Category: Movie Reviews

Posted on

3 BHK Flat: An ode to middle class aspirations and coming of age

The first half of 3 BHK Flat feels like a series of never-ending problems with the tone of a sappy TV serial, fortunately post interval takes a much better turn. The second half has two important subplots. One is Meetha Raghunath’s Aarti deciding that she will no longer put up with marital abuse and starts life new, the second one is the transformation of Siddarth’s character where he decides that he has had enough of the mechanical IT Job, he begins his studies afresh by doing engineering These two tracks elevate the film from being a typical middle-class story of sacrificing sons and daughters

Starcast: R Sarathkumar, Siddarth, Meetha Raghunath, Devyani, Chaitra J Archar and others

Genre: Drama

Direction and screenplay: Sri Ganesh

Based on: Tamil short story Aravindh Sachidanam

Producer: Arun Viswa

Production Company: Shanti Talkies

Music: Amrith Ramnath

Cinematographers: Dinesh B Krishnan and Jithin Stanislaus

Running time: 2 hours and 20 minutes

The core plot of Sri Ganesh’s 3 BHK Flat has a certain relatability specifically for young men who have grown up in certain households, the burden of expectations where the father looks at them as a beacon of hope. This hope acting as a catalyst for major life decisions and of course shunting between different houses with a shared dream of having one own’s home. The beginning portions of 3 BHK Flat has all the trappings of sacrificial drama, at one point boredom creeps in as well thankfully the movie doesn’t end up being regressive with its plot developments.

R Sarathkumar plays Vasudevan. He is a typical middle-class man with dreams of having an own home. The financial status of Vasudevan is quite wobbly; he has his hopes pinned on the son Prabhu (Siddarth). However, these expectations become a hurdle for the son, in spite of putting in all the hard work Prabhu remains a failure for a major portion of the movie. Devyani plays Vasudevan’s wife Shanti, she is the typical emotional pillar thankfully with a voice of her own. Meetha Ragunath plays the sister Aarti. This is the story in brief.

One of the things which work in 3BHK Flat are the atmospherics. Director Sri Ganesh does a fine job in setting up a lived-in atmosphere, whether it’s the conversations between the characters or the design of the different houses which the characters shuttle at numerous junctures. The characterization of Siddarth’s Prabhu is also relatable for most young boys growing up in typical middle-class families. The constant turmoil which Siddarth goes through for a large part of the movie hits the viewers hard making them empathize with him. The build up to the change is also smartly done without making it look abrupt. Siddarth does a very fine job in capturing the different nuances.

R Sarathkumar as Vasudevan also makes a strong impact in spite of coming across as not so likeable in some portions. The way he has portrayed the physical and emotional transformation from a 40-year-old to 60 plus is commendable. The scenes between him and Siddarth have numerous poignant moments. Meetha Raghunath is also wonderful more so in the post interval portions. Her act in the breakdown portion deserves a specific mention and the question that she asks about whether marital abuse is only about physical violence is so relevant. Meetha Raghunath is excellent in portraying the fighting spirit of Aarti. Devyani is also striking in her scenes giving good support. Rana Daggubati’s voice over as the different houses adds an interesting element although it doesn’t bring anything substantial.

Mention must also be made of how Sri Ganesh talks about important topics without making it come across as overtly political. There is a portion about the rising real estate making it difficult for a common man to fulfill his dreams, similarly the impact of societal pressures in choosing studies has also come out well. The songs composed by Amrith Ramnath have a soulful nature. Tracks like Kalaleene have an emotional resonance, at the same time Aagiponu Nenu works as an engaging motivational number.

A major problem with 3BHK Flat is a TV Serial treatment of the first half. As viewers you get a feeling of depression with the overdose of problem faced by Vasudevan and his family. The tonality of a sappy daily soap induces a certain tediousness making you wish that the movie moves at a crisper pace.

The cinematic liberties which the movie takes in the third act isn’t for all too. For some Prabhu quitting a well-paying tech job at 34 to pursue his passion while having aged parents at house will be tough to swallow.

Final word: 3 BHK Flat makes for a good watch if you are fan of middle-class dramas without the overtop commercial ingredients.

