Category: Movie Reviews

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Lucifer 2/ Empuraan: A fine balance between fan appeasement and politics

Much like the first part, director and actor Prithviraj Sukumaran creates an intricate world gradually revealing the various layers. The movie beats are familiar to part 1: at the same time he is successful in building fresh socio-political scenarios particularly the angle of religious propaganda
  • Starcast: Mohanlal, Manju Warrier, Tovino Thomas, Abhimanyu Singh, Prithviraj Sukumaran and others
  • Genre: Action thriller
  • Director: Prithviraj Sukumaran
  • Writer: Murali Gopy
  • Producers: Antony Perumbavoor and Gokulam Gopalan
  • Cinematography: Sujith Vasudev
  • Music: Deepak Dev
  • Production Companies: Lyca Productions, Aashirvad Cinemas etc.
  • Running time: 2 hours and 59 minutes

Lucifer 1 directed by Prithviraj Sukumaran and featuring the legendary Mohanlal was a good mixture of fan service and a turbulent political landscape. The movie focused on the huge vacuum left by the death of Sachin Khedekar’s PK Ramdas. The power dynamics, particularly who would become the next leader formed the central plot of the movie. Mohanlal’s Stephen Nedumpally is a powerful and mysterious man changing the course of the story. Initially not much is known about him but slowly viewers come to know about the influence he yields. He plays a significant role in the ensuing political drama.

A major strength of Lucifer 1 was the grey shades of not just Mohanlal but also the other important players, specifically Vivek Oberoi who nailed his negative role. The biblical references also gave the movie a certain gravitas. With Lucifer part 1 Prithviraj Sukumaran showcased a different side to Malayalam cinema. The second part of Lucifer comes after a significant gap of six years. Part two of Lucifer/ Empuraan has clearly upped the scale in terms of presenting a larger-than-life cinema while retaining the political undertones.

Lucifer part 1 image

The second part of Lucifer begins with a disturbing incident of communal violence. Hindu pilgrims are killed in a burning train leading to an absolute mayhem (we are reminded of Godhra). There is a lot of bloodshed with a small Muslim community being butchered, raped and killed by Balraj (Abhimanyu Singh) and his men. The lone survivor is Zayed Masood (Prithviraj Sukumaran). These beginning portions set the political undertones of part two. From here the focus shifts to God’s own country Kerala. Jathin Ramdas (Tovino Thomas) son of late PK Ramdas blinded by hatred towards his late father makes the decision of joining a party which is both extremist as well as communalist. Abhimanyu Singh’s Balraj is the head of this one. The subtle political subtext of the plot can be easily understood if the viewers scratch beneath the surface. Running parallel to this, an international conflict between two crime syndicates unfolds. At this juncture Stephen Nedumpally also known as Abraham Quereshi makes a comeback to the state of Kerala.

As already mentioned, Lucifer 2 has an intricate plot gradually revealing the various layers. The first half has a slow build up as it juggles between various tracks. This can be a patience tester for a section. Also, Mohanlal’s entry much like the first part takes its own sweet time but the slow build up is worth the wait in the eventual scheme of things.

The delicate balance between fan appeasement and the social commentary is a sheer delight to watch. At the beginning of the movie there is a quote “Power corrupts, but absolute power corrupts absolutely.” This angle comes out strongly in the character sketch of Tovino Thomas whose personality has undergone 360 degrees turn. The creeping ideological differences between Jathin Ramdas and the sister Priyadarshini played by Manju Warrier give the movie some of its best moments.

One of the major themes in Lucifer 2 is the angle of religious extremism and the terrible effect it has on humanity. There is an important dialogue delivered by Nikhat Khan in an extended special appearance regarding how the future generation shouldn’t get caught in the trap of religious propaganda and the dangers of religion as a tool in politics.

Mohanlal as Stephan Nedumpally also known as Abraham Quereshi/Lucifer once again delivers a strong act in spite of having a late entry. Mohanlal brings in the right amount of charisma and mystery making Stephen a very enigmatic person much like his other popular character George Kutty from the Drishyam films. The actor conveys a lot with his subtle expressions. A particular mention must be made of Mohanlal’s performance in the scenes where he meets Indrajit Sukumaran’s Govardhan and a pastor cum father figure. There is a visible political and religious subtext giving the viewers goosebumps.

Manju Warrier’s character has a different arc this time and the actress does a very good job in showcasing the evolution of Priyadarshini. The way she portrays the strong inner strength in a nuanced manner makes for a wonderful watch.

Prithviraj Sukumaran as Zaya Masood much like the first part has limited screen time, still he makes his presence amply felt. The backstory gives a certain emotional heft which Prithviraj makes complete use of. Of course, the dynamics between Stephan and Zaya could have done with more exploration, still the back story gives an emotional insight into why Zaya is a trusted aid of the titular protagonist.

Prithviraj and Mohanlal from a song in Lucifer/ Empuraan 2

Abhimanyu Singh as Balraj also makes a significant impact, although his character arc lacks the nuances of what Vivek Oberoi played in the first one. Tovino Thomas also shows his versatility with his excellent portrayal of a changed man.

Tovino Thomas also shows his versatility with his excellent portrayal of a changed man

Technically speaking Lucifer2 / Empuraan is a visual feast with its grand scale. The cinematography of Sujith Vasudev enhances the movies visual appeal. The background music is also of a very high standard particularly in the combination scenes of Mohanlal and Prithviraj.

Final word: Lucifer 2/ Empuraan is a worthy follow up. It treads on familiar lines while giving something new.

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My Melbourne: A heartwarming anthology

My Melbourne deals with important social issues with the standout segment belonging to Kabir Khan and Puneet Gulati. It’s the most crowd-pleasing one in a good way talking about race and how the medium of sports can break cultural barriers
  • Starcast: Ryanna Sky Lawson, Jake Ryan, Arushi Sharma, Jackson Gallagher, Arka Das, Setara Amiri and others
  • Directors: Onir, Rima Das, Imtiaz Ali, Kabir Khan etc
  • Writers: Nazifa Amir, Shivangi Bhowmick, Samira Cox etc
  • Cinematography: Brad Francis
  • Music: Anurag Sharma and Brad Francis
  • Producer: Mitu Bhowmick Lange
  • Production Company: Mind Blowing Entertainment
  • Running time: 1 hour and 40 minutes

The trend of anthologies has provided an interesting alternative to mainstream cinema. This is primarily due to two reasons, one there is no pressure of box office as a result you can experiment more, and secondly big stars aren’t needed for an anthology movie. Much before the 2013 Bombay Talkies you had the 2010 anthology I Am, a collection of four short movies directed by Onir. The anthology I Am dealt with plots ranging from child abuse, gay rights, the inner turmoil of a Kashmiri pandit who returns back to her native state after a huge gap of 20 years etc. Since then, numerous anthologies have come from both Hindi and the southern industry.

