman Utekar’s first attempt at historical fiction also treads on the same path. After directing a slew of feel-good movies like Luka Chuppi (2019) and Zara Hatke Zara Bachke (2023) the cinematographer turned director takes an extremely different path from his previous works.

Synopsis

Chhaava meaning a lion cub is based on a novel of the same name written by Shivaji Sawant. The book covered the life and times of the very noted Maratha warrior Chhatrapati Sambhaji.

It’s hard to say what percentage of Chhaava is based on its original source material and how much fiction Laxman Utekar has added. but the movie does a very fine job of capturing the bravery of Chhatrapati Sambhaji managing to make the viewers feel for the man particularly if you are an admirer of Maratha warriors.

In simple terms, the core plot of Chhaava focuses on the events which transpired from 1680 to 1689, a period marked by the relentless pursuit of Mughal emperor Aurangzeb (a fabulous Akshaye Khanna).

The movie celebrates the valour of Chhatrapati Sambhaji (an outstanding Vicky Kaushal) in fighting against the troops of Aurangzeb. Rashmika Mandanna plays Maharani Yesubai— a very important pillar of support for Sambhaji.

Vicky Kaushal as Sambhaji

Chhaava is a historical drama
‘Chhaava’ is a historical drama. (X)

Chhaava works largely due to the emotional depth brought by Laxman Utekar. He and the screenplay writers don’t just depict Sambhaji as a fierce warrior but also reveal a vulnerable side to him.

There is a palpable sense of grief in the way Sambhaji speaks about missing his mother’s love and a recurring nightmare involving his father. Some of the dialogues effectively convey the brutalities of war, where countless lives are lost.

As Sambhaji, Vicky Kaushal fully embodies the role, delivering a top-notch performance. With this role, Vicky once again proves why he is a versatile actor, able to adapt to various genres, whether it’s the light-hearted Bad News or the more emotionally intense roles in Sardar Udham Singh and Chhaava.

Vicky shines the most in scenes where he portrays the psychological toll endured by a warrior king. The torture sequence involving Sambhaji is another standout moment where Vicky excels.

While the historical accuracy of these moments may be debatable, the way Vicky portrays Sambhaji’s fighting spirit, even while being physically tormented by Aurangzeb, creates an emotional connection with the character.

Performances

Rashmika Mandanna as Rani Yesubai
Rashmika Mandanna as Rani Yesubai. (X)

Akshay Khanna as Aurangzeb makes for more than a worthy tormentor. While there is no denying the amazing prosthetic work Akshay Khanna with his acting also makes the part memorable.

Thankfully there are no unnecessary theatrics; Akshay invokes terror with just his demeanour and piercing gaze. He excels in showcasing Aurangzeb’s huge hunger for power.

Rashmika Mandanna as Yesubai plays a strong partner in the same mould as her last outing Pushpa 2. She delivers a fine performance perfectly showcasing the inner strength of a warrior’s wife. A particular mention must be made of her act in the portions following Sambhaji’s capture.

Vineet Kumar Singh as Kavi Kalash shines the brightest among the supporting cast. He plays his part with a lot of warmth. The friendship between Sambhaji and him gives the movie some of its best moments.

Strong technical aspects

Among the strong aspects of Chhaava, the technical department deserves special mention. The fight sequences in the second half are a delight, especially for those who enjoy rustic action. There are numerous instances of the Marathas outsmarting the Mughals using guerrilla tactics. The way these ambush sequences unfold with surprise attacks resembles a gripping chess game.

Vicky Kaushal in Chhaava
Vicky Kaushal in ‘Chhaava’. (X)

Cinematographer Saurabh Goswami delivers high-quality work, successfully capturing both the grand scale and intense action set in the forests. Special mention should also be made of the scenes following the destruction of the war, which are staged realistically.

AR Rahman’s background score and music complement the film well. The tune “Aaye re toofan” serves as a powerful war anthem with a touch of Maharashtrian folk. On the other hand, “Jaane Tu,” a romantic number, perfectly captures the understated romance between Vicky and Rashmika.

