In his directorial debut, Boman Irani delivers a bitter sweet story on complex family dynamics. The understated writing coupled with the acting performances makes this a must watch for those who like slice of life movies.
The Mehta Boys (Hindi). 07-02-2025, Drama, 1 hour 56 minutes, U/A, OTT
Main Cast: Boman Irani, Avinash Tiwary, Shreya Chaudhary, and Puja Sarup
Director: Boman Irani
Producer: Boman Irani, and Danesh Irani
Music Director: Gulraj Singh, Ibarisha Lyngdoh, and Raghav Meattle
Cinematography: Krish Makhija
Rating: 4/5
The Mehta Boys, directed and co-written by acclaimed actor Boman Irani, is a perfect example of a well-made slice of life.
The complex family dynamics feel straight out of life without any overt melodrama.
Often times the movie conveys a lot through symbolism.
Synopsis
The core plot of The Mehta Boys focuses on an underconfident architect Amy (Avinash Tiwary) and his father Shiv (Boman Irani).
Shiv is a grieving widower who is having a hard time dealing with the death of his wife. Amy shares a distant relationship with his father.
Shiv is all set to go for the US with his daughter Anu (Puja Sarup). However, a last-minute mishap forces Amy to spend time with Shiv for 48 hours. Over 48 hours a transformative change happens as the father and son navigate how to deal best with the situation.
Emotions which have been buried for a long time resurface leading to introspection. This is the story in brief.
What works
‘The Mehta Boys’ is a family drama. (X)
The best part of The Mehta Boys is how Boman Irani avoids melodrama. Both Shiv and Amy are flawed in their own way, their attempts to find a common ground without any dramatic dialogues and filmy exaggerations is a treat to watch.
As a director and an actor, Boman Irani conveys a lot with the silences between the conversations.
What also makes The Mehta Boys special is how it showcases the importance of acknowledging emotions and doesn’t make it just about fixing the relationships overnight. How Boman Irani gradually showcases the discord between the father and son is a master class in both direction and writing.
Strong on symbolism
The strained relationship isn’t because of hatred, but it has more to do with unresolved pain and the clash of egos, which results in an inability to communicate. This gradual layering makes the viewers introspect about their own relationships.
Boman Irani directorial ‘The Mehta Boys’. (X)
As already mentioned, The Mehta Boys is a movie which rides high on symbolism. A special mention must be made of how Boman Irani uses a leaking roof, a piece of cloth drifting in the wind etc to showcase the inner turmoil of Amy and Shiv.
One of the most poignant moments in the movie involves a tattered cloth floating over Shiv and Amy’s heads resembling their late mother’s saree. This tattered cloth is a reminder that the mother is still there in spirit keeping a watch on them.
The core of The Mehta Boys is how it isn’t always about fixing relationships instead it’s about acknowledging the fact that every person has a different way of expressing their feelings. The healing process doesn’t always need to be dramatic; instead, it can come in the form of small gestures.
Through the profession of Avinash Tiwary’s Amy, Boman Irani also makes scathing remarks on how every building feels the same in terms of the overall architecture, the dialogues related to the high tower buildings work as a perfect social commentary.
A minor issue with The Mehta Boys is that Boman Irani could have gone deeper into the origin of father and son discord. The distance between the two is mostly left for the viewers to interpret; still, this is just a minor in an otherwise powerful movie.
Performances
Avinash Tiwary and Boman Irani in ‘The Mehta Boys’. (X)
The performances of the central characters also add a lot of weight to the movie. Boman Irani is a legendary actor who doesn’t need a specific introduction.
As Shiv he is spectacular in portraying a loving yet reserved father. He simply nails the various eccentricities. The actor particularly shines in the portions expressing the character’s grief, guilt and stubbornness.
Avinash Tiwary is also terrific in providing solid support. He perfectly embodies the angst of a son who wants to be acknowledged and understood. The way he portrays the internal battles of Amy is a sheer delight to watch.
