Category: Hindi Movie Reviews

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Jawan: Atlee Serves A Complete Meal With SRK At His Massiest Best

Jawan is easily SRK’s most political film in the recent past with the actor taking on the establishment. He also delivers a passionate monologue about the importance of choosing wisely.

Starcast: Shah Rukh Khan, Nayanthara, Sanya Malhotra, Priyamani, Vijay Sethupathi and others

Direction, screenplay and story: Atlee

Additional screenplay: S Ramanagrivasan

Producers: Gaurav Verma and Gauri Khan

Production Company: Red Chillies Entertainment

Music: Anirudh Ravichander

Running time: 2 hours and 45 minutes

Genre: Action thriller/drama

Director Atlee’s stories are never original; they are more about effective packaging. Jawan is no different. In simple terms if you mix Shankar’s brand of cinema with Chak De India the result would be Jawan.

Jawan is a father and son drama at its core; Azad and Vikram Rathod (Shah Rukh Khan in a double role). One of them is a masked vigilante who wants to speed up the societal changes in unconventional ways. Helping him in this mission are a bunch of women prisoners headed by Sanya Malhotra and Priyamani. Each of these prisoners have their own back stories that cover different issues plaguing our society. Kaali (Vijay Sethupati) is a dangerous arms dealer who has a history with the father SRK. Last but not the least is Narmada (Nayanthara) who is a determined NSG officer on the lookout for the vigilante. In a twist of events she also ends up marrying one of the SRKs (one of the absurdist thing in the story) for the sake of her daughter. She is a single mother. Revealing anything more wouldn’t be appropriate as the film goes through a non linear storyline with many twists and turns.

A big strength of Jawan is the packaging of the various social issues that Atlee takes up. Sure the treatment isn’t subtle and does require suspension of belief but the conviction of Atlee and SRK is such that as viewers we can’t help but cheer. As mentioned above Jawan is Shah Rukh’s most political film in the recent times. Many of societal problems find a place in Jawan. Whether it is farmers being driven to suicide because of loan sharks, the severely underdeveloped government facilities, the frauds taking place in election and the manufacture of bad quality military weapons among others. There is also a Meta moment where SRK directly addresses his fans and delivers a passionate monologue. All this has come out in a powerful manner. Sumit Arora’s dialogues hugely aid in this.

Father and son drama has always an emotional connect, irrespective of how many times we have seen it. There is a rousing interval bang when the son SRK has been tied up with no hopes of getting away. At that exact moment you have the arrival of the father. The dialogue there is “Bete ko Haath Lagane se pahle, baap se baat Kar (Deal with the father before you touch the son).” This comes at the moment when the father is assumed to be dead. This again is a perfectly placed Meta moment and looks like a warning from SRK to not mess with his son Aryan Khan in the future. The father character is a military officer who was accused of being a traitor. He was thrown from a helicopter by Kaali and suffers from a partial memory loss. As a result he doesn’t completely remember the past. The scenes where both the SRKs feature are an absolute treat.

Early on there is a sequence where the vigilante Shah Rukh takes a metro train as hostage. When Nayanthara asks him what are his demands over the wireless he gives a witty reply saying “I want Alia Bhatt but she is younger in age.” The reaction shot of the passenger sitting next to him adds to the humour. Many dialogues both political ones and humorous ones like this evoked a lot of hooting and cheering from the audiences.

Shah Rukh Khan has successfully ventured into the mass zone in the past too but Atlee’s presentation of the superstar is something else. Shah Rukh owns every frame that he is in. He embraces the masala tone of Atlee with absolute fervour. Nayanathara makes a solid Bollywood debut with her portrayal of Narmada both as a determined cop and also as a single mother. There is a terrific action sequence where Narmada takes on the masked SRK. It is a treat to watch.

The few romantic scenes between Nayanthara and SRK are pleasant to watch particularly in the song Chaleya. However the same cannot be said of the brief flashback portion consisting of Deepika. It has been written patchily. Sanjay Dutt also has an extended cameo. The women prisoners have reasonably fleshed out parts. The ones who stand out are Sanya Malhotra and Priyamani.

 Vijay Sethupati who locks horns with both the father and son does not have a lot to do in the beginning but he more than makes up for it in the second half. He gets some comic punches that leave you in splits.

Anirudh Ravichander’s music doesn’t quite match the scale of the film but Zinda Banda and Chaleya are foot tapping numbers. There is also Aararaari Raaro which has a good emotional touch. But his background score is excellent particularly in the scenes where the vigilante SRK takes over.

At a time when most systems are failing in delivering justice the success of Jawan would represent the angst of the common man and the justice (by whatever means) that he is hoping for in Bharateeyudu style.

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Dream Girl 2: Ayushmann Khurrana Entertains As Pooja In This Comedy Of Errors

Ayushmann Khurrana effortlessly switches between the roles of Karam and Pooja. He is particularly impressive in the female avatar.

Falters in the second half
Dream Girl 2 (Hindi)
  • Cast: Ayushmann Khurrana, Ananya Panday, Paresh Rawal. Seema Pahwa, Abhishek Banerjee, and Asrani
  • Director: Raj Shaandilyaa
  • Producer: Ektaa R Kapoor, Shobha Kapoor
  • Music: Meet Bros, Tanishk Bagchi, and Arko
  • Runtime: 2 hours 2 minutes

Starting from Vicky Donor (2012), Ayushmann Khurrana has always tried to push the envelope with his on-screen characters. There has always been an effort to do something different, even when he has done films in the slapstick zone.

