Category: Hindi Movie Reviews

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Laal Singh Chadda: No Forrest Gump But Nevertheless A Worthy Adaptation

Forrest Gump starring Tom Hanks is considered an iconic film and rightly also. The journey of a slow-witted yet a kind-hearted person touched many cords when the film was released in 1994. Forrest Gump is a film which is also remembered for its political overtones. Remaking a film like this is a huge responsibility for any filmmaker. Advait Chandan takes on the mantle of the director here while Aamir reprises the iconic role of Tom Hanks. The Indian adaptation has been done by the acclaimed actor Atul Kulkarni. Atul Kulkarni changes the identity of the protagonist to a Sikh in the Indian version. The story plays out in the form of narration, with Laal Singh Chaddha talking about the various stages of his life to fellow passengers on a train.

Director Advait Chandan and screenplay writer Atul Kulkarni stay mostly true to the fable like quality of the original. Where the screenplay differs from the original is how the character of Kareena Kapoor Khan has been integrated and the love story between her and Laal Singh Chaddha. These changes definitely helped the film. Though there is a heavy dosage of Punjabi dialogues thankfully they don’t irritate much.

Before going further it is necessary to get the biggest comparison out of the way, and that is Tom Hanks versus Aamir Khan. There is no denying that Aamir overdoes the simpleton act. The exaggerated expressions take some time to get used to. At some points he even comes across as a cousin brother of PK. Laal will also remind you of Shahrukh’s Rizwan Khan from My Name Is Khan. However to the credit of Aamir he is still successful in making the audiences connect to the various stages of Laal Singh Chaddha’s life.

The political aspect in Laal Singh Chaddha film isn’t very overt, but you can clearly tell where the heart of the director and its leading man lies. The portions leading up to the Sikh riots are particularly effective. For example there is a scene where Laal’s onscreen mom (Mona Singh) saves her young son from the rioters by shortening his hair so that he won’t be identified as a Sikh. This scene is truly terrifying. Much later on we have a scene where Laal Singh Chaddha is tying a turban with a swelling background score playing.

Advait Chandan also does a wonderful job in creating two well etched female characters in the form of Mona and Kareena. The love story between Aamir and Kareena has been wonderfully etched starting from portions when they were children. You root for Laal and Kareena’s Rupa.  After a long time Kareena is in solid form. The actress imbibes Rupa with lot of sensitivity and compassion. Additionally Kareena is also stunning to look at. Mona Singh is also wonderful as the compassionate mother. She doesn’t miss a single beat and the lessons that she imparts to her son stay with us for a long time.

Naga Chaitanya making his Bollywood debut has a tricky role to play, which he manages to pull off well. He is from Kakinada whose family sells chaddis and banians. His character Balaraju is a fellow mate of Aamir during Laal’s army stint. There is a lot of chaddi and banian talk between the two, which brings a smile on our faces.

Laal Singh Chaddha also makes you travel to many places. The locations are a feast to the eyes, more so if you see it on the big screen. The music by Pritam is also in complete sync with the narrative.

While the first half of Laal Singh Chaddha is seamless, the bumps come in the second half. The track involving Manav Vij playing an enemy turned friend sounds very implausible. Advait does make a comment on how terrorists are misguided but this comes across as more contrived than organic. Also the film gets overdramatic once Aamir meets Kareena after a long gap. Ideally it should have ended with Aamir having a happy ending with Rupa, but in order to stay true to the original the director inserts a cancer track. From then on the film drags painfully. Aamir’s outburst in the pre-climax also doesn’t have the desired emotional affect, the reason being you are already exhausted by the running time. Fifteen minutes of the film could have been easily chopped.

PS: Of late more and more simpleton characters in films are humane and message oriented. Wonder why!!

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Shamshera: The Duo Of Ranbir And Sanjay Dutt Make it Worth A Theater Watch

Karan Malhotra is someone who established himself as a successful mass director with his debut film Agneepath. The film was a remake of the old one by the same name. It was an unabashed masala film with little nuance. But still Agneepath was very much watchable; there were two main reasons for that. One is a certain craft that Karan brought along with the powerful performances led by Hrithik Roshan. Agneepath also gave us two powerful villains in the form of Sanjay Dutt’s Kancha Cheena, and late Rishi Kapoor’s Raut Lala. His next Brothers was also a remake, this time a Hollywood film. Brothers was less successful but still the film had its moments.