Shreya Chaudhary as Amy’s girlfriend Zara also makes her presence amply felt. Although the story is essentially a father and son drama she too leaves a significant impact, more than holding her own opposite Boman Irani.
Her character of Zara thankfully isn’t just a supportive girlfriend, Zara has an agency of her own and Shreya excels in portraying the various shades. Puja Sarup as the daughter also deserves a special mention.
Final take
To sum it up, The Mehta Boys is a perfect watch for fans of slice-of-life movies with relatable scenarios. The film is now streaming on Prime Video.
(Views expressed here are personal, edited by Sumavarsha.)
Director Arati Kadav’s adaptation of ‘The Great Indian Kitchen’ is equally gripping like the original. Arati brings in small but significant changes like the profession of its male protagonist.
Mrs (Hindi), 07-02-2025, Drama, 1 hour 51 minutes, 13+, OTT
Main Cast: Sanya Malhotra, Kanwaljit Singh, and Nishant Dahiya
Director: Aarti Kadav
Producer: Harman Baweja and Pammi Baweja
Music Director: Sagar Desai, and Faizan Hussain
Cinematography: Pratham Mehta
Rating: 3.5/5
Jeo Baby’s The Great Indian Kitchen released in 2021 was a very impactful movie on internalised patriarchy. The movie focused on the lives of the women who manage our homes, the category whom we take for granted.
These women constantly put the needs of the men above their dreams relegating themselves to the kitchen. Through the story of newly married women finally breaking out of conventions, Jeo Baby held a mirror to society.
What added to the impact of The Great Indian Kitchen was also the terrific Nimisha Sajayan.
Before Mrs, The Great Indian Kitchen was remade into Tamil with another equally good actress Aishwarya Rajesh. Now you have the Hindi adaptation with the talented young actress Sanya Malhotra.
Synopsis
For those who aren’t familiar with the source material, Mrs focuses on a newlywed woman Richa (an excellent Sanya Malhotra). Nishant Dahiya takes over from Suraj Venjaramoodu, but in this movie, the profession of the male character is changed as is the setting.
A still from the film ‘Mrs’. (X)
Nishant Dahiya plays a gynaecologist, this adds an interesting layer something which I will touch upon later. Coming back to Mrs, Richa has a passion for dancing, she wants to make a career out of it but the role of a traditional housewife starts taking a toll. This is the story in brief.
The best part of Mrs is how Arati Kadav showcases internalized patriarchy using the kitchen and the constant cooking of food as a metaphor.
The kitchen in Mrs is more modern in comparison to the one showcased in The Great Indian Kitchen. There are more windows and also shiny appliances but the drudgery of the main character is the same.
The clash between the old and new ways has been represented wonderfully by Arati Kadav. A striking aspect of the kitchen is that although the structure here is more modern the dripping of dirty water is constant.
Just like The Great Indian Kitchen there are numerous cooking shots of the same nature but these are necessary as it gives the viewers a psychological insight.
Characterisation
‘Mrs’ is a remake of ‘The Great Indian Kitchen’. (X)
The characterization of Sanya Malhotra coupled with her acting is another backbone of the movie. Richa is someone who starts as a lively young girl wanting to do something with her life, the initial days of her marriage flow smoothly but soon she gets stuck in a depressing cycle of pleasing her husband and father-in-law.
How this starts affecting her and the moment where she decides that enough is enough has come out wonderfully both in the writing done by Harman Baweja, and Anu Singh Choudhary along with Sanya Malhotra’s act.
Many young girls would connect to Richa’s dreams and cheer for her when she finally decides not to succumb to the vicious cycle of patriarchy.
Internalized patriarchy
A poster of the film ‘Mrs’. (X)
As a society, the issue of internalized patriarchy looms large however modern people pretend to be. The theme of internalized patriarchy also comes out in the scenes between the daughter-in-law and mother-in-law.