For example, in Dream Girl (2019), Ayushmann’s Karam has an impressive ability to imitate a female voice. This comes from his experience of playing female characters in plays. In his desperation to find a job, he starts working at a call centre with the name of Pooja.

In Dream Girl 2, writer and director Raaj Shaandiliyaa goes one step ahead with Ayushmann becoming Pooja to the extent of wearing sexy sarees as well.

Synopsis

Dream Girl 2 is none other than Karamveer aka Karam (Ayushmann Khurrana). He and Pari (Ananya Pandey) are deeply in love and want to get married as soon as possible. However, there is a loan that Karam has to clear.

This loan is his father Jagit Singh’s (Annu Kapoor). Karam doesn’t have a stable job. In his desperation to earn money, Karam transforms himself into a bar dancer by the name of Pooja with some persuasion from his dad and best friend Smiley (Manjot Singh).

Pooja impresses everyone with her dance moves. Running parallel to this is the track of a Muslim patriarch, Abbu Saleem (Paresh Rawal). Smiley loves Abbu Saleem’s daughter, and she also reciprocates, but there is a hurdle in the form of Abhishek Banerjee’s Shah Rukh.

Shah Rukh is the son of Abbu Saleem, who has depression problems. Abbu Saleem tells the loving couple that he will agree to their marriage only after his son comes out of depression. Smiley convinces Karam to become a female psychiatrist. However, this only ends up in further complications which can’t be elaborated here.

What follows is an assemblage of funny situations with one thing leading to another.

On the shoulders of Ayushmann Khurrana

Not surprisingly the biggest strength of Dream Girl 2 is Ayushmann Khurrana. The actor effortlessly switches between the roles of Karam and Pooja. He is particularly impressive in the female avatar.

The actor leaves you thoroughly charmed with his body language, make-up and dance moves. The actor’s comic timing also leaves the audience in splits throughout. For example, there is a scene where Abhishek Banerjee tries to seduce Pooja, and the latter’s wig comes off.

Pooja starts shrieking, “Hairfall, hairfall.” The humour in Dream Girl 2 isn’t of the intelligent type but Ayushmann along with the supporting cast keeps the proceedings engaging.

Other performances

Out of the numerous subplots my favorite is the one involving Seema Pahwa’s Jumani. She has been through multiple marriages and is absolutely unapologetic about her desire to find true love. At one point she falls head over heels in love with Karam. Seema Pahwa aces the part with her uninhibited act.

The scenes between Abhishek Banerjee and Ayushmann are also good to watch. Abhishek Banerjee’s role doesn’t have much scope for comedy, but still, both the actors feed off each other well.

The music composed by Meet Bros, Tanishk Bagchi and Arko has a good variety. Special mention must be made of the songs picturised on Ayushmann in the role of Pooja.

Final take

What pulls Dream Girl 2 down is the elongated second half. The comedy of errors runs out of steam as there isn’t much meat left by then.

In the pre-climax, Karam has a monologue with undertones of social commentary about middle-class angst, but this doesn’t gel well with the overall tonality.

(Views expressed here are personal.)

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OMG 2: A Compelling Social Drama That Makes You Laugh And Think

Amit Rai’s directorial is another noteworthy addition to the list of mainstream movies that discuss taboo subjects.

A good follow-up!
OMG 2 (Hindi)
  • Cast: Akshay Kumar, Pankaj Tripathi, Yami Gautam, and Pavan Malhotra
  • Writer-Director: Amit Rai
  • Producer: Vipul D Shah, and Ashwin Varde
  • Music: Sandesh Shandilya and Vikram Montrose
  • Runtime: 2 hours 36 minutes

Director Amit Rai’s OMG 2 is not only a good follow-up to the first part but also works as a standalone film.

In OMG-Oh My God (2012), writer-director Umesh Shukla took several digs at the so-called religious men who feed upon the fears of common folk across religions. There was a sharp commentary on all types of religious hypocrisies.

OMG 2 features a different protagonist this time — a Shiv Bhakt. But what remains the same is how it touches upon an important social topic.

Nevertheless, the sequel is a step ahead in many ways.

Synopsis

Kanti Sharan Mudgal (Pankaj Tripathi) runs a pooja shop near a temple. he is a diehard devotee of Lord Shiva and enjoys respect in his area.

His life turns upside down when his son Vivek (Aarush Sharma) gets admitted to the hospital due to exhaustion caused by excessive masturbation (the word used here is a “selfie”).

Things get more problematic when Vivek’s fellow students secretly shoot a video of him doing the act in the toilet and the video gets circulated.  This results in a lot of humiliation for both Vivek and the family.

So, Kanti Sharan decides to flee with his family. It is at this point that Akshay Kumar enters as God’s messenger in human form.

Much like the first film, here too, Akshay guides his protagonist. This time, it is about fighting for his son and not running away from problems.

Kanti Sharan realises that his son has been a victim of misinformation and misguidance. He drags the school authorities and a chemist among others to the court. Here he is pitted against a high-profile lawyer Kamini (Yami Gautam).

Pavan Malhotra plays the judge.

The rest of the story is about how Kanti Sharan brings out the importance of sex education through his arguments and whether Vivek becomes his normal self again.

Highlights sex education

The best part about OMG 2 is how Amit Rai normalises the importance of sex education without making it come across as awkward.