I am directed by Onir

The plotlines of My Melbourne anthology are based on four real life incidents covering the themes of race, gender, sexuality and disability. A common aspect binding the four together are its theme of finding hope in the most unlikely of places and how there’s always a ladder called faith.

1. Nandini

My Melbourne kick starts with Nandini directed by Onir and William Duan. The story focuses on an emotional reunion involving a father and son. Indraneel (Arka Das) is living with his boyfriend Chris (Jackson Gallagher). Out of the blue the estranged father Mihar (Mouli Ganguly) comes to Melbourne. The reason being a ritual for late Indraneel’s mother. The plot focuses on the unspoken emotions between the father and son along with the theme of acceptance. Director Onir brings his trademark understatedness to this sensitive tale. The struggles faced by the queer community in terms of family acceptance has been brought out in a subtle yet highly effective manner. More than the dialogues the affective building of tension makes it an engaging watch. The romance between Arka Das and Jackson Gallagher is also subtly depicted through affectionate gestures. The eventual reconciliation between the father and son will make the viewers emotional.

2. Jules

The second story Jules has been co-directed by Imtiaz Ali and Arif Ali. This segment revolves around a newlywed Indian Woman Sakshi (Arushi Sharma). Sakshi has many dreams, but her confidence is very low. This is majorly due to the fear of a new place along with an oppressive husband who treats her as a piece of furniture. She uses social media as a shield to cover up her insecurities. However, in true Imtiaz Ali fashion Sakshi’s life undergoes a huge change when her path crosses with that of Jules (Kat Stewart). Jules is a 52-year-old homeless woman with a foul tongue and a strong survival instinct. In this story Imtiaz Ali and Arif Ali have covered the theme of patriarchy. Jules suffers somewhat due to a slightly sketchy writing. The dynamics between Sakshi and Jules could have done with more exploration still the segment has its moments due to the message and also the wonderful acting performances. Arushi Sharma does a very fine job in portraying both Sakshi’s vulnerabilities and also her eventual transformation. Kat Stewart looks every inch the character particularly her body language.

Kate Stewart as Jules

3. Emma

Emma directed by Rima Das and Samira Cox deals with the theme of disability. Featuring an all-Australian star cast the segment features Ryanna Lawson as Emma. Emma is a talented deaf dancer in her early 20’s. The main theme of Emma is how she overcomes both self-doubt and a certain discrimination from her own community. An important part of her journey is Nathan (Nathan Borg) Nathan is a successful deaf dancer; through him Emma finds the strength to pursue her dreams. A major strength of Emma is how Rima Das and Samira Cox have explored the topic of Usha syndrome. Usha syndrome is a combination of both hearing and vision loss. Ryanna Lawson playing Emma delivers a solid act perfectly capturing the characters internal conflict.

4. Setara

The last one Setara directed by Kabir Khan and Puneet Gulati is the most mainstream among the four stories in a good way. Kabir Khan brings his trademark underdog story troupes with great affect as already witnessed in 83 and Chandu Champion. The director’s political knowledge also comes in very handy. This segment deals with the issue of race. Setara Amiri plays a fifteen-year-old girl. She has relocated to Melbourne fleeing from the Taliban rule in Afghanistan. Along with the mother and an elder sister Setara is trying to rebuild her life. A strong aspect of Setara is how the two directors have explored the issues faced by the refugees and how sports can play a key role in overcoming adversities and also break cultural barriers. The later aspect comes out in an impactful manner in the way Setara plays for the Australian school team. Another noteworthy thing about this segment is how the story plays around with the common notions attached to Muslim women wearing hijab. Setara is somebody who stays true to her cultural identity but that doesn’t come in the way of her playing cricket through which she makes her own distinctive mark. Setari Amiri’s portrayal of a confident schoolgirl is a treat to watch.

Setara directed by Kabir Khan

Final word: My Melbourne makes for a wonderful viewing particularly for fans of intimate stories

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The Diplomat (“A True Hero needs no weapon): A focused rescue drama with a restrained John Abraham

Director Shivam Nair along with writer Ritesh Shah craft a fast paced tale drawing the viewers into the world of diplomats operating in a tense political atmosphere. The fast paced storytelling is also an hindrance due to the rushed nature. Thankfully the movie doesn’t become overtly jingoistic with unnecessary dialogue bazzi
  • Starcast: Sadia Khateeb, John Abraham, Jagjeet Sandhu, Kumud Mishra, Sharib Hashmi and others
  • Genre: Thriller/drama
  • Director: Shivam Nair
  • Writer: Ritesh Shah
  • Producers: John Abraham, Vipul D. Shah, Krishna Kumar and others
  • Music: Anurag Saikia
  • Cinematography: Dimo Popov
  • Banner: T- series Entertainment, JA Entertainment etc
  • Running time: 2 hours and 17 minutes

Shivam Nair’s The Diplomat focuses on the real life struggles of an Indian citizen duped by a Pakistani man. The Pakistani man played by Jagjeet Sandhu in the movie is already married several times. Sadia Khateeb of Raksha Bandan fame plays Uzma Ahmed. She seeks a refugee at the Indian embassy where John Abraham’s JP Singh works. He is an Indian diplomat working in Pakistan. In simple terms the story focuses on the physical and emotional turmoil faced by Uzma and how she eventually makes it back to India overcoming various hurdles starting from JP Singh’s initial distrust about her identity.

Sadia Khateeb as Usma in second picture

A strong aspect of The Diplomat is how it sucks the viewers into the world of diplomats. The tense political atmosphere in which they work has been wonderfully showcased. Given the environment that they work in to trust someone on face value isn’t easy and this comes out in an impactful manner in the way JP Singh is initially apprehensive about Usma. There is a cold hearted approach in the way JP goes about interrogating Usma, at the same time we see JP having a constant inner battle on whether she is actually innocent or a spy in disguise. This has been both wonderfully written and enacted.