Posted on

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

Metro In Dino movie image

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

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

Genre: Romance

Story, screenplay and direction: Anurag Basu

Dialogues: Sandeep Shrivastava and Samrat Chakravarthy

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

Production Companies: T-Series Films and Anurag Basu Productions

Music: Pritam Chakraborty

Cinematography: Abhishek Basu and Anurag Basu

Running time: 2 hours and 42 minutes

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

Late Irrfran Khan and Konkana Sen Sharma

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

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

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

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

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

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

Anupam Kher and Neena Gupta

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

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

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

Posted on

Kannappa: A devotional second act saves the day

Manchu Vishnu in the role of Kannappa.

Manchu Vishnu donning multiple hats of an actor and writer takes a while to find his footing, however he comes into his own in the moving post interval portions specifically the climax. For Shiva devotees Kannappa will be a delight. Akshay Kumar as Shiva lends in the right amount of serenity and Prabhas as Rudra makes his presence amply felt in an extended special appearance.

Starcast: Manchu Vishnu, Akshay Kumar, Kajal Aggarwal, R SarathKumar, Mohan Babu, Preity Mukhundan, Prabhas, Mohanlal etc

Genre: Devotional

Director: Mukesh Kumar Singh

Story and screenplay: Vishnu Manchu

Producer: Mohan Babu

Production Companies: AVA Entertainment and 24 Frames Factory

Music: Stephen Devassay

Cinematography: Sheldon Chau

The story of a tribal hunter turned shiva devotee Kannappa is an important part of Indian mythology. The tale of Kannappa is closely connected with Srikalahasteeswara temple in Andhra Pradesh. The story of Kannappa was brought to life by the moving Bhakta Kannappa played by an excellent Krishnam Raju. The movie was a major commercial success and is remembered fondly to even this day.

Vishnu Manchu’s Kannappa is an modern adaptation of Bhakta Kannappa with added commercial elements. The destination is the same, but the packaging varies. For those who haven’t seen Bhakta Kannappa the plot of this one revolves around Thinnadu (an earnest Manchu Vishnu). He is a fierce hunter rejecting anything connected to god and divinity. He is far removed from the world of faith. R Sarathkumar as Nathanathudu plays the village head of a particular tribe. Nathanathudu is the complete opposite of his son Thinnadu, in spite of not liking his son’s views towards god Nathanathudu never forces his religious beliefs on him. The story essentially looks at the transformation of Thinnadu when he stumbles upon an Shiva Lingam changing his entire outlook towards religion and the existence of god. This is the story in brief.

Before getting deeper into the movie its necessary to get the comparisons out of the way. Manchu Vishnu is no Krishnam Raju and that is very visible in the initial portions. His warrior like presence has a certain stiffness, at times he seems to be aping Prabhas in the action and romantic portions. However Manchu Vishnu slowly starts to grow on the viewers getting the soul of Kannappa right. As earlier mentioned the post interval portions are far more engaging a big reason for this is Manchu Vishnu’s act, his portrayal of Shiv bhakt embracing a trance like state is excellent. In the climax where he removes his eyes has a wonderful intensity moving the viewers. Mention must also be made of Manchu Vishnu’s act in the fiery dialogues where he questions the act of human sacrifice in the name of rituals.

Prabhas as Rudra also plays a major role in making the second half better. The screen time of Prabhas is short but the interactions with both Mohan Babu and Manchu Vishnu are a perfect blend of humor and philosophical wisdom. He adds significant depth to Kannappa’s spiritual journey.

Prabhas as Rudra

The father and son dynamics between Thinnadu and Nathanadu also has some nice touches. An emotional conversation featuring the ghost of R Sarathkumar and Manchu Vishnu touches the viewers heart in particular. R Sarathkumar lends a certain dignity to his part.

Coming to others senior actor Mohan Babu as Mahadev Shasthri has a commanding presence, he nails the arrogant nature as expected while also shining in the sequence showcasing remorse. Mohanlal in a completely new look brings his signature gravitas. His pre interval sequence with Vishnu setting the base for the second half is nicely done.

The devotional songs of the second half also lift the movie. The song Shiv Shiv Shankar in particular is well tuned, it makes for a good watch and listen. Sheldon Chau’s cinematography is of a good order too. He does a fine job in capturing both the vast landscape and also the mythical moments through his lens.

