Category: Hindi Movie Reviews

Posted on

Dhadak 2: A visceral tale of caste horrors and rebellion

Tripti Dimri and Siddhanth Chaturvedi from Dhadak 2. Both deliver exceptional performances

Though a remake of Pariyerum Perumal Shazia Iqbal’s Dhadak 2 is a timely tale of how caste plays out in modern times. This spiritual sequel is far more bold than the first part taking a strong stand on thorny issues. The transformation of Siddhanth Chaturvedi’s Neelesh from a timid young Dalit man to fighting for his self respect is the best part of the movie. Mention must also be made of the feministic lens through which Tripti’s Vidhi is portrayed.

Starcast: Siddhanth Chaturvedi, Tripti Dimri, Saurabh Sachdeva, Zakir Hussain, Vipin Sharma and others

Genre: Romantic drama

Director and writer: Shazia Iqbal

Additional writer: Rahul Badwelkar

Based on: Pariyerum Perumal (Mari Selvraj)

Producers: Karan Johar, Apoorva Mehta, Somen Mishra and others

Production Companies: Zee Studios, Dharma Productions and Cloud 9 Pics

Music: Rochak Kohli, Tanishk Bagchi etc

Cinematography: Sylvester Fonseca

Running time: 2 hours and 26 minutes

Dhadak 2 begins with a powerful and necessary quote for today’s times. “When injustice becomes law, resistance becomes duty.” this isn’t just a throwaway quote used for surface level but the core message of Dhadak 2. Through the tale of star crossed lovers Shazia Iqbal along with her co writer Rahul Badwelkar deliver a highly charged political reinterpretation of Pariyerum Perumal. Of course Dhadak 2 comes with a dash of mainstream Bollywood too in terms of the protagonists rebellion, nevertheless this is an important film and Kudos to Karan Johar for backing a movie like this which is not afraid to wear its politics on sleeves.

For those who haven’t seen the Mari Selvaraj directorial Dhadak 2 primarily focuses on the journey of Neelesh Ahirwar (Siddhanth Chaturvedi) he is a law student from an oppressed caste, Neelesh has big dreams and is very clear about steering away from campus politics and anything to to do with activism. Tripti Dimri is Vidhi an upper caste girl with a mind of her own and doesn’t shy away from asking uncomfortable questions. Soon friendship blossoms between the two with Vidhi becoming Neelesh’s confidante, she helps him a lot in his studies explaining things which he doesn’t understand. For Vidhi the struggles of Neelesh opens up a whole new understanding of the society. Soon love happens but a humiliating incident puts a major speed breaker. This is the story in brief.

The best part of Dhadak 2 is how Shazia Iqbal has retained the essence of the Tamil original with some additional elements. This specifically comes out in the character of Vidhi who has more agency than the one played by Anandhi. The film strongly critiques the idea of a so called family honor being attached to a woman’s behavior. On the surface Vidhi’s family may come across as modern but in actuality they are anything but that. A standout moment in Dhadak 2 is Tripti Dimri’s high voltage clash with her truly despicable brother Roonie (Saad Bilgrami). The way she tears into his patriarchal mindset gives goosebumps.

Mention must also be made of how the film tackles casteism head on whether it is Vidhi’s father leaving out Neelesh’s surname when she invites him for the sister’s wedding or the very disturbing moment of Neelesh being smeared with sludge just because he asserts his individuality. These scenes are packed with the required rawness.

Shazia Iqbal and Rahul Badwelkar also do a good job in touching upon the theme of reservation. The taunts faced by the lower castes mirrors numerous real life situations. There is an important dialogue in the movie where a character talks on how reservation came because of casteism and not the other way around. This small but important track also adds to the caste discrimination and violence faced by Neelesh.

The character arc of Neelesh has also been done well. His steady evolution from timid to more assertive happens gradually and not overnight. The pre climax portion where Neelesh chases Ronnie to his home and pours out his anguish is a treat to watch, it moves the viewers making them root for Neelesh and Vidhi to have a happy ending. Siddhanth Chaturvedi does a very fine job in bringing out the vulnerability of a Dalit man with a dream of better future. The actor specifically shines in the portions of rage using his eyes and overall body language to great effect. Tripti Dimri also makes a strong impact with her powerful performance. After a series of glamorous roles the young actress is back doing what she is best known for. Towards the end there is a scene where Vidhi lets out an animal like cry after an important revelation and Tripti absolutely aces it. Yes the ending may across as too mainstream Bollywood for the purists nevertheless it leaves the audiences on a high.

The supporting cast is also solid but the ones who stand out are Zakir Hussain and Saurabh Sachdeva. As the college principal Zakir Hussain lends a lot of warmth to his part. His conversation with Neelesh while opening up about his caste background and how he endured several taunts on his way in becoming a principal is very poignant. The portion ends with a motivational message giving further impetus to Neelesh’s fight. Saurabh Sachdeva as the self-appointed moral guardian is chilling too. His part is similar to the role of Bobby Deol’s equally chilling hit man in Love Hostel; both believe that they are doing some great social service. Saurabh Sachdeva does a very fine job in imbibing the character’s attitude and the way he meets his end is poetic justice done right.

The songs of Dhadak 2 don’t match up to Dhadak 1 nevertheless the compositions are soulful. Among the tunes Bas Ek Dhadak, Preet Re and Duniya Alag are good.

Posted on

Saiyaara : An intense romantic drama with boyfriend goals

Ahaan Pandey and Aneet Padda from Saiyaara. Both of them are rock solid in demanding roles

The core plot point of Saiyaara doesn’t make any pretense of being new, in fact it’s a classic Vishesh Films territory with a YRF soul. However, what makes the film click is the emotional core involving the two leads. The soulful music by various composers and its integration is also wonderfully done. Both Ahaan and Aneet get the tone of their characters perfectly, the close-up shots in particular where they have to emote just through body language is simply brilliant.