His latest Shamshera pretty much treads on the same path. It is a mass masala entertainer that presents Ranbir in a very different light. Earlier also Ranbir has tried his hand at mass genre, case in point being Besharam and Bombay Velvet directed by Abhinav and Anurag Kshyap respectively. Shamshera is a far more successful mass stint than the above mentioned ones. The film isn’t without its share of lapses but there is no denying that it is an absolute big screen experience.

Fictional tribe and city

The movie begins with Ronit Roy’s narration about a fictional lower caste warrior tribe called Khammeeran. This tribe is led by Shamshera (Ranbir Kapoor in a double role as father and son). They are imprisoned in an imaginary city of Kaza. In Kaza they are enslaved and tortured by the ruthless authoritarian general Shuddh Singh (Sanjay Dutt once again in a negative role). After a lot of humiliation Shamshera decides to free his tribe but he only ends up dying. After a leap of 25 years we are introduced to the son Baali who looks exactly like his father.

However, Baali’s inner personality is very different from his father. He likes singing and dancing. This is established wonderfully in the intro song Ji Huzoor. The aim of Baali is to join the security forces working for the British. He is blissfully unaware about the truth behind his father’s painful death.

Soon enough Baali comes to know about how much his tribe has suffered, he takes over the mantle of Shamshera and thus a new fight begins. It is a fight for the freedom of his people and their self respect. Added to this mix you also have Vaani Kapoor playing Baali’s love interest. Her introduction is very similar to what Katrina Kaif had in Thugs of Hindustan. In a way her character can be called as a distant cousin of what Katrina Kaif had played. There is also Saurabh Shukla who is reminiscent of Satyaraj’s Kattappa in the Bahubali films.

The most striking aspect of Shamshera is how it has been staged. The imaginary city of Kaza never feels fake. A major reason for that is the production design by Sumit Basu. It looks intrinsic and detailed. A shout out also has to be given to the cinematographer Anay Goswamy. He does a wonderful job in capturing the terrain of the Nubra Valley, the film has been mostly shot there. The constantly swirling dust has been brilliantly used by the cinematographer.

Music and background score by Mithoon is another high point of the film. The best examples of this are the two distinctively different intro songs for the father and son. The one song which sticks out like a sore thumb is the Vaani Kapoor’s introduction song.

From the first frame it is very clear that Karan Malhotra has banked heavily on the duo of Ranbir Kapoor and Sanjay Dutt, fortunately for the director neither disappoint. Ranbir Kapoor is on point both as the father and son. The characters of Shamshera and Baali give enough scope for Ranbir to showcase his all round capability, and the actor doesn’t disappoint one bit. He holds the film together with his charisma and acting chops even when the script starts wobbling. Ranbir is particularly good when he aces the vulnerable side of the father and the son. As an action hero he never appears out of place.

A terrific villain

Sanjay Dutt makes for a terrific villain. Shuddh Singh is cut from the many villain roles that the actor has been playing of late. But unlike KGF 2 here Sanjay Dutt doesn’t come across as sleepwalking. It is easily the best negative role that the actor has played post Agneepath. The action scenes between Ranbir and Sanjay are a delight to watch. More so given that Ranbir played Sanjay Dutt in the latter’s biopic Sanju.

The biggest flaw of Shamshers is how it treats its secondary characters, starting from Vaani Kapoor’s Sona. In the first half her only job is to do sensual dances. In the second half there are some dramatic moments where she could have shined, but Vaani fails miserably. The love story between Ranbir and Vaani comes across as an unnecessary extra. The actress playing Shamshera’s wife is mostly reduced to a weeping figure.

On the other hand, capable actors like Ronit Roy and Saurabh Shukla are mostly reduced to loyal elderly men, for the father and son respectively, the other members of Shamshera’s tribe don’t fare any better.

Shamshera also suffers from a distinct hangover of Bahubali films and RRR. There is a seen there feeling that the audiences get at many junctures.