A major problem with Kannappa is the attempt to make the story more pan India. The love portions featuring the two leads feels completely out of place, they feel more situated for a modern love story rather than the story of a non-believer turned devotee. Preity Mukhandan has a fiery presence starting off with promise but soon she just turns into a regular commercial heroine. The overdose of skin show leaves a bitter after taste occupying more space than necessary. Even the romantic songs featuring the two also lengthen the running time rather than aiding the narrative. The war sequences feel straight out of Bahubali and Hollywood movies. The clumsy CGI in some places don’t help matters either.

The likes of Bramhanadam and Saptagiri also feel out of place. The first half needed a much tighter edit, the village conflicts and the battle to protect a sacred lingam needed to be shortened since the main crux of Kannappa is the transformation story.

Final word: Kannappa is a delight for Shiv bhakts specifically the intense climax, its a sincere effort to bring alive the tale of a non believer turned devotee for the modern generation.

Posted on

Kuberaa: Shekhar Kammula’s most socio political movie till date

Shekhar Kamula and Chaitanya Pingali’s Kubera is a taut financial thriller/drama keeping the viewers on the edge. What makes Kubera stand out from other stories involving scams and corruption is the angle of beggars being used as Benaim’s by a ruthless capitalist. The transformation of Dhanush’s Deva as an unlikely hero keeps the audiences completely hooked. Nagarjuna in a grey shaded role of a former CBI officer grappling with moral dilemmas delivers one of his best acts in a long time

  • Starcast: Dhanush, Nagarjuna, Rashmika Mandanna, Jim Sarbh and others
  • Genre: Crime thriller/drama
  • Story, direction, screenplay and dialogues: Shekhar Kammula
  • Co writer and associate director: Chaitanya Pingali
  • Music and background score: Devi Sri Prasad
  • Cinematography: Niketh Bommireddy
  • Producers: Sunil Narang, Ajay Kaikala etc
  • Production Companies: Sree Venkateswara Cinemas LLP and Amigo Creations
  • Running time: 3 hours and 1 minute

Shekhar Kammula’s last movie before Kubera Love Story with Naga Chaitanya and Sai Pallavi marked a significant shift in the kinds of stories that Shekhar has dealt so far. Strong women characters have always been Shekhar Kamula’s forte but what made Love Story different was the angle of caste and class. Working with Chaitanya Pingali has clearly brought a different facet of Shekhar, with Kuberra the director moves into a very political zone with themes of class disparity and capitalism. Kuberra is an audacious movie in more ways than one , it takes a little time to get drawn but soon the viewers are sucked feeling tensed on what will happen next.

Chaitanya Pingali the associate director and writer

The storyline of Kuberaa begins with Neeraj Mitta (a truly despicable Jim Sarbh). He is a ruthless businessman embodying a typical capitalist whose only aim is to become richer and richer. A rare oil is discovered and Neeraj Mitta plans to make it a source of wealth and control, he does a secret meeting with top leaders. To make this plan work Neeraj Mitta and the father played by Dalip Tahil rope in a once honest CBI officer Deepak (Nagarjuna). Deepak has lost faith in the system, there is a simmering anger inside him. This turns out to be an advantage for Neeraj. As part of plan Deepak gathers a group of beggars who will become benamis. Dhanush’s Deva is one of them. Soon things start to spiral out of control for Neeraj and Deepak is forced to confront his inner demons. This is the story in brief.

A strong aspect of Kuberaa is the world building specifically the Juxtaposition of Mumbai’s high scrapers and the not so privileged ones . The movie presents a heart touching picture of the society’s attitude towards beggars. There is a scene early on showcasing the death of a beggar run over by a car and except for the fellow beggars no one cares. As Jim Sarbh says in a dialogue this section of society represent the invisible type making them easy scapegoats for his task.

The cinematography of Niketh Bomireddy coupled with Thota Tharani’s production design play a significant role in creating an authentic atmosphere. The stench of the garbage dumps like the scene where Rashmika and Dhanush get into a van in a tense moment filled with waste bags have a realistic feel to them. Devi Sri Prasad’s music and background score is another asset for the movie. The songs aren’t of the blockbuster type but have a soulful nature.