For example, there are scenes where Tripathi shows how the body parts of males and females should be taught in school. He uses the words penis and vagina as normal words. All this comes across as natural.

The film also does a good job of normalising discussions about physical intimacy. There is a progressive outlook that can be felt throughout.

Further, it smartly integrates ancient Indian texts which have references to homosexuality.

There is also a reference to the Kamasutra which Kanti Sharan uses at an important juncture to remind us how progressive the Hindu religion was in the past.

However, the bashing of Macaulay towards the end could have been avoided. It comes as too simplistic.

Commendable performances

What also works for the film are the scenes between Akshay Kumar and Pankaj Tripathi.

The scenes where Akshay imparts wisdom to Pankaj Tripathi bring a smile to your face.

Akshay Kumar plays his part with the right amount of divinity. He also does a Shiv Tandav with admirable ease.

Pankaj Tripathi as Kanti Sharan does complete justice to the arc of the protagonist. His character has several shades from a distraught father to becoming a revolutionary and the actor pulls it off with the finesse that you expect from him.

Yami Gautam as the menacing opponent is also in fine form. She brings in the required aggressiveness and holds her ground.

Pavan Malhotra as the judge has his moments, particularly in his reaction shots.

Verdict

In all, OMG 2 is another noteworthy addition to the list of mainstream movies that discuss taboo subjects.

(Views expressed here are personal.)

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Rocky Aur Rani Ki Prem Kahaani: Inclusivity In Karan Johar Style

The director subverts some of his own themes from his previous films; a case in point being how fear is looked upon as respect in our culture.

Karan Johar’s Rocky Aur Rani Ki Prem Kahaani is everything that you expect from the filmmaker. There are larger-than-life sets and exquisite costumes among other things.

At the same time, the director subverts some of his own themes from his previous films; a case in point being how fear is looked upon as respect in our culture.

The film also makes a strong case for inclusivity through Tota Roy Chowdhury’s character who loves Kathak which is looked upon as a female dance form. It also makes a strong case for inclusivity between two vastly different cultures — Punjabi and Bengali.

Synopsis

Rocky Aur Rani ki Prem Kahaani begins with the introduction of Rocky and Rani (Ranveer Singh and Alia Bhatt respectively).

Rocky is introduced through a dance number where he is surrounded by many women, including Janhvi Kapoor, Sara Ali Khan, and Ananya Pandey (in special appearances).

He is dancing his heart out; but as soon as his grandmother Dhanalakshmi (Jaya Bachchan) appears, he scampers away because he is afraid of her and also his father.

Dhanalakshmi is the owner of a sweet shop — Dhanalakshmi Group. Rocky is the future heir to this business venture.

After the introduction of Ranveer, we move to Alia Bhatt’s Rani Chatterjee. She is introduced as this firebrand journalist who isn’t afraid to take on the Jugular.

The viewers see her grilling a minister about the rising rape cases by uttering a powerful dialogue: “Nazare Kharab Aapki Parde Kare Hum” (You ever tease us and we have to hide behind the curtains).

This sets the base for the drama to follow.

Rocky’s grandfather Kanwal (Dharmendra) is bedridden most of the time because of paralysis. He suffers from memory loss, too.

He has half picture of a woman in one of his books and Rocky believes that this woman might be the key to his grandfather regaining his memory.

The woman turns out to be Rani Chatterjee’s grandmother Jamini Chatterjee (Shabana Azmi). She is a cultural icon known among her intellectual gatherings.

Rocky arranges a meeting between his grandfather and Jamini through Rani.

Real kahaani

Rani initially treats him in a patronising way. But after some flirtation and through some old Hindi songs, they both fall for each other.

Rani isn’t sure about getting into a relationship with Rocky, given the many differences. But she eventually gives in.

However, things are far from easy as both families are contrastingly different from each other.

While the Chatterjees are woke, the Randhawas are as rigid as you get.

Taking the Telugu film Bommarillu (2006) route, the couple decides to go for a swap. Rani starts living with the Randhawas and Rocky with the Chatterjees.

Rani initially treats him in a patronising way. But after some flirtation and through some old Hindi songs, they both fall for each other.

Rani isn’t sure about getting into a relationship with Rocky, given the many differences. But she eventually gives in.

However, things are far from easy as both families are contrastingly different from each other.

While the Chatterjees are woke, the Randhawas are as rigid as you get.

Taking the Telugu film Bommarillu (2006) route, the couple decides to go for a swap. Rani starts living with the Randhawas and Rocky with the Chatterjees.

Rani faces severe opposition from Dhanalakshmi as she doesn’t like her firebrand nature. on the other hand, Rocky faces cultural issues. In a hilarious scene, he thinks that Rabindranath Tagore is Rani’s grandfather because of his long beard.

Whiff of nostalgia

The best part of Rocky Aur Rani Ki Prem Kahaani is how the director uses old Hindi songs at important junctures.

For example, Dharmendra sings “Abhi Na Jao Chod Ke” for the first time when his character regains his memory.

Some of the other songs include “Yeh Shaam Mastani“, “O Saathi Chal“, and “Do Dil Mil Rahe Hai“. These old songs are a character in itself.

However, the best usage has to be “Dola Re Dola” from Sanjay Leela Bhansali’s Devdas (2002). The song starts off with Tota Roy Chowdhury performing in Durga Puja.