Starcast: Ahaan Panday, Aneet Padda, Geeta Agarwal, Rajesh Kumar, Varun Badola and others

Genre: Romantic drama

Director: Mohit Suri

Writers: Rohan Shankar and Sankalp Sadanah

Producer: Akshay Widhani

Production house: Yash Raj Films

Music: Mithoon, Tanishk Bagchi, Sachet Parampara etc

Cinematography: Vikas Sivaraman

Running time: 2 hours and 35 minutes

Mohit Suri’s Saiyaara has had a fantastic prerelease buzz transforming into very good openings, additionally the movie has also struck a chord with numerous audiences something which even some of the big films have failed to do. On paper Saiyaara is a romantic drama harping back to the times of Rockstar and Mohit’s own Aashiqui 2. It’s about passionate love bordering on madness. However, the film still works because it’s a familiar tale well told.

The broad storyline of Saayiara focuses on two individuals Krish Kapoor (Ahaan Panday in his debut) and Vaani (Aneet Padda in her first major role). Krish Kapoor is talented, but a hot-headed musician, his hot headedness and angst is established early on where he gets into a brawl, it’s related to the heated topic of nepotism. A big reason for Krish Kapoor’s angst is the alcoholic father played by Varun Badola. Vaani on the other hand has a way with words but suffers from confidence problems., she carries a major emotional baggage. This is due to her ex-boyfriend, he had ditched her at the last moment of a register marriage. The two meet by chance leading to a tumultuous romantic journey, two broken souls healing each other and a medical condition threatening to destroy their happily ever after.

The best part of Saiyaara is how Mohit Suri along his writers build up the love story. How Krish and Vaani find solace changing each other’s lives has been well depicted. A specific mention must be made of the portion where Krish Kapoor talks about his desire for fame and not wanting to die in poverty. The subsequent scene involving Varun Badola and Vaani also opening up about her emotional baggage leading to a fresh start moves the viewers. The pre interval block with a major revelation also doesn’t feel jarring because there is enough foreshadowing.

In the second half the viewers see a different side of Krish. A devoted boyfriend who puts his love above the desire for fame, he gives major boyfriend goals much like Ranveer Singh in Rocky Aur Rani Ki Prem Kahani. The romantic moments are heartwarming also aided by the striking chemistry between the two leads. Yes, some parts of the second half like the return of Vaani’s ex-boyfriend and the scenes between them do act as a speed breaker but as viewers you are still invested in the proceedings.

The music composed by Mithoon, Tanishk Bagchi and others also lift the movie. Specific mention must be made of the title track sung by Faheem Abdullah. It’s an absolute earworm both singing and composition wise. The song comes at the right juncture and is also aided by Ahaan Pandey’s performance.

Mention must also be made of how the movie dwells into digital journalism and the culture of instant gratification songs. There is an important dialogue where Vaani talks about the songs that have endured the test of time and how these were created.

It goes without saying that Ahaan Panday and Aneet Padda successfully carry the movie on their shoulders. Ahaan Pandey seamlessly captures the different shades of Krish from the hot-headed nature to the gradual transformation. The simmering anger feels authentic and there is a certain boyish charm. Aneet Padda also gets into the skin of her role particularly in the emotional scenes of the second half. Portraying a character with serious illness isn’t easy but Aneet scores full marks for a job very well done. In fact, both Ahaan and Aneet establish themselves as potential stars going forward.

In the supporting cast Geeta Agarwal and Rajesh Kumar provide good support as Vaani’s concerned parents, they lend in a lot of warmth. Varun Bodala as the alcoholic father also has his moment during an apology sequence but the shift in the dynamics could have done with better writing. Shaad Randhawa in a brief appearance as a rapper singer moddled on Yo Yo Honey Singh suffers from a sketchy characterization not bringing much to the table.

Final word: Sayiaara is worth watching for those who like passionate romantic dramas with soulful music.

Posted on

Tanvi (The Great): Cheerfully optimistic but an important message

The starcast of Tanvi (The Great)

Anupam Kher as the grumpy grandfather coming to terms with Tanvi’s autism gives the movie a strong emotional core. The scene where Tanvi finally addresses him as dadu instead of colonel Pratap Raina is very heartfelt moving the viewers. In the title role Shubhangi Dutt delivers an authentic performance making a promising debut.

Starcast: Shubhangi Dutt, Anupam Kher, Pallavi Joshi, Jackie Shroff, Aravind Swamy etc

Direction, story and producer: Anupam Kher

Genre: Drama

Additional writers: Ankur Suman and Abhishek Dixit

Production Companies: Anupam Kher Studio and NDFC

Music: M M Keeravani

Cinematography: Keiko Nakahara

Running time: 2 hours and 30 minutes

In the last few years there has been an increase in the trend of Hindi movies dealing with the topic of differently abled. Whether it is Tushar Hiranandani’s Srikanth with Rajkummar Rao as the visually impaired businessman, Kabir Khan’s Chandu Champion about a paralympic champion. This year the Aamir Khan produced Sitaare Zameen Par was an earnest attempt at normalizing people with down syndrome and autism challenging our general perception of normal. A common core point of all these movies is being different doesn’t make you a lesser person. This section are also capable of doing brilliant things.

Anupam Kher’s second directorial after a long gap pretty much follows the formula of the ones mentioned above. It makes a strong case for inclusivity even though excessive cinematic liberties does somewhat hamper the experience. A tighter second half would have definitely justified the title even more. The story of Tanvi (The Great) begins with Vidya Raina (Pallavi Joshi) she has worked a lot on the topic of autism; Vidya Raina is invited to a conference in United States. Vidya Raina is a single mother, as a result she takes her daughter to Lansdowne in Uttarakhand. Anupam Kher is Tanvi’s grandfather and retired Colonel Raina. Tanvi’s dynamics with her grandfather isn’t so great. Additionally, Colonel Raina has a hard work in wrapping his head around the concept of autism. The movie focuses on how the two gradually develop a bond and Tanvi’s desire to join the army in order to fulfill her father’s dream of saluting the Indian flag at Siachen Glacier.

