Category: Movie Reviews

Posted on

Thamma: Rashmika Mandanna steals the show in this gender bender

Director Aditya Sarpotdar for most part reverses the knight in shining armor trope with Rashmika’s character of Taraka/Tarika. The role has the perfect mix of vulnerability and fierceness in equal measure. Thamma is a welcome change from the usual Maddock horror comedy even though the concoction of scares and laughs doesn’t hit the high notes of the Stree movies. Ayushmann Khurrana also brings his usual finesse especially in the second half when his character is caught between two worlds

Starcast: Rashmika Mandanna, Ayushmann Khurrana, Paresh Rawal, Nawazuddin Siddiqui, Faisal Malik and others

Director: Aditya Sarpotdar

Writers: Niren Bhatt, Suresh Mathew and Arun Fulara

Producers: Dinesh Vijan and Aamir Kaushik

Production Company: Maddock Films

Cinematography: Saurabh Goswami

Music: Sachin Jigar

Running time: 2 hours and 29 minutes

Genre: Romance/horror

The horror comedy universe for Maddock has been its most successful business venture. The two Stree films along with Munjya have done fantastic numbers at the box office. Even Bhediya did fair business at the box office. This universe is expanding further with newer actors and fresh storylines. Thamma is the latest addition with crossovers from the movies mentioned above. Thamma varies from the previous films of this space as the beating heart is the love story between two people belonging to vastly different worlds. At the same time there is also a set formula in its treatment of horror with laugh out moments. This two way approach doesn’t always work nevertheless Thamma makes for an interesting watch.

Thamma is essentially the journey of two lovers having to battle many odds. Ayushmann Khurrana is a small-time reporter Alok Goyal. While roaming in the forest Alok is confronted with an animal. A scared Alok runs away and his path crosses with Rashmika Mandanna’s Taraka/Tarika. Taraka is a mysterious woman belonging to a mythical world. A situation comes when Alok is offered as a sacrifice to Nawazuddin Siddqui’s Yakshashan. Yakshashan was once upon a time a leader of the demi humans. Now he is a chained prisoner. Taraka breaks the rules of the tribe by following her heart. She saves Alok and runs away with him. This sets the clash between two opposing worlds.

A strong aspect of Thamma is the love story between Alok and Taraka. It does take a little to warm up but soon the romance gathers momentum. The sweet nature of Alok and how he falls in love with Taraka has been both well written and enacted. The revelation of who Taraka actually is and the origin story comes in at the right juncture. There is a reference to the horrific partition when Taraka talks about a group called betaals. This tribe follows a strict rule which is never kill humans and drink their blood. The reason is they consider the human blood to be poisonous. This happens after they come across a charade of dead bodies with people slaughtering each other in the mayhem of partition.

The biggest strength of Thamma though is the character design of Rashmika Mandanna’s Taraka coupled with her performance. Unlike the Stree movies Rashmika Mandanna here is much more than just a mysterious woman. For a large part of the film Rashmika is the protector of Alok fighting tooth and nail for her love. The character is both ferocious and also tender as the situation demands and Rashmika nails both these shades. The actress also gets to do some action like the sequence with a group of boys chasing Alok and her after a party. In spite of a slightly drunken state Taraka gives a sound beating to the guys.

Ayushmann too comes into his own when Alok turns into a Betaal himself. The actor does a wonderful job in conveying both the initial shock and also accepting the new identity. Paresh Rawal as the scared father raises some chuckles. At the same time the veteran actor also shines in the few emotional sequences. A special mention must be made of the sequence where he encourages Alok to not give up saying that he has accepted Taraka as his daughter in law. However, the reference to late Amrish Puri’s dialogue in DDLJ and an Ayushmann bava feels forced. Nawazuddin Siddqui’s character as the comic villain needed more depth in writing nevertheless Nawazuddin chews the scenery coming up with a wonderfully eccentric act. Faisal Malik as a betaal turned cop is also good.

The crossover characters have also been smartly integrated. Whether its Abhishek Benarjee from the Stree and the Bhediya movies or Satyraaj in Munjya. These roles aren’t confined to filers. They play an important role in connecting the dots. Varun Dhawan as Bhediya gets a roaring entry too. His fight sequence with Ayushmann has been wonderfully choreographed. Saurabh Goswami’s cinematography is of a very good order whether it’s the haunting wilderness or the more tender moments.

Sachin Jigar’s music falls significantly short of Stree 2. The special dance numbers stick out like a sore thumb. But the duo do redeem themselves with Tum Mere Na Hue and Rahien Na Rahien hum.

Final word: Thamma is an interesting addition to the growing Maddock horror universe. Inspite of some bumps the movie makes for an engaging watch.

