Category: Movie Reviews

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Alpha: Strong sisterhood saves the day

Shiv Rawail and Uday Chopra succeed in presenting two badass women. The dynamics of estranged siblings is the film’s beating heart. Sharvari matches Alia step to step whether its the hand-to-hand combat or the emotional sequences. Bobby Deol, Anil Kapoor and Dibyendu Bhattacharya also lend gravity to their respective parts. But the father and daughter thread needed stronger writing, also a Dhurandhar like twist feels forced. Yes, the scenarios leading up to the revelation is interesting but in the eventual scheme of things it feels like a hurried addition

Starcast: Alia Bhatt, Sharvari Wagh, Bobby Deol, Anil Kapoor, Dibyendu Bhattacharya and others

Genre: Action thriller/drama

Director: Shiv Rawail

Story: Uday Chopra

Screenplay: Shoumik Shukla and Sridhar Raghavan

Dialogues: Ishita Moitra

Producer: Aditya Chopra

Production House: Yash Raj Films

Songs: Rohansh and Abeer Pandit

Cinematography: Rubais

Running time: 2 hours and 20 minutes

The spy journey of Yash Raj beginning with EK Tha Tiger has seen a roller-coaster of a journey. It has been a mix of massive highs and huge lows. Until Pathaan all the movies were commercial blockbusters but with Tiger 3 everything changed. Tiger 3 was a reasonable success but nowhere close to the blockbuster status of Pathaan and War among others. War 2 was a bigger dud than Tiger 3 with a lot of criticism on similar visual aesthetics, the matters got further compounded with the mega success of Dhurandhar movies. Shiv Rawail’s Alpha’s comes at an extremely crucial moment for the future of spy verse as well as Alia Bhatt. The actor’s previous tryst with action Jigra couldn’t do much at the box office and Alpha is likely to go the same way. The movie has solid action and good performances but the writing tapers off after some solid world building.

The story of Alpha begins with the aftermath off 1999 Kargil War. Bobby Deol is commander Fateh Sing Lakawat. He trains Alia Bhatt’s Sita with a very potent Alpha serum. Sita grows up to be a ruthless assassin following her adopted father’s commands without much questioning. Anil Kapoor plays RAW Cheif Kaul. Kaul was a part of Fateh’s Alpha program, but a particular incident leads to Kaul distancing himself from Fateh Singh. Sharvari Wagh plays the estranged twin sister Durga. Last but not the least Dibyendu Bhattacharya is a scientist cum partner to Fateh. In simple terms the film focuses on how Sita’s life changes after a crucial revelation and how the estranged siblings eventually team up taking down Fateh and save India.

The beating heart of Alpha as already mentioned is the strong sisterhood between Alia and Sharvari. The two have contrasting personalities in terms of how they look at life. Durga like Sita has also grown without mother’s love as Kaul’s wife played by a radiant Dia Mirza, the character dies while giving birth to the twins. However, their lives have shaped up differently due to the contrasting atmospheres. Fateh has trained Sita as a cold-blooded assassin not getting himself emotionally involved. A particular sequence of Sita 18th birthday with Fateh giving the first assignment is a perfect example of this.

The impact of Fateh’s upbringing can be clearly seen in Sita’s initial interactions with both Kaul and Durga. A situation comes where the two have to stick it out together and here Sita’s coldness gradually evaporates and by the end the two have developed a strong bond. This gradual process has come out in a solid manner. It also helps that Sharvari is positioned as an equal and not a mere sidekick. The young actress does a fantastic job in the scenes of physical agility as well as the few poignant moments. Alia Bhatt gets into the skin of a trained assassin with panache; at the same time, she is her usual competent self in the scenes of vulnerability. Alia and Sharvari together lift the movie’s muddled screenplay with their camaraderie. A mention must also be made of a pre interval action block with the two taking on each other unaware of being sisters. The fight has been solidly choreographed with some raw action.

Bobby Deol as the primary antagonist plays the part with the required ruthlessness. While the part is no Bandar in terms of the different shades Bobby still makes for a formidable villain. The deep baritone voice coupled with the overall physical demeanor is a treat to watch. Anil Kapoor continues his golden form with another solid act. In spite of the hurried writing the veteran actor brings in an emotional resonance in his scenes with both Alia and Sharvari. Dibyendu Bhattacharya is also impressive within his limited screen time. His sequence with the adult Sita deserves a specific mention. Hrithik Roshan as Kabir shows too up in an extended cameo. The actor brings his usual swagger and style, his interactions with Alia and Sharvari have some interesting moments.

The action sequences are another highlight of the movie. The pre interval block and the climatic fight deserve a special mention. Yes, the closing fight feels stretched but the raw action with Alia and Bobby combating has been wonderfully staged. As viewers you fear for Sita and the scene of her finally pinning down Fateh serves as a perfect culmination.

A major flaw with Alpha is the loose writing when it comes to the father and daughter dynamics, whether it’s Sita’s equation with her adopted father or the biological one. There is a sense of hurry in the way the interpersonal relationships are introduced and then left hanging only to be revisited later.

This juggling act of action and emotion doesn’t land seamlessly. The second half in particular seems in a rush for Alia taking on Bobby. As a result the emotions don’t stir the viewers the way it should.

Alpha also suffers from a Dhurandhar hangover. A crucial twist related to the actual identity of Bobby’s Fateh Singh feels like a last-minute addition to please the deshbhakts. But this twist though shocking isn’t likely to please even the most patriotic ones.

The music with its mix of Hindi and English lyrics doesn’t work either. Sharvari’s introduction song for example just doesn’t land.