A strong aspect of Tanvi (The Great) is the evolving relationship between the granddaughter and the grandfather. How the two learn to co-exist with each other particularly Colonel Raina gives the movie some of its best moments. The gradual transformation of Colonel Raina from his initial resistance to eventually admiring the fighting spirit of Tanvi is a delight to watch.

Shubhangi Dutt and Anupam Kher

Anupam Kher along his writers also do a fine job in creating the right emotional core. There is a specific reason for Tanvi’s desire to join the army, it’s not about killing the enemy in a war. It’s more about fulfilling her father’s wish and this has come out in an impactful manner.

The portions of Tanvi going through the hard grill of military training in spite of physical challenges has been both well written and enacted. Particular mention must be made of Aravind Swamy playing Tanvi’s mentor cum coach Major Srinivasan. He plays a hardened military man who is both strict as well as supportive. Major Srinivasan’s connection with Tanvi’s late father and how this leads to an emotional bond has also come out well.

The movie has numerous familiar faces in the supporting cast apart from Anupam Kher and they all do well within their respective roles. Aravind Swamy though shines the brightest followed by a dashing Jackie Shroff in the role of a senior army man Brigadier Joshi. Tanvi’s exchanges with Brigadier Joshi specifically the portion of her affectionally calling him Tiger is nice to watch. Jackie Shroff brings in a certain warmth. The same applies to Boman Irani as music teacher Raza, as Tanvi’s confidante the actor brings in his usual finesse. Pallavi Joshi as the single mother is good too but her track needed better writing. The portions of Vidya Raina in US and the angle of her autism project feels somewhat superficial not adding much to the proceedings.

Shubhangi Dutt and Boman Irani

Infact the movie’s second half could have done with far more crispness. A feeling of restlessness creeps in. Also, the journey of Tanvi in the latter half resembles more of a masala Hindi movie undoing the nuanced first half. There is a certain sense of repetitiveness with the same point being hammered in.

Technically speaking Tanvi (The Great) is a visual treat. Cinematographer Keiko Nakahara captures the hilly terrains of Lansdowne and the misty mornings beautifully through this lens. MM Keeravani’s songs are also tuneful with Man Chala Manwa and O Mera Manmohana standing out.

It goes without saying that Tanvi (The Great) is largely reliant on the performances of Shubhangi Dutt and Anupam Kher, both are first rate in their respective parts. Shubhangi is terrific in capturing the fighting spirit, she nails the different shades of her character from a certain innocence to becoming an idol. Anupam Kher as the grandfather is also terrific delivering one of his better performances. He brings in an emotional resonance as a disgruntled old man whose outlook undergoes a significant change.

Final word: Tanvi (The Great) doesn’t match the qualities of its protagonist completely. Nevertheless, for those who like optimistic stories with a message the movie makes for a good watch.

Posted on

Metro In Dino: A solid spiritual sequel exploring the complexities of love and marriage

Metro In Dino movie image

Anurag Basu’s Metro in Dino holds a mirror to today’s society much like the first movie Life in A Metro. Metro In Dino is a mostly gripping concoction of emotions and humor making you laugh as well as reflect. Pankaj Tripathi as Monty successfully takes over the mantle from the late Irrfran Khan. As a flawed husband he is both charming and also heartfelt in the emotional sequences. Sara Ali Khan’s track turns out to be the weak link partly salvaged by a charming Aditya Roy Kapoor

Starcast: Pankaj Tripathi, Konkana Sen Sharma, Fatima Sana Sheikh, Ali Fazal, Aditya Roy Kapoor, Sara Ali Khan, Neena Gupta, Anupam Kher, Saswata Chatterjee and others

Genre: Romance

Story, screenplay and direction: Anurag Basu

Dialogues: Sandeep Shrivastava and Samrat Chakravarthy

Producers: Bhushan Kumar, Krishan Kumar, Taani Basu and Anurag Basu

Production Companies: T-Series Films and Anurag Basu Productions

Music: Pritam Chakraborty

Cinematography: Abhishek Basu and Anurag Basu

Running time: 2 hours and 42 minutes

Life In A Metro released in 2007 was a romantic drama exploring different topics like extramarital affairs, the sanctity of love etc. The city of Mumbai where the different tracks take place simultaneously was also a character in itself reflecting the hustle and bustle along with the ambitions of making it big. The movie received widespread acclaim for the gripping narration, music and fantastic performances. Life In A Metro is widely considered to be one of late Irrfran Khan’s best work and rightly so, the actor was a sheer delight to watch with his wackiness, his track with an equally good Konkana Sen Sharma was the highlight of the movie.

Late Irrfran Khan and Konkana Sen Sharma

After a huge gap of 18 years Anurag Basu returns back with a spiritual sequel with similar strands and new additions. Like Life in a Metro the locations in this movie also become a character in itself perfectly reflecting the various moods and the emotional upheavals which the characters go through. The story of Metro in Dino focuses on numerous individuals spanning different age groups and cities. Pankaj Tripathi and Konkana Sen Sharma are Monty and Kajol respectively. The two are going through a major midlife crisis, the marriage has lost the spark. In order to escape from the boredom Monty takes the aid of a dating app leading to a lot of chaos. Ali Fazal’s Akash and Fatima Sana Sheikh’s Sruthi on the other hand are a young couple dealing with a major conflict of ambitions and a secured life. Neena Gupta and Anupam Kher play two lonely souls Shivani and Parimal respectively. For most part of her life Shivani has been stuck in a family rut not thinking about what she enjoys. All this changes during a college reunion. Lastly Sara Ali Khan’s Chumki and Aditya Roy Kapoor’s Parth are your typical gen z with issues commitment phobia and clash of ideas regarding the institution of marriage and what love really is. This is the story in brief.