Posted on

Bison Kaalamaadan: A rousing tale of breaking social shackles

The movie benefits immensely from its strong ensemble headed by a terrific Pashupathy. The real-life story which the film is based on also helps the proceedings even when things start to stagnate. Much like the teenage rom com Little Hearts earlier this year Bison Kaalamaadan is also successful in normalizing the heroine being older to the hero in a different social milieu. Anupama Parameswaran playing a defiant young lady brings in the required passion making the romantic subplot interesting

Starcast: Pashupathy. Dhruv Vikram, Rajisha Vijayan, Anupama Parameswaran, Lal, Ameer, Anurag Arora and others

Genre: Drama/action

Director and writer: Mari Selvaraj

Producers: PA Ranjith, Sameer Nair, Aditi Anand and Deepak Saigal

Production Companies: Applause Entertainment and Neelam Studios

Cinematography: Ezhil Arasu K

Music: Nivas K Prasanna

Running time: 2 hours and 48 minutes

Mari Selvaraj like PA Ranjith and Vetrimaran has made a place for himself as a politically charged filmmaker. His stories revolve around the marginalized communities with the protagonists coming from the oppressed castes. Some elements which the director uses have become his trademark symbols. This includes the incorporation of animal imagery starting from his debut movie Pariyerum Perumal itself. His latest Bison is no different. He takes the staple elements of a sports drama and combines that with his politically charged filmmaking.

In simple terms the storyline of Bison focuses on the numerous tribulations faced by Dhruv Vikram’s Kittan also called as “Vanathi” Kittan. The setting is 90’s rural Tamil Nadu. Kittan comes from an area where both caste oppression and violence are never ending. The basis for this story is Manathi Ganesan renowned Kabaddi player. The movie looks at how Kittan makes it big overcoming numerous battles of various kinds. This includes a conflicted father turned emotional anchor Velusamy (A scene stealing Pashupathy). There is an elaborate subplot of two warring factions headed by Lal and Ameer. These two also play an important role in shaping up Kittan’s journey especially Lal as Kandasamy. Rajisha Vijayan as Raji is the supportive elder sister. She fights for Kittan even when Velusamy is dead against his son playing the sport.

A strong aspect of Bison Kaalamaadan is the father and son dynamics. As Velusamy, Pashupathy goes through myriad emotions more than Dhruv Vikram in the titular character. In the initial portions Velusamy is adamant that his son shouldn’t pursue kabaddi. There is a constant fear in him given the social strata coupled with the violence prone atmospherics. It also doesn’t help that Kittan himself has a very aggressive personality with anger management problems. For example, there is a scene in the bus involving a goat. A seemingly small thing snowballs into a very violent incident as Kittan loses his temper further fueling the already tense atmosphere. It takes a lot of convincing for Velusamy to even see his son play. It’s only after watching the match that he finally says yes. This doesn’t mean that the fear stops completely but Velusamy later becomes an important pillar of support. This particularly comes out in a telephonic conversation when Kittan is down and out before a Kabaddi game.

Pashupathy as expected delivers a knockout act capturing the myriad emotions with ease. Bison is another feather in the cap for this versatile actor. As Kittan Dhruv Vikram does a fine job in justifying the tough persona. More than the moments of aggression the upcoming actor shines in the portions of showcasing vulnerability. It comes out in a solid manner in the second half. However, Kittan needed more shades especially in the romantic track with Anupama Parameswaran’s Rani. The passion feels one sided with only Anupama showing her intense love. Anupama Parameswaran as a defiant young lady sparkles in spite of the less screen time. She fares much better than Anandhi’s pretty but clueless doll in Periyarum Perumul. Its good to see movies normalizing the heroine being older than the hero and more importantly having a happy ending. Rajisha Vijayan also makes her presence amply felt.

Mention must also be made of the portions featuring Lal and Ameer. Yes, the track could have done with some serious trimming. At the same time they aren’t painted in a caricaturist manner. There is a humanness to them especially in the way Kandasamy supports Kittan when the people around him treat Kittan as a suspicious outsider. Mention must also be made of the scene where Ameer as Pandiraja supports Rani’s love more than her own brother. Ameer scolds him for his narrow-minded thinking along with the treatment of his wife. The futility of violence comes out well with both of them in the end betrayed by close ones.

The cinematography of Ezhil Asaru K is suitably rustic. The rugged atmospherics with a constant dread has been effectively captured. The costume design coupled with the art direction is also of a good order. The music and background score amplifies the drama on numerous occasions.

A major problem with Bison is the staple and cliched sports film tropes. The film gives a major hangover of numerous sports dramas with the political manipulations and also a dramatic finale which can be seen from a mile. Anurag Arora as the coach is particularly irritating with his constant undermining of Kittan. More of Kabaddi and less violence would have benefitted the film. An overdose of blood with stretched action sequences makes the film a tough watch.

Final word: Bison Kaalamaadan has its heart in the right place and is definitely worth watching for fans of Mari Selvaraj’s brand of cinema. But the overdose of violence and the repetitive animal imagery isn’t for all.

Posted on

Telusu Kada (You Know, right?): Bold and intense romantic drama

Telusu Kada has certain similarities with the Salman Khan and Rani Mukherjee starrer Chori Chori Chupke Chupke. But this is no remake. Writer and director Neeraja Kona takes a familiar set up of a triangle love story, but the sensibilities are different. All the three protagonists come with shades of grey. The movie dwells into the complexities of modern-day relationships with its messiness. The unconventional storytelling isn’t for all nevertheless Neeraja Kona establishes herself as a promising new director.