Final word: Alpha deserves marks for trying to something different within the spy verse formula. But the inconsistent writing makes it difficult to root. Having said that it makes for a fun watch especially for those who like seeing strong women saving the day.

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Maa Inti Bangaram: Woman power with a ‘Baasha’ spin

MIB largely rides on Samantha’s all round show and Gulshan Devaih’s sinister villainy. The writing though falls significantly short in two key stretches. One the husband-and-wife relationship, and second a rather hurried origin story with the angle of naxalism. Keeping the shortcomings aside MIB makes for a fun popcorn entertainer especially for those who have liked Samantha’s action avatar. Nandini Reddy and Raj Nidimoru tackle some interesting gender themes in a typical joint family set up

Starcast: Samantha, Gulshan Devaih, Manjusha Mukkavalli, Sreemukhi and others

Genre: Action/drama

Director: BV Nandini Reddy

Writers: Raj Nidimoru and Vasanth Maringanti

Music: Santhosh Narayanan

Cinematographer: Om Praksh

Producers: Samantha, Raj Nidimoru and Himank Reddy Duvvuru

Production Company: Tralala Moving Pictures

Running time: 2 hours and 34 minutes

The Baasha template of a man with violent past is one of the most overused tropes in Indian cinema. Numerous male stars have attempted this with a fair amount of success. Rajinikanth himself has had many reiterations of the same especially the 2023 smash hit Jailer. BV Nandini Reddy along with the writers take the core of Baasha and add a tadka of Family Man Season 2. The origin story with the angle of naxalisam bears a striking resemblance to the LTTE angle in that web show. In one way the movie feels like what if Samantha’s Raji had left the movement and found a loving husband. Keeping aside the comparisons Maa Inti Bangaram is a treat for Samantha fans even though the storytelling doesn’t fully soar.

The story of MIB focuses on Samantha’s Swarna/Jhansi. Swarna is a far cry from the typical daughter-in laws of a joint family. Dignath Manchale plays Swarna’s husband Anirudh, he had gone against his family and married Swarna. How they fell in love is hardly touched upon and this is something which I will get to later. Coming back to the story Anirudh and Swarna come for a family wedding amidst a somewhat hostile atmosphere. How Swarna wins over her in laws while tackling an extremist leader/angsty ex-lover is the main story of Maa Inti Bangaram.

It goes without saying that MIB largely relies on Samanth’s star power and the actress doesn’t disappoint one bit. Whether its kicking goons, the emotional vulnerability or the comic portions she doesn’t miss a single beat. Samanth’s prowess in action is something that we have already seen, still its a delight to watch Samantha take on the bad guys with absolute conviction. A special mention must be made of the climactic fight filled with gun shots and hand to hand combats. At the same time, Samantha does a fantastic job in the emotional sequences too like the one where Swarna reveals important details about her past, in the same scene she also questions the typical matrimonial ads describing the qualities so-called perfect daughter- in-law.

The comic sequences too are a riot. Her scenes with Manjusha Mukkavalli raises ample chuckles like the portion of emotional manipulation. In a couple of sequences there is also a perfect mix of humor with tension. For example, there is a portion of Swarna and Manjusha’s character desperately trying to put away a dead body. Manjusha makes her presence amply felt in spite of sharing screen space with Samantha.

Sreemukhi as the orthodox daughter in law typically seen in numerous joint families also makes a striking impact. In scenes of jealousy, she particularly stands out. Gulshan Devaih as the hurt lover Karuna makes for a striking villain. His dynamics with Swarna has been fleshed out much better in comparison to the husband-and-wife relationship. A portion worthy of mentioning is Karuna taking jibe at Swarna’s domestic avatar saying that did he train her for this and how she is wasting herself. On a side note, it would be good to see Swarna playing an active part in her father in laws political activities if a sequel is made, while carrying on the duties of a wife/daughter-in law. Among the rest veterans Gautami and Sri Lakshmi do a fair job within the confines of their roles.

A major flaw with Maa Inti Bangaram is the haphazard integration of the Naxalite angle. The socio-political complexities of a then important movement is reduced to a mere side note. The nuance is absolutely lacking in how Nandini Reddy along with the writers have presented the social scenarios leading to naxalism.

Another big issue is the lack of meat in the husband-and-wife relationship. The process of Anirudh and Swarna falling in love is never shown, we just get a couple of mentions in Swarna’s words, but more depth was required. This aspect sticks out even more glaringly given that Anirudh had gone against his parents to be with Swarna, so a much better exploration of how they fell in love was needed.

Maa Inti Bangaram features only one song which is the energetic Thaasadiya. The upbeat tune coupled with Samanth’s free flowing dance moves makes for a nice watch visually. Om Prakash’s cinematography stands out in the climatic fight.

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Main Vaapas Aaunga: A stirring tale of trauma and loss of humanity

Imtiaz Ali once again employs his favorite two timeline plot sequencing. More than the partition horrors the movie holds a mirror to today’s displaced homes due to bloodshed. The end montage song with the ever-charming Diljit Dosanjh hits hard. A strong aspect of Main Vaapas Aaunga are the scenes between Nasseerudin Shah and Diljit. The portions have a perfect blend of humor with emotional pathos. The pre partition romance though needed better writing

Starcast: Naseeruddin Shah, Diljit Dosanjh, Vedang Raina, Sharvari Wagh and others