Ranveer’s Rocky joins him much to the delight of Alia Bhatt’s Rani and to the horror of Jaya Bachchan. Here the director is clearly subverting gender stereotypes.

Alia and Ranveer hold the fort

What also works for Rocky Aur Rani Ki Prem Kahaani is how Ranveer and Alia play off each other’s energies. Their contrasting personalities work for the film.

Ranveer Singh as Rocky brings the house down with his faulty English and uninhibited performance. The actor equally shines in the scenes showcasing Rocky’s fragile side.

The best example is the emotional moment that he shares with Alia’s father Chandon Chatterjee (Tota Roy Chowdary).

Alia Bhatt plays the firebrand journalist with the finesse that you expect from her. She more than holds her own opposite the veteran actors. She is first-rate in the dramatic bits like the showdown that happens between her and Rocky post the “Dhindora” song.

Veterans steal the show

Another thing that works for the film is the bonding between Dharmendra and Shabana Azmi. Their scenes bring a smile to the viewer’s face.

Dharmendra doesn’t have many dialogues, but the actor is still quite good. Shabana Azmi is a picture of grace and poise. Some of her dialogues are truly wonderful.

For instance, there is a scene where Jamini opens up about why she fell in love with Kanwal and how she doesn’t regret it.

Jamini also adds that she got more love from Kanwal in just seven days than she got from her husband in their entire marriage. Further, she talks about how her grandfather wasn’t as polished as Rani thinks him to be.

Tota Roy Chowdhury is in a wonderful form as the man who loves Kathak and takes pride in being a dancer. There is a heart-touching scene where he talks about how he was the only male student in his dance class.

Jaya Bachchan as Dhanalakshmi is more or less a personification of all patriarchal characters, including her husband. She seems to have taken revenge on behalf of all the women characters who have been subjugated by them — Sweet Vengence.

Technical crafts

Pritam’s music isn’t exactly a blockbuster but still, it works on the big screen. “Dhindora Baje Re” and “Ve Kamleya” are easily the best of the lot.

“Dhindora Baje Re” is further enhanced by the intense scene which precedes the song.

“What Jhumka” makes for a perfect Sangeet number. Alia’s dance moves in sarees particularly stand out.

The cinematography by Manush Nandan is appropriately glossy. He captures the wide canvas of the film well through his lens. Having said that, for some, the canvas may come across as too glossy.

Final take

Rocky Aur Rani Ki Prem Kahaani does remind you of 2 States (2014) and Bommarillu. However, this cultural and family clash is hugely enjoyable if you buy into Karan Johar’s world.

(Views expressed here are personal.)

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Neeyat: A Concoction Of Agatha Christie And Sherlock Holmes That Produces More Groans Than Thrills

Director Anu Menon creates the right atmosphere, thanks to the art direction and cinematography, but flounders when it comes to storytelling.

Flat direction!
Neeyat (Hindi)
  • Cast: Vidya Balan, Ram Kapoor, Shahana Goswami, Shashank Arora, Amrita Puri, and Shefali Shah (special appearance)
  • Writer-Director: Anu Menon
  • Producer: Vikram Malhotra
  • Music: Mickey McCleary
  • Runtime: 2 hours and 10 minutes

Director Anu Menon’s Neeyat (Motive) is a solid example of how making a mystery film is not everyone’s cup of tea. Apart from the Agatha Christie and Sherlock Holmes hangover, the film also reminds you of Daniel Craig’s Knives Out (2019).

Neeyat also has a minuscule semblance to the pilot episode of Vishal Bharadwaj’s web series Charlie Chopra & The Mystery of Solang Valley (2023).

Well, there is nothing wrong with getting influenced by the works of others provided you make a compelling film. But Anu Menon’s Neeyat provides very few thrills. In fact, the thrills can be counted on your fingertips.

Synopsis

The film’s plot revolves around a fugitive billionaire Ashish Kapoor (Ram Kapoor).

It is easy to guess that he is modelled by several businessmen who have committed financial fraud and escaped from the country. His over-ambitious behaviour causes many innocent employees in his company to commit suicide.

Ashish Kapoor has a beautiful mansion by the seaside in Scotland. He decides to celebrate his birthday there with close family members and friends. They all have their inner demons.

Present at this party is also the supposed CBI officer Meera Rao (Vidya Balan).

Things take a drastic turn when Ashish Kapoor is found dead under the sea. What follows is a whodunnit where each member is a suspect.

Ram Kapoor & Rahul Bose stand out

There are only a few actors who stand out in this ensemble cast.  Chief among them is Ram Kapoor and Rahul Bose.

Ram Kapoor plays the power-hungry billionaire with panache. He does a swell job of capturing the eccentrics of Ashish.

Rahul Bose also has his moments playing Ashish Kapoor’s brother-in-law Jimmy. His character is a caricature but Rahul Bose makes it land with his enthusiasm.

Last but not least, Shefali Shah, in a special appearance, packs a far bigger punch than Vidya in the entire film.

There are a couple of twists that do take you by surprise — one of them is Ram Kapoor’s character and the other is Vidya Balan’s. But these twists come so late that the audiences are exhausted by that time.

Dragged narrative

As mentioned earlier, Anu Menon does create the right atmosphere. This is majorly thanks to Lydia Moss’s art direction and the cinematography by Andreas Neo.

They both are successful in creating a tension-filled atmosphere. This atmosphere adds more depth to the story than the direction.

Ashish Kapoor’s mansion is also a character in itself.