A strong aspect of Metro In Dino is Anurag Basu’s handling of the various strands. The director has done a very good job in reflecting the contemporary society. The fast lifestyles of today and the sometimes-fickle nature of marriages has been brought out beautifully. The city audiences in particular will relate to the multi layered narrative and most would see a bit of themselves in the characters.

The use of music with Pritam and his band performing the songs has also been wonderfully integrated by Anurag Basu. It doesn’t feel jarring at any point. Much like Life In A Metro here too it enhances the various emotions which the characters go through at different points. There are also some occasions in the beginning where the main cast sing songs in the musical style of Anurag Basu’s Jagga Jasoos. This adds an interesting touch too giving a context into the background and the situations.

Among the four tracks specific mention must be made of two. The first one being Monty and Kajol. Both Pankaj Tripathi and Konkana Sen Sharma feed off each other wonderfully, whether it’s the comic situations of Monty unknowingly chatting with Kajol on the dating app or the second half portions where Monty is desperate to make amends. It’s an absolute delight to watch the two in one frame. As a flawed husband Pankaj Tripati delivers a knockout act perfectly capturing the different shades of Monty. A specific mention must be made of the scene in the pre climax where Monty expresses his anguish about how many more times should he say sorry. Konkana Sen Sharma is also delightful as Kajol. She brings out the fierce nature as well as the vulnerability brilliantly, there is a wonderful moment in the second half where Kajol questions about her mother’s passive acceptance of the father’s infidelity and how she doesn’t want to become like that.

Through the track of Ali Fazal and Fatima Sana Sheikh Anurag Basu is successful in bringing out the clash between ambition and practicalities. Ali Fazal plays an aspiring musician with big dreams, his father also had aspirations of making it big in music however things didn’t plan out that way due to family responsibilities. The fear of unfilled dreams and insecurity takes a toll on the marriage of Ali Fazal and Fatima Sana Sheikh. The emotional upheavals of the couple have a rawness to them without trying to sugar coat. Both the actors do a first-rate job in portraying the different nuances.

The story of Shivani and Parimal also has some interesting touches. Through this track Anurag Basu tells a liberating story of an older woman breaking out of a self-created rut. The transformation of Neena Gupta’s Shivani from a doormat to becoming more independent is wonderful to watch. The conversations between her and Anupam Kher have a philosophical touch to them as well regarding how love eventually happens in most marriages. The senior actors play their parts with the right amount of gravity.

Anupam Kher and Neena Gupta

In comparison to the three mentioned above Sara Ali Khan and Aditya Roy Kapoor’s one sticks out a sore thumb. This is mostly because of a Yeh Jaawani Hai Deewani and Ludo hangover. Aditya Roy Kapoor’s character feels like a mixture of Ranbir Kapoor’s Bunny and his own Akash, nevertheless Aditya plays the role with a certain charm salvaging the proceedings to some extent, the actor seems to be having a lot of fun with the quirky nature of Akash and that clearly shows in his scenes. His dialogue about how whether the so called happily married couples are really happy does work as a reflection of most relationships. Sara Ali Khan though is a major let down with her squeaky voice and poor voice modulation. There is an important scene where Chumki has to let out her inner anguish similar to the one in Life In A Metro involving Konkana Sen Sharma, but the way Sara portrays it makes the viewers feel zero emotion.

Coming to the music the songs of Metro In Dino has their own pluses, tracks like Zammana Lage sung by Arjit Singh and Dil Ka Kye by Raghav Chaitanya make for a soulful listen and a good watch. The cinematography by Abhishek Basu and Anurag Basu has a lived-in feel too. The two do a very fine job in capturing both the bustling nature of the cities as well as a certain inner loneliness.

Final word: Metro In Dino is a must watch for fans of intimate cinema.

Posted on

Sitare Zameen Par: An epic misfire with an irritating and stale Aamir Khan

Aamir Khan and Co in Sitare Zameen Par

On paper Sitare Zameen Par comes across as well-intentioned normalizing individuals who are dealing with down syndrome and different kinds of autism. However, the problem majorly lies in making the story a redemption arc with too much of Aamir Khan. It doesn’t help that Aamir goes way over the top mimicking his previous performances. This spiritual sequel is an embarrassment to the heart touching Taare Zameen Par

Starcast: Aamir Khan, Simran Mangeskar, Aayush Bhansali, Rishi Shahani, Genelia Deshmukh, Gurpal Singh, Dolly Ahluwalia etc

Genre: Sports

Director: B Prasanna

Writer: Divy Nidhi Sharma

Based on: Champions by Javier Fesser

Producers: Aamir Khan, Aparna Purohit etc

Production Company: Aamir Khan Productions

Music: Shankar Ehsaan Roy

Running time: 2 hours and 35 minutes

Cinematography: G Srinivas Reddy

There is a pivotal moment in Sitare Zameen Par where a team of neurodivergent basketball players have won an important free throw in a game which they could lose. Aamir Khan playing Gulshan is continuously prep talking to a character Satbir (Aroush Datta). After a few minutes Satbir eventually cuts short Gulshan by saying “Sir, pehle aap Chup rahiye,” he says this in a thundering voice shocking Gulshan. This moment aptly sums up the proceedings. After watching Sitare Zameen Par it’s clear that Aamir has learned nothing from the epic disaster Laal Singh Chadda, it’s high time that the actor goes back to the drawing board analyzing his recent style of performances because he is becoming a major roadblock instead of an asset that we are used to seeing in the likes of Rang De Basanti etc.

Taare Zameen Par released in 2007 was a heart touching emotional drama about Darshal Saffery’s Ishaan. A schoolboy suffering from a learning disorder dyslexia and how through an empathetic teacher Ram Shankar Nikumb (Aamir Khan) he overcomes it. The movie brought to light the topic of dyslexia in a sensitive manner. Sitare Zameen Par on the other hand belongs to the rotten template of a coach finding redemption, in the process he overcomes his biases and fears.