Genre: Romance/drama

Director and writer: Imtiaz Ali

Additional writer: Nayanika Mahatani

Music: A R Rahman

Cinematography: Sylvester Fonseca

Producers: Sameer Nair, Deepak Segal etc

Production Companies: Window Seat Films, Applause Entertainment etc

Running time: 2 hours and 46 minutes

Stories of Partition and Bollywood go hand in hand; numerous filmmakers have depicted the horrors of partition in their own ways but still there is always something left to be explored. Imtiaz Ali’s latest Main Vaapas Aaunga is also about pre partition and the horrors following it. But the genre here makes a difference. Imtiaz packs in an intense tale of unrequited love, love so intense that our protagonist hasn’t forgotten his heroine though he is 95 years old. Naseeruddin Shah is Keenu. He falls in love with a Muslim girl Jiya/Afshana played by a radiant Sharvari Wagh. Vedang Raina plays the younger version in the flashbacks. Their blossoming romance hits a roadblock due to partition. He manages to make a living, but the scars haven’t completely left. Diljit Dosanjh plays the grandson Nirvair Grewal. Nirvair is going through his own hassles both professionally and personally. Nirvair becomes Keenu’s support system, and he is determined to fulfill his grandfather’s last wish and how that happens is the essence of MVA.

A strong aspect of MVA are the scenes between Nasseerudin Shah and Diljit. Their interactions have undertones of humor in the beginning especially the hospital ones. But as Nirvair becomes more emotionally involved the dynamics takes a different turn. The portions start to become emotionally poignant and the two feed off each other wonderfully. After a long time Naseeruddin Shah has gotten an author backed part and the veteran makes complete use of it. Whether its his intense love for Jiya/Afshana or the pain of leaving one’s home the actor tugs at your heartstrings. He also raises chuckles in his initial interactions with Diljit.

Diljit as the grandson gets his own arc and the dependable actor doesn’t disappoint. In spite of sharing screen space with an in form Naseeruddin Shah he more holds his own. From being curious and then the strong determination of making sure that the grandfather finds peace at least in death the actor doesn’t miss a single beat.

The pre partition romance also has his moments. Both Vedang and Sharvari look the part of bestowed lovers, but the writing could have been better. The love track could have been developed more; there is a hurried nature to the proceedings here. Having said that the conversations between young Keenu and Jiya have the right romantic spark. Vedang in particular impresses more so in the post partition scenes. The scenes of subtle pain and grief has been excellently portrayed by the young actor. Sharvari has much less to do in comparison, but she has a luminous presence and does a fine job in portraying a certain inner resilience.

The theme of humanity loss has a realistic feel to it as well. Human beings getting carried away in the cycle of violence and behaving in a barbarious manner has a contemporary feel. The post credit song Kya Kamaal Hai takes the audiences on a short tour of present horrors and the incredible spirit of fighting back. The tune coupled with Diljit voice is simply fantastic.

AR Rahman’s music jells perfectly with the movie’s tone capturing both the young love as well as the emotional undertones perfectly. The cinematography of Slylvester Fonseca particularly the pre partition romance has some nice frames. The proceedings have a lived-in feel

One of the things sticking out like a sore thumb is the subplot of Nirvair and his off/on relationship with Banita Sandhu’s Kaveri. It doesn’t add much substance to the movie. The subplot feels like more of a crutch to amplify Keenu’s deep love for Jiya. But this is a minor misstep in a mostly heartfelt drama on what it means to leave your home.

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Sing Geetham: A gripping ecological fable soaked in allegory

Acclaimed director Singeetham Srinivas Rao once again employees his trademark whimsical style while exploring the themes of human greed, capitalism and environmental destruction. Kudos to the director for coming up with a story like this at the age of 94 and showing why he is one of his kind. Nag Ashwin and Vijayanthi movies also deserve appreciation for bringing alive his vision. Devi Sri Prasad delivers one of his best soundtracks whether it’s the initial bewilderment or the anguish in the pre climax. A committed ensemble especially Ahilya and Shalini Kondepudi stand out among the performers

Starcast: Ayaan, Ahilya Bamraoo, Shalini Kondepudi, Tulasi, Banerjee, Nivetha Pethuraj, Rahul Ravindran and others

Genre: Fantasy/supernatural

Director and writer: Singeetham Srinivas Rao

Additional writers: Nanda Kishore Emani, Gautami Challagulla etc

Music: Devi Sri Prasad

Cinematographer: Ankur C

Producer: Nag Ashwin

Production houses: Vyjayanti Movies and Swapna Cinema

Running time: 2 hours and 17 minutes

Before dissecting Sing Geetham its necessary to appreciate the spirit of Singeetham Srinivas Rao. The story of Sing Geetham is an old one, it has been with Singeetham Srinivas Rao for a long time. Through the story has been written long time back the plot is still so contemporary. The themes of environmental destruction and Mining don’t need a special introduction. We see it all around us but to explore these topics in the age of big scale Pan India takes courage both for the director and the producers. So firstly, a big round of applause for the entire team. Coming to the film Sing Geetham in set in the village of Kuberapuram. A young man Prathap (Ayaan) returns to his native village for claiming inheritance. He wants to make some quick buck by signing a deal with a businesswomen Renu (Shalini Kondepudi). Ahilya Bamaroo plays Gauri a feisty young woman deeply attached to the village’s last surviving tree. Things take a major turn with the tree being razed to the ground and the village getting cursed. A big reason for the curse is Gauri’s rant on that particular night. The backstory of Prathap involving Nivetha Pethuraj and Rahul Ravindran and how the curse of communicating only through songs is broken forms an important core of Sing Geetham.

A strong aspect of Sing Geetham is the world building. Singeetham Srinivas Rao along with the writers get to the heart of the story without wasting much time. Whether its Pratap’s release from jail, his entry into Kuberapuram and the mining business of Renu and her father, the latter played by a suitably evil Banerjee. Gauri’s attachment with the tree and her ideological differences with the father also set a solid base.