Starcast: Siddhu Jonnalagadda, Rashi Khanna, Srinidhi Shetty, Harsha Chemudu and others

Genre: Romance

Director and writer: Neeraja Kona

Producers: T. G Vishwa Prasad and Vivek Kuchibhotia

Production Company: People Media Factory

Music: Thaman S

Cinematography: Gnana Shekar V S

Running time: 2 hours and 12 minutes

The conflict points in love stories have undergone a significant change over time. From the cliches of warring parents and simplistic rich versus poor now the sensibilities are very different. This is amply evident in today’s love stories whether it’s the intense ones or coming of age mixed with love. Neeraja Kona’s Telusa Kada is a bold story dealing with interesting conflict points. One of them are the varied expectations. Siddhu Jonnalagada plays the volatile Varun. Having grown up as an orphan with no proper family he earns for a complete life with a wife and kids. Srinidhi Shetty is Raaga. Without giving much away Raaga is the anthesis of Shivani Nagaram’s steel rod Kathyayini in Little Hearts.

The movie begins with Varun tearing away some photos and venting out his anger. Harsha Chemudu as Mahesh is a buddy as well as an important emotional anchor. Mahesh knows Varun inside and out, the scenes featuring the two gives the movie some of its best moments. Rashi Khanna is Anjali Sharma. She is a mix of traditional and modern. Anjali’s thought process regarding family life is similar to Varun. Not surprisingly Varun falls fast for Anjali and vice versa. The two end up marrying however a major incident changes everything. This is connected to surrogacy. In a big twist of events Raaga makes a comeback into Varun’s life as a surrogate mother. The conflicts that arise when Anjali comes to know about Raaga’s past connection with Varun forms the basic core of Telusu Kada

A strong aspect of Telusu Kada are the characterizations of the principal protagonists especially Siddhu Jonnalagda and Rashi Khanna. Thanks to the huge success of Tillu character Siddhu has been largely associated with comedy. However, Telusu Kada presents a refreshingly different side. This is evident from the first scene itself. Siddhu imbibes the volatileness with gay abandon. The second half has numerous scenes of Varun showing his mean side. He gives taunts to Raaga on how their relationship was a time pass for her. On the surface some of it may across as childish but the palpable pain makes the viewers understand the hero’s perspective. It is hard to pinpoint Varun as either a good or bad. This confusing characterization has its minus points too but there is no denying that Siddhu absolutely aces the role from the body language to the emotional intensity. Telusu Kada definitely marks a new beginning for the budding actor.

Rashi Khanna too displays a different facet. She not only looks stunning but also aces the grey shades. A special mention must be made of the scenes where she questions Varun about holding back important incidents and how she feels like a third wheel between him and Raaga. Srinidhi Shetty is also good in her part but is somewhat let down by a sketchy characterization. The movie could have benefitted a little more by showing the emotional upheaval of Raaga after she dumps Varun. Harsha Chemudu gets a role beyond hero’s best friend and the actor aces it.

The second half drama between the three characters has some engaging moments as well however a comic interlude featuring veteran actress Annapurna leaves a bitter after taste. Mention must also be made of how Neeraja Kona normalizes the concept of a surrogate mother for mainstream Telugu audiences. The movie’s ending with Varun getting what he always wanted makes the viewers happy.

Thaman’s score also adds to the film. Among the tunes Mallika Gandha and Sogasu Chudatharama are soulful enhancing the romantic core. Gnana Shekar VS Cinematography in spite of the limited locations makes the movie visually appealing.

Final word: Telusu Kada isn’t for all but for those like romance with unconventional storytelling its very much worth a watch.

Posted on

Oka Manchi Prema Katha: Not just making a case for old age parents but raising many more important questions

Oka Manchi prema katha isn’t confined to looking after old age parents it is also about the corporate culture and the subsequent rat race. Stories of parents going through emotional neglect has been explored many times much like the genre of love itself. But this movie has many interesting points and one of them is about becoming a mother to your own parent. Among the principal actors Samuthirakani makes the strongest impact in a refreshingly different role.

Starcast: Rohini Hattangadi, Rohini Molleti, Samuthirakani, Himanshu Popuri and others

Genre: Drama

Direction and screenplay: Akkineni Kutumba Rao

Story, Dialogues and Songs: Volga

Producer: Himanshu Popuri

Cinematographer: Madhu Ambat

Music: K M Radhakrishnan

Streaming site: ETV Win

Running time: 2 hours+

Stories of parents facing emotional neglect has a certain template. The children are generally presented in a shrill and often unbearable tone. Oka Manchi Prem Katha’s first half also follows this formula. Sujatha (Rohini Molleti) is a very ambitious woman. She wants to reach the top position and has been working heavily to get a promotion which will put her on par with her husband Eshwar (Samuthirakani). Their daughter is studying abroad. Because of the extremely busy work schedules neither Sujatha nor Eshwar have much time to each other and for their daughter. Veteran actress Rohini Hattangadi is Rangamani the mother. Rangamani was also an employee but now stays in her village doing a bit of social service. She interacts with numerous people on a daily basis, solving some of their problems and one of them is her ‘adopted’ son Shankar. However, a health problem makes her miss her daughter dearly, but Sujatha is too busy to visit Rangamani. How they come together is the core of the film.