Poster of Taare Zameen Par (2007)

Based on a movie called Champions Sitare Zameen Par follows the journey of Aamir Khan’s Gulshan. The film begins by establishing his brash personality, he is suspended for punching the head coach in the initial minutes, this is followed by Gulshan slamming into a police vehicle while being heavily drunk. Instead of jail Gulshan is ordered to do community service, he is ordered to build a team of intellectually challenged persons for the national basketball tournament. The rest of the cliched and exhausting storyline looks at how Gulshan becomes a better human being and also fixes his internal and personal relationships. Genelia Deshmukh plays the estranged wife Suneeta.

Aamir and Genelia

Among very few positives mention must be made of how B Prassana has done justice to the movie tagline Sabka Apna Apna Normal (Everyone has their own normal). The actors playing the intellectually disabled have been chosen with care and that shows on the big screen. Some of the training portions where Aamir is initially exhausted with no idea on how to deal with them does raise chuckles. The ensemble cast particularly Simran Mangeskar, Ayush Bhansali, Rishi Sahani etc do a very fine job getting the mannerisms and the overall body language right. There are a couple of cute moments between Aamir and Simran Mangeskar, for example there is a scene where Gulshan carefully removes onions and capsicum slices from her pizza since the character Golu is allergic to them, similarly there is another moment where Gulshan ties her hair with colorful clips.

Gurpal Singh as the manager of the sports academy lends a lot of warmth to his part specifically in an important conversation with Aamir, it is related to the backstories of these players. Dolly Ahluwalia as the spunky mother has her moments too. Her scenes of banter with Aamir does raise some chuckles. Genelia Deshmukh though in spite of a luminous screen presence is stuck in an underwritten role reduced to a cheerleader for Gulshan’s team.

A major problem with Sitare Zameen Par isn’t just the cliched redemption arc but the way B Prasanna and Divy Nidhi Sharma have tried to assimilate the emotional baggage which Gulshan carries, this eventually makes the movie exhausting particularly in the second half. In trying to give a closure to the characters a thin plot feels like never ending.

It also doesn’t help that Aamir and Genelia have zero chemistry between them. The so-called cute moments simply don’t land. Also, Shankar Ehsaan Loy’s music lacks the heartfelt nature of the first one.

The predictable scenario with endless moral lessons also makes Sitare Zameen Par a tough watch. Aamir Khan as Gulshan pretty much mimics his own previous acts whether it’s the facial expressions or the overall body language. A constant smugness on the face becomes unbearable after a point. The exaggerated tone doesn’t help the matters either like the portion of Gulshan overcoming his fear of lift.

Posted on

Housefull 5: A madcap comedy with a cautionary message

Akshay Kumar and co

Housefull 5 directed by Tarun Mansukhani comes alive from the entry of Jackie Shroff and Sanjay Dutt. As suspended police officers with a point to prove the veterans share a wonderful camaraderie. Housefull 5 has an important message on the dangers of unlimited greed and the twist at the end with the guest star does pack a punch however the movie could have been so much more given the premise. The stale humor with sexual undertones is a major bummer

Starcast: Akshay Kumar, Ritesh Deshmukh, Abhishek Bachchan, Jackie Shroff, Sanjay Dutt, Fardeen Khan, Dino Morea, Shreyas Talpade, Chitrangada Singh and others

Genre: Comedy/thriller

Story, screenplay and producer: Sajid Nadiadwala

Director: Tarun Mansukhani

Additional producers: Warda Nadiadwala and Firuzi Khan

Production Banner: Nadiadwala Grandson Entertainment

Music: Yo Yo Honey Singh, Tanishk Bagchi and others

Cinematography: V Manikandan

Running time: 2 hours and 43 minutes

The Housefull movies is the longest running comedy franchise with five films in total. Rohit Shetty’s Golmaal is the second longest. The Housefull movies have managed to rake in huge numbers in spite of having humor, which is mostly crass. Political correctness has never been the franchise’s biggest strength however the masses have embraced the over top tone. For example, Housefull 4 in 2019 went on to do very good numbers in spite of not-so-great critical reviews and severe criticism on how it treated the angle of a feminine man.

After a gap of six years, you have the fifth installment which is slightly different from the other Housefull movies in terms of mixing suspense with humor. Without giving much away Housefull 5 focuses on the death of a billionaire Ranjith played by Ranjith. Before succumbing to a heart attack set on a luxury cruise, he makes a declaration about leaving 69 million pounds to his first son. However, the trouble is except for Ranjith no one knows who the real Jolly is leading to plenty of chaos. Akshay Kumar, Ritesh Deshmukh and Abhishek Bachchan make a claim of being the real Jolly leaving the board of directors confused. Things take a massive turn with two deaths almost back-to-back leaving the three Jolly’s in a desperate situation. This is the story in brief.

As already mentioned the fifth part of the Housefull installment tries to be different while maintaining the core of what these movies appealed to the masses. The thriller element definitely works starting from the entry of Sanjay Dutt and Jackie Shroff. The duo play suspended police officers with a point to prove, the veterans share a wonderful chemistry uplifting the movie. Whether it is the scene of Jackie Shroff losing his cool on being called the assistant of Sanjay Dutt’s Bhiddu or Sanjay Dutt’s bewilderment on Jackie Shroff on having a hot ex-wife in the form of Chitrangada Singh. The portions leading up to the big reveal has enough suspense on who could be the potential killer or killers and the motivations. Mention must also be made of Nana Patekar in an extended special appearance. He brings in a certain intensity as a dhoti clad Interpol chief.

Just when you think everything is solved Housefull 5 shows up a big surprise with the entry of a guest star who is having a wonderful second innings with a series of grey/negative roles. This guest actor turns out to be the actual Jolly, however he isn’t there to inherit his father’s wealth. Instead, he tells Akshay and co to share the 69 million pounds among themselves leaving the killers angry on what they have done. It’s here that Tarun Mansukhani and Sajid Nadiadwala bring out an important message, the consequences of unlimited greed.