The portion of village’s last tree razed to the ground and Gauri’s desperate plea is emotionally poignant. Yes, the scene does across as melodramatic but there is an important reason behind Gauri’s attachment. This comes in the latter half with solid acting from both Nivetha Peturaj and Rahul Ravindran as Prathap’s parents.

For some viewers the environmental destruction explored will remind them of tress being cut down in real life. The most recent one is KBR. The mining portions are again reminiscent of numerous stories we have read in newspapers or come across online. To make a film like this with a strong political voice and then to be backed up by names like Nag Ashwin and Vyjayanthi alone makes for a big reason to watch.

Having said that the subject takes a while to warm up. The format of communicating every feeling through songs will appear outlandish for the mass belt, also the title Sing Geetham doesn’t appear in sync with the story’s nature. Still there is a lot to savor for those who like experimental cinema especially Singeetham Srinivas Rao fans.

Devi Sri Prasad’s music and background score is the soul of Sing Geetham apart from direction and writing. The songs are of a completely different flavor something we don’t usually associate with DSP. It is a huge challenge to compose tunes for a film like this but Devi Sri Prasad more than rises up to the challenge. Among the songs the one which stands out is the emotional plea to the god Kubera when a lot of people turn into gold statues. The tune, lyrics and the actor’s performances combined stirrers the viewers. On the other hand, a song situation with everyone speaking their mind without any filter makes for a fun watch. Sing Geetham is easily Devi Sri Prasad’s best work to date.

The allegorical touch especially the story of King Midas and its integration in the pre climax has also been well done. The pre climax also gives an important message on humanity and the need for harmony. There is a powerful portion of villagers setting aside their greed and protecting a newborn baby. Some of them become gold statues and this is preceded by an emotional plea to God.

The movie ends with the people of Kuberapuram living together in harmony with nature. Vijay Devarakonda briefly appears as a potential threat to Kuberapuram ; the part itself doesn’t have much significance nevertheless it makes for a fun special appearance especially with Vijay struggling to hold himself together because of the involuntary dancing curse.

The cast of Sing Geetham is an interesting mix of newcomers and established actors, and this works for the movie. Among the younger lot Ahilya and Shalini stand out. Ahilya portrays the feistiness of Gauri in a solid manner. Shalini Kondepudi as a calculative businesswoman with her own insecurities also makes a striking impact. Her character Renu is someone who is driven by the need to prove herself and this adds an interest psychological layer to the character. On a side note, it’s good to see the emergence of new actresses coming through Youtube like Shalani and Shivani Nagaram.

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Obsession: A gripping psychological horror on consent and the need for space

A roundabout second half does test the viewers patience, nevertheless the film is successful in giving jump scares through the effective atmospherics. The movie has a strong social undercurrent through the supernatural aspect. At times Obsession feels like watching Ram Gopal Varma’s prime particularly the classic thriller Kaun

Starcast: Michael Johnston, Inde Navarrette etc

Genre: Horror

Director, writer and editor: Curry Baker

Cinematographer: Taylor Clemons

Music: Rock Burwell

Producers: James Harris, Hayle Nichlo Johnson etc

Production Companies: Tea Shop Productions, Blum House Productions etc

Running time: 1 hour and 50 minutes

Ever since its release on May 29th Obsession has been breaking records right, light and center. Made on a shoestring budget the film has raked in both numbers and critical acclaim and deservedly so. Obsession is a different space of horror than the usual ghost stories that we encounter. It’s more psychological with a spilt personality. Obsession bears a striking resemblance to the best of RGV work, the likes of Kaun and Bhoot. Like those films here too the horror majorly comes from the solid background score and tension filled situations. Even Inde Navarette seems to be channeling her inner Urmilla Mathodkar from those movies. Keeping the comparisons aside Obsession genuinely succeeds in giving creeps while touching upon relationships

The story of Obsession starts with a nerdy and insecure music store clerk Bear (Michael Johnston). For a long time, Bear has been in love with Nikki (a solid Inde Navarette). But he isn’t able to confess given the introvert nature coupled with insecurity. Instead of directly confessing his love Bear breaks a mystical “One Wish Willow” to make Nikki fall in love with him. But this leads to disastrous sequences as Nikki goes from feisty to emotionally clingy. The final fate of Nikki and the relationship forms the core of Obession.

A strong aspect of Obsession is the significance of the title and the way Curry Baker justifies it. Obsession here isn’t just a random title chosen but represents the core theme. The emotionally clingy nature of Nikki like the terrifying portion of her behavior at a boy’s party is a solid example of this.

In the beginning portions Nikki talks about wanting to be a writer to Bear, she further mentions about writing a romantic story. But after the “One Wish Willow” episode the character takes a huge 360 degrees turn. From being independent Nikki goes into the territory of a psychopathic girlfriend. She even ends up killing Megan Lawless Sarah’s Harper in a fit of extreme possessivness.

The social commentary underneath all this about stripping a woman of her autonomy has come out in a solid manner. Bear may across as a good man in the beginning, but his inner patriarchy comes out clearly in the way he makes the wish.

What also works for Obsession is the technical department. Both the background score and the cinematography deserves a special mention. The scenes where Nikki’s personality goes through a major within seconds is majorly enhanced by the terrifying background score. Taylor Clemen’s cinematography too is in sync with the eerie atmospherics. The night shots especially make for a truly scary experience.

Obsession also benefits from two solid leads. Inde Naverrette goes from loving to scary without missing a single beat. She particularly shines in the portions of the alter ego taking over causing absolute carnage. By the end of Obsession, the viewers feel bad for her and think on how she is going to deal with the future emotional turmoil. Michael Johnston also stands his own especially in the scenes of regret and tension.