The climax is too elongated and by the time Shuddh Singh dies you feel utterly exhausted. Karan Malhotra uses crows as a helping hand very frequently; this plot device doesn’t bring anything substantial to film.

There is a lot to enjoy if you are a fan of Ranbir Kapoor. It is indeed a treat to watch the actor on the big screen after four years. However, an original approach would have made this more worthwhile. Shamshera would have fared better if it had come before Bahubali and RRR.

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Rocketry: Watch It For Madhavan’s Dedication And The Real Life Nambi Narayan

Multitasking as an actor, director and writer isn’t an easy thing to do. Apart from confidence you also need a certain command over these mediums. R Madhavan has not only played the lead role in Rocketry, he is also the director and also one of the writers involved. For those who are not aware the film is based on the real life space scientist Nambi Narayan. Nambi Narayan was accused of being a traitor who sold his country. He had to fight a long court case to disprove it: Narayan suffered both professionally and personally. This is a tough story to execute for any director let alone a newbie. The rawness in Madhavan’s direction is very much visible, but still Rocketry is a heartfelt film which deserves a watch on the big screen. Two things contribute majorly to this. One is the stupendous performance of Madhavan the actor. Secondly Madhavan the director is able to make you connect with the story of Nambi on a personal level. As audiences you celebrate his highs and lows.

The film begins with a stunning long shot that establishes the family of Nambi Narayan. We see the family having a laugh over lunch with no inkling about how their life is going to change forever. We see Nambi getting arrested on espionage charges; the wife played by Simran gets humiliated while attending a wedding. The daughter sits helpless in the middle of the road; dung is there on her face. The son and the son-in-law of Nambi Narayan aren’t spared either. After this we have a flash forward to the elderly Nambi. He is in a conversation with an actor (Shah Rukh Khan) playing himself. The Tamil and the Telugu version have Surya playing the role of the interviewer. Through numerous flashbacks we come to know about Narayan’s hardships. The real life Nambi Narayan also makes an appearance at the end.

 Madhavan’s direction is at its best when it focuses on Narayan being falsely accused and the subsequent trauma that follows. The emotional scenes between Madhavan and Simran are heartbreaking. A scene which deserves a particular mention is when Nambi is finally declared innocent by the court. This happens when they are in a wedding. The breakdown of Nambi and the subsequent events make you cheer for the character. Madhavan and Simran have acted as a couple in a couple of films. The last one being Mani Ratnam’s Amrutha. The comfort level between the two is very much visible. The length of Simran’s role is less but the actress is terrific in the few demanding scenes that she has got.

The custody scenes of Nambi have also been brilliantly executed by the director. He is successful in making you empathize with the plight of Nambi Narayan, at the same time you feel anger towards the police officials for the way they are treating him.

The first half has also got some fine directorial touches. For example there is an episode when a co-worker of Narayan loses his son. Narayan deliberately hides this from this co-worker till the end of the mission. We are not generally shown grey areas in Indian biopics but R Madhavan deserves credit for keeping this episode intact.

Some lighter bits in the first half also make you chuckle. The humor mostly comes from the scientists having fun at the expense of people in different countries they visit.

The first half of the film is mostly technical. Unlike Jagan Shakti’s Mission Mangal Madhavan doesn’t try to simplify the scientific terms. The strive for authenticity is definitely admirable. But at the same time some of the jargon could have been cut down.

Also Madhavan should have put a little more focus on who had wronged Nambi Narayan and the agenda behind his arrest. The answers for these questions aren’t completely answered. Some more focus on this would have further enhanced the writing. The foreign characters with the exception of a couple of English people don’t really register.

As an actor Madhavan just disappears into the role of Nambi Narayan. The nuances and the physical appearance have been brilliantly captured by the actor. In the climax there is a close up shot of the real life Nambi Narayan. The resemblance between the real and the reel Nambi Narayan is so uncanny. It just shows how Madhavan has imbibed the character that he is playing.

Shah Rukh Khan has a charming presence and the way he gets involved in the story of Nambi comes across nicely. Shah Rukh gets his own moment when he apologizes on behalf of the nation for how Nambi Narayan has been treated. The actor does a solid job in this scene.