When Richa complains about being overworked, the other woman responds with a dismissive attitude saying ‘Yeh Sab toh Sikna Hoga (You have to learn this)’
As already mentioned director Arati Kadav brings in small but significant changes. The profession of Nishant Dahiya’s character adds an interesting contrast to his behaviour while doing his job and how he is as a husband.
There are scenes of Diwakar trying to force himself on Richa not caring whether she also wants to participate in that particular moment. There is a very mechanical process adopted by Diwakar with no foreplay and build-up.
Again through these scenes, Arati Kadav makes a strong comment on the general attitude of misogynistic men.
Performances and technical aspects
Apart from Sanya Malhotra’s brilliant act, both Nishant Dahiya and Kanwaljit Singh also make a strong impact. Nishant Dahiya is completely convincing as a doctor who pretends to be outwardly respectable but is actually regressive. Kanwaljit Singh is also exceptional in making the viewers hate him.
The songs and the background score though leave something to be desired. Both these aspects stick out like a sore thumb in an otherwise powerful movie.
Final take
The last word, Mrs is highly recommended even for those who love The Great Indian Kitchen. The film is now streaming on Zee5.
(Views expressed here are personal, edited by Sumavarsha)
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.
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. (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’. (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)
An overview into what makes Anil Ravipudi a very successful commercial filmmaker with both his positives and negatives
Anil Ravipudi entered the Telugu film industry as a screenplay and dialogue writer starting from the year 2009.
He co-wrote the scripts of the Dookudu sequel Aagadu (2014) and also the Bol Bachchan Bol remake Masala (2013).
Anil Ravipudi saw success as a screenplay writer with the 2011 Kandireega, directed by Santhosh Srinivas. The entertaining screenplay particularly the characterization of Sonu Sood, a typical villainous role with the comic undertones left the viewers in splits.
In fact, a major strength of Anil Ravipudi has always been his whacky storytelling. The scenarios are often outlandish, but there is a conviction that he brings to the table.
Director Anil Ravipudi
Anil Ravipudi’s debuted as a director with Patas (2015). Concept-wise the movie has similarities to Junior NTR’s Temper (2015), however, Patas is very much its own beast.
It featured Kalyan Ram as a police officer but not the usual grim cop. There is an easygoing nature to the character particularly in the first half. The viewers get to see an energetic side of Kalyan Ram.
Patas also benefited immensely from comedian Srinivasa Reddy playing Kalyan Ram’s sidekick. The scenes featuring the two were a major highlight of the movie. It went on to become a huge hit and since then there has been no looking back for Anil Ravipudi.
Raja The Great features Ravi Teja as a visually impaired man, but his character doesn’t seek sympathy. Trained by his mother, played by veteran actress Radhika, he leads a self-sufficient life and turns his disability into an advantage.
Though Raja The Great is a typical commercial entertainer with little focus on logic, it ended Ravi Teja’s flop streak in 2017. Anil Ravipudi brought back Ravi Teja’s energetic persona, which his fans had missed for a while.
He has gone on to deliver hit after hit with the likes of Sai Dharam Tej, Nandamuri Balakrishna and of course, Victory Venkatesh with whom he has done three movies including the latest Sankranthiki Vasthunnam.
Flaws in Anil’s filmmaking
Before going into some of Anil Ravipudi’s movies explaining his success it’s also necessary to look into some of the drawbacks in Anil Ravipudi’s stories. It’s a well-known fact that Anil Ravipudi’s storytelling is mostly outlandish with characters behaving in a farcical manner.
Anil Ravipudi with Venkatesh. (X)
While the director’s conviction in dealing with outlandish scenarios is a plus, at the same time his brand of humour and lack of certain political correctness also becomes a major hurdle. For example, in Sarileru Neekevvaru (2020) there is a scene where Rashmika’s Sankruti accuses of Mahesh Babu raping her.