Apart from the world building the movie’s dialogues often laced with philosophical undertones is also a delight to watch. In a scene Rashmika Mandanna talks about how all of us are beggars in some way or other. The dialogue goes like this “I begged freedom from my parents. I begged my boyfriend to not break up with me. I begged my friend to let me stay at her place for a few days and now I’m begging people to give me a job. So in some way or other all of us are qualified to be called beggars’. This is a just sample example of the numerous impactful dialogues critiquing class and capitalism. The underlying message of Kubera is true wealth lies in improving other people’s lives and not just hoarding riches.

The tense cat and mouse game between Dhanush and Nagarjuna also has many thrilling moments. Rashmika Mandanna in a different role from her previous ventures has been smartly integrated into the main plot. Her character Sameera gets herself into a tangle by helping Dhanush. The scenes between the two are filled with tension and humorous moments in equal measure. Rashmika is successful in bringing an inner strength. Jim Sarbh as the ruthless capitalist perfectly embodies the nastiness making the viewers hate him.

Rashmika Mandanna as Sameera

Kuberaa primarily rests on the shoulders of Dhanush and Nagarjuna, both get into the skin of their respective parts. Dhanush as an innocent beggar turning into an unlikely hero delivers a first rate act. He immerses himself completely showcasing why he is a worthy national award winner again. Dhanush particularly shines in the scenes with Nagarjuna. As Deepak Nagarjuna delivers a nuanced performance, the senior actor has done a swell job in capturing the moral complexities which Deepak under goes on numerous occasions. As viewers you feel for Deepak inner dilemmas on where he started and what he has become. A particular moment has to be mentioned where Nagarjuna shoots a police officer because of a crucial reveal, there is a visible distraught on the face of Nagarjuna where the existential crisis is extremely visible.

Talking about the flaws the final stretches of Kubera become a little hard to digest. The portion of Jim Sarbh turning into a beggar for a night on the order of Dhanush can appear silly. Also the confrontation scene between Dhanush and Jim in the pre climax could have been more crisp.

Posted on

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

Aamir Khan and Co in Sitare Zameen Par

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

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

Genre: Sports

Director: B Prasanna

Writer: Divy Nidhi Sharma

Based on: Champions by Javier Fesser

Producers: Aamir Khan, Aparna Purohit etc

Production Company: Aamir Khan Productions

Music: Shankar Ehsaan Roy

Running time: 2 hours and 35 minutes

Cinematography: G Srinivas Reddy

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

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

Poster of Taare Zameen Par (2007)

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

Aamir and Genelia

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

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

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

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

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

Posted on

Materialists: A sharp social commentary on the complexities of finding true love

Dakota Johnson as matchmaker Lucy

Under the guise of a romantic movie director and writer Celine Song looks at the various factors which play a part in choosing a life partner and also the dating culture where the older women have a tough time given the specific requirements that some clients have

Starcast: Dakota Johnson, Chris Evans, Pedro Pascal and others

Genre: Romance

Director and writer: Celine Song

Producers: David Hinojosa, Pamela Koffler etc

Production Companies: 2AM and Killer Films

Cinematography: Shabier Krichner

Music: Daniel Pemberton

Running time: 1 hour and 49 minutes

The depiction of love stories has come a long way in movies across languages, from simple rom coms to more complex stories. The Materialists is a very good example of that. Through a story set in the context of today’s dating apps the movie’s plot explores how finding the right partner is so difficult given the many factors both economic and social.

At the heart of Materialists is Dakota Johnson’s Lucy. A failed theatre actor turned matchmaker. She deals with clients of different types everyday with hidden vulnerabilities of her own. Among her numerous clients Zoe Winter’s Sophie is a special one. Sophia is 39 years old and is desperate to find a loving man. Things take a dramatic turn when Lucy falls for the charm of Pedro Pascal’s Harry. Initially she thinks of setting up Harry as a client for the dating website however Lucy ends up falling for him. Harry has many desirable qualities, he is rich, chivalrous, kind and belongs to a happy family. In Lucy’s words he is a unicorn, soon enough Harry convinces Lucy about a potential union between them. Things start to look up at one point but life soon comes to crossroads due to a certain turn of events. One of the other important characters is Chris Evan’s John. A struggling theatre actor trying hard to make ends meet, he is also Lucy’s ex. This is the story in brief.