A major flaw in Chhaava is its core plot, which suffers from a significant hangover of clichés found in numerous films set in the same historical context.

Additionally, the film doesn’t break new ground in its portrayal of Muslim characters. The heavy emphasis on the concept of Swarajya, along with the lack of subtlety in the dialogues surrounding it, can test the audience’s patience.

Final take

To sum it up Chhaava works as a big-screen spectacle, especially for fans of Vicky Kaushal and those who like stories of brave Maratha warriors.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/chhaava-movie-review/

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Deva: A competent investigative drama bolstered by an engaging second half

This Rosshan Andrrews directorial is inspired from the director’s own Mumbai Police but with a different touch. ‘Deva’ often plays to the gallery celebrating the rakish ways of its titular character; thankfully though the movie also critiques the inner workings of the police system
Deva (Hindi), 30-01-2025, Action, Thriller, 2 hours 36 minutes, U/A, Theatre
  • Main Cast: Shahid Kapoor, Pooja Hegde, Pavail Gulati, and Kubra Sait
  • Director: Rosshan Andrrews
  • Producer: Siddharth Roy Kapur
  • Music Director: Vishal Mishra
  • Cinematography: Amit Roy
  • Rating: 3/5

Right since the first teaser of Deva, there has been a lot of speculation on it being a remake of Rosshan Andrrews’s own Mumbai Police (2013).

Shahid and the rest of the team have reiterated that Deva isn’t Mumbai Police but after seeing the film it’s clear that Roshaan Andrrews has taken inspiration from his own movie.

Thankfully though, Deva has its own unique flavour, unlike the Kalees-directed Baby John, which had plenty of South drama.

Synopsis

For those who haven’t seen Mumbai Police, Deva focuses on inspector Dev Ambre (Shahid Kapoor). He is very arrogant along with being hot-headed.

Dev Ambre has zero tolerance for rules while carrying out his police duties within the boundaries of what he considers right. At the same time, he is seen sharing a solid brotherhood with ACP Rohan D’ Silva ( an impactful Pavail Gulati).

Pravesh Rana plays a senior officer and the boss of Dev called Farhan. Farhan often gets angry with Dev’s ways of doing his duty but still stands with him.

Pooja Hegde plays a crime journalist called Diya, she is the daughter of a constable. Dev and Diya eventually fall in love but Dev’s life takes a very dramatic turn when Rohan is shot by a mysterious killer while he is being felicitated.

This is the story in brief.

Strong and weak aspects

The beginning portions of Deva are mostly a series of sequences celebrating his machismo. Shades of Shahid Kapoor’s blockbuster and very polarizing Kabir Singh can be found in numerous instances.

But the movie picks up pace after the tragic death of Rohan. There are constant twists and turns with intricate subplots.

The interval bang showcasing the serious accident of Dev, resulting in a memory loss is a major high point as the viewers, particularly those who haven’t seen Mumbai Police would be tensed about the killer’s identity.

Deva is an action thriller

In the second half, the viewers see Shahid’s persona changing as Dev grapples with what he was once while handling an important task at hand.

There is a distinct mellowness in the way he goes about things, but at the same time, there is a quiet determination too. This has come out brilliantly in both the writing done by many like Abbas Dalal and Hussain Dalal, coupled with Shahid Kapoor’s acting performance.

Mention must also be made of the dialogues where the court criticizes Deva’s hooligan ways strictly warning him that police are not meant to behave like rowdies terrorising people.

A major problem with Deva is its women characters and a haphazard love story. Pooja Hegde as Divya looks gorgeous as always playing the honest crime journalist competently but the way her track has been integrated leaves a lot to be desired.

Kubbra Sait as a women cop doesn’t add much to the proceedings either. The character of Kubbra Sait could have added a different dimension given that we mostly see men as police officers. But she becomes more of an add-on, not serving much purpose.

Shahid’s show all the way

There is an important plot twist in the pre-climax. Many details of which cannot be revealed here but this portion gives an emotional subtext into the hyper-aggressive nature of Deva in the first half.