This is used as comic fodder leaving a very bitter taste. The entire portions on the train don’t give much entertainment for the viewers, even the climax portion where the antagonist joins the army just because of one fiery speech, borders on extreme ridiculousness.
Similarly in F3 (2023), most of the principal characters, both male and female, including an honest police officer, are driven by greed for money.
This makes them do questionable things. When it comes to the actions of both Venkatesh and Varun Tej there is no judgmental tone, but when it comes to the characterizations of Tamannaah and co they are unnecessarily vilanised.
There is also a very unnecessary track of Sonal Chauhan thinking that Tamannaah is a man.
While F3 is largely entertaining and also features an important message about what greed for money can make people do and how it should be respected in the right way, at the same time these aspects could have been taken care of by Anil Ravipudi.
Now let’s get into some of Anil Ravipudi’s most successful movies explaining his commercial success.
Sankranthiki Vasthunnam
A poster of the film ‘Sankranthiki Vasthunnam’. (X)
Anil Ravipudi’s Sankranthiki Vasthunnam was an entertaining story of an ex-encounter specialist stuck between his wife and also an ex-girlfriend cum cop while handling an important mission of bringing back a reputed businessman. A strong aspect of Sankranthiki Vasthunnam was undoubtedly the characterization of Venkatesh’s YD Raju coupled with the actor’s brilliant comic timing.
Senior actor Venkatesh isn’t new to the genre of comedy; he has brought the house down on multiple occasions with his fantastic sense of humour most notably in Malliswari (2004) and Nuvvu Naaku Nachav (2001), still Anil Ravipudi brought out a different side to his comedy.
Venkatesh portrayed the multiple shades of YD Raju in a brilliant manner, aided by the hilarious writing.
Women characters
Anil Ravipudi crafted two strong women characters, Aishwarya Rajesh and Meenakshi Chaudhary. Aishwarya’s portrayal of Bhagyalakshmi, a supportive yet jealous wife afraid of her husband reconnecting with his old love, added an interesting layer to the mission. She aced the role perfectly.
Meenakshi Chaudhary, known for her traditional housewife roles in Lucky Baskhar (2024) and Matka (2024), was showcased differently in Sankranthiki Vasthunnam. She played an ex-cop still in love with YD Raju. Meenakshi stood her ground against both Venkatesh and Aishwarya, proving to be a great foil.
Apart from the leads, Bheemla Revanth Pavan, as YD Raju’s son, brought a lot of humour. His OTT-inspired curses had the audience laughing on multiple occasions.
However, a weak subplot about respecting teachers stuck out like a sore thumb. Anil Ravipudi often adds small messages to his films, like in F3, where the theme of greed worked well. But in Sankranthiki Vasthunnam, the teacher-respect theme felt forced and disconnected, more like an afterthought than an integrated part of the story.
Bhagavanth Kesari
Balakrishna and Sreeleela in ‘Bhagavanth Kesari’. (X)
Apart from his usual commercial movies, Bhagavanth Kesari starring Nandamuri Balakrishna was a pleasant surprise as Anil blended Balakrishna’s stardom with an important story of a young girl rising above a certain psychological trauma.
In a way, it was Dangal on steroids. Thankfully the troupes of the army aren’t used here for evoking patriotic feelings. It is more about Sreeleela’s Vijji overcoming her anxiety attacks and in the process becoming a resilient young woman.
In this film, general Anil Ravipudi’s comic troupes are kept to a bare minimum. The film also has powerful dialogues on good touch and bad touch delivered by the terrific Balakrishna.
The track of Kajal Aggarwal playing a supposed psychiatrist is the only occasion where we see trademark Anil Ravipudi touches.
Sreeleela as Vijji
A big strength of the movie was the powerful emotional bond between Balakrishna and Sreeleela’s Vijji. Balakrishna’s character is a foster father to Vijji.