Coming to the flaws the second half suffers somewhat from roundabout storytelling. Some of the scenes feel jaded thanks to the repetitive scenarios. Also, a subplot of Nikki’s equation with her father needed more layering, it feels like an add on rather than something substantial.

Final word: Obsession is worth watching for fans of psychological horror with social commentary

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Maa Behen: A strong feminist core elevates this uneven ride

Director Suresh Triveni succeeds in subverting the usual trope of motherhood. Madhuri Dixit’s Rekha is someone who is unapologetic about her choices. The film does a fine job in exploring a certain gossip culture and society’s judgmental tone. Maa Behen is at its strongest when it focuses on the family dynamics and the evolving bond between the three female protagonists. Not everything lands but Maa Behen makes for an entertaining feminist thriller.

Starcast: Madhuri Dixit Nene, Tripti Dimri, Dharna Durga, Ravi Kishan, Arunoday Singh etc

Genre: Thriller/comedy

Direction and story: Suresh Triveni

Additional story and writer: Pooja Talani

Music: Akshadeep Sengupta

Cinematography: Anuj Rakesh Dhawan

Producers: Vikram Malhotra and Suresh Triveni

Production Companies: Abundantia Entertainment and Opening Image Films

Running time: 2 hours and 7 minutes

Streaming site: Netflix

Indian Cinema has a major tendency of putting mother figures on pedestal. They are presented in a stereotypical manner with no desires of their own in general. Suresh Triveni’s Maa Behen is radically different in its presentation; he is also helped by an uninhibited Madhuri Dixit Nene having an absolute ball. As a film Maa Behen bears a striking resemblance to the 2022 movie Darlings. Just like that movie here too is there a mixture of crime with dark humor. The theme of female autonomy also has a striking parallel. Having said that Maa Behen comes with its distinct identity.

The story of Maa Behen focuses on a non-confirming widow Rekha (a magnetic Madhuri Dixit) Rekha has a certain reputation of being Adarsh Colony’s Daayan because of her lifestyle. Tripti Dimri and Dharna Durga play Rekha’s two daughters. Tripti’s Jaya is stuck in an oppressive marriage, the younger sister on the other hand is an aspiring social media influencer going through her own share of societal judgments. The film takes a dramatic turn with the suppose dead body of Ravi Kishan’s Gupta Ji in Rekha’s house. Rekha calls her two estranged daughters and what follows is a lot of chaos with female bonding

A strong aspect of Maa Behen are its social themes explored through the three women. All the three have important arcs and this makes the movie engaging even when the screenplay get into a major tangle. For example, Tripti Dimri’s character represents the emotional suffering of numerous housewives. There is a lot of pent-up anger coupled with a strained mother and daughter relationship. The sequences between Tripti and Madhuri Dixit gives Maa Behen some of its best moments. As expected Tripti pulls off Jaya’s frustration as well as her rebellion in a solid manner. Her confrontation scene with a suitably despicable Shardul deserves a special mention.

Dharna Durga too makes her presence amply felt. In spite of sharing screen space with the likes of Madhuri Dixit and Tripti she does a wonderful job in conveying a young woman’s yearning for love. Yes, the character’s emotional wounds needed better exploration, but Dharna Durga does a very fine job, nevertheless.

Ravi Kishan’s Gupta ji is another interesting character worthy of mention. His character begins off as a seemingly ordinary neighbor, but the film throws a major surprise in the third act. The gradual unraveling of Gupta ji’s different layers makes the women’s fightback all the more engaging. Arunoday Singh as a police officer and Jaya’s friend brings in the required tension especially in the films latter stages.

Madhuri Dixit though is the emotional anchor of Maa Behen. Her part is a mix of vulnerability and quiet resilience, and the veteran actress is successful in unleashing a different shade of her. Suresh Triveni along with Pooja Talani explore the pedestal of imposed motherhood through Rekha in a successful manner. The small-town setting of Adarsh Colony with the running commentary of Shrivardan Trivedi presents an important social layer of self-appointed moral custodians.

Some of the flaws in Maa Behen include the tonal shift which needed better handling. Also, Guptaji’s family not panicking much and carrying on with the daughter’s wedding celebrations as if nothing has happened feels odd. Also, more groundwork could have been laid for the sudden twist in Guptaji’s character. Lastly Geetanjali Kulkarni as Gupta’s wife needed more heft in terms of charcterization.

Final word: There is no denying that Maa Behen could have been tighter with a more fleshed out screenplay. Nevertheless, for fans of feminist stories this makes for a good watch.

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Bandar: A gritty drama on the inner workings of jail

Anurag Kashyap and Sakshi Mehta present a harrowing picture of the numerous tribulations faced by undertrial prisoners. The social commentary on corrupt public institutions as well as media trial hit hard. Bobby Deol gets a layered role with shades of grey, and he goes full throttle coming up with a first-rate act. The character Sameer Mehra isn’t completely white or black, and this makes the movie more interesting

Starcast: Bobby Deol, Sapna Pabbi, Sanya Malhotra, Indrajit Sukumaran, Saba Azad etc

Genre: Thriller/drama

Directors: Anurag Kashyap and Sakshi Mehta

Writers: Sudip Sharma and Abhishek Benarjee

Music: Amit Trivedi, Vishal Mishra etc

Cinematography: Saiyed Shaaz

Producers: Anurag Kashyap, Nikhil Tiwedi etc

Production Company: Saffron Magic Works

Running time: 2 hours plus

There is an important line in Anurag Kashyap’s latest Bander where Bobby Deol’s Sameer Mehra describes himself. He categorizes himself as sometimes good and sometimes bad. This scene with an ex-girlfriend turned adversary (a super Sapna Babbi) isn’t just a throw away portion. It sums up the role in many ways. At some points Bandar also reflects Bobby Deol’s real-life struggles before the fantastic resurgence in Animal. There is a portion of Sameer walking out of an airport after performing in a wedding. In spite of being popular in the past no one in media notices Sameer let alone clicking his photograph. Bandar in simple terms is about a woman accusing a man of raping her. Of course, nothing of that sort has happened. Sapna Babbi’s Gayatri is driven by vengeance when Sameer develops a cold feet. However, the bigger picture of Bandar are the hardships faced by undertrial prisoners and how they are boxed in a certain category irrespective of whether they have actually done the crime or not.