A strong aspect of Oka Manchi Prem Katha are the portions featuring the two Rohinis in the latter half. From the moment Sujatha becomes a mother to her own parent the film hits numerous high notes. The scenes are filled with lot of warmth, and the film succeeds in presenting a different kind of love, in this case a bond between a mother and a daughter. Both Sujatha and Rohini Molleti become more likeable here.

Through the very ambitious nature of Sujatha, Volga does a fine job in critiquing the current working lifestyle especially the corporate set up where there is one deadline after another leaving little to no space for imbibing humanistic values. The mental health issues that come with it has also been effectively presented. There is a nice bit in the first half when Sujatha visits a psychiatrist. The psychiatrist says that she needs love and more communication with people around her. To this Sujatha asks whether there is any medicine to cure this problem and the Doctor replies that unfortunately no love pill has been discovered so far.

The portions of Samuthirakani missing his wife and the telephonic conversations have been wonderfully written and enacted. Samuthirakani is a delight to watch whether it is reciting poems of John Keats or making up his own one or portraying the absolute bewilderment about the change in Sujatha’s behaviour. It is nice to see the actor playing a nuanced role for a change rather than the routine mainstream villain.

Among the other actors Rohini Molleti’s character was a little too loud and caricaturist in the first half but gets better as the movie progresses. Rohini Hattangadi as usual shines bright especially in the confrontation scenes. A specific mention must be made of the portion between her and Samuthirakani when Eshwar sends a divorce notice. She counters him with one simple question but a powerful one; would he do the same thing if the company had sent Sujatha somewhere for work purpose. There is one more dialogue where she raises an important question about Companies not granting leave to take care of old age parents. The reasoning that she gives is also very thought provoking. When there can be a maternity leave why can’t there be one for old age parental care? The rest of the cast are also fine. Himanshu Popuri as Shankar especially stands out.

Talking about the flaws the movie needed to be crisper in the first half. The core plot should have kicked in earlier instead of leaving it to the second half. The jarring difference between the attitudes of village folk and Sujatha could have been handled with more subtlety.

The music by K M Radhakrishna is soulful adding to the movie’s emotional core. Madhu Ambat’s cinematography is of course as usual very pleasant.

Posted on

Kantara (Chapter 1): A powerful second half saves the day

Director, writer and actor Rishabh Shetty saves the best for the latter half. The devotional elements with Rishabh in a possessed state makes for a fantastic watch especially if it’s the big screen. The twist around the gorgeous Rukmini Vasanth catches the viewers unawares. Much like the 2022 Kantara this one also explores the importance of ecological conservation and not taking the downtrodden for granted among others. Only the scale is much bigger this time around

Starcast: Rishabh Shetty, Rukmini Vasanth, Gulshan Devaih, Jayaram and others

Genre: Action/devotional

Director and writer: Rishabh Shetty

Producers: Vijay Kirangadur and Chaluve Gowda

Production Company: Hombale Films

Music: B Ajaneeth Loknath

Cinematography: Aravind S Kashyap

Running time: 2 hours and 48 minutes

The 2022 Kantara released with less expectations but surprised everyone. In spite of the problematic elements like the romantic track the Karnataka folklore coupled with Rishabh Shetty’s committed performance made it sail through. The movie became a national wide success making Rishabh a breakthrough star director and actor.

Expectations with Kantara (Chapter 1) is huge given the massive success of the first part. In simple terms the plot of this one is an origin story connected to the divine protectors of the mythical forest. The guardians include Panjurli Daiva, Guliga Davia and Varaha Roopam. Each of this symbolizes a divine power. The period is Kadamba dynasty.

The first half of Kantara (Chapter 1) has a slow build up. A lot of time is spent on world building with comedic episodes and side characters occupying more space than required. This does test the viewers patience making the viewers wish that Rishabh speeds up the proceedings. Even the very talented Gulshan Devaih starts off as a caricature. Thankfully though the film picks up pace towards the interval.

Things really start moving once the central conflict is introduced. The hidden riches of the Kadamba Forest and how this triggers a chain of events. The second half has many engaging moments especially the sequences where Rishabh Shetty goes into a trance like state. The sheer physical energy that the actor brings to the table is extremely commendable.

Gulshan Devaih also comes into his own during the second half. He is successful in making the viewers hate him. Mention must also be made of the twists and turns connected to Jayaram and Rukmini Vasanth’s roles. Without giving much away how they eventually shape up takes the viewers by surprise especially in the case of Rukmini Vasanth as Princess Kanakavathi. Until the midway mark Princess Kanakavathi is presented as a love interest but there is a surprise twist connected to her birth. This changes the graph of the movie completely. Rukmini Vasanth not looks gorgeous but also leaves a strong mark in portraying the duality of her role. Jayaram also leaves a significant mark in a grey shaded role.