Shahid Kapoor in Deva
Shahid Kapoor in ‘Deva’. (x)

Shahid brings in a raw intensity brilliantly capturing the emotional turmoil of a man carrying the burden of his father’s criminal past.

The revelation of who is the killer and the motivations behind it will definitely shock the viewers. The brotherhood between Pavail Gulati and Shahid Kapoor has also come out well.

Pavail Gulati brings in an emotional depth proving to be the perfect anthesis to Shahid’s Deva. Pravesh Rana also lends solid support as the senior inspector; he brings both authority and warmth to the part.

Mumbai, an integral part

The use of Mumbai’s rustic surroundings brings in an extra layer. The city with its many layers becomes a character in itself, the cinematography of Amith Ray is simply brilliant.

A particular mention must also be made of how he captures the action sequences designed by Parvaz Sheikh and Abbas Ali Moghul among others.

The songs don’t make much of an impression except for “Bhasad Macha”, the combination of Shahid Kapoor’s electric dance moves along with the raw energy packs in a major punch. However, Jakes Bejoy’s background score is of the highest order elevating the intense scenes.

Final take

To sum it up Deva thankfully doesn’t completely glorify the cops, something which we have seen a lot in mainstream cinema. At the same time, a much better first half would make this investigative drama a more wholesome experience.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/deva-movie-review/

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Sky Force : A competent and refreshing war drama avoiding the usual bombastic-ness

‘Sky Force’ directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.
Sky Force (Hindi), 24-01-2025, Action, Drama, 2 hours 30 minutes, U/A, Theatre
  • Main Cast: Akshay Kumar, Veer Pahariya, Sharad Kelkar, Sara Ali Khan, and Nimrat Kaur
  • Director: Sandeep Kelwani and Abhishek Anil Kapur
  • Producer: Dinesh Vijan, Jyothi Desphande
  • Music Director: Tanishk Bagchi
  • Cinematography: Santhana Krishnan Ravichandran
  • Rating: 3/5

Subjects involving our beloved neighbour Pakistan have been one of Bollywood’s pet themes over many years, whether it is the likes of Kabir Khan’s Bajrangi Bhaijaan (2015) or Aditya Dhar’s Uri (2019).

The love and hate-relationship between India and Pakistan has been the emotional fodder for numerous movies. When it comes to war movies portraying Pakistan there has been an increasing trend of playing to the gallery with zero nuances, of course, exceptions are also there like the Meghana Gulzar-directed Raazi (2018), a movie which looked at the human cost of war.

Synopsis

Sky Force directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.

In this very successful mission, the rebellious squadron leader TK Tabby (a promising Veer Pahariya) goes missing. He has a major disregard for protocols, which leads to him flying solo into the enemy territory during a sky-force mission.

TK Tabby goes missing and the higher authorities in the military have zero interest in knowing his whereabouts given his rebellious nature. It is left to Akshay Kumar’s KO Tiger Ahuja to uncover the mystery.

KO Ahuja is both a wing commander and also a fatherly figure to Tabby. The movie follows KO Ahuja’s relentless quest.

Sharad Kelkar in an extended special appearance plays Pakistani squadron leader Ahmed Hussain. He turns out to be a major link for Tiger Ahuja in unravelling the mystery.

What works and what doesn’t 

There is no denying that Sky Force has a bumpy start. The initial sequences of camaraderie and the air training portions have a distinct hangover from Siddarth Anand’s Fighter a movie which also featured many air combat sequences.

But the movie soon settles down as the intensity of the 1965 War takes centre stage.

The movie also taps into the bureaucratic frustrations and political red tape. These issues are briefly touched upon effectively. The pre-interval sequence leading to the successful airstrike and then the subsequent disappearance of Tabby is wonderfully staged thoroughly involving the viewers.

The second half focuses on KO Ahuja’s relentless quest and from here on the movie engages the viewers emotionally.

How KO Ahuja finds the first lead thanks to Ahmed Hussain and his determination to uncover bringing closure and also justice to Sarah Ali Khan’s Geeta Vijaya —Tabby’s wife packs in an emotional punch.