In the technical department Sirsha Ray deserves a standout for how he has shown the film through his lens. The cinematography perfectly aids the narrative of the film.

Rocketry is a film that deserves to be seen for the sheer hard work of Madhavan and also the real life personality it is based on.

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Jug Jug Jeeyo: A Dramedy That Packs A Punch

In his debut film Good News director Raj Mehta had picked sensitive topics like the complications of IVF along with the difficulty of not being able to conceive. He made sure that the film was accessible to the audiences as he combined entertainment with enough sensitivity. His latest Jug Jug Jeeyo also follows this pattern. In this film the subject is the difficulty of sustaining marriage. Like Good news here too you have two couples, one senior couple and other younger. Another similarity is the Punjabi background. Jug Jug Jeeyo had its share of lapses but it is a dramedy that keeps you involved till the end.

The story of Jug Jug Jeeyo is about two couples. The first one is Bheem and Gita (Anil Kapoor and Neetu Kapoor). They have been married for thirty five years. The other couple is Kukoo and Naina (Varun Dhawan and Kiara Advani). They have been married for five years. Naina and Kukoo had met in fifth grade. In the opening scene you have junior Kukoo screaming at a boy who speaks to Naina because of his possessiveness.  Through a song we get to know their love story and how that leads to marriage. Manish Paul plays Naina’s brother. After the song we move to Canada where the marriage of Kukoo and Naina is falling apart, they decide to separate but before that there is the marriage of Kukoo’s sister Ginny. Kukoo and Naina decide to reveal the news of divorce after marriage but there is a huge shock waiting for Kukoo. The shock is his father is also on the verge of divorce. Bheem is deeply attracted to Kukoo’s Maths teacher played by Tisca Chopra. Bheem is planning to divorce Geeta after the wedding. What follows is a roller coaster that makes you feel various emotions.

The best part of Jug Jug Jeeyo is undoubtedly Anil Kapoor’s Bheem. Bheem is a difficult person to like. He has an extramarital affair, does drama at the top of a hat and tells lies to get out of situations. However Anil Kapoor makes the character work with his brilliant performance. He is too good in both the emotional and also the lighter bits. A scene which deserves a particular mention is when Bheem first tells his son about wanting to have a divorce to the shocked Kukoo. Right after saying that his body language changes, until then he is cheerful but suddenly he goes silent and goes away from there. In the comic bits the actor just leaves you in splits, for example there is a scene In the middle of the road where he cooks up a story about himself rejecting Tisca Chopra’s character where in actuality she has rejected him. Raj Mehta deserves credit for not giving a happy ending to Anil and Neetu’s characters. He makes the wise decision of keeping it open ended. He also deserves credit for not making Neetu come across as loud in spite of playing a Punjabi mother.

Varun Dhawan as Kukoo also stands his own. He is first rate in the scenes showing Kukoo’s insecurities and selfishness. His scenes with Anil are very good to watch. A scene which deserves a particular mention is when Anil Kapoor introduces him to Tisca Chopra in a near empty hall playing Kalank.

The female characters don’t get the same attention as the male counterparts but both Neetu Kapoor and Kiara Advani are immensely watchable. Neetu Kapoor exudes certain warmth in her comeback. Neetu excels big time in the scene where she bares her heart out to Kiara’s Naina. In that scene Geeta opens up about her marriage, and how in the first few days of marriage itself, she wondered whether Bheem is the right person for her. But this scene would have worked better if the director had given an insight into the early days of their marriage.

Manish Paul’s character is mostly one note. Manish does a fair job but he ends up being a mere sidekick.

The Punjabi background plays a spoilsport here. The swelling background score coupled with the typical Punjabi tropes will irritate you. You wish that Tisca Chopra’s character was more developed instead of being just the other woman.

Jug Jug Jeeyo is a wholesome film with the right mix of comedy and seriousness, definitely worth a watch.