Apart from a strong second half the technical values also enhance the film specially in the large action set pieces. Cinematographer Aravind S Kashyap does a very fine job in capturing the massive scale through his lens. The picturization of the Kadamba forests has the required eeriness. The background score by Ajaneesh Loknath is also rousing. His work enhances the trance portions of Rishabh Shetty. The songs have the right devotional flavor for deep believers in God.

Underneath all the mysticism Kantara Chapter 1 has important socio-political commentary too. Specifically, the need for ecological balance and how not to take the downtrodden for granted. These portions are definitely relevant and some of Rishabh Shetty’s dialogues do pack a punch as well: however, the overreliance on divine intervention and mythological folklore makes the film simplistic.

Final word: Kantara (Chapter 1) will be a delight for hard core Rishabh Shetty fans and also those who enjoy mythical mixed with devotion.

Posted on

One Battle After Another: A strong cocktail of politics, thrills and drama

Director Paul Thomas Andreson delivers a khichdi of genres in a seamless manner. The best part of Paul Thomas Andreson narration is how he manages to find humor in even the direst of circumstances. The movie’s socio-political commentary- like the angle of racial discrimination- doesn’t feel force fitted at any point. There is a natural blend to the way events unfold

Starcast: Leonardo DiCaprio, Sean Penn, Chase Infiniti, Teyana Taylor and others

Genre: Action thriller/drama

Director and writer: Paul Thomas Andreson

Based on: The Book Vineland by Thomas Pynchon

Producers: Adam Somner, Sara Murphy and Paul Thomas Andreson

Production Company: Ghoulardi Film Company

Cinematography: Michael Bauman

Music: Jonny Greenwood

Running time: 2 hours and 50 minutes

The best way to describe One Battle After Another would be a chaotic ride in the best manner. The movie takes the viewers on a roller coaster of a journey from the beginning itself. The plot doesn’t waste any time in establishing a revolutionary group called French 75. A scene stealing Leonardo DiCaprio along with a fierce Teyana Taylor are a part of this French 75. A revolutionary group taking on a fascist regime.

There is a daring rescue operation involving the immigration detention center. Sean Penn plays colonel Steven Lockjaw. He is absolutely smitten by Teyana Taylor’s Perfidia Beverly Hills. The first half an hour establishes the motives of French 75 and the mayhem they cause. However once incident changes everything leading Leonardo DiCaprio’s Bob and the young child played by Chase Infinti to go underground. Perfidia Beverly has already left her husband and daughter due to a certain friction. Bob is leading a quiet life with the grown-up daughter but the past returns back to haunt and soon the movie turns into a race against time.

A strong aspect of One Batlle After Another is the entertainment quotient. The movie raises many chuckles at regular intervals: this in spite of the tense situations. A lot of credit for that goes to Leonardo DiCaprio’s comic timing. When his daughter suddenly disappears, he knows that she is in peril and tries to contact his old comrades. However, the person on the phone insists on their secret code answers which Bob cannot recollect due to the overuse of drugs and alcohol in all these years. This keeps repeating generating a lot of comedy.

The portions of Bob as a father and how he interacts with the daughter’s friends specially the scene where she is going to a party is hilarious to say the least. Leonardo simply brings the house down. In the emotional scenes also, he does a fine job. The desperation is palpable making the viewers root for him. In short Leonardo is first rate.

Mention must also be made of the impactful socio-political commentary. The political violence led by colonel Steven Lockjaw in how the immigrants and the black community are treated has a contemporary touch. The result of extreme authoritarianism and how this leads to rebellious groups like French 75 has been well written and enacted.

The movie also pays a nod to Hitler’s dictatorial ways in a sequence resembling a gas chamber. Sean Penn makes for a suitably despicable antagonist even though the character becomes a mere caricature as the plot progresses.

The character of Chase Infiniti has been well crafted. There is a strong inner strength to the role and a certain street-smart nature. She isn’t someone waiting for her to dad rescue her. There is an important sequence where she bumps off an assassin after he fails to answer an important code question. Chase Infiniti more than holds her own opposite Leonardo.

The cinematography of Michael Bauman is also eye filling. The vast landscape specially in the tense chase sequence makes the movie a visual delight. The background score of Jonny Greenwood also adds to the drama.

Final word: I am sure that a person who is familiar with American political context would understand the film more comprehensively.