As already mentioned the tagline of The Diplomat is a true hero needs no weapon. The way JP Singh operates even in the most volatile situation does absolute justice to this theme. John Abraham at no point goes out of character getting out of tricky situations with his mind power than using fists.

Given the background of India and Pakistan Shivam Nair and Ritesh Shah could have easily gone overboard with bombastic dialogues and crowd pleasing action however the makers do away with these troupes. Of course patriotism is an inherent part of a movie like The Diplomat and the character of Jageet Sandhu is purely evil playing on the Hindutva slant at at the same time though it doesn’t paint all Pakistan’s or Muslims as pure monsters. A good example of this is the character played by Kumud Mishra. He is a Pakistani lawyer who plays a significant role in Uzma going back home. Similarly there is a very crucial scene when the Pakistani Judge doesn’t succumb to the pressure tactics of Jageet Sandhu’s Tahir by telling him to not make his personal matter an India Pakistan issue. This is refreshing to watch.

Talking about the flaws the fast paced screenplay is both a plus and minus. Because of the fast paced screenplay some of the plot points aren’t properly developed. This is particularly true in the case of Tahir duping Uzma. Their interactions before the ordeal she goes through has been sketchily written. How she easily trusts Tahir talking about her failed marriage and the health issue of her daughter is just skimmed through. Even the subplot of the daughter is written in an haphazard manner and forgotten soon. Even the family track of JP Singh particularly his talks with the son breaks the movie’s flow. Lastly attempts at comedy through the character of Sharib Hashmi also becomes a speed breaker. Thankfully these screenplay defects don’t derail the movie completely, a major reason for that is an evolving bond between JP Singh and Uzma along with the emotional core of Usma’s struggles.

Sadia Khateeb as Uzma is the movie’s beating heart. She delivers a first rate act perfectly capturing the horror of a woman who is shocked by her own naivety in trusting a stranger and is desperate to get out of the hell. The way she portrays the fighting spirit of Usma is very commendable. John Abraham in a refreshingly different role plays his part with the right amount of restraint, the various shades of JP starting from the initial suspicion, then the inner dilemmas and eventually becoming a strong pillar of support has been wonderfully portrayed by the actor.

John Abraham plays the various shades of JP Singh well

Special mention must also be made of Jagjeet Sandhu. He plays the detestable Tahir with gay abandon making the viewers hate him to the hilt. Kumud Mishra in a small but important role also makes his presence amply felt. Revathy as Sushma Swaraj also does a fine job again in a brief yet important role. Sharib Hashmi though is thoroughly underutilized.

Jagjeet Sandhu plays the detestable Tahir with gay abandon

Talking about Dimo Popov’s cinematography his work deserves a specific mention in a tense chase sequence involving Tahir and JP.

Final word: The Diplomat is worth a watch particularly for those interesting in knowing how diplomats operate.

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‘Court-State Vs A Nobody: Delivers an important message on the misuse of POCSO

The set up of ‘Court- State VS A Nobody has certain elements from the Jolly LLB movies. Much like Arshad Warsi and Akshay Kumar Priyadarshi also plays an underdog lawyer waiting to prove his mettle. The movie does suffer from logical drawbacks particularly in the second half still the performances coupled with the emotional core make it sail through
  • Starcast: Priyadarshi, Harsh Rohan, Sridevi Appala, Sivaji, Saikumar and others
  • Director and writer: Ram Jagadeesh
  • Genre: Legal drama
  • Additional writers: Karthikeya Srinivas and Vamsidhar Srigiri
  • Music: Shravan Bhardwaj
  • Producer: Prashanti Tripirneni
  • Banner: Wall Poster Cinema
  • Running time: 2 hours and 29 minutes

Before dissecting ‘Court- State Vs A Nobody it is necessary to applaud Nani for backing a social issue like this through his production house Wall Poster Cinema. While it is debatable on why back a movie showcasing the negative side of POCSO instead of a positive one at the same time though a subject showcasing the misuse of POCSO is also necessary to make people more aware about the law. In the age of pan India cinema where there is an increase of macho heroes stories of underdogs standing up for the marginalized sections is very important.

Nani should be applauded for backing a social issue like the misuse of POSCO in the age of Pan India cinema

The core plot of ‘Court- State VS A Nobody revolves around the false imprisonment of a 19 year old boy Chandrasekhar (Harsh Rohan). Chandrasekhar hails from a poor family, he isn’t into studies much, instead he juggles between multiple part time jobs. On the other hand you have Jabilli (Sridevi Appala). Jabilli come from a rich family. Mangapathi (a terrifying Sivaji) plays the powerful uncle. Mangapathi is a despicable bigot with regressive views. Jabilli and Chandrsekhar slowly fall in love, the situation takes a very dark turn for Chandrasekhar when Mangapathi with his influence and connections falsely implicates Chandrasekhar under the POCSO which is actually meant to punish sexual preparators. The rest of the story focuses on how Priyadarshi’s Surya Tej gets involved with Chandrasekhar eventually delivering justice.

The first half alternates between a budding love story and Surya Teja’s attempts to establish himself as a solid lawyer. Both these segments have their high points at the same time a certain repetitiveness also creeps in the portrayal of teenage love. The initial conversations between Chandrasekhar and Jabilli on the phone feel like a series of verbal abuses but things start getting better when they actually fall in love. The tender moments between them in particular leave a strong mark. The audiences feel very sorry for Chandrasekhar when he is falsely accused and root for him to come out safe.

The complexities involved in a legal case like this and how this makes the situation very difficult for Chandrasekhar has come out well in both the writing and direction. The director also does a very good job in exploring the psyche of Mangapathi. The way he behaves likes a self appointed custodian is representative of the numerous bigot male family members that we do read and also come across in real life. By its very nature Mangapathi character is loud, Sivaji delivers a terrific performance fully embodying the class and caste fanaticism of Mangapathi. The senior actor is truly having a fantastic second innings. First the role of a strict yet lovable father in the web series ’90’s a middle class biopic and now this.