However, a big issue with Neeyat is the dragged narration of Anu Menon. The film takes a long time to get to the point. The pacing is slow and some layers have been unnecessarily added.

Neeyat also tries to make social commentary on how the employees are left in a lurch because of these power-hungry billionaires, driving them to suicide. But these portions don’t make any impact because of the flat direction.

Another major problem with Neeyat is how Vidya Balan goes about her role as Meera Rao. The energy needed for a female Sherlock Holmes is absolutely missing. Vidya plays her character with unenthusiasm.

Verdict

In all, Anu Menon’s Neeyat produces more groans than thrills.

(Views expressed here are personal.)

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Satyaprem Ki Katha: A Heartwarming Story that Makes You Want A Real-Life Partner Like Kartik Aaryan’s Sattu

An important aspect of Sameer Vidwans’s ‘Satyaprem Ki Katha’ is how it looks at the issue of consent in relationships.

Addresses pertinent social issues.
Satyaprem Ki Katha (Hindi)
  • Cast: Kartik Aaryan, Kiara Advani, Gajraj Rao, Supriya Pathak, Rajpal Yadav, and Shikha Talsania
  • Direction: Sameer Vidwans
  • Producers: Sajid Nadiadwala, Shareen Mantri Kedia, and Kishan Arora
  • Music: Meet Bros, Tanishk Bagchi, and Payal Dev
  • Runtime: 2 hours 26 minutes

There is a famous quote in English which says that “Don’t judge a book by its cover”. This goes perfectly well with the film Satyaprem Ki Katha.

The trailer promised a breezy romantic film, but it is more than just a rom-com. Director Sameer Vidwans addresses some pertinent social issues through the lens of a romantic drama.

Synopsis

Satyaprem aka Sattu (Kartik Aaryan) is an underdog who falls in love with Katha (Kiara Advani). Katha belongs to different strata of society which is out of Sattu’s league.

However, circumstances not only bring them together but also get them married. Nevertheless, the marriage doesn’t take off.

Katha comes with a haunting past. Initially, the viewers think it is a case of a bad break-up with her ex-boyfriend. However, it turns out to be more sinister.

The crux of Satyaprem ki Katha is about two things primarily — one is how Sattu wins Katha over; secondly, it is about Katha letting go of her trauma and finding the courage to face the truth.

Picks up pace in second half

The movie does take time to get going. The boy-meets-girl moments don’t have a lot of meat. The director takes time to get to the real meat of the story.

But its picks up after the marriage of Sattu and Katha. The interval point further raises the expectations of the audience and the second half drama is one of the film’s biggest selling points.

Sameer Vidwans does a wonderful job of showing how the relationship evolves between Sattu and Katha. The evolution is not only about their relationship but also about their individual characters.

Societal issues

An important aspect of Satyaprem Ki Katha is how it looks at the issue of consent in relationships.

The film also briefly reminds you of the famous Amitabh Bachchan dialogue “A No is a No”.

Kiara’s Katha is a victim of date rape. Her ex-boyfriend penetrates her badly, even when she resists. Katha’s father has no idea about this.

Kartik Aaryan’s Sattu does come across as too idealistic with his patient behaviour. But as viewers, you don’t mind because Sattu is not presented as some social reformer.

Sattu, of course, has his moments of frustration and the change in his character happens gradually.

The film has also got some entertaining family moments. The best examples are the ones featuring Kartik Aaryan and his on-screen dad Gajraj Rao. There is visible warmth between them in both the comic and emotional bits.

Director Sameer Vidwans presents an authentic middle-class milieu.

Cinematographer Ayananka Bose does a good job of capturing the locality of Ahmedabad.

Performances

The songs composed by multiple composers are mostly melodious. The best of the lot is “Naseeb Se and Aaj Ke Baad“. “Gujju Pataka“, on the other hand, isn’t high on lyrics but Kartik’s dancing along with the peppy tune makes it an energetic track.

Out of the two leads, Kartik Aaryan scores more with his act. He is not only good in the goofy bits but shines equally in intense scenes.

Kiara Advani takes some time to settle down. The reason behind her character’s aloofness doesn’t have the required emotional heft in the beginning. But both Kiara and her character get better as the film progresses. Overall, she delivers a competent performance.

Final verdict

In Satyaprem Ki Katha, Katha is fortunate to have a happy ending which many women can’t hope to have. Many more Sattus are the need of the hour!

(Views expressed here are personal.)

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Adipurush: Prabhas’s Latest Outing Is A Misfire Of Epic Proportions

In spite of all the resources available, Om Raut has delivered an absolutely subpar film that makes a mockery of the ‘Ramayana’.

Prabahs-starrer Adipurush was one of the most keenly anticipated movies of this year. It was expected to be a mega-comeback for the actor.

However, since the release of its teaser, it has been hitting the headlines for the wrong reasons more often than for the right ones.

Only the songs have managed to create some buzz. Unfortunately for Prabhas, Adipurush is going to be another severe setback after Saaho (2019) and Radhe Shyam (2022).

A subpar film

In spite of all the resources available, director Om Raut has delivered an absolutely subpar film that makes a mockery of the Ramayana.

Om Raut made a smashing Bollywood debut with his first film Tanhaji: The Unsung Warrior (2020). Ajay Devgn played the title role in it.

Saif Ali Khan was the chief antagonist, playing Aurangzeb’s trusted guard Udaybhan Singh Rathore.