Posted on

Homebound: A searing tale of friendship and politics

Returning back to the big screen after a huge gap Neeraj Ghaywan once again shows his ability in delivering socially relevant tales. Homebound is notches above Masaan in more ways than one: the angst is more, and the politics more in your face but highly effective. Homebound benefits immensely from the solid on screen friendship. The viewers feel the everyday marginalization felt by Vishal Jethwa’s Chandan and Ishaan Khattar’s Shoaib. The heart of Homebound though lies in the second half when it tackles the plight of migrant workers

Starcast: Vishal Jethwa, Ishaan Khattar, Janhvi Kapoor, Harshika Parmar, Shalini Vasta and others

Genre: Social drama

Story: Basharat Peer, Neeraj Ghaywan and Sumit Roy

Direction, screenplay and dialogues: Neeraj Ghaywan

Additional dialogues: Varun Grover

Based on: A friendship, a pandemic and the death beside the Highway article by Basharat Peer

Cinematography: Pratik Shah

Music: Benedict Taylor, Amit Trivedi and Naren Chandavarkar

Producers: Karan Johar, Somen Mishra, Adar Poonawala etc

Production Company: Dharma Productions

Running time: 2 hours and 2 minutes

In the last few years Dharma has seen a massive shift in terms of the diverse stories and filmmakers who come with strong voices. This is very apparent with films like 2024’s Kill and this year’s Dhadak 2 along with Homebound. All these movies have a social voice especially in the case of last two. In both Dhadak 2 and Homebound the plight of the marginalized form the central core: both these movies aren’t afraid to wear their politics on sleeves dealing with thorny issues which don’t find much representation in mainstream pan masala cinema.

Homebound is inspired from a devasting real life incident. A tragic story of two friends who like the numerous migrant workers had to walk long distance during the harrowing COVID pandemic. Out of the two only one makes it. An article about this was written by the noted writer Basharat Peer. Taking this as a base director Neeraj Ghaywan along with Sumit Roy and Basharat himself add different social dimensions.

In simple terms the story of Homebound primarily focuses on two childhood friends played by the excellent Vishal Jethwa and Ishaan Khattar. Both of them go after a police constable job promising them dignity which has been long denied due to their social backgrounds. Ishaan Khattar plays a young Muslim man facing religious taunts. Vishal Jethwa on the other hand is Chandan a Dalit boy afraid of embracing his true identity. Janhvi Kapoor plays Sudha Bharati. Much like Chandan she is also a Dalit but with a better economic background. Sudha is a strong believer in the Ambedkar philosophy: she constantly eggs Chandan to complete his studies so that he will be in a stronger position. This is the story in brief.

The best part of Homebound is the strong on-screen friendship. There is a lived in feel to the scenes featuring Vishal and Ishaan. Their moments together whether it’s the light ones or the more intense portions when Shoiab doesn’t make it has been brilliantly written and enacted.

Through the two friends the film delivers a hard-hitting tale on the everyday discrimination faced by the marginalized. For example, there is a scene where Chandan goes to check about his exam results. An official asks Chandan which category he applied. To this Chandan replies general category hiding his true identity. This is followed by the official going on a rant about reservation in a tone reminiscent of the numerous upper-class people who feel that reservation is a regressive thing.

Similarly in the case of Shoaib he too faces the brunt of being a Muslim. There is a scene of Shoaib going for an office party. A cricket match between India and Pakistan is going on. Like the other people in party Shoaib is also happy about India winning however his seniors chide him with the term Lahore implying that he is sad about Pakistan losing. All this hits the viewers hard especially those who are into serious cinema.

The love story between Chandan and Sudha also has interesting dynamics. As already mentioned, Sudha is financially better off than Chandan and this shows in her confident persona. Through Janhvi Neeraj shows a more empowered Dalit with a strong voice. Janhvi doesn’t have much heavy lifting to do but she plays the part with the required confidence. Her scenes with Vishal bring a much-needed lightness to the otherwise grim proceedings.

In the second half the plot goes from caste to the plight of migrant workers. The movie makes the viewers ponder on how lucky we were safe in our homes. The visuals of the sudden lockdown imposed and migrant workers desperate attempts to get away will definitely stir a strong emotion. In these segments the touch of Basharat Peer is very apparent.

The movie doesn’t directly critique the government but for those who read between the lines the administrative failure is very palpable. The moments leading up to Chandan’s death has also been brilliantly staged. There is an important conversation just before he gets sick. He talks about his future aspirations which include completing his studies among other things. This adds to the tragedy later on. The pre climax scene with Shoaib desperately wanting to save his friend by egging him on is so emotionally riveting. Ishaan Khattar as Shoaib especially shines in this sequence making you wish that the real-life scenario had played out differently. With his portrayal of Shoaib Ishaan once again shows why he is such a fine talent. Vishal Jethwa is also equally good in portraying the angst and anguish of a lower caste man who is afraid to embrace his true caste identity. Mention must also be made of Harshika Parmar as Chandan’s sister. She brings in a quiet strength in the sequence where her character reminds Chandan about how she never had the opportunity of going to college unlike her brother. Shalini Vatsa as the mother is equally good in spite of the brief screen time.

Pratik Shah’s cinematography is solid too. He does a very fine job in capturing the lived in atmospherics. The costumes and production design are also in perfect sync making Homebound a technically solid product as well.

Final word: Its no surprise that the movie received a 9-minute standing ovation at the Cannes Festival.