The characterization of Surya Tej coupled with Priyadarshi solid act is another plus for the movie. Surya Tej is an underdog with major ambitions of making it as big an independent lawyer. There is a crucial point in the movie where Surya Tej feels cheated due to an important CCTV footage. There is a palpable pain in the way Surya Tej expresses his anger to Chandrasekhar’s friends.

Through the character of Surya Tej the focal point of the movie which is the misuse of POCSO has come out very well. There are important dialogues where Surya Tej talks about the judicial system needing to follow a certain discretion by understanding the difference between an act of rape and a supposed sexual act. He also breaks the societal stereotypes by talking about how a boy and a girl being in one room doesn’t always mean sexual intimacy. In the same scene valid points are also made on making the citizens more aware about the laws of our country. This aspect comes out in the dialogue where Surya Tej talks about the one mistake which Chandrasekhar did by going into the room with Jabilli.

Talking about the courtroom drama some parts in the screenplay suffer on discrepancies. For example allegations on Chandrasekhar are accepted without any medical examination along with the fact that it takes so long for Jabilli to make an appearance in the court.

Given the nature of the movie there isn’t much scope for the cinematography department still the courtroom setting has an authentic feel. There is only one song in the movie which is a love ballad called Premalo. It’s quite a tuneful number capturing the teenage love perfectly.

Premalo song perfectly captures the teenage romance

As far as the young leads go both Harsh Rohan and Sridevi Appaalla do a very fine job in making the viewers emphasize with the characters. Harsh Rohan though has the tougher role given the background of Chandrasekhar. He gets the more emotionally demanding scenes and the young actor makes full use of it. Mention must also be made of Sai Kumar as a top lawyer and the boss of Surya Tej. There’s a very crucial scene where his character gives an advice to Surya on the importance of bouncing back and how a lawyer should properly perceive the case scenarios before coming to the conclusion of who is right and who is wrong. Rohini as Jabilli’s mother lends a quiet strength in the scenes where she finally understands her daughter and gives it back to Mangapathi. Harshvardhan as the cunning lawyer does a fairly impressive job although his character arc could have been better designed.

‘Court- State VS A Nobody is an admirable attempt at portraying an important social issue. In spite of the logical lapses the movie benefits from a strong emotional core.

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Superboys of Malegaon : A solid emotional roller coaster

Reema Kagti’s ‘Superboys of Malegaon’ is an entertaining love letter to the magic of cinema, at the same time it also sheds light on important topics like art versus commerce and the importance of writers.
Superboys of Malegaon (Hindi), 28-02-2025, Comedy, Drama, 2 hours 7 minutes, U/A, Theatre
  • Main Cast: Adarsh Gaurav, Vineet Kumar Singh, Shashanka Arora, Anuj Singh Dahan, Saqib Ayub, Manjari Pupala, and Muskkaan Jafferi
  • Director: Reema Kagti
  • Producer: Zoya Akhtar, Reema Kagti, Farhan Akhtar and Ritesh Sidhwani
  • Music Director: Sachin- Jigar
  • Cinematography: Swapnil S Sonawane
  • Rating: 4/5

Malegaon is a town burdened by poverty, communal tensions, and hardships, and Sheikh Nasir, a local man, brings joy to the town by creating his own films.

Starting with a spoof of the classic Sholay, along with his friends, Nasir made movies that entertained the community, offering a temporary escape from their challenges.

The 2008 documentary, Supermen of Malegaon, by Faiza Ahmed, highlighted the struggles of Malegaon residents.

Synopsis

And now, Reema Kagti’s Superboys of Malegaon is based on director Sheikh Nasir, with Adarsh Gaurav playing the lead role. It is set in 1994.

Nasir’s elder brother owns a movie parlour, where English movies are often shown, but they don’t sell many tickets. He warns Nasir that English films will no longer be screened.

Adarsh Gaurav in Superboys of Malegaon
Adarsh Gaurav in ‘Superboys of Malegaon’. (X)

While purchasing a pirated copy of Aamir Khan’s blockbuster Raja Hindustani, Nasir encounters a VCR tape seller who introduces him to the magic of film editing.

This sparks an idea in Nasir’s mind, and he begins splicing slapstick comedy sequences from Chaplin with Kung Fu action scenes. This combination makes his parlour a huge success, but the joy is short-lived after an anti-piracy raid.

Deciding enough is enough, Nasir boldly chooses to make homegrown films with the support of his friends. The rest of the story focuses on both their professional and personal journeys.

What works

Shashank Arora in Superboys of Malegaon
Shashank Arora in ‘Superboys of Malegaon’. (X)

A major strength of Superboys of Malegaon is how Reema Kagti has captured the magic of movies through the central characters. For these super boys, watching a movie makes their real-life situations more bearable. The movie opens with these guys somehow going through everyday turmoil and then rushing to get the best seats so that they can forget about the everyday drudgery.

When one of the friends is diagnosed with a disease called cell carcinoma the doctor breaks the news by saying “Wahi jo Anand me Rajesh Khanna ko Hua tha.”  Similarly when Nasir talks to his wife about returning the money she simply says I don’t want money, just give me the credit of producer.

Cinema is what drives these super boys. A major reason for them reuniting again after a huge upheaval is cinema as well. Cinema is what gives them and the town of Malageon its distinct identity.

Breaking the stereotypes

Superboys of Malageon is also refreshing in how it places working-class Muslims at the centre of the plot. In the recent past, we have seen a lot of jingoism in the way Muslims have been presented.

A still from the film Superboys of Malegaon
A still from the film ‘Superboys of Malegaon’. (X)

But here Reema Kagti along with the writer Varun Grover shatters those stereotypes by focusing on the everyday lives of working-class Muslims.

The movie also does a wonderful job of showcasing the struggles of a writer through a fabulous Vineet Kumar Singh.

There is a hugely poignant moment when Vineet Kumar’s character Farogh says “Writer baap hota hai”. This portion may come across as an isolated scene but the undertones of what Reema Kagti and Varun Grover want to say come across strongly.

Mention must also be made of how the plot dwells into the struggles of balancing artistic vision with fewer compromises.

The camaraderie between the central characters and how it celebrates their friendship through the ups and downs is a sheer delight to watch as well. There are moments in the movie which make the viewer smile as well making them moist.

Strong performances

Another major backbone of the movie is the towering performances starting from a stellar Adarsh Gaurav. Adarsh pulls off the various shades with absolute finesse.