Dakota Johnson and Pedro Pascal

A big strength of Materialists is how the movie seamlessly integrates the professional and personal life of Lucy. Through the characters of some clients Celine Song does a fine job in touching upon the biases and how men are obsessed with certain physical features like a particular height and BMI (body fat). There is a scene in the movie where a client talks about how it shouldn’t exceed over 20.

Similarly the movie also dwells into the issues faced by older women due to ageism. Most men even if they are 50 want someone younger and not their age. The aspect of sexism has come out in a strong manner through the character of Sophia, she goes through many heartbreaks and assault as well. Zoe Winter as Sophia is excellent in making the viewers feel Sophia’s pain.

Mention must also be made of how Celine Song has dealt with the love triangle. The eventual path taken by Lucy isn’t unpredictable but the path to get there has been written and enacted wonderfully. The practicalities of what sustains a relationship whether it is love or financial security has come out beautifully.

The characterization coupled with the acting performance of Dakota Johnson is another plus for the movie. There is an unapologetic nature to Lucy on wanting a wealthy life partner, there is a scene in the movie where she says marriage is more of a business deal. At the same time Lucy is also clear about wanting love. Dakota Johnson plays the complicated role of a strong woman dealing with low self esteem at the same time in an excellent manner. The men also give solid support specifically Chris Evans. As an optimist with deep love for Lucy Chris turns in a memorable act, he makes the viewers fall in love with the character of John.

Chris Evans as John an optimist with deep love for Lucy

Daniel Pemberton’s songs have a poetic feel uplifting the emotions at many places. Shabier Kirchner cinematography is of an excellent order too. He succeeds in capturing both the glossy nature along with the emotional vulnerabilities underneath the sheen.

Final word: Materialists is a perfect watch for those who like complex love stories

Posted on

Housefull 5: A madcap comedy with a cautionary message

Akshay Kumar and co

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

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

Genre: Comedy/thriller

Story, screenplay and producer: Sajid Nadiadwala

Director: Tarun Mansukhani

Additional producers: Warda Nadiadwala and Firuzi Khan

Production Banner: Nadiadwala Grandson Entertainment

Music: Yo Yo Honey Singh, Tanishk Bagchi and others

Cinematography: V Manikandan

Running time: 2 hours and 43 minutes

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

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

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

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

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

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

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

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

Posted on

Thug life: A bitter reunion

Kamal Hassan and Simbu in Thug Life

Reputed filmmaker Mani Ratnam struggles to find the right balance between the demands of a mainstream action movie and a character driven drama; this results in the film never finding its feet in spite of some solid acting from Kamal Haasan and Simbu. The two try their level best to inject some life into the proceedings. Apart from the generic gangster tropes Thug Life also suffers from misogyny and cringe romantic portions featuring Kamal and Trisha

Starcast: Kamal Haasan, Simbu, Trisha, Abhirami, Nassar, Mahesh Manjrekar, Rohit Saraf, Ali Fazal and others

Genre: Action/drama

Director and writer: Mani Ratnam

Additional writer: Kamal Haasan

Producers: Kamal Haasan, Mani Ratnam, Udhayanidhi Stalin etc

Production Companies: Raaj Kamal Films International, Madras Talkies etc

Music: A R Rahman

Cinematography: Ravi K Chandran

Running time: 2 hours

Right since the disastrous run of 2010’s Raavan brand Mani Ratnam has taken a severe beating, the critical and commercial failure of the ambitious film has proved to be a major roadblock for the director who hasn’t still recovered from it. Of course, O Kadhal Kanmai with Dulquer Salmaan and Nithya Menon was a commercial success, though not vintage Mani Ratnam the movie was a charming romantic comedy majorly elevated by the leads. The Ponniyin Selvan movies on the other hand didn’t quite become the pan India blockbuster that Mani Ratnam was hoping to be. With Thug Life the director has reunited with Kamal Haasan, a duo which gave the classic gangster film Nayakan. A lot was expected from Thug Life given the stature of both Kamal and Mani Ratnam, however Thug Life turns out to be a reunion which nobody asked for.