A strong aspect of Bandar is undoubtedly the depiction of jails nitty gritties. Anurag Kashyap along with his writers don’t sugar coat at any point, the portions have the required rawness and as viewers you are immersed on what would be the plight of Sameer. Of course, the technical departments deserve equal credit too whether it’s the cinematography or production design.

The different gangs within the jail and the rules which come with it also have an authentic texture. Initially Sameer aligns himself with a certain group, but things change in a heated moment. He switches sides joining with Indrajith Sukumaran’s Lijo. Lijo has a solid hold over the jail atmosphere. His influence can be seen clearly in numerous portions. Lijo guiding Sameer on how to maintain sanity and the cutthroat nature of the law gives Bandar some of its best moments. Indrajith Sukumaran brings in the required authority along with a certain warmth in equal measure.

The character of Sameer Mehta also deserves equal appreciation. As already mentioned the man isn’t completely white or black. At times the viewers feel that he is actually capable of doing the heinous crime he has been charged with. There is one portion of sexual innuendoes with Gayatri, the details of which cannot be mentioned here. The man also comes across as someone stuck in the past glory and not wanting to start fresh. In spite of some despicable behavior on certain occasions, the viewers still feel for Sameer when he gets emotionally vulnerable constantly pleading with the sister played by a wonderful Sanya Malhotra.

The sequences between the two are emotionally poignant and Bobby is particularly fantastic in these scenes. Sanya Malhotra as the sister trying to hold things together from crumbling also tugs at the viewers hearts.

The gradual unraveling of Sameer’s past with Gayathri has also come out well. From the initial lovey dovey moments and then the eventual rejection leading to a psychotic change in Gayathri, all this has been wonderfully written and enacted with Sapna Pabbi not missing a single beat.

The songs of Bandar composed by multiple artists have a nice variety. The title song in particular catches the movie theme well. A romantic number “Kyun Maaza Aa Raha Hai” makes for a soothing listen and watch too.

Apart from the actors mentioned above Saba Azad playing one of Sameer’s girlfriends has a lovely presence and does a good job within the limited scope. Jithendra Joshi as a corrupt policeman has an absolute ball especially in an early interrogation scene with Bobby. This portion also has some chuckle worthy moments.

The subject of Bandar featuring a male victim is likely to split the viewers especially in the context of the then Me Too Movement. Having said that the movie is very much worth watching. The performances alone make it worth the ticket.

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Peddi: A moving tale of undying spirit

Uppena director Buchi Babu Sana gives his own touch to a Rangasthalam like set up. The film works best when it focuses on the social milieu of caste and the incredible fighting spirit of Peddi. Ramcharan in the titular role goes all out both physically and emotionally. Whatever the fate of Peddi financially the film will be a milestone for Ramcharan the actor. Janhvi Kapoor in her second Tollywood outing doesn’t fare any better whether its the accent or the overall performance. The overt sexualization doesn’t help either

Starcast: Ramcharan, Jagapathi Babu, Shiva Rajkumar, Divyendu, Janhvi Kapoor and others

Genre: Sports/drama

Direction and story: Buchi Babu Sana

Screenplay: Nagendra Kasi, Vara Prasad Toleti, Sri Raman CH etc

Music: AR Rahman

Cinematography: R Rathnavelu

Producers: Naveen Yerneni, Venkata Satish Kilaru, Sukumar etc

Production Companies: Mythri Movie Makers, Sukumar Writings etc

Running time: 3 hours plus

Sukumar’s Rangasthlam and the Pushpa movies aren’t just box office blockbusters; they opened a new grammar of filmmaking especially the return of rural stories in a commercial set up. His assistants Srikant Odela and Buchi Babu Sana have been successful in carving their own niche while paying tribute to their mentor/guru. Buchi Babu Sana’s first film Uppena started off as a story of star-crossed lovers, but what made the film unique was a pivotal pre climax twist. It was daring especially keeping in mind the star launch of Vaishav Tej. With his latest Peddi the director once again takes a very wild swing with the characterization of Ramcharan. The details cannot be revealed here but Ramcharan deserves major appreciation for submitting to the vision of the filmmaker and not letting his pan India image come in the way

The one-line story of Pedda is about a labor/athlete. How Ramcharan’s Peddi uses his multiple sporting skills to lift a deprived community with the village getting united forms the spine of the film. The story of Peddi is narrated to Boman Irani’s Kiran Singh. Kiran Singh is a senior official from Indian Olympics and is used as a typical framing device for the audiences to discover the legendary journey of Peddi. The plot is supposedly inspired from a daily wage laborer called Peddi Babu.

A strong aspect of Peddi are its social beats. An overarching theme is the struggle for basic identity and recognition. Peddi becoming a cross over athlete is less about personal fame and more about his village lacking infrastructure and a name. This has come out solidly in the monologues of both Ramcharan as well as Jagapathi Babu playing Peddi’s father.

Buchi Baba also does a solid job in presenting the struggles of bonded laborers. How the rural working class is repeatedly shamed for belonging to a marginalized caste has some powerful moments. The prejudices of the government in not helping them makes the viewers root even more for Peddi to win.