The ultimate revelation and how Tabby gets his much-deserved due for his bravery has both been wonderfully written and enacted.

Dynamics between the leads

A major plus for the movie apart from the strong emotional resonance, are the dynamics between Tabby and KO Ahuja.

The on-screen camaraderie between the two characters has been wonderfully established. KO Ahuja sees his lost son in Tabby— there is visible warmth in the light-hearted scenes.

KO Ahuja is a father-like figure to Tabby, someone he respects deeply. Ahuja treats Tabby with warmth but maintains an authoritative stance. In one scene, Tabby is kept on standby and not allowed to take part in any action. When Tabby asks for an explanation, saying he has always looked up to Ahuja as a father, Ahuja responds firmly, “I don’t owe you any explanations.”

Sky Force is also refreshing in the sense that there are no in-your-face celebrations after India defeats Pakistan, no over-the-top dialogues looking down at Pakistan.

The animosity between the two nations isn’t going to last forever. There is a mutual sense of respect for men in uniform in both India and Pakistan. The scenes featuring Sharad Kelker as the Pakistani squadron leader is a very good example of this.

Technical aspects and performances

The action sequences designed by Parvez Shaikh and Craig MacRae are a delight to watch particularly for fans of air combat sequences.

Santhana Krishnan Ravichandrana’s cinematography is also stunning. He perfectly captures the intense action like an action-packed sequence between Veer Pahariya and Sharad Kelkar.

Tanishk Bagchi’s music is of a good standard barring one rather unnecessary party number. Among his compositions, the standout number not surprisingly goes to B Praak’s “O Maaye Teri Mitti Bulaye”. The composition along with B Praak’s soulful voice will move the audiences.

Talking about the main leads Akshay Kumar as KO Ahuja plays a senior officer and a concerned mentor with absolute finesse. He brings in a lot of gravitas making the viewers root for his character.

Veer Pahariya makes a confident debut; he plays the determined soldier with conviction effortlessly embodying a rebellious nature. Sharad Kelkar also leaves a significant impact in his brief role with a restraint act.

Nimrat Kaur and Sara Ali Khan play the typical army men-wife characters. They are good in their limited portions but the characterizations of both leave a lot to be desired.

Final take

To sum it up Sky Force is worth boarding on despite a familiar territory.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/sky-force-movie-review/

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Emergency review: A competent political drama about the consequences of unchecked power

Setting aside the controversies, ‘Emergency’ offers a fairly balanced portrayal of the life and times of Indira Gandhi.

Emergency (Hindi), 17-01-2025, Historical drama , 2 hours 27 minutes, U/A, Theatre
  • Main Cast: Kangana Ranaut, Anupam Kher, Shreyas Talpade, and Mahima Chaudhry
  • Director: Kangana Ranaut
  • Producer: Kangana Ranaut
  • Music Director: GV Prakash Kumar
  • Cinematography: Tetsuo Nagatas
  • Rating: 3/5

The recent political movies from Bollywood have often bordered on being both tacky and amateurish. They often end up glorifying the current ruling party while showcasing the Opposition Congress as either fools or extreme villains.

With Kangana being a BJP MP, her political ideology is well-known. Emergency directed and written by Kangana has had a long battle before its eventual release.

The censor board had asked for numerous cuts. Recently even the Sikh organizations wanted a ban on it.

Synopsis

Setting aside the controversies, Emergency offers a fairly balanced portrayal of the life and times of Indira Gandhi.

Kangana Ranaut presents the controversial prime minister sometimes as a villain who got blinded by her son’s love doing terrible things. At the same time, the movie showcases the emotional turmoil that Indira went through, we see her getting haunted by her image in Shakespearean style.

Emergency begins with glimpses of Indira’s childhood; the story spans her tumultuous journey till the end highlighting the various trials and tribulations like her complex relationships with her father and the first Prime Minister Jawaharlal Nehru, as well as her husband Feroze Gandhi.