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Bhool Bhulaiyaa 2: A Wholesome Commercial Entertainer

Priyadarshan’s Bhool Bhulaiyaa was a remake of the Tamil film Chandramukhi which starred Rajinikanth and Jyotika. Chandramukhi itself was a remake of the Malayalam film Manichitrathazhu. Bhool Bhulaiyaa wasn’t as good as Chandramukhi but it was still highly watchable thanks to the comic timing of Akshay Kumar and also the performance of Vidya Balan in the post interval portions. It was also the time when Priyadarshan was in good form. Bhool Bhulaiyaa was a psychological thriller with ample doses of comedy.

Anees Bazmee’s Bhool Bhulaiyaa 2 is an extension of that universe. This one plays out like a horror comedy, a genre which has brought good box office numbers. Karthik Aryan steps into the shoes of Akshay Kumar, Tabu on the other hand steps into the shoes of Vidya Balan. Tabu plays a double role in this one. The only cast member who is common between both the films is Rajpal Yadav. He returns back as Chota Pandit. Bhool Bhulaiyaa 2 is one of those wholesome entertainers that have something for everyone.

Strangers Ruhan Randhawa (Karthik Aryan) and Reet Thakur (Kiara Advani) meet at a hill station. Just like most Bollywood love stories there is an instant connection followed by a song and dance sequence. Things take a turn when Ruhan and Reet land up in an abandoned haveli where the spirit of Manjulika is believed to held captive for 18 years. Ruhan turns into Rooh Baba in no time and convinces people that he can talk to ghosts. Things are going well for Ruhan, but he invites self trouble when he accidently unleashes the spirit that has been locked for 18 years. The rest of the story is about why the spirit of Manjulika is so angry and will Rooh baba be able to handle the situation. The back story of Manjulika and the connection of the twin sisters form an integral part of the second half.

The best thing about Bhool Bhulaiyaa 2 is how the director combines the elements of horror and comedy. The scares aren’t particularly new but still they do spoke you. The scenes of Karthik Aryan as Rooh Baba are an absolute laugh riot. His interactions with the family of Kiara Advani bring the house down. The subplot of Rajpal Yadav, Sanjay Mishra and Ashwini Kaleskar also raise some chuckles, even if the nature of the humor is somewhat questionable. The dialogues by Aakash Kaushik deserve praise for the way punch lines have been written.

Karthik Aryan gets ample scope to display his comic timing and the actor doesn’t disappoint one bit. Karthik is also very impressive in pre-climax scene where you have a big reveal.

Another thing that Anees Bazmee gets right is the track of twin sisters. After Karthik Aryan, Tabu has the meatiest role among the rest. She serves as the catalyst of the plot. The parts of the twin sister are as different as chalk and cheese. Tabu effortlessly switches between Anjulika and Manjulika. She gets her big moment in the climax and as usual Tabu kills it with her performance. The big twist here is quite satisfying as you don’t really see it coming. Special mention must also be given to the makeup of Tabu in the flashback portions. Tabu looks effortlessly young. Performances wise it is Karthik Aryan and Tabu who shoulder the film on their shoulders.

There are two areas where the film falters. One is the romance between Karthik and Kiara. There is a lot of flirting and also one kiss. But the chemistry is nowhere visible. In fact the romantic portions come across as speed breakers. The songs of Bhool Bhulaiyaa 2 are another major sore point. The only song that makes any impression is the reworked version of Hare Ram from the original. Karthik’s dance moves in that are quite fluid.

In a nutshell, Bhool Bhulaiyaa 2 is a wholesome entertainer that is going to keep its target audiences engaged. It is a film which is sure to break the dry run that Bollywood has been having since the success of Gangubai and Kashmir Files.

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Jayeshbhai Jordaar: A Social Comedy With An Overwhelming Sense Of Familiarity

Divyang Thakkar’s Jayeshbhai Jordaar is what you get if you grind Ayushmann Khurrana’s formula of social films and also some Akshay Kumar ones like Toilet Ek Prem Katha.

The director takes up the issues of female infanticide and superstitions among others, he narrates it through the lens of entertainment. Even when the film moves into a dark zone the narrative style doesn’t lose its core.