In spite of its hyper-nationalism, Tanhaji still worked primarily because of the performances, and also the scale on which Om Raut mounted the film.

I won’t go into the story of Adipurush as Ramayana is an epic that needs no introduction. So, let’s delve straight into the analysis.

Before getting into the negatives, it is necessary to mention the few positives that Adipurush has.

To give credit where it is due, the music and the background score do manage to pump in the much-required emotions.

The movie begins with the wonderful song “Ram Siya Ram“. Manoj Muntashir’s lyrics coupled with his singing make the track an absolute winner.

“Jai Shri Ram” has a robust energy which makes the audience sit up.

The background score done by Ajay-Atul and Sachet-Parampara is rousing.

A particular mention must be made of the background score whenever Saif Ali Khan’s Raavan comes on screen.

Saif as Raavan

Saif Ali Khan clearly has a ball playing Raavan and it shows in every scene. Thanks to his strong screen presence, the actor brings a certain energy that uplifts the film considerably.

Yes, the part does remind you of Ranveer Singh’s Allauddin Khilji in Padmaavat (2018) and also Saif’s own Udaybhan Singh Rathore. But still, there is no denying the impact of Saif.

Saif has always been at his best when not playing the typical hero and this thunderous performance is proof of that.

Vatsal Seth as Indrajeet deserves a mention. He makes a striking impact in spite of his limited screen time.

Too many flaws

Coming to the shortcomings, Prabhas and Kriti Sanon are easily the weakest links of Adipurush.

The success of the Baahubali films (2015 & 2017) has changed the fortunes of Prabhas, both positively and negatively.

On one hand, it has opened new doors for the actor. But the expectations have also risen many folds.

An important part of his success has always been his magnetic screen presence but that charisma was nowhere visible in both Saaho and Radhe Shyam, particularly the former.

Here, too, Prabhas comes across as rather dull. At no point does he succeed in making the audiences feel that he is Rama, the Ideal Man/God that crores of people in this country worship.

It is very clear that the actor has treated this role as any other mainstream character. At no point does he get into the headspace of Rama.

Kriti Sanon as Sita

Kriti Sanon, on the other hand, does suffer from a sketchy characterisation. She is largely absent in the second half. Even when she is there, she comes across as bland.

Much like Prabhas, Kriti has also failed to internalise her character.

The chemistry required between Prabhas and Kriti Sanon is completely absent.

Weak characterisation

The characterisations of the “Vanar Sena” also leave a lot to be desired. The accent of Devdatta Nage’s Hanuman, in particular, is rather jarring.

Om Raut has tried to give Hanuman a modern touch, but the dialogues are completely out of sync with what viewers generally expect from Hanuman.

Poor VFX

The VFX is another big disaster. Adipurush is a film that is supposed to have been made on a budget of ₹600 crore. But as viewers, you wonder where the budget went.

In spite of the flaws in the story, Brahmastra (2022) was at least a visual spectacle. But the graphics in Adipurush seems to have been designed by amateurs.

The battle scenes, in particular, are both laughable and exhausting. They test the viewers’ patience to the optimum. One wishes to see the end as quickly as possible.

Final take

A runtime of almost three hours makes things worse for Adipurush. Instead of being an epic tale, it turns out to be an epic bore.

(Views expressed are personal.)

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Zara Hatke Zara Bachke: A Fun Ride While It Lasts

The film benefits from both Vicky Kaushal and Sara Ali Khan. Their chemistry is on point and keeps the viewers invested.

Has its moments.
Zara Hatke Zara Bachke (Hindi)
  • Cast: Vicky Kaushal, Sara Ali Khan, Neeraj Sood, Rakesh Bedi, and Sharib Hashmi
  • Director: Laxman Utekar
  • Producer: Dinesh VIjan and Jyoti Deshpande
  • Music: Sachin Jigar
  • Runtime: 2 hours 12 minutes

Before making his directorial debut with Luka Chuppi (2019), Laxman Utekar was a noted cinematographer who worked on films like English Vinglish (2012) and Dear Zindagi (2016). He was vastly appreciated for his work in these films.

In 2019, Utekar directed the Karthik Aryan and Kriti Sanon-starrer Luka Chuppi, a romantic comedy that explored the concept of live-in-relationships through the lens of comedy. The film also had some satire about moral policing and communal biases in small towns.

The director used the same formula in 2021 with Mimi, starring Kriti Sanon in the lead.

Mimi was about an aspiring actress who agrees to be a surrogate mother for a rich foreign couple as they promise her a lot of money. It is again a film with a lot of situational humor.

But, in both films, Laxman Utekar wasn’t entirely successful in maintaining the balance between humour and social commentary.

His latest, Zara Hatke Zara Bachke is no exception.

The director takes the story of a middle-class couple struggling to find some space for intimacy. The wife tries to find a house of their own. This is a promising premise but the director uses dubious means to achieve this simple desire.

Synopsis

The film begins with a wedding anniversary celebration. Vicky Kaushal plays Kapil Dubey and Sara Ali Khan plays Saumya Chawla Dubey.

Apart from Kapil’s parents, there are also his nosy uncle and aunt in the house. They shift to Kapil’s house due to some personal problems.

The wedding celebration changes into something tragic as Kapil’s aunt smells an egg in the cake. This results in a huge ruckus.

Saumya decides that she and Kapil need a space of their own as their romantic life is frequently interrupted by their relatives. The mama’s son also sleeps between the two.