The caste politics in everyday life even in something like sports meant to be a unifier has its share of poignant moments. A special mention must be made of Shiva Rajkumar’s Gournaidu. His character has some powerful moments like the scene where he chooses Peddi over his upper caste student/disciple. The scenes between Gournaidu and Peddi though familiar gives the movie some of its best moments. Shiva Rajkumar brings in emotional depth as well as the required authority.

Bollywood actor Divyendu plays a mini antagonist. The character Rambujji is sketchy written, but Divyendu plays the part with the required attitude. A particular mention must be made of the scene where Divyendu questions Peddi’s worth after a deliberately lost cricket match. It sets a solid base for Peddi venturing into wrestling. Buchi Babu does succeed in humanizing Rambujji though. The climatic portion of Peddi’s village people seeing the match in his house has some nice touches. The message of how sports can be a great unifier in getting people together irrespective of caste, class etc has been solidly written and enacted.

However, the major spine of Peddi without a doubt is Ramcharan. Ramcharan is the glue holding the proceedings together. The physical transformation is of course fantastic particularly the wrestling part. But the actor majorly scores in the emotional scenes. A crucial portion set in the hospital will move the viewers. A long monologue towards the end also deserves a special mention, it hits the right buttons thanks to the writing as well as Ramcharan’s stupendous act. Lastly Jagapathi Babu is also striking in the role of Applasoori. Yes, for some the part may across as melodramatic but Jagapathi Babu nails the desperation of Appalasoori.

A major problem with Peddi is Janhvi Kapoor as Achiyamma. The romantic track just doesn’t work whether its the lines or how Achiyamma falls in love. For a movie talking about dignity and identity Achiyamma is mostly written from a voyeuristic gaze. Even some of Peddi’s lines about Achiyamma reek of casual sexism and this is something Buchi Babu should have avoided. In fact the female characters leave a lot to be desired especially keeping in mind how Uppena had a solid female character. The confrontation of Krithi Shetty with Vijay Sethupathi was Uppena’s biggest highlight. Unfortunately, Peddi lacks severely in this department.

Also Boman Irani as a framing device feels convoluted beyond a point. A more original approach was needed. Apart from being a patient listener and being bewildered on Peddi’s multi-faceted personality the actor has nothing more to do.

AR Rahman’s music and background score is solid for most part. The already popular Chikiri works both for its upbeat tune and Ramcharan’s swag. The Masaa Massa on the other hand makes for a good montage training song. The background score too especially the Delhi scenes work well. But a special number featuring Sruthi Hasan along with Janhvi feels like an unnecessary add on. Apart from ample skin show for front benchers there is nothing more.

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Chand Mera Dil: An intense tale of love and emotional reunion

The lovey Dovey moments are a mixed bag alternating between cute and cringe. But the film finds it feet once it explores the pressure of responsibilities and certain male ego. The best part of CMD is the character graph of Lakshya Lalwani’s Aarav. The repercussions of a violent moment and how he earns back Chandini’s love has been solidly written and enacted. Ananya Pandey as the titular Chandini continues to showcase her evolution with a strong act. The actress especially shines in the scenes of emotional fragility

Starcast: Lakshaya Lalwani, Ananya Pandey and others

Genre: Romance

Writer and director: Vivek Soni

Screenplay: Tushar Paranjape

Music: Sachin Jigar

Cinematography: Debojeet Ray

Producers: Karan Johar, Somen Mishra, Adar Poonawala etc

Production House: Dharma

The beginning portions of Vivek Soni’s Chand Mera Dil feel like a typical assemblage of campus romances. At one point the viewers are reminded of 2 states too mainly because of the engineering campus and a scene of Ananya Pandey’s Chandini entering a male hostel. There is also an undercurrent of Mani Ratnam’s Sakhi in the treatment of life post marriage. The movie feels like your average campus rom com until Chandini gets pregnant. The movie soon switches gears charting into some serious topics like the burden of responsibilities having an impact on relationships among others. The movie begins in US with Aarav finishing off his masters and Chandini congratulating him on a video call. But there is a layer of awkwardness underneath the short conversation, in the car Aarav reminiscences on how the two should have met now rather than the engineering college where everything started. In simple terms the story is about madness of youthful love and how the two become more responsible individuals winning in life as well as reconciling with a fresh start

A strong aspect of Chand Mera Dil is how it looks at the complexities of a marriage. Especially with two students who are trying to find their feet while managing multiple roles. Vivek Soni along with Tushar Paranjape get into a zone which most campus rom coms avoid and do a fine job with an unfiltered approach. The film gives an important message on how love alone isn’t enough to sustain a relationship. Perseverance and discipline is equally paramount to make sure that the relationship doesn’t crumble.

The confrontation scenes between Ananya and Lakshaya have a rawness with zero vanity. The two actors are particularly impressive in these dramatic moments. The characterization of Aarav also deserves a special mention. The man comes across as a chauvinist on a few occasions like the portion where he discourages Chandini from working. Similarly, a certain male ego is clearly visible in his sulking of Chandini getting a better job than him. Before the interval there is a moment where he snaps too showcasing his violent side.

But the film doesn’t justify Aarav’s loss of temper as hyper masculinity. Chandini leaves that night along with the daughter. She is very clear on self-respect being more important than love. Yes, Chandini hasn’t lost love for Aarav completely as she clearly says in a dialogue. At the same time for her a feeling of safety is more important. A subplot of Chandini’s broken family and how that plays a crucial role in her decisions adds emotional heft to the movie. The emotional fragility as well as a strong individuality has been superbly brought out by Ananya. Even the portion of Ananya being adamant on keeping the baby has been written and enacted with good psychological insight.