Jayeshbhai Jordaar is definitely a breadth of fresh air among the spate of biggies like RRR and KGF 2. However you just wish that the director had paid more focus on the development of some characters, case in point being Shalini Pandey’s Mudra. It looks like the actress had hopped from the sets of Arjun Reddy to this one. Shalini tries very hard but the mostly one- dimensional character coupled with the forced Gujarati accent makes it hard to sympathize with her.

Ranveer Singh and Shalini Pandey play a young couple living under the thumb of the overbearing elders. They have to bow down to whatever the elders say, and this includes a sex determination test too. Jayeshbai’s father is sarpanch Ram Lal (Boman Irani). His character is very reminiscent of those politicians who think that woman wearing short clothes leads to rape. There is a bizarre scene where Ram Lal bans soap to protect the ladies. Siddhi (Jia Vaidhya) is the daughter of Jayesh and Mudra. Ratna Patak Shah plays Boman Irani’s wife. Both Ram Lal and his wife want Mudra to deliver a boy who will carry forward the lineage. There is also a subplot involving a village in Haryana. The people in that village want help as it is an all- men’s village. The sex-ratio is terribly skewed. The rest of the story plays out like a road movie with Jayeshbhai desperately trying to save his wife. The daughter Siddhi is Jayeshbhai’s biggest support.

https://www.youtube.com/embed/fppJtxJ7RWY?feature=oembed The best part of Jayeshbhai Jordaaar is how the director maintains the character of Jayesh. Jayesh is a timid person who cannot oppose his father publicly, but he still stands up for his wife on many occasions making sure that she doesn’t get hurt. There is a scene early on when Jayesh is asked to beat his wife by Ram Lal. The reason being Jayesh’s sister is being abused in her martial home. Mudra’s brother is the husband of Jayesh’s sister. Jayesh closes the door and creates a charade that makes Ram Lal and his wife think that he is beating Mudra severely.

Jayeshbhai is someone who relies on his brains and not fists. At no point Ranveer turns into a Salman Khan of the Tiger series.

Ranveer’s scenes with Jia Vaidhya are the soul of Jayeshbhai Jordaar. Ranveer shares a far better chemistry with Jia than he does with Shalini Pandey. There are occasions where Siddhi behaves more like an adult but it still works. Jia Vaidhya is a definite a fire cracker in her role.

The sub plot involving the Haryana village is also smartly integrated into the narrative. The comic scenes are also quite good. A particular mention must be made of the scene involving the black cat. It is hilarious.

Ranveer Singh has always been one of those actors who brings something new to the table.

As Jayeshbhai the actor delivers another terrific act. His role here is a far cry from the flamboyant Ram that he played in Ram Leela, that was the last time that Ranveer had played a Gujarati.

One big minus of Jayeshbhai is that a majority of the supporting actors are mere gap fillers. Even someone like Ratna Pathak Shah doesn’t get much to do. There is a transformation which happens toward the end, however it is too sketchily written for you to buy it.

Boman Irani is appropriately menacing but the one note characterization gets tiring after a point. His character also gets a makeover eventually, but again it is difficult to buy it.
The hangover of films like Toilet Ek Prem Katha and others are very visible. As a result there is a sense of déjà vu that creeps in.

Musically there is not even one song that you would remember which is sad given that banners like YRF and Dharma are known to deliver popular soundtracks irrespective of the quality of the films. Jayeshbhai Jordaar has an important story to tell but a sense of familiarity plays the spoilsport here.

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83: Expectations Have Come True

Directed by Kabir Khan, starring Ranveer Singh as Kapil Dev, it is bound to be talked about for a long long time. Other prominent cast includes Saqib Saleem as Mohinder Amarnath, Tahir Raj Bhasin as Sunil Gavaskar, Jatin Sarna as the late Yashapal Sharma, Tamil actor Jiva as Krishnamachari Srikanth and Pankaj Tripati as tour manger Man Singh among others. There is also Deepika Padukone who shows up as Kapil Dev’s wife Romi. The victory of 83 was not just about winning the world cup,  it wasmuch more than that. It was about respect and being taken seriously by the cricketing world. There is a dialogue in the film where Pankaj Tripati’s character says that India has won freedom but is still far from gaining respect. 83 world cup win did exactly that. Except for Kapil Dev no one thought that India would go the distance that it did. There were constant humiliations and many obstacles but one man’s desire transformed the entire team.