To achieve her dream, Saumya tries to get a flat under the government programme Pradhan Mantri Awaas Yojana (PMAY).

Here, we are introduced to a dubious agent (Inaamulhaq). He tells Saumya that she would be eligible to get the flat under the single woman’s quota. However, for that, she and her husband need to have a fake divorce. They can remarry once the house is allotted.

What follows is your typical comedy of errors where the couple tries to pursue both the families and the judge that they must be divorced.

To make things spicier, there is also a love triangle coupled with a watchful guard Daroga (Sharib Hashmi).

Creates authentic middle-class milieu

There is no denying that Saumya’s step of faking a divorce in order to get a new flat is very drastic, but having said that, Laxman Utekar is successful in creating an authentic middle-class milieu.

A particular mention must also be made of how he portrays the relationship dynamics between Kapil and Saumya. Their romantic scenes have their share of adorable moments that are simple yet impactful.

Zara Hatke Zara Bachke also benefits from both Vicky Kaushal and Sara Ali Khan. Their chemistry is on point and keeps the viewers invested even when the plot goes off rails.

Vicky Kaushal brings certain reliability to his role as a middle-class husband who would go to any length to make his wife happy.

He particularly stands out in the pre-climax scene in a hospital when Kapil and Saumya have a heart-to-heart talk to iron out their differences.

Sara Ali Khan lends the required fire to her part of a feisty Punjabi Girl. She does go over the top in the emotional bits. But still, she makes an impact.

The film has also got some laugh-out-loud moments.

For example, there is a scene where a government official inspects Saumya’s home to ensure that she is indeed separated from her husband. Kapil is with her at that time. He decides to act like a plumber and that results in some chuckle-worthy moments.

Technical crafts

Sachin Jigar’s music is quite melodious.

Arjit Singh’s “Phir Aur Kya Chahiye” is the number that stands out the most.

Raghav Ramadoss’s cinematography goes well with the mood of the film. He creates some beautiful frames that add a vibrant tone. The art design is also good, particularly in the family’s house.

Derails in second half

However, the big issue with Zara Hatke Zara Bachke is how the plot derails in the second half. There are some subplots that the film could have easily done away with.

There are portions where Kapil and Saumya have to act like brother and sister. These scenes come across as unnecessary.

Kapil’s mami has a backstory of suffering from a deadly disease. This comes out of nowhere.

But then, Zara Hatke Zara Bachke ends on a happy note when they realise that their fake divorce is leading to real quarrels. After that, they give up on the new flat and settle in their old house.

Verdict

Zara Hatke Zara Bachke is a fun ride. At the end of the day, you take away the performances, music and some delightful moments, particularly in the first half.

(Views expressed are personal.)

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Anek: An Admirable Effort But Lacks Focus

With Mulk, Article 15 and Thappad Anubav Sinha has created a strong niche for himself. Each of these three films has covered important socio-political issues. For example, Mulk was about the growing Islamaphobia in the country. Article 15, on the other hand, was about a young police officer who comes upon the horrors of caste discrimination. Lastly, Thappad looked at whether a slap can lead to divorce. All these were powerfully made films that stayed with you for a long time. With his latest Anek, the director shifts his focus to the mostly neglected north east. Omung Kumar’s Mary Kom was also set in the northeast but Anek falls in a very different zone altogether. This is a highly political film which talks about the alienation and lack of opportunities for the youth in northeast. The director focuses his lens on the racial abuse faced by the people of northeast.

There is no denying that Anubav Sinha makes an important statement through Anek, but having said that the script is all over the place. Anubav Sinha jumps from one issue to another. You get the feeling that cramming of too many things is happening. It looks like Anubav Sinha was bombarded with too many ideas.

Anek tells the story of a secret agent Aman (Ayushmann Khurrana) who goes by the name of Joshua. He opens a café in a city somewhere in the northeast. This café becomes the base for his operations. He has been sent by the government to neutralize Tiger Sangha (Loitongbam Dorendra Singh), he is a militant leader who runs a parallel government in the region. The government wants him to fall in line and sign a peace accord. Along with this you also have the track of a boxer Aido (Andrea).  Aido wants to become a part of India’s boxing team. Her reasoning is recognition in sports would give her a platform to highlight the problems of her region.

Her father Wangao (Mipham Otsal) is a revolutionary who believes that independence isn’t necessarily earned through guns. Wangao’s belief is that independence can be won through social reforms as well, interactions with these two changes Joshua. He begins to question the motives of his handler Abhar (Manoj Pahwa). There is also Kumud Mishra playing the wily minister. Last but not the least JD Chakravarthy also makes a comeback to the screen as another agent. What follows is a complex political thriller covering many burning issues.

First and foremost Anubav Sinha deserves credit for how he shows the militancy in northeast. They are never branded as terrorists but as revoluntaries. A lot of effort has gone into understanding what makes these young people take up arms. There is a distinct empathy which comes out. Also the film never goes into the jingoistic zone in spite of the political background.

Some of the conversations strike a definite chord, they make you think. For example, there is an important conversation between Ayushmann Khurrana and JD Chakravarthy about what makes someone an Indian. Is it the place where you come from, the language that you speak etc? The film also dwells into how the idea of peace can be utopian and also be subjective. This particularly comes out through JD Chakravarthy’s character.

Ewan Mulligan’s cinematography is another major plus for Anek. It is perfectly in tone with the requirement of the film. The cinematographer shows both the aesthetic beauty of northeast along with the destructive side. 