Posted on

The Long Walk: A haunting dystopian tale in the post Vietnam America

The Long Walk directed and produced by Francis Lawrence has a distinct hangover of the Korean web series Squid Games along with Jennifer Lawrence’s Hunger Games: but this movie has bromance with the participants being supportive of each other. The movie isn’t for those who are in the mood for grim stories. For fans of dystopian dramas with socio political commentary, The long Walk is a must watch

Starcast: Cooper Hoffman, David Jonsson, Garrett Warieng and others

Director and Producer: Francis Lawrence

Genre: Thriller/drama

Based on: Stephen King’s novel The Long Walk

Screenplay: JT Mollner

Producers: Francis Lawrence, Roy Lee, Cameron MacConmy and Steven Schneider

Cinematography: Joe Willems

Music: Jeremaih Fraites

Running time: 1 hour and 48 minutes

The backdrop of Francis Lawrence’s The Long Walk is a future of extreme fascism. In a brutal test numerous young men participate in a walk by the same name. In this competition they must maintain a minimum walking pace with no option of slowing down or giving up. If either of the two happens the soldiers would bump them off. Only one winner remains.

The broad themes covered by The Long Walk are false hopes, government dictatorial/fascist ways, economic hardships resulting in numerous men participating and finally resilience of human spirit along with a certain optimism.

A strong aspect of the movie is the haunting dystopian world created by Francis Lawrence along with cinematographer Joe Willems. The atmospherics are truly scary given the current political atmosphere. Francis Lawrence makes the viewers contemplate on how our near future will look like if the fascism continues.

In spite of a mostly bleak picture mention must be made of a strong sense of brotherhood among the men. This specially comes out in the companionship portions featuring Cooper Hoofman’s Ray Garraty and David Jonsson ‘s Peter Mc Vries. For Ray, Peter Mc Vries becomes an important anchor given his emotional turmoil and his reasons for joining the walk.

Inspite of the premise being rooted in capitalist machinery the men are unexpectedly supportive of each other. They urge each other keep on walking no matter what. The conversations have a philosophical tone

Through these men the movie explores different kinds of masculinity starting from Ray. The concept of American dream has also been used well to critique a dystopian society which offers false hope of success.

The actors also do a very fine job in making the viewers feel for them. The ones who stand out though are Cooper Hoofman and David Jonsson. They get the emotional graph of the roles spot on.

Posted on

Mirai: An engaging amalgamation of devotion and fantasy

Karthik Gattamneni who has written and directed Mirai does a good job in creating solid back stories for both Teja Sajja and Manchu Manoj. How their respective pasts shape up the present timeline is good. The solid visuals coupled with the performances specially the hero and the antagonist help the movie tide through some weak comedic gags. Rana Dagubbati appearing in the post credit sequence also has a blast.

Starcast: Teja Sajja, Manchu Manoj, Shriya Saran, Jagapathi Babu, Karthikeya and others

Genre: Fantasy/action

Story, screenplay and direction: Karthik Gattamneni

Additional writer: Manibabu Karanam

Producers: T G Vishwa Prasad and Krithi Prasad

Cinematographer: Karthik Gattamneni

Music: Gowra Hari

Running time: 2 hours and 49 minutes

The 2024 movie Hanuman was a huge game changer for both Teja Sajja and the director Prashanth Verma. Much like the protagonist the film was also an underdog. The expectations weren’t high, but the movie surprised one and all beating Sankranti biggies like Saindhav, Guntur Kaaram etc. Teja Sajja established himself as a potential young star. Mirai also follows a similar trajectory in terms of the hero’s characterization. Here too the hero is a ruffian unaware of his destiny. He ends up fighting a force that’s way above his league but succeeds with determination and some help. In spite of a not so novel storyline Mirai mostly hits the right chords specially for those who are into the genre of devotion with fantasy.

Protagonist Teja Sajja

The broad storyline of Mirai involves Emperor Ashoka’s sacred books. The nine scriptures have the power of turning any mortal human being into a deity. Teja Sajja’s Vedaa is a young warrior unaware of his past. Vedaa’s life undergoes a huge change with the arrival of Ritika Nayak as Vibha. Guided by Vibha and others Vedaa must understand his true role which is protecting the scripture. The film pits Vedaa opposite the more powerful Mahabir Lamba (a commanding Manchu Manoj). Shriya Saran plays Vedaa’s mother, and a divine soul connected to protecting the scriptures.

A strong aspect of Mirai is the visual department. Director Karthik Gattamneni who has also handled the cinematography department does an excellent job in creating some big screen worthy moments. These portions include a sequence involving a bird called Sampathi. Also, a high-octane moment on the train is a visual delight.

The CGI involving the bird as well as the climatic fight between Teja Sajja and Manchu Manoj is brilliant to say the least. The Ramayana connection with the magical stick will also be a treat for the devotees.

Apart from the cinematography Gowra Hari’s background score also deserves a specific mention. It amplifies the high voltage moments adding to the immersive experience.

Mirai also works because of some solid acting specially the leads. Teja Sajja’s role of an underdog shares more than one similarity with Hanuman. Still, he pulls of Vedaa’s transformation from a carefree youngster to a determined force with ease. The actor is especially good in conveying the vulnerabilities making the protagonist a grounded character in spite of the fantasy world.