Characters in Superboys of Malegaon
Characters in ‘Superboys of Malegaon’. (X)

He does a very fine job in capturing the passion of Nasir, there are occasions where Nasir comes across as both insecure and selfish leading to a downfall. Adarsh nails the grey shades too.

Vineet Kumar Singh as Farogh does an excellent job of representing the struggles of an aspiring writer who eventually finds recognition. Shashank Arora plays the role of Shafique in an understated yet very impactful manner.

For a lot of the movie, Shafique comes across as a reticent man with aspirations of seeing himself as a hero, his dream eventually comes true making the viewers clap.

The women get limited scope, still, Muskkaan Jafferi is solid as Nasir’s lawyer life. Their romantic moments in the second half bring a smile to the viewers’ faces.

Manjiri Pupala stands out as a local performer who gets cast for the role of Basmati in Nasir’s version of Sholay’s Basanti.

She does a very good job of portraying the inner strength of an abused housewife. The conversations between her and Shashank are wonderful to watch, making the viewers wish things had panned out differently.

Swapnil S Sonawne’s cinematography is also of a very high standard. He captures the place of Malegeon and its local aesthetics wonderfully.

There is a lived-in feel that effortlessly transports the viewers. Sachin Jigar’s music elevates the emotions, particularly in the scenes of heartbreak and triumph.

Final take

To sum it up Superboys of Malegaon is highly recommended. Don’t miss it.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/superboys-of-malegaon-movie-review/

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Dragon: An entertaining morality tale

Director Ashwath Marimuthu delivers a roller-coaster ride which is in equal parts emotional and also a laugh riot. Through the titular protagonist played by a terrific Pradeep Ranganathan Ashwath breaks the troupe of a rowdy boy being cool. The movie also addresses some serious issues like the consequences of taking short cuts without being overtly melodramatic.
  • Starcast: Pradeep Ranganathan, Anupama Parameswaran, Mysskin, Kayadu Lohar, George Maryan and others
  • Story, screenplay and direction: Ashwath Marimuthu
  • Additional story: Pradeep Ranganathan
  • Producers: Kalpathi S Aghoram, Kalpathi S Ganesh etc
  • Music: Leon James
  • Cinematography: Niketh Bommireddy
  • Running time: 2 hours and 16 minutes
  • Genre: Comedy/drama

Mainstream cinema often has the habit of fetishizing rowdy boys. They are often looked as cool with girls drooling over them. They are presented in a very flamboyant manner making it look aspirational. The consequences of this kind of behavior isn’t explored much in commercial cinema. The initial portions of Dragon may appear to be a typical fetishizing of a bad boy with a not so likeable protagonist but as the movie progresses the plot switches seamlessly into a morality tale.

The core plot of Dragon is about D Raghavan/ dragon (Pradeep Ranganatham). The movie begins with him getting 96 percent in the 12th board exams. Over the moon Raghavan expresses his love to a girl but she rejects him saying that she only likes rowdy/bad boys. Ranganathan feels depressed leading to a huge change in his behavior. He transforms into a rowdy guy with many backlogs. Anupam Parameswaran as Keerthi plays one of Raghavan’s love interests. Keerthi is seen hugely bestowed with Raghavan’s behavior during college days, they enter into a very serious relationship but the dynamics soon undergo a significant change. Raghavan continuing to be non serious about his career and living of his friends soon gets to her. She agrees to an arranged marriage leaving Raghavan distraught. Consumed by hatred towards Keerthi Raghavan makes a serious decision of doing a high paying job but the path that he takes makes his life hugely chaotic. This is the brief summary of the story.

Pradeep Ranganathan and Anupama Parameswaran from Dragon

A strong aspect of Dragon is the layered characterization of D Raghavan coupled with Pradeep’s stellar act. For a majority of the first half Raghavan comes across as an absolute jerk whether it is fooling the parents by pretending to do a job or living on his friend’s money. Even his reaction when Keerthi decides to marry a more stable guy makes him an obnoxious personality.

In order to get back at Keerthi Raghavan takes a very dangerous shortcut, he climbs up the social ladder by getting a fake degree certificate. Personally too he is on the verge of marrying a rich girl. Everything is going picture perfect but the screenplay takes a huge turn with a fantastic pre interval block.

At this point you have the re entry of Raghavan’s principal Mayilvahan (an excellent Mysskin). Mayilvahan isn’t your usual caricaturist principal. Yes Mayilvahan is a righteous man but at the same time he believes in giving second chances too. Mysskin brings in a lot of warmth to the part. He is someone who is outwardly stern at the same time there is a strong undercurrent of kindness too in how he pushes Raghavan in making him realize the mistakes he had done.

The dynamics between Raghavan and Mayilvahan takes the graph of the second half to an whole new level. The second half also features some important dialogues on how heroism is about doing the right thing. There is a crucial message about redefining heroism as nobility rather than just as success. A key emotional outburst towards the end elevates Dragon to a higher moral plane, something which we don’t generally see in the mass template.

Talking about the comic portions a particular mention must be made of the scenes involving Raghavan’s interview with the boss of a major company Lateral view played by Gautham Vasudeva Menon. Raghavan is just lip syncing to the answers given by a man who is in the same room. The way the entire scenario pan outs is an absolute riot. There is another portion the second half when Pradeep Rangnathan is seen juggling multiple phone calls. On one level it works as a very good tip off to Pradeep Rangnathan’s super hit movie Love Today, at the same time it also works as situational comedy bringing in many chuckles.

Pradeep Ranganathan as already mentioned delivers a stellar act. It is a performance which is many notches above Love Today. He is very successful in making the viewers despise Raghavan, at the same time he also shines in the emotionally charged sequences where Raghavan talks about his numerous wrong doings. Anupama Parameswaran too does well giving good support. She particularly shines in the second half portions. Kayadu Lohar also does a fair job as Raghavan’s prospective bride.

Leon James music and background score also elevate the movie significantly. The one slight drawback of Dragon is the unnecessary guilt of Keerthi in leaving Raghavan. It doesn’t make much sense as she had every reason to leave Raghavan given how obnoxious he was. It feels absurd that Keerthi apologizes to Raghavan. Still this aspect can be ignored as Dragon for most part is both entertaining and has a good message.