One of the factors that pull down Anek is the lack of coherence. This is majorly due to the tone that Anubhav Sinha has adopted. In telling too many things the direction often becomes indulgent. More focus was also needed on developing the characters of common people. A good example of this is the Andrea’s Aido. The character is too sketchily written for you to completely empathize with her.

The half baked romance between Ayushmann and Aido isn’t convincing in any way. It could have been either avoided, or be written in a better manner.

The overtly political nature also alienates the audiences somewhat. The first half in particular has too much of politics.

As expected the performances of the cast are on point. Ayushmann Khurrana is as dependable as ever. He once again shows his versatility as an undercover agent who develops a conscience. Andrea makes a confident debut, some rawness is there in the emotional scenes but there is no denying that Andrea has a bright future. Manoj Pahwa stands out in the supporting cast. He imbibes the necessary ruthlessness. It is also good to see JD Chakravarthy in his role of the field agent. He makes his presence amply felt.

In a nutshell, Anek is a step in the right direction, but more finesse would have made it memorable.

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Kerala Story: This Adah Sharma Starrer Is A Poignant Watch In Spite Of Its Melodramatic Tone And Questionable Politics

Director Sudipto Sen is successful in making you root his primary protagonist

Kerala Files (Hindi)                     3 out of 5

Starcast: Adah Sharma, Yogita Bihani, Sonia Balani and others

Director and writer: Sudipto Sen

Additional writers: Suryapal Singh and Vipul Amrutlal Shah

Producer: Vipul Amrutlal Shah

Production Company: Sunshine pictures

Music directors: Viresh Sreevalsa and Bishak Jyoti

Genre: Drama

Running time: 2 hours and 3 minutes

Vivek Agnihotri’s Kashmir Files has opened up a new genre of films where traumatic real life incidents are taken and made into films with a particular agenda against one community. Sudipto Sen’s Kerala Story has more than one similarity with this 2022 blockbuster. Much like Kashmir Files Kerala Story is also based on horrific true incidents. In this case it is brainwashing girls of other religions and converting them into Muslims by the ISIS. Another similarity is the devilish portrayal of Muslims. In this film most of the Muslim characters are dubious.

But keeping aside these aspects there is no denying the significance of the topics that Kerala Story uncovers. The film is successful in making you root for its primary lead character Shalini who undergoes a religious conversion later.

The movie Kerala Story begins in an interrogation room where a young mother Shalini (Adah Sharma) is revealing the details of her horrific past and why she is in the current situation. Her past involves a friendship with her roommates in a Nursing School of Kerala in a place called Kasargod. The movie is narrated from the perspective of Shalini. Her roommates are Gitanjali (Siddhi Idani), Nimah (Yogita Bihani) and Asifa (Sonia Balani). The other three are not aware of Asifa’s secret agenda which involves converting them to Muslims. There are also some male associates from outside. With the help of these associates Asifa is successful in radicalizing Shalini and Gitanjali. These people also use hallucinogenic drugs to make sure that their mission is successful. Shalini falls in love with one of the men and gets pregnant before marriage. Just before the marriage happens the person in question disappears without a trace. As a result she is compelled to marry someone else. After marriage she embarks on a long journey to Syria via Pakistan and Afghanistan. What follows is a hard hitting story with plenty of Islamophobia.

Before getting into the problematic portrayal of Muslims it is necessary to highlight the positives as well. Director Sudipto Sen is successful in creating moments that evoke a sense of uneasiness in the viewers appropriate to the storyline. The scenes which deserve a particular mention are the ones where Asifa successfully poisons the minds of Shalini and Gitanjali with her persuasiveness.

There are also some hard hitting dialogues through the character of Nimah. Nimah is someone who refuses to buy into the propaganda of Asifa. As a result drugs are mixed in her drink by one of the Muslim men and she is repeatedly raped in her drugged state but she somehow manages to escape. Nimah starts investigating on this entire thing and comes up with very disturbing information. Her emotional breakdown in the police station gives the film some of its best moments. Yogita Bihani who played Nimah does a brilliant job in this scene.

By the very nature of its story there aren’t many light moments in the movie. But some of the initial hostel portions do bring a smile on the audience’s face. The friendship between Shalini, Gitanjali and Nimah has been established well.

Sudipto Sen also touches upon how these girls are used as sex slaves in ISIS camps in Syria and Afghanistan. These scenes are presented without any sugarcoating and very moving.

As mentioned above most of the Muslims in this film come across as devilish with zero redeeming qualities starting from Asifa. This aspect does start bothering after a while particularly if you are a rational viewer. The amount of Islamophobia presented in the film is definitely dangerous.

The film also gets melodramatic at certain places which hinders the viewing experience. There are some scenes where Sudipto Sen tries to make the audiences emotional by manipulating them and they are definitely in bad taste.

Performances-wise Adah Sharma does a brilliant job. Her journey from Shalini to Fatima has been powerfully written and her performance makes it even more arresting. Sonia Balani as Asifa evokes the hatred required for the character. Siddhi Idnani is also competent in her performance.

Cinematographer Prasanthu Mohapatra is successful in capturing both the scenic beauty of Kerala and also the harsh terrain of Afghanistan through his lens. The music by Viresh Sreevalsa and Bikshah Jyoti has a nice mix of songs.

Watch Kerala Story for its ‘powerful’ story though one sided and also if you like the Kashmir Files brand of cinema.