There is no denying that the message is good, but the humor intermixed with the suspense needed to be much better. A lot of movie’s humor is juvenile filled with sexual innuendoes. The character of Shreyas Talpade for example is mostly there to ogle at women’s breasts whenever the secretary bends down for the papers. This becomes a repeated gag even in the pre climax. In fact, the character disappears for a long period too making Shreya’s presence thoroughly inconsequential. The women headed by Jacqueline Fernandes are only there to up the glamor quotient and often times being sex objects for the men to lust at. There is a scene in a tunnel like passage where three female leads are crawling through and the camera focus is on their cleavage line. Even the gorgeous and talented Chitrangada Singh doesn’t fare any better in spite of some grey shades.

Both Fardeen Khan and Dino Morea start of promisingly but are let down badly by the haphazard characterizations. The likes of Akshay Kumar and Ritesh Deshmukh somehow manage to make some of the juvenile’s jokes work on the strength of their experience in this genre. However Abhishek Bachchan sticks out like a sore thumb with his constipated expressions, but the twist around his character does redeem Abhishek somewhat. Chunky Pandey as Aakiri Pasta too suffers from a lazy characterization with little upgrade.

V Manikandan’s cinematography is undoubtedly lavish making the movie a visual feast. The songs are mostly forgettable except for ‘Laal Pari’ which has a catchy vibe.

Final word: Housefull 5 is strictly for those who enjoy juvenile and slapstick humor along with those who have liked the previous Housefull movies.

Posted on

Bhool Chuk Maaf (Forgive my mistakes): A quirky time loop romantic comedy with a social message

Rajkummar Rao and Wamiqa Gabi in Bhool Chuk Maaf

Though the inspiration of the storyline comes from Hollywood director and writer Karan Sharma gives it a distinct desi touch by using the elements of Indian mythology. The repetitive nature of the time loop sequences does get tiring but the movie’s chore themes coupled with the acting performances led by a terrific Rajkummar Rao help it to tide over the speedbumps

Starcast: Rajkummar Rao, Wamiqa Gabbi, Seema Pahwa, Sanjay Mishra and others

Director and writer: Karan Sharma

Genre: Romance/ fantasy

Producer: Dinesh Vijan

Production Companies: Amazon MGM Studios and Maddock Films

Cinematography: Sudeep Chatterjee

Music: Tanishk Bagchi and Ketan Sodha

Running time: 2 hours and 1 minute

There was a period when movies set in small town used to very profitable specifically before the pandemic. Infact Ayushmann Khurrana hugely profited with consecutive hits like Bala, Bareilly Ki Barfi and the first part of Dream Girl, Dream Girl 1 remains Ayushmann’s highest grosser till date, however just like any other genre a certain staleness crept in due to an overdose. Of course Stree 2 is an exception but by and large the formula of a small town movie with a flawed protagonist has led to a certain fatigue. Bhool Chuk Maaf starring Rajkummar Rao and Wamiqa Gabbi is a throwback to the Ayushmann Khurrana sub genre of small town movies. In spite of familiar beats Karan Sharma manages to infuse some freshness.

Set against the backdrop of Varanasi Bhool Chuk Maaf primarily focuses on Ranjan Tiwari (Rajkummar Rao) and Titli (Wamiqa Gabbi). The two are deeply in love and desperate to get married. The hitch is that Ranjan doesn’t do any kind of job, he has applied for government jobs but with zero luck. Things take a dramatic turn when Ranjan promises to get a government job in two months and then marry Titli. Through the system of jugaad Ranjan manages to get one but the joy is short-lived. A day before the wedding Ranjan finds himself stuck in a bizarre time loop where he relives the cycle of a particular day, the date refusing to move. This is the story in brief.

Ranjan and Titli are deeply in love and are desperate to get married

Rajkummar Rao’s Ranjan Tiwari stuck in a time loop

A strong aspect of Bhool Chuk Maaf is the gradual progression of Ranjan Tiwari in becoming a better person. Although Rajkummar Rao has previously played the role of a small time boy as well Karan Sharma manages to give it fresh nuances through the layered writing. Ranjan starts off as a wastrel of sorts by spending the money of either his mother or the girlfriend. He has no intention of being self sufficient until he is forced to become due to the desperate situation. A big reason for Ranjan’s attitude is the father played by Raghubir Yadav. Seema Pahwa playing Ranjan’s mother is the solo breadwinner of the family through the pickle business. The father also doesn’t do any job and Ranjan inherits his father’s extreme laid back attitude.

However things start changing when Ranjan gets stuck in a time loop where he is forced to confront on why things aren’t moving ahead in spite of praying to god and feeding people as well as animals. This gradual journey of self discovery and a complete arc through a series of absurd situations is a big strength of the movie.

The love story between Rajkummar Rao and Wamiqa Gabbi also has interesting touches due to their individual personality traits. Titli isn’t just Rangan’s love interest but also an equal partner who on certain occasions seems to be more invested in their relationship than him. At times its hard to see what Titli sees in Ranjan but Wamiqa Gabbi does a very good job in imbibing Titli’s passionate love. She does a very good job in portraying the different facets of the role, Wamiqa also raises ample chuckles with her wonderful comic timing. The duo of Rajkummar and Wamiqa also share a good chemistry specifically in the drunken conversation a day before the time loop. Rajkummar Rao as Ranjan is no stranger to playing a small town boy but the actor still manages to bring a freshness with his nuanced acting. He does complete justice to the journey of Ranjan making the viewers empathize with the bizarre scenarios that the character finds himself in. Among the elders Sanjay Mishra deserves a specific mention as Bhagwan Das, the film’s central message is conveyed through his role. He plays the character with the right amount of mysteriousness.