Not an easy film to make

It is not an easy film to make as a director for two reasons. One, you should be able to transport the audiences back to that era and two, you need to make sure that today’s generation connects with the journey of the then cricket team. Kabir Khan more than lives up to the expectations, he makes a rousing drama with the right dose of lightness and also some moving emotional scenes. The biggest success of Kabir Khan lies in the fact that he never reduces it to a one man show. Yes, Ranveer Singh is the heart of the film but all the cast members have their moments at different junctures of the film. A good example of that is the scene featuring Jiva. He delivers a moving monologue where he praises his captain in front of a British journalist much to the surprise of Kapil himself. It is something that you don’t see coming. Like this there are many scenes at different points in the film. Much like Bajirangi Bhaijaan here also Kabir Khan explores the idea of love triumphing over hate. Here the medium is cricket. This can be seen in the scene where all villagers along with police watch the final match together in an atmosphere of communal tension.

Recreation of action-packed event

The story of 83 is basically a recreation of what transpired between 1st march and June 25th. Director Kabir Khan along with writers Sumit Arora and Vasan Bala take us through the highs and the lows of this incredible real life story. We see India starting off with a bang as they beat West Indies and Zimbabwe but they start faltering in the next couple of games. A point comes where they are completely down and out. At this stage you have the famous innings of Kapil Dev. His score of 175 gave a huge boost to the team, it gave them the self-confidence that they can go far in the world cup. From that point a new Indian cricket team emerges.

Aseem Mishra, one of the strong points

One of the big strengths of 83 is the cinematography of Aseem Mishra. Through his camera lens Aseem Mishra successfully captures the tension of the matches. His cinematography particularly shines in the scenes involving the aggressive bowling of West Indies. The slow motion camera shots are wonderfully done.

Another striking aspect of 83 is the way Kabir Khan maintains the tempo of the film. He makes sure that you are constantly involved till the last minute. As viewers we know that India has won the 83 world cup but that doesn’t stop you from cheering out loud when that moment comes. A major reason for that is Kabir Khan’s direction.


Emotional moments

83 has plenty of moments that are both humorous and also highly emotional. There are lot of fun moments involving the characters of Yashpal Sharma, Krishnamachari Srikanth, Balwinder Sandhu and Man Singh. At the same time the emotional scenes also pack a solid punch. Apart from Jiva’s monologue my other favorite emotional scene is the one involving real Lala Amarnath and his on screen son Mohinder Amarnath. There is a telephonic conversation where Lala Amarnath says to his on screen son that he has made him younger by ten years. What follows will create a lump in your throat. Additionally there is also the footage of the real life players which is smartly used by Kabir Khan.

The music by Pritam is more functional but it still works in the context of the film. The song Lehra Do in particular gives goosebumps.

Cast made the difference

The cast put together by Kabir Khan takes the film to another level. Over the years, Ranveer has shown that he can transform into any character. With his performance as Kapil Dev he shows that he has reached another level. He manages to capture the attitude of Kapil Dev perfectly along with the physical aspect. There is a scene in the press conference where Kapil Dev says that we are here to win, the way Ranveer says it is a perfect example of how he has imbibed the spirit of Kapil Dev. His acting in the emotional scenes also deserves full marks. In short, he deserves all the best actor awards for next year. Pankaj Tripati is also hugely impressive in his role of Man Singh. He and Ranveer share some of the best moments in the film. Among the rest my favorites are Saqib Saleem, Jiva, Jatin Sarna and Tahir Raj Bhasin.

Deepika Padukone has a small role but she is efficient in what she does. It is also a case of clever casting as you already have a shared camaraderie off screen.

In the final tally 83 is a roll coaster of emotions. Yes, it is manipulative but you don’t complain as Kabir Khan gives you plenty of moments to savor. It is the perfect big ticket entertainer to end the year.

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Antim: More Than Just Another Salman Khan Film

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

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

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

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

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

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

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

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

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

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

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Sooryavansi: Bollywood Finally Gets Its Big Ticket Entertainer

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

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

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

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

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

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

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

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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.