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Chhaava review: A strong ode to Maratha valour

This Laxman Utekar’s directorial is a delight for admirers of Maratha warriors. Just like the recent historicals, ‘Chhaava’ too has a strong undercurrent of saffronisation. Still the solid technical work coupled with the towering performances makes this a worthy big screen spectacle.
Chhaava (Hindi), 14-02-2025, Historical drama , 2 hours 41 minutes, U/A, Theatre
  • Main Cast: Vicky Kaushal, Rashmika Mandanna, and Akshaye Khanna
  • Director: Laxman Utekar
  • Producer: Dinesh Vijan
  • Music Director: AR Rahman
  • Cinematography: Saurabh Goswami
  • Rating: 3.5/5

In the last few years, Hindi cinema has seen a huge increase in the Hindutva influx, this doesn’t just pertain to the numerous war dramas, but this list also includes historical fiction based on the wars involving the Hindu kings, particularly the Rajput and Maratha warriors.

Very good examples of these are Sanjay Leela Bhansali’s Padmavaat (2018)  and Om Raut’s Tanhaji (2020). In these films, the Muslim rulers are presented as merciless invaders from whom the Hindu nation should be saved.

Laxman Utekar’s first attempt at historical fiction also treads on the same path. After directing a slew of feel-good movies like Luka Chuppi (2019) and Zara Hatke Zara Bachke (2023) the cinematographer turned director takes an extremely different path from his previous works.

Synopsis

Chhaava meaning a lion cub is based on a novel of the same name written by Shivaji Sawant. The book covered the life and times of the very noted Maratha warrior Chhatrapati Sambhaji.

It’s hard to say what percentage of Chhaava is based on its original source material and how much fiction Laxman Utekar has added. but the movie does a very fine job of capturing the bravery of Chhatrapati Sambhaji managing to make the viewers feel for the man particularly if you are an admirer of Maratha warriors.

In simple terms, the core plot of Chhaava focuses on the events which transpired from 1680 to 1689, a period marked by the relentless pursuit of Mughal emperor Aurangzeb (a fabulous Akshaye Khanna).

The movie celebrates the valour of Chhatrapati Sambhaji (an outstanding Vicky Kaushal) in fighting against the troops of Aurangzeb. Rashmika Mandanna plays Maharani Yesubai— a very important pillar of support for Sambhaji.

Vicky Kaushal as Sambhaji

Chhaava is a historical drama
‘Chhaava’ is a historical drama. (X)

Chhaava works largely due to the emotional depth brought by Laxman Utekar. He and the screenplay writers don’t just depict Sambhaji as a fierce warrior but also reveal a vulnerable side to him.

There is a palpable sense of grief in the way Sambhaji speaks about missing his mother’s love and a recurring nightmare involving his father. Some of the dialogues effectively convey the brutalities of war, where countless lives are lost.

As Sambhaji, Vicky Kaushal fully embodies the role, delivering a top-notch performance. With this role, Vicky once again proves why he is a versatile actor, able to adapt to various genres, whether it’s the light-hearted Bad News or the more emotionally intense roles in Sardar Udham Singh and Chhaava.

Vicky shines the most in scenes where he portrays the psychological toll endured by a warrior king. The torture sequence involving Sambhaji is another standout moment where Vicky excels.

While the historical accuracy of these moments may be debatable, the way Vicky portrays Sambhaji’s fighting spirit, even while being physically tormented by Aurangzeb, creates an emotional connection with the character.

Performances

Rashmika Mandanna as Rani Yesubai
Rashmika Mandanna as Rani Yesubai. (X)

Akshay Khanna as Aurangzeb makes for more than a worthy tormentor. While there is no denying the amazing prosthetic work Akshay Khanna with his acting also makes the part memorable.

Thankfully there are no unnecessary theatrics; Akshay invokes terror with just his demeanour and piercing gaze. He excels in showcasing Aurangzeb’s huge hunger for power.

Rashmika Mandanna as Yesubai plays a strong partner in the same mould as her last outing Pushpa 2. She delivers a fine performance perfectly showcasing the inner strength of a warrior’s wife. A particular mention must be made of her act in the portions following Sambhaji’s capture.

Vineet Kumar Singh as Kavi Kalash shines the brightest among the supporting cast. He plays his part with a lot of warmth. The friendship between Sambhaji and him gives the movie some of its best moments.

Strong technical aspects

Among the strong aspects of Chhaava, the technical department deserves special mention. The fight sequences in the second half are a delight, especially for those who enjoy rustic action. There are numerous instances of the Marathas outsmarting the Mughals using guerrilla tactics. The way these ambush sequences unfold with surprise attacks resembles a gripping chess game.

Vicky Kaushal in Chhaava
Vicky Kaushal in ‘Chhaava’. (X)

Cinematographer Saurabh Goswami delivers high-quality work, successfully capturing both the grand scale and intense action set in the forests. Special mention should also be made of the scenes following the destruction of the war, which are staged realistically.

AR Rahman’s background score and music complement the film well. The tune “Aaye re toofan” serves as a powerful war anthem with a touch of Maharashtrian folk. On the other hand, “Jaane Tu,” a romantic number, perfectly captures the understated romance between Vicky and Rashmika.

A major flaw in Chhaava is its core plot, which suffers from a significant hangover of clichés found in numerous films set in the same historical context.

Additionally, the film doesn’t break new ground in its portrayal of Muslim characters. The heavy emphasis on the concept of Swarajya, along with the lack of subtlety in the dialogues surrounding it, can test the audience’s patience.

Final take

To sum it up Chhaava works as a big-screen spectacle, especially for fans of Vicky Kaushal and those who like stories of brave Maratha warriors.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/chhaava-movie-review/

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Laila: Vishwak Sen’s latest is a sour experience

‘Laila’ briefly comes alive in the second half when Vishwak Sen dons the lady get up but the weak writing plays a major spoilsport. The major problem is its over-reliance on crass humour and less on emotions.
Laila (Telugu), 14-02-2025, Drama, 2 hours 16 minutes U/A, Theatre
  • Main Cast: Vishwak Sen, Akanksha Sharma, Abhimanyu Singh, and Babloo Prithiveeraj
  • Director: Ram Narayan
  • Producer: Sahu Garapati
  • Music Director: Leon James
  • Cinematography: Richard Prasad
  • Rating: 2/5

Over the years numerous leading men have successfully transformed into female avatars. Whether it is the legendary Kamal Haasan in the rollicking entertainer Avvai Shanmugi (1996) (in Telugu Bhamane Satyabhamane).