Thug life primarily focuses on Rangaraya Shakti Raju (Kamal Haasan). He is a gangster set in the state of Delhi. In the initial portion Rangaraya Shakti Raju is seen rescuing a young boy Amar (Simbu) during a police shootout. He brings up the orphaned Amar as his own son. Flash forward to the present Amar is seen managing both the crime syndicate and also the family problems like setting up the marriage of Rangaraya’s daughter. An underlining of distrust is there from Rangaraya’s side given the nature of the criminal world. A particular incident leads Amar to turn against his mentor almost resulting in Rangaraya’s death. This is the story in brief.

Among the very few positives the performances of Kamal and Simbu are definitely worth mentioning. The two share a good chemistry bringing in the necessary tension and warmth. The two manage to rise above the formulaic writing. As Rangaraya Shakti Raju Kamal Haasan brings his trademark intensity. He brings in a certain heft like the scenes where the character expresses his anguish and a certain desperation. A good example of is the portion involving Abhirami the wife, a victim of memory loss due to an accident. The actor lends an emotional gravitas to the proceedings even when the writing is subpar. Simbu as the trusted aid going against his mentor is also in fine form portraying the different facets of Amar with ease. He brings in a palpable intensity specifically in the pre climax fight between the two characters.

A light moment featuring Kamal Haasan and Simbu

Ravi K Chandran’s cinematography is effective in creating the right atmospherics. The rustic action sequences like the hand-to-hand combats have been well captured by Ravi K Chandran.

A major problem with Thug Life are its women characters. The so-called romance between Kamal and Trisha is beyond cringe. There is a visible awkwardness, and Trisha eventually ends up as a shuttle cock with little to no agency. Also, the lens through which her role of a mistress has been written and performed is very problematic to say the least. She is reduced to a mostly vampish figure, a third person who has snatched away Rangaraya. Abhirami playing the wife may look like a defiant person from outside but her passive acceptance of Rangaraya’s affair and how she treats Trisha’s Indrani is a major disappointment from a celebrated director like Mani Ratnam.

Kamal Haasan and Trisha awkward romance

Apart from the misogyny and sexism Thug Life also suffers from characters who don’t serve much purpose. The best example of this is Rohit Saraf playing a typical spoil brat who does drugs. The only reason for his existence is to be thrashed by Kamal Haasan and Co. Similarly, Ali Fazal playing the elder brother of Rohit is mostly there to watch from the sidelines. For a large part of the movie, he is relegated to the background only to appear for taking advantage of the tensions between Rangaraya and Amar. Nassar too has a one note characterization as a constantly frustrated man, he is mostly seen in a sulking mood without much nuances.

Talking about the familiar tropes Thug Life majorly suffers on the account of been there and done that scenarios: whether it’s the rivalries both within and outside the crime syndicate or backstabbing from family. It’s hard to see what the legendary duo Kamal and Mani Ratnam saw in this story. The music and the background score both by A R Rahman are another major misfire.

Final word: Thug Life is a massive downfall not even matching 5 percent of the expectations. Watch it only if you are a diehard Kamal Haasan fan, for the rest re watching Nayakan would be best.

Posted on

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

Rajkummar Rao and Wamiqa Gabi in Bhool Chuk Maaf

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

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

Director and writer: Karan Sharma

Genre: Romance/ fantasy

Producer: Dinesh Vijan

Production Companies: Amazon MGM Studios and Maddock Films

Cinematography: Sudeep Chatterjee

Music: Tanishk Bagchi and Ketan Sodha

Running time: 2 hours and 1 minute

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

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

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

Rajkummar Rao’s Ranjan Tiwari stuck in a time loop

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

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

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

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

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

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

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

Posted on

23 (Iravai Moodu): A powerful critique on the disparities in our judicial system

23 movie leads

Mallesham and 8 AM Metro director Raj R takes three well known cases which shook the 1990’s of Andhra Pradesh and interconnects them to raise some pertinent questions on the functioning of our judicial system. The director explores the issues related to caste and class in an authentic manner, the star cast led by mostly newcomers do wobble on some occasions and the character of Jhansi as a psychologist feels underdeveloped. However what powers the movie is the relevancy of the social themes it addresses