Portrayal of Emergency

On the sets of Emergency
On the sets of ‘Emergency’. (Supplied)

The best part of the Kangana directorial is undoubtedly the portrayal of events leading up to the extremely harrowing period of emergency.

Kangana showcases the very dangerous consequences of unchecked power. Political leaders are locked up and all the dissenters of Indira Gandhi are simply labelled as “anti-national”.

The media, especially the newspapers, supposed to represent the voice of the common man also suffered badly due to Indira Gandhi’s dictatorial ways. The discerning audience can definitely draw a parallel to today’s environment.

In the present times, anyone who raises their voice against Hindutva and BJP is labelled as anti-national and often put in prison for expressing their opinions.

Of course, Kangana wouldn’t have designed these portions keeping this aspect in mind, still, for those who can look beyond the obvious the parallels are very apparent.

Best moments

The dynamics between Indira and Sanjay also give the movie some of its best moments. Indira has a very soft corner for her son often overlooking his bratish ways. This unabashed love for the son makes her blind towards his deviousness.

Kangana Ranaut in Emergency
Kangana Ranaut in ‘Emergency’. (X)

The movie portrays Sanjay Gandhi as the major force behind the excessive brutality of the emergency. He was always confident about having his mother’s support. However, this changes when Indira develops a conscience deciding to take things under her control.

There is a hugely poignant moment after the death of Sanjay Gandhi. Many common people are seen celebrating the death of this spoilt brat linking him to a Raavan. Indira has a major breakdown in the car repenting about the way she has brought up her son.

A major problem with Emergency is its docu-drama feel. At certain points, the movie feels like a rushed narration of the major events in Indira Gandhi’s life.

Indira Gandhi’s return to power and the entire Blue Star operation leading to her being gunned down suffer on the account of an episodic feel.

These parts needed better layering for the viewers to develop a more emotional connection with the protagonist.

Kangana as Indira Gandhi

A poster of the film Emergency
A poster of the film ‘Emergency’. (X)

Kangana Ranaut as Indira Gandhi takes a while to get used to. Her initial speeches in the parliament suffer on account of her squeaky voice however as the movie progresses Kangana Ranaut also becomes better.

The actress particularly shines in the sequences showcasing Indira Gandhi’s emotional turmoil, the scenes where she is haunted by her fate and later expresses remorse have been well portrayed by the actor.

For some, the redemption arc may come across as being calculative to avoid further backlash, still the way these portions have been written and performed is wonderful to watch.

Talking about other actors, Vishak Nair as Sanjay Gandhi is also terrific perfectly portraying the reckless nature of Sanjay. He imbibes Sanjay’s ruthlessness wonderfully making the viewers detest him.

Seniors Anupam Kher and the late Satish Kaushik make their presence amply felt too, as a moral counterpoint to Indira Gandhi. They play Jayaprakash Narayan and Jagjvan Ram respectively.

The dashing Milind Sonam as the famous field Marshal Sam Manekshaw also gives a good account of Manekshaw. Lastly, Shreyas Talpade as Advani also brings a certain authenticity.

Technical aspects

The cinematography of Tuesto Nagata also deserves a special mention. His work particularly in the disturbing emergency is outstanding. Through his lens, Tuesto Nagata does a very fine job of capturing the immense turmoil that the nation had gone through.

The songs come across as more of unwanted guests. The political leaders lip-syncing songs come across as unnecessary; still, “Ae Meri Jaan” sung by the legendary Hariharan makes for a soothing listen and a good watch.

Final take

Keeping aside the rushed storytelling and its docu-drama feel, Emergency makes for a good watch provided you are into political dramas.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/emergency-movie-review/

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Fateh review: Sonu Sood’s directorial debut is a good mix of action and focus on cybercrime

On more than one occasion the movie feels like an extension of the actor’s real life messiah image. The best part of Fateh is how Sonu Sood presents the vast network of cyber crime targetting the lower section of the society which are more gullible.