In the Telugu film industry too, both Rajendra Prasad and VK Naresh experienced huge success with Madam (1994) and Chitram Bhalare Vichitram (1992). These movies have outlandish scenarios but they are backed by cohesive writing and a strong emotional core.

Talking about Hindi actors Ayushmann Khurrana tasted major success with his female get-up in the Dream Girl 2 (2023). And now, actor Vishwak Sen has tried something similar, how did he fare?

Synopsis

Laila directed by Ram Narayan had the potential of being a good Valentine’s treat but the treatment makes it a tedious watch for most of its running time.

Vishwak Sen is a capable young actor, but his selection of scripts has been getting worse and Laila is a perfect example.

The storyline of Laila focuses on Sonu Model (Vishwak Sen). Sonu runs a beauty parlour in the area of the old city. Sonu is extremely popular among the ladies for both his makeup skills and also his helpful nature.

Sonu’s helpful nature is reflected when he allows a customer to use his name for an oil brand. However, this decision leads to a dramatic shift in his life. Due to certain circumstances, Sonu is forced to transform into Laila. The rest of the story revolves around why Sonu undergoes this transformation and the events that follow.

What works and what doesn’t

Laila has very few redeeming qualities and one of them is Vishwak Sen’s avatar as a female. He brings in a certain charm while seducing the men around him particularly Abhimanyu Singh— the comic villain.

Vishwak Sen in Laila
Vishwak Sen in ‘Laila’. (X)

The way he portrays femininity, starting from the body language showcases Vishwak’s capability in attempting different roles. The scenes between him and Abhimanyu are an absolute riot even though it borders on farce.

As Sonu Model, Vishwak Sen does a fair job, particularly in the scenes where Sonu talks about his emotional attachment towards the parlour. Abhimanyu Singh as a married man lusting after Laila gives the movie some much-needed energy.

The way he adores Laila brings a smile to the viewers’ faces, the viewers feel that he is genuinely in love with Laila.

The major problem with Laila is too much emphasis on crass humour. Most of the dialogues are way below the belt producing more groans than laughs. Sonu’s connection with the parlour and him being a makeup artist is a very novel concept but this angle isn’t sufficiently developed.

The love track between Vishwak Sen and Akansha Sharma has also been haphazardly written. Portions involving Akansha’s interactions with Sonu majorly pull down the movie.

The songs composed by Leon James are another downer. None of them come close to standing out. The movie also has some unnecessary references to megastar Chiranjeevi’s films.

Final take

To sum it up Laila leaves a bitter aftertaste. Watch it only if you are in the mood for some senseless fun.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/telugu/laila-movie-review/

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Thandel: The triumph of love

Director Chandoo Mondeti succeeds in delivering a heartfelt love story along with capturing the everyday dangers of a fisherman’s life making the viewers empathize with their plight. At the same time typical patriotic elements pull the movie down.
Thandel (Telugu), 07-02-2025, Action, Drama, 2 hours 32 minutes, U/A, Theatre
  • Main Cast: Naga Chaitanya Akkineni, Sai Pallavi, Aadukalam Naren, and Karunakaran
  • Director: Chandoo Mondeti
  • Producer: Bunny Vas
  • Music Director: Devi Sri Prasad
  • Cinematography: Shamdat Sainudeen
  • Rating: 3/5

Many fishermen from both sides of the border drifting into the territory of either India or Pakistan is unfortunately a very common phenomenon.

These people are suspected of being spies and put in jail for a very long time. Chandoo Mondeti focuses on one such tale. This tale however has a happy ending.

For those who don’t know what Thandel means it is a term denoting leader.

Synopsis

At the heart of Thandel is an intense love story between Raju (Naga Chaitanya) and Satya (Sai Pallavi). Raju is a fearless fisherman from the coastal area of Srikulam. Due to his bravery and honesty, Raju is soon honoured with the title of Thandel (leader).

It is a very big honour for Raju but Satya becomes extremely worried about Raju’s safety after a particular incident. She pleads with him to give up fishing forever but Raju is deeply committed to his community of fishermen and his principles.

Despite Satya’s warnings, Raju heads out to the sea and unknowingly drifts into Pakistani waters while saving their countrymen. This turns the lives of Raju and others upside down.

The rest of the movie focuses on how Raju and his men return home and of course whether Raju and Satya have a happy ending.

What works

Thandel is based on real incidents
‘Thandel’ is based on real incidents. (X)

The best part of Thandel is how Chandoo Mondeti along with the storywriter Kartik Theeda has explored the lives of fishermen. A constant sense of danger while going out on the sea and the huge effect it has on their dear ones has come out very well.

The use of the Srikakulam dialect and the rustic surroundings are a major plus for the movie. There is no sense of artificiality, making the viewers empathize with the daily risks. A sense of brotherhood among the fishing community also comes out strong.

The love story between Naga Chaitanya and Sai Pallavi has a good mix of light and emotionally touching moments. Their initial scenes have a sense of lightheartedness bringing a smile to the viewers’ faces.

At the same time, the build-up to Satya’s conflict and the highly charged emotional moments make the viewers feel for the couple.

The best part of the conflict point is that both Raju and Satya are right in their ways. Raju as a Thandel has a certain duty towards his community. Going out on the sea and capturing fish is very important for the survival of families.

At the same time, Satya’s fears are also valid given her love for him. This has come out very well.

What doesn’t work

A major problem with Thandel is the tried and tested patriotic troupes, with the Pakistani characters mostly a caricature.

A clash between Naga Chaitanya and a Pakistani terrorist suffers on account of weak writing. Prakash Belwadi as the Pakistani jailer is mostly meant to be stern and anxious, both of which he pulls off competently but there isn’t much meat in the role.

Towards the end, there is an abrupt change in his behaviour but it doesn’t register strongly. Similarities with Randeep Hooda’s Sarabjit also pull the down movie, somewhat giving a major déjà vu.

Technical aspects

Devi Sri Prasad’s music and background score is another plus for the movie. Among the songs, “Bujji Thalli” and “Hilesso Hilessa” pack a major punch. His background music is also of a very high order elevating the emotional scenes in particular.