Star cast: Teja, Tanmai, Pavan Ramesh, Jhansi and others

Genre: Crime/drama

Director and writer: Raj R

Dialogues: Indus Martin

Producer: Venkat Siddareddy

Production Company: Spirit Media

Presenter: Rana Dagubbati

Music: Mark K Robin

Cinematographer: Sunny Kurapathi

Running time: 2 hours and 25 minutes

The core of Raj R’s 23 (Iravai Moodu) is the statement from a famous novel Animal Farm written by the well-known Goerge Orwell. The statement goes like this, ‘All are equal but some more equal than others,’ the director uses this as a foundation tone making the viewers look at the concept of crime and the preparators through different perspectives related to social hierarchy.

The movie’s premise is majorly inspired from three shocking incidents which shook the state of Andhra Pradesh back in the 1990’s. The first one being the brutal caste-based violence against the Dalits, the second being 23 passengers losing their lives due to two young lower caste men and lastly a car bomb explosion in 1997 where 26 were killed and many injured. Among the three the 1993 Chilakaluripet is the main focus, Raj R narrates this tale through an emotional love story featuring Sagar (Teja) and Susheela (Tanmai). The movie spans across many years and numerous tribulations which the couple go through, in case of Sagar it’s the guilt of being responsible for killing 23 people along with his friend, for Susheela on the other hand she has to face the social stigma of becoming a mother before marriage. This is the story in a nutshell.

23 movie song

A strong aspect of 23 is how Raj R has interconnected the three cases. On the surface there is no direct link given that all the three are of different nature, however what binds them is the societal aspects. In the first case the upper caste men find a way through the high court after being sentenced to life imprisonment. They are eventually released thanks to the money and social backing. The same thing applies to the third case as well; a mastermind of the crime walks away scoot free due to his political backing and a supposed image of good conduct. However, in the case of the two lower caste men it’s a long and hard ordeal. In fact, the two have a hard time finding a benevolent lawyer in the first place due to a decision from lawyer’s bar association. By linking the three Raj R makes some scathing comments on how people with power can get away with anything even though their crimes are intentional in nature.

Mention must also be made of the sensitive manner in which Raj R and dialogue writer Indus Martin have treated the entire scenario. Yes, they portray Sagar and his friend through an empathetic gaze but at the same time their is no hesitation in making them introspect about the wrongs specifically in the case of Sagar. The viewers see Sagar going through a lot of emotional turmoil almost becoming mad in Shakespearean style. A palpable anger among the victims of the dead families has come out well like the scene where a man expresses his anguish on losing both his leg and livelihood. Raj R at no point absolves the two friends just because they didn’t intentionally set the bus on fire. The movie provides no easy answers to this complex scenario.

An important subplot in the movie is the need for reforming prisoners before they are released from prison. There’s a key incident in the middle of the second half where a prisoner protests on not wanting to go back to the real word as he isn’t ready yet. The person ends up doing another heinous crime. This makes the jailer feel guilty on how he should have listened to the prisoner. Another subplot worth mentioning here is the use of caste system to design certain chores to prison inmates, this includes cleaning the toilets something which is generally associated with lower caste people.

The love story in 23 takes a while to get going specifically in case of Teja’s Sagar. Both the accent and the scenes demanding emotional gravity needed a stronger actor however the actor’s sincerity shines through, and he gets better as the movie progresses. Tanmai fares much better delivering a moving act as a young woman facing the brunt of society’s judgmental tone. There is a quiet strength to the role which she pulls of well. Pavan Das as the cynical friend is all right too.

Thagubothu Ramesh in a serious role lends a lot of warmth to his part successfully breaking away from his usual drunken parts.

Jhansi makes an entry well into the second half. She brings in the required worldly wisdom particularly in the portions where she converses with the inmates, however her entire track needed better integration and suffers somewhat on the account of a sketchy screenplay.

The cinematography of Sunny Kurupathi along with Laxman Aeley’s production design is successful in taking back the viewers to those turbulent times. Mark Robins songs are also soulful giving depth to the intense proceedings like the song Egaraale.

Final word: Raj R’s 23 needs to be watched for relevancy of the story. Its a movie that will make you ponder on issues that still affect our society.