Fateh (Hindi), 10-01-2025,Action, Drama,2 hours 10 minutes, U/ A, Theatre

  • Main Cast: Sonu Sood, Naseeruddin Shah, Vijay Raaz, and Jacqueline Fernandez
  • Director: Sonu Sood
  • Producer: Sonali Sood and Umesh KR Bhansal
  • Music Director: John Stewart Eduri
  • Cinematography: Vincenzo Condorelli
  • Rating: 3.5/5

Online scamming is a very prevalent issue in today’s times.  A major reason being the rapid growth of technology.

The advent of cell phones and the things related to them have had advantages and disadvantages in equal numbers. Sonu Sood’s directorial Fateh focuses on the huge network of cybercrime which is leading to many deaths and families falling apart.

This topic is presented in the form of a hardcore action movie, with elements of Hollywood action movies and Korean slashers. 

Synopsis

Sonu Sood plays the titular role of Fateh- a former agent who worked as a contract killer for the government.

Now he is leading a quiet life in a place called Monga set in Punjab. However, Fateh is forced to come out of retirement when a girl close to him goes missing.

This girl was trying to unravel some important truths about fake loans and people being harassed to pay back the money with huge interest.

Fateh Singh goes to Delhi to unravel the mystery but the web turns out to be much more complicated than what he had imagined. The main figure behind the dangerous global scam is Raza ( Naseeruddin Shah). Aiding Raza is Vijay Raaz’s Satya Prakash and Dibyendu Bhattacharya’s Nishit Biswas. 

What works and what doesn’t

Fateh is an action thriller
‘Fateh’ is an action thriller. (X)

The best part of Fateh is how Sonu Sood draws the viewers into the extremely dangerous network of cybercrime. How Raza and co make a certain section of people an easy target and how these end up believing these fake loans sends a chill. 

Apart from the fake loans angle the movie also touches upon hacking into other people’s systems and the current trend of deepfake. At one point Sonu Sood’s face is swapped giving the impression that he is the man behind the crimes going on. 

The movie also works because of the fast-paced narration with no unnecessary distractions. The love angle between Jacqueline’s Khushi is understated and more importantly, it has been smartly integrated. Jacqueline’s character is a hacker herself but an ethical one.

She plays an important role in aiding Fateh. In this process, you have some much-needed light moments.

Coming to the flaws, Fateh has a paper-thin story, and as viewers, you can guess where the proceedings are headed after a point. The overdose of blood is also not everyone’s cup of tea, and a section of the audience might feel a certain fatigue, too, given that last year’s Kill also belonged to the same terrain.

Technical aspects

The movie’s cinematography is also of a high standard. Vincenzo Condorelli does a wonderful job of contrasting the brutal violence with an almost serene backdrop. The interesting use of light and shadow is very striking. 

Among the songs, “Ruaa Ruaa Fateh” makes a major impact. This song plays out on more than one occasion giving an emotional depth to the proceedings. 

The action sequences by nature are very brutal; one particular scene feels like an extension of Animal’s explosive pre-interval sequence. Still, the fight sequences are a treat for those who like hard-core action involving a lot of bloodshed. 

Performances

Sonu Sood in Fateh
Sonu Sood in ‘Fateh’. (X)

As Fateh, Sonu Sood does a very fine job balancing the calm exterior with the brute force. His portrayal of a tortured hero both physically and emotionally strikes an emotional chord. What also works as an added advantage is Sonu Sood’s real image where the actor has been much appreciated for great work during the harrowing COVID. 

Jacqueline Fernandez’s presence works as a perfect contrast to Sonu Sood’s smouldering intensity.

Both Vijay Raaz and Naseeruddin Shah don’t have a lot of screen time nevertheless being the exceptional actors they are both make their presence amply felt. Naseerudin Shah brings in a nuanced menace making the viewers dread Raza whenever he comes on screen.

Vijay Raaz as the equally dangerous sidekick brings his own brand of dark humour. Talking about the humour part Sonu Sood’s character has shades of dry humour like the scenes where he offers tea to the villains before knocking them out.

Final take

To sum it up Fateh is a treat for fans of hardcore action and of course the many admirers of Sonu Sood thanks to his recent social work. 

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/fateh-movie-review/