An important subplot in Bhool Chuk Maaf is the system of Juggad where a more worthy candidate doesn’t get what he deserves. The movie much like Pradeep Ranganathan’s Dragon talks about how real success isn’t about cheating your way to the top. There is an important subplot related to a Muslim man called Hamid Ansari, he repeatedly tries to commit suicide only to be saved by Ranjan. How this Muslim man triggers a change in Ranjan’s attitude makes the movie much more than just an average small town movie. The movie also critiques people’s obsession with government jobs and the marriage market where a certain kind of people are considered more marriage material.

Talking about the flaws on some occasions the movie seems stuck in a certain rut like the protagonist reliving the same day. There is a sense of repetitiveness to the sequences specifically in the portions where Ranjan keeps saving Ansari and persuading him on not to commit suicide. This does get exhausting, the movie could have done with more crispness in storytelling. The music also needed to be much better, the only track which makes a good impression is Tanishk Bagchi’s ‘Koi Na’ its a soothing love ballad perfectly capturing the romance between the lead pair.

Cinematographer Sudeep Chatterjee does a very fine job in capturing the small town essence. The atmospherics of Varanasi become a character in itself thanks to the divinity associated with the place.

Final word: Bhool Chuk Maaf makes for a good watch if you are in the mood for a morality tale with the concept of time loop.

Posted on

Raid 2: More or less the same beats but works as a utopian tale of delivering justice

Ritesh Desmukh in Raid 2

Ritesh Desmukh’s avatar of a crooked and suave politician under the guise of a philanthropist is the most interesting part of this Rajkumar Gupta directorial. Ritesh once again proves that he is a very capable actor who can go beyond comic roles. Saurabh Shukla returns back as Tauji and the veteran actor is a complete hoot with his sarcastic humor and punch lines.

Starcast: Ajay Devgan, Ritesh Deshmukh, Vani Kapoor, Saurabh Shukla, Amit Sial and others

Genre: Crime thriller

Director and writer: Rajkumar Gupta

Additional writers: Ritesh Shah, Karan Vvyas and Jaideep Yadav

Producers: Bhushan Kumar, Krishan Kumar and others

Production Companies: T- Series Films and Panorama Studios

Music: Amit Trivedi, Rochchak Kohli etc.

Cinematography: Sudhir K. Chaudhary

Running time: 2 hours and 18 minutes

One way to describe the Raid movies is utopian tales of social justice, the reason being in today’s age honest income tax officers conducting raids on powerful people is a distant dream. Many are aware about the manipulative nature of the investigative departments and the way they have been used by the ruling party. In that sense both the Raid movies are more of aspirational tales on how an income tax officer should actually be like. Ajay Devgan as Amay Patnaik fits the bill perfectly given his larger-than-life image and also a solid presence.

Raid 2 primarily focuses on the Amay Patnaik’s 75th raid. In the initial portions of the movie Amay is accused of corruption charges. However this just turns out to be a facade on expected lines. Amay is actually collecting information on Ritesh Deshmukh’s Dada Bai, a suave politician with the image of a benevolent man. The local population of Bhoj considers Dada Bai as their god but beneath the philanthropist facade Dada Bai is actually a crooked politician with multiple crimes. The story focuses on the various hurdles faced by Amay Patnaik in bringing out the truth of Dada Bai with the help of certain people like Amit Sial’s Lallan Sudhir.

A major strength of Raid 2 is the battle of wits between Ajay and Ritesh Desmukh. The way Dada Bai outsmarts Amay Patnaik in the first half gives the movie some of its best moments. Ritesh presents a very calm demeanor systematically destroying all the evidence. The first half ends with Amay being suspended, also his reputation of a honest income tax officer goes for a toss.

Ritesh Desmukh as Dada bai is more of a sophisticated politician who doesn’t get his hands dirty but gets the work done through his men. This works as an interesting contrast to Saurabh Shukla’s Tauji who was more rustic. Also, the duality in the characterization of Dada Bai has come out well. This can be particularly seen in the way he worships his mother every morning by washing her feet. The mother played by Supriya Pathak considers her son to be an epitome of virtue when the actual reality is different.

It’s a long time since Ritesh has done something outside comedy and the actor does a very good job in portraying the different facets of Dada Bai. The way he exudes menace mostly through the eyes is brilliant to watch. Raid 2 once again shows Ritesh’s ability in adapting to different characters. This is another impactful performance from the actor who has proved that he is capable of doing more than just comedies, easily Ritesh’s best work post EK Villain.

Mention must also be made of Saurabh Shukla and Amit Sial, they contribute to some very entertaining moments. Saurabh Shukla is an absolute hoot with his punch lines; specific mention must be made of the scenes where Tauji takes pleasure in the downfall of Dada Bai. Amit Sial too makes his presence amply felt with his witty one liners. He plays the eccentric nature of Lallan Sudhir perfectly raising ample chuckles.

Amit Sial as Lallan Sudhir

A major problem with Raid 2 is the familiar beats coupled with Ajay Devgan’s characterization. There isn’t much of an upgrade to the role, as a result there is nothing new that Ajay brings to the table. Of course, the actor slips into the role with practiced ease, the serious gaze and the overall body language helps. However, there is a stale nature to his scenes because as viewers you know that Amay is completely pure and will win the battle.

Vani Kapoor also doesn’t add much to the proceedings other than looking gorgeous. Unlike Ileana she gets more to do but the romantic track and the overall arc doesn’t contribute anything significant to the movie. Supriya Pathak as the naive mother who later gets to know of the reality about her son fares much better.

Vani Kapoor as the supportive wife

Songs come across as more of speed breakers; however Tammana does look sizzling hot in the special number Nasha. The actress exudes a lot of sensuousness with her belly moves. Having said that the remixed version of “Paise Ye Paise” from Karz movie does make an impact. The placement of the song is absolutely perfect.