Coming back to Aarav the happy union feels earned rather than something obligatory. The redemption of the male protagonist has some touching scenes especially the ones with the on-screen daughter. Lakshaya Lalwani is successful in showcasing a different facet of him as an actor whether it’s the initial scenes of care or the darker areas.

As already mentioned in the beginning the lovey Dovey moments are a hit and miss. Aarav wearing the same color clothes as Chandini is interesting to begin with, soon though a tedium sets in with repetitiveness. Also, a 2 States inspired moment doesn’t quite land. It feels more like aping leaving little impact. But the scene of Aarav quitting smoking and his explanation makes for a lovely moment.

The supporting characters needed better fleshing too. The friends for example don’t have much personality. Also, Aarav’s strained equation with his parents needed better writing, having said Vidushi Kaul’s scenes as Aarav’s sister has been well written and enacted. Her honest opinion on Aarav’s actions without letting the sisterly feelings come in the way makes for a good watch. Some abrupt jump cuts also act as a turbulence. The transition of scenes is not always smooth.

Sachin Jigar’s music adds soul to the movie. The title track played on various occasions is excellent both in terms of composition and the colorful visuals. Shreya Ghoshal’s rendition of the title song deserves a special mention. Faheem Abdullah of Saiyaara handles the male voice and he does a competent job too though not on the same level as his last one. Other tunes like Aaitbaar and Khasiyat make for a soothing listen and watch too. Debojeet Ray’s cinematography consists of interesting frames mirroring the turbulent relationship.

Final word: Chand Mera Dil is worth watching for those who like complex love stories

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Drishyam 3: An engaging slow burn on guilt and closure

Director and writer Jeetu Joseph takes a big risk with the characterization of Mohanlal’s George Kuttey. Unlike the first two instalments the man is less sure, and the vulnerabilities are layed bare. The emotional guilt of a burdened man gives Drishyam 3 some of its best moments. Mohanlal as expected embodies the weariness giving an immersive performance. Siddiqui as the other family man also makes his presence amply felt

Starcast: Mohanlal, Meena, Ansiba Hasan, Esther Anil, Siddiqui, Murali Gopy, Kalabhavan Shajohn, Asha Sarath and others

Genre: Crime thriller/drama

Writer and director: Jeetu Joseph

Music: Anil Joshon

Cinematography: Satheesh Kurup

Producer: Anthony Perumbuvoor

Production Company: Aashirvad Cinemas

Running time: 2 hours and 39 minutes

Drishyam 3 begins with a brief information on what happened in the first two parts. How George Kuttey’s peaceful life gets disrupted with the entry of a police officer son. A necessary crime which follows and George successfully dogging the law two consecutive times. The third part begins with George Kuttey settling down as a successful film producer. The dust seems to have finally settled down with Ansiba Hasan’s Anju recovering from psychological trauma. However underneath the happy family dynamics there is a certain fear on old skeletons surfacing again especially the central protagonist. How the past catches up with the return of Siddiqui’s Prabhakar with some additional foes forms the main core of Drishyam 3.

A strong aspect of Drishyam 3 are the lived in family dynamics. Like the first two installments Jeetu Joseph takes his own sweet time in setting up the proceedings. For some the slow pace may feel cumbersome, still this is necessary in the larger scheme of things. A special mention must be of how Esther Anil as the younger one has been used. Esther gets a significant amount of screen time more than holding her own opposite Mohanlal and Meena. Whether it’s mocking the mother on double standards or commenting on inter caste marriages the actress is a delight to watch.

Mention must also be made of Meena’s conversations with Mohanlal. The husband-and-wife warmth has come out in a solid manner. Two scenes in particular deserve a mention. One is Rani telling George Kutty on how he should let his guard down somewhat and let the daughter’s fly. Another one involves George Kutty getting emotionally disturbed when a past incident catches up. She tries to soothe him down by saying that he shouldn’t be too hard on himself.

As already mentioned Jeetu Joseph has taken a big risk with the characterization of Mohanlal. This both a plus and a minus depending on how the viewers take it. But the director deserves appreciation for making George Kutty more vulnerable. For a significant chunk of the movie Mohanlal is shown to be anxious particularly the interval block. There is an important conversation too where George Kutty lays bare his emotional state of mind. In this portion he explicitly talks about not knowing from where the attack will come. It is fantastic to see Mohanlal going all guns blazing at this age too. The veteran actor is in splendid form portraying the various emotions in a fantastic manner.

Siddqui as a Prabhakar gets a prominent part in the second half and he makes it count with an arresting act. Yes, it is baffling on how Prabhakar has forgotten the nature of his son’s crime. Having said that Siddqui is first rate in portraying a determined husband who wants to see his partner recover from depression. Asha Sharath has minimal screen time, nevertheless she gives a good account of herself.

Among others Murali Gopy and Kalabhavan are also solid in their respective characters. Murali Gopy plays the part with restraint and a certain wisdom. Whether its cautioning Prabhakar or the dialogue about legal system having more loopholes than solutions the actor makes his presence amply felt. Kalabhavan brings an intimidating physical presence as an old adversary waiting to get his revenge.

A couple of things which don’t work for Drishyam 3 are the subplots of social media and journalism. Both these start of promisingly but go nowhere in the final outcome. Also, the over exposition towards the end with repetitiveness hampers the proceedings. Because of this the culmination doesn’t give you the same high as the previous two installments.

Among the technical departments Satheesh Kurup’s cinematography is of fine standard. He effectively captures the tense moments and the overall emotional suffocation especially off George Kutty. The background score is also effective in building the tension.

Final word: Drishyam 3 is worth watching for those who like emotionally layered thrillers and of course Mohanlal’s fans