Manchu Manoj as Mahabir Lamba also makes for a powerful antagonist. The fiery eyes coupled with the commanding dialogue delivery making him a very worthy rival. Manoj particularly shines in the sequence where he talks about his past. The anguish of a young boy facing societal rejection due to caste hierarchy has come out in an impactful manner. Karthikeya playing the younger version of Manoj is also excellent.

Shriya Saran also shines in spite of the limited screen time. Shriya lends an emotional depth with her nuanced acting. She brings in the required divinity as well as a strong inner strength. Jagapathi Babu as one of the protectors too lends in the required gravity during his conversations with Teja Sajja.

A major problem with Mirai is the unnecessary comic stretches involving police officers’ team. Venkatesh Maha and Kishore Tirumala are reduced to mere buffoons producing more groans than laughs. Ritika Nayak as the sanyasini has a good presence but her character could have been better utilized instead of a typical damsel in distress trope.

Final word: Mirai is worth watching for the stunning visuals and if you are into the devotional genre.

Posted on

Bad Girl: A wonderful coming of age tale through female lens

Director Varsha Bharath does a fine job in etching the tumultuous journey of Anjali Sivaraman’s Ramya. Her yearning for liberation and eventually finding peace is relatable for numerous millennial women. Mention must also be made of the female friendships. It gives the movie some of its best moments

Starcast: Anjali Sivaraman, Shantipriya, Saranya Ravichandran and others

Genre: Coming of age

Director and writer: Varsha Bharath

Producers: Vetrimaaran and Anurag Kashyap

Production Company: Grass Root Film Company

Cinematography: Preetha Jayaraman, Jagadeesh Ravi and Prince Anderson

Music: Amit Trivedi

Running time: 1 hour and 55 minutes

Most coming of age stories in cinema revolve around young men dealing with societal expectations and thorny relationships with their fathers. A coming-of-age tale through a female lens isn’t a common thing. Varsha Bharath’s Bad Girl is a refreshing and much needed tale through female lens.

As the title suggests Bad Girl focuses on the journey of a young woman going through many turbulent life scenarios. She does numerous things defying the general social norms. The title here isn’t the case of a moral judgment being passed. It’s more of a reflection on how traditional culture perceives a woman attempts to find her autonomy. The viewers see this through the journey of Anjali Sivaram’s Ramya.

A strong aspect of Bad Girl is how Varsha Bharath has etched Ramya. More than a plot driven story Bad Girl feels like a series of episodes and a character study. Varsha Bharath does a very fine job in showcasing the journey starting from teenage life. When we first meet Ramya, she is forever imagining a fairy tale with thoughts of romance and sex. Ramya feels that she has found it in her classmate Nalan (Hridhu Haroon). Through Nokia Phones and dialed up internet connection they have a series of secret conversations which Ramaya’s orthodox family has no idea about.

These portions have a dream like visuals. The cinematography by Preetha Jayaram, Jagadeesh Ravi and Prince Andreson is simply fantastic to say the least. They bring to life Ramaya’s state of mind. Of course, Ramya’s fairytale comes to an end when caught red handed. The mother played by an excellent Shanti Priya isn’t happy about her daughter’s actions laying the base for the thorny mother and daughter relationship.

The process of Ramya making one bad decision after another in her attempts of finding liberation. While also questioning the traditional thoughts of her parents has been wonderfully written and enacted. There are scenes where Ramya is seen reflecting on her actions as she grows older. Through this Varsha Bharath talks about what it feels like to be a contemporary young woman who is judged on something or other.

Mention must also be made of the how the films deals with the generational differences. Shantipriya’s Sundari doesn’t understand the ways of her daughter’s lifestyle. She is constantly worried about who is going to look after her daughter. There are numerous moments of friction. At the same time love is there too. There is a wonderful pre climax moment after Sundari’s retirement as a teacher. Ramya wants to hug her mom and express love. After a lot of deliberation Ramya does it, the reason being a huge showdown which had taken place previously.

Through the role of Sundari Varsha Bharath also looks at patriarchy. Sundri is a working woman with a well-paying job. She fits the traditional standards of the society but still there is no getting away from the patriarchy.

Lastly Bad Girl also deserves appreciation for how it celebrates female friendships. Saranya Ravichandran as Ramya’s confidante specially deserves a mention. The female bond explored through her and Anjali Shivaraman gives the movie some of its best moments.

Apart from the already mentioned cinematography department Amit Trivedi’s music also needs to be talked about. His soundtrack perfectly captures the tumultuous journey of Ramya. The production design also stands out more so in the portions of Ramya’s formative years.

Performances wise the film belongs to Anjali Shivaraman and Shantipriya. Anjali Shivaraman effortlessly portrays the multifaceted journey of Ramya. Whether it’s the innocence of college days or the simmering frustration of college years and eventually making peace. Shantipriya is also compelling bringing out both the motherly concern and a quiet inner strength.

Final word: Bad Girl is an important watch for how it tackles coming of age through female lens.