The cinematography of Shamdat Sainudeen is also fantastic. He does a brilliant job of capturing both the rustic surroundings and also a thrilling portion involving the sea.

Performances

A still from the film Thandel
A still from the film ‘Thandel’. (X)

Both Naga Chaitanya and Sai Pallavi deliver first-rate performances. Their acting along with the chemistry majorly keeps the movie afloat even when the second half goes into a mundane territory.

In the last few years, Naga Chaitanya has delivered some outstanding performances in the movie Love Story (2021) and also the web series Dhootha. Thandel is yet another top-notch act from him. He gets into the skin of the role splendidly portraying the various shades.

He looks every inch the rugged fisherman and the fearless Thandel. Naga Chaitanya also expresses his vulnerabilities splendidly when Satya refuses to communicate with him.

Sai Pallavi as Satya is also equally good. She makes the viewers feel the pain of Satya, on more than one occasion. She may across as too stubborn for some but her emotional portrayal of Satya’s inner dilemmas will make the viewers empathize with her concerns.

There is also a deep inner strength which comes out in the second half when Satya takes it upon herself to save the community; Sai Pallavi portrays both these shades wonderfully.

Among the rest, Tamil actor Karunakaran leaves the biggest impact as the empathetic third wheel. There is a genuine honesty to the role and Karunkaran brings that out wonderfully.

Final take

To sum it up, Thandel mostly works as an intense love story, a tighter second half without the patriotic troupes would have made this a more engaging one.

(Views expressed here personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/thandel-movie-review/

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Deva: A competent investigative drama bolstered by an engaging second half

This Rosshan Andrrews directorial is inspired from the director’s own Mumbai Police but with a different touch. ‘Deva’ often plays to the gallery celebrating the rakish ways of its titular character; thankfully though the movie also critiques the inner workings of the police system
Deva (Hindi), 30-01-2025, Action, Thriller, 2 hours 36 minutes, U/A, Theatre
  • Main Cast: Shahid Kapoor, Pooja Hegde, Pavail Gulati, and Kubra Sait
  • Director: Rosshan Andrrews
  • Producer: Siddharth Roy Kapur
  • Music Director: Vishal Mishra
  • Cinematography: Amit Roy
  • Rating: 3/5

Right since the first teaser of Deva, there has been a lot of speculation on it being a remake of Rosshan Andrrews’s own Mumbai Police (2013).

Shahid and the rest of the team have reiterated that Deva isn’t Mumbai Police but after seeing the film it’s clear that Roshaan Andrrews has taken inspiration from his own movie.

Thankfully though, Deva has its own unique flavour, unlike the Kalees-directed Baby John, which had plenty of South drama.

Synopsis

For those who haven’t seen Mumbai Police, Deva focuses on inspector Dev Ambre (Shahid Kapoor). He is very arrogant along with being hot-headed.

Dev Ambre has zero tolerance for rules while carrying out his police duties within the boundaries of what he considers right. At the same time, he is seen sharing a solid brotherhood with ACP Rohan D’ Silva ( an impactful Pavail Gulati).

Pravesh Rana plays a senior officer and the boss of Dev called Farhan. Farhan often gets angry with Dev’s ways of doing his duty but still stands with him.

Pooja Hegde plays a crime journalist called Diya, she is the daughter of a constable. Dev and Diya eventually fall in love but Dev’s life takes a very dramatic turn when Rohan is shot by a mysterious killer while he is being felicitated.

This is the story in brief.

Strong and weak aspects

The beginning portions of Deva are mostly a series of sequences celebrating his machismo. Shades of Shahid Kapoor’s blockbuster and very polarizing Kabir Singh can be found in numerous instances.

But the movie picks up pace after the tragic death of Rohan. There are constant twists and turns with intricate subplots.

The interval bang showcasing the serious accident of Dev, resulting in a memory loss is a major high point as the viewers, particularly those who haven’t seen Mumbai Police would be tensed about the killer’s identity.

Deva is an action thriller

In the second half, the viewers see Shahid’s persona changing as Dev grapples with what he was once while handling an important task at hand.

There is a distinct mellowness in the way he goes about things, but at the same time, there is a quiet determination too. This has come out brilliantly in both the writing done by many like Abbas Dalal and Hussain Dalal, coupled with Shahid Kapoor’s acting performance.

Mention must also be made of the dialogues where the court criticizes Deva’s hooligan ways strictly warning him that police are not meant to behave like rowdies terrorising people.

A major problem with Deva is its women characters and a haphazard love story. Pooja Hegde as Divya looks gorgeous as always playing the honest crime journalist competently but the way her track has been integrated leaves a lot to be desired.

Kubbra Sait as a women cop doesn’t add much to the proceedings either. The character of Kubbra Sait could have added a different dimension given that we mostly see men as police officers. But she becomes more of an add-on, not serving much purpose.

Shahid’s show all the way

There is an important plot twist in the pre-climax. Many details of which cannot be revealed here but this portion gives an emotional subtext into the hyper-aggressive nature of Deva in the first half.

Shahid Kapoor in Deva
Shahid Kapoor in ‘Deva’. (x)

Shahid brings in a raw intensity brilliantly capturing the emotional turmoil of a man carrying the burden of his father’s criminal past.

The revelation of who is the killer and the motivations behind it will definitely shock the viewers. The brotherhood between Pavail Gulati and Shahid Kapoor has also come out well.

Pavail Gulati brings in an emotional depth proving to be the perfect anthesis to Shahid’s Deva. Pravesh Rana also lends solid support as the senior inspector; he brings both authority and warmth to the part.

Mumbai, an integral part

The use of Mumbai’s rustic surroundings brings in an extra layer. The city with its many layers becomes a character in itself, the cinematography of Amith Ray is simply brilliant.

A particular mention must also be made of how he captures the action sequences designed by Parvaz Sheikh and Abbas Ali Moghul among others.

The songs don’t make much of an impression except for “Bhasad Macha”, the combination of Shahid Kapoor’s electric dance moves along with the raw energy packs in a major punch. However, Jakes Bejoy’s background score is of the highest order elevating the intense scenes.

Final take

To sum it up Deva thankfully doesn’t completely glorify the cops, something which we have seen a lot in mainstream cinema. At the same time, a much better first half would make this investigative drama a more wholesome experience.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/deva-movie-review/