Watch Raid 2 if you are in the mood for a utopian tale of social justice and Ritesh Deshmukh’s acting

Posted on

Phule: A hard-hitting tale of revolution and solid companionship

Director Ananth Mahadevan is very successful in making the viewers feel that they are travelling alongside Jyothiba and Savitri Bhai Phule. The initial documentary style approach does take a while getting used to but soon the viewers get immersed in their fight against various social injustices. A strong aspect of Phule are its crisp yet highly impactful dialogues particularly those of Pratik Gandhi. The movie also speaks to today’s times during an important sequence. The spine of Phule is the solid companionship that Jyotiba and Savitri share which is rare to find both of and on screen.

  • Starcast: Pratik Gandhi, Patralekha, Vinay Pathak, Darsheel Safary, Alex O Niel and others
  • Genre: Biographical drama
  • Director and writer: Ananth Mahadevan
  • Producers: Sunil Jain, Ritesh Kudecha etc
  • Production Companies: Dancing Shiva Films and Kingsmen Productions
  • Music: Rohan–Rohan
  • Cinematography: Sunita Radia
  • Running time: 2 hours and 15 minutes

The immense work done by the husband-and-wife Jyotiba and Savitri bhai Phule is very difficult to capture in a movie format. The major reason for that is the duo fought against many evils which still exist in some form or the other. Phule much like Sandhya Suri’s Santhosh has also been through censorship issues with the CBFC demanding certain modifications due to the dialogues related to Manusmriti. Fortunately for genuine movie lovers Phule has managed to hit the screens though very few unlike Santhosh which may never see the light of the day. Irrespective of the censorship modifications there is no denying that Phule packs a strong punch with its understated approach and sharp dialogues. Director Anant Mahadevan along with his team have done a very authentic job in bringing alive those times.

Pratik Gandhi and Patralekha in the roles of the iconic social reformers

In simple terms the story of Phule focuses on the tumultuous and inspiring journey undertaken by the visionary couple during the times of British India. The movie begins in 1897 during a horrific plague leading to a mass migration. This horrific plague eventually results in the death of Savitri Bhai Phule (Patralekha). From here the story moves into a flashback zone where all the important events are covered starting from Savitri bhai’s early years and Jyotiba (Pratik Gandhi) educating his young wife.

Real life social reformers

A major strength of Phule are its brilliant atmospherics. Director Ananth Mahadevan along with his cinematographer Sunita Radia do a first-rate job in bringing alive the social atmosphere of 19th century Maharashtra. The movie has a lived-in feel transporting the viewers effortlessly into those times whether it is the portions of Maharashtrian hinter lands or a sense of claustrophobia in the caste ridden society of Pune. The styling of the actors is also excellent as the clothes they wear perfectly reflect that particular time period.

Apart from authentically recreating the time period Ananth Mahadevan also does a very fine job in showcasing the solid companionship that the two shared. The way both of them pretty much do every social activity together and the tenderness with which Jyothiba treats his wife is an absolute delight to watch. Special mention must be made of the scenes where Jyothiba gives equal credit to Savitri and how he defends her whenever the father tries to hurt Savitri and suggests second marriage. Jyothiba comes across as a true feminist, the love and affection that Jyothiba and Savitri have each other is tough to find in any married couple whether it is of the past and present. Often times a lot is communicated through simple gestures.

Talking about the social commentary the movie avoids a typical bombastic approach, instead the reliance is on sharp dialogues. A very good example of this is a courtroom scene where Jyothiba questions an upper caste lawyer on avoiding a barber by doing his own shaving. There is another important bit when Jyothiba is honored with the title of Mahatma. He makes significant points on how people are so easily provoked in the name of religion and caste, in a way he has foreshadowed today’s political atmosphere. He ends the speech by talking about the need to keep alive the spark of revolution.

Mention must also be made of how Anant Mahadevan has depicted his British characters. More often than not the British officials in Indian movies are presented in an extremely caricaturist way. Shoojit Sarcar’s Sardar Udham Singh is one of the few exceptions. Regular foreign actor Alex O ‘ Niel adds an interesting layer as the British collector who has genuine empathy towards Jyotiba and Savitri Bhai Phule’s social crusade, at the same time he is also bound by the constraints of imperialism. Alex O Niel plays his role with a lot of understatedness. Both the writing and acting make sure that his character doesn’t come across as a typical caricature.

The background score coupled with the music also add to the movies immersive tone. The love ballad Sathi in particular is very tuneful sung melodiously by Monali Thakur. It immortalizes the deep love that Jyothiba and Savitri bhai had each other. On the other hand, there is the revolutionary number, Dhun Lagi. This song works as a perfect companion piece in the portions of revolution.

Both Pratik Gandhi and Patralekha get into the skin of their respective characters coming up with stirring performances. Pratik Gandhi imbibes Jyothiba with a quiet intensity, his eyes particularly convey a lot of emotions whether it is showcasing pain at the plight of lower caste people or the determination to bring a revolutionary change. Mention must also be made of how he portrays the affectionate and tender nature of Phule. With this act Pratik Gandhi once again, proves that he is an extremely versatile actor. Patralekha too disappears into the role portraying the grit of Savitri bhai Phule. She perfectly captures the strong feminist spirit proving to be a perfect foil for Pratik Gandhi. A specific mention must be made of the scene where she is threatened by an upper caste man. Instead of retreating Savitra Bhai holds her ground with a solid response. The intensity with which Patralekha portrays the fiery nature is simply fantastic. The chemistry between Pratik and Patralekha in the moments of tender romance particularly stands out.

The supporting cast led by Vinay Pathak and Darsheel Safary also do a fine job. A mention must be made of Akshaya Gurav as Fatima Sheikh. She brings in the required fire proving to be a perfect support for the husband and wife. Through her role Ananth Mahadevan touches upon the angle of communal harmony too. Vinay Pathak in the role of Govindrao also makes his presence amply felt as the anthesis to Jyotiba’s revolutionary thinking.

Hope more people see the film in theaters given the relevance of Jyotiba’s ideology.

Posted on

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.

Final word: Keeping aside the flaws Kesari Chapter 2 makes for a solid rousing tale with good performances. Ananya Pandey as Dillret Gill stands out with a towering performance.