To help Vijji become more resilient, he pushes her to join the army, something which Vijji hates. The portion of Bhagavanth pushing Vijji resulting in her hating him has a distinct hangover of Aamir Khan’s Mahavir Phogat in Dangal.
The movie’s underlying message emphasizes raising girls to be strong, like lions, and this theme comes across powerfully. A notable moment occurs in the pre-climax when, at a critical point, Anil Ravipudi shows Sreeleela fighting the baddies while Balakrishna pretends to be incapable.
There’s a clear reason for this. Both Anil Ravipudi and Balakrishna deserve credit for allowing Sreeleela to take centre stage. Her scenes, where she fights the baddies overcoming her anxiety, form the heart of Bhagavanth Kesari.
F2
F2 directed by Anil Ravipudi deals with familiar themes of frustrated men, in this case, it is Venkatesh’s Venky and Varun Tej’s Varun.
A poster of the film ‘F2’. (X)
Venky is a frustrated husband unable to cope with the system of marriage and the expectations which come with it. Varun on the other hand is a happy go lucky youngster who falls in love with Venky’s sister-in-law. Varun also ends up being frustrated unable to bear the eccentricities of his girlfriend.
The best part of F2 was the entertainment quotient specifically in the first half. Venkatesh played the “subjugated” husband to perfection raising many chuckles with his just his expressions and dialogue delivery.
A particular scene which needs to be mentioned here is when Venkay pours out his emotions about his marriage woes to a patient male dog.
This portion ends up with tears in the dog’s eye making Priyardarshi comment that you not only make families emotional but also dogs. The “juggalbandi” between Venkatesh and Varun Tej was a big plus for the movie enhanced by Anil Ravipudi’s writing.
Varun Tej with his rustic Telangana accent also got a good character and he did a fine job providing able support to Venkatesh.
The second half though went for a toss with some unnecessary characters and a climax which was both convulsed and chaotic; still, the movie was a good entertainer.
F3
F3, the sequel to F2 except for Venkatesh, Varun Tej and some other characters has no connection to F2.
The storyline here is completely different as it focuses on a bunch of men and women driven by greed. A strong aspect of F3 is its entertainment quotient even though it isn’t always politically correct.
Venkatesh and Varun Tej in ‘F3’. (X)
Venkatesh’s character suffers from night blindness; Varun Tej on the other has a specific mannerism to cover his stuttering. A lot of the humour is generated from this.
Much like F2 the “juggalbandi” between Venkatesh and Varun Tej was a major highlight. Talking about the humorous scenes, similar to the first part, there is a portion where Venkatesh talks about his problems to a raging bull, the bull subsequently has tears.
The way it is written by Anil Ravipudi coupled with Venkatesh’s acting makes it very entertaining to watch. Towards the end, there is an important moral lesson that Anil Ravipudi smartly integrates.
This is all about Anil Ravipudi’s strengths and weaknesses as a filmmaker along with what makes him a blockbuster director, here’s hoping that Anil Ravipudi grows from strength to strength and also explores new genres.
This book written by noted film personality K Hariharan is not your conventional biography, it comes across as more of an academic study. For the many Kamal Haasan fans and serious movie buffs the book is a must read.
The filmography of Kamal Haasan is a delight for any true cinephile. The legendary actor has done so many versatile roles both in offbeat and mainstream cinema. Kamal’s penchant for experimenting with different get ups has enthralled his fans over decades. He has many admirers among different age groups and is still going strong. To pick up 40 plus movies out of his illustrious career is a very difficult task for any writer, but K Hariharan does a good job in selecting them which not only reflect Kamal Haasan’s craft but also the influence of politics.
Kamal Haasan in Nayakan
Kamal Haasan and K Balachander: A major highlight of the book is undoubtedly the chapters covering Kamal Haasan’s early movies with the legendary K Balachander. The role of K Balachander in shaping up Kamal’s career is immense and this comes across very strongly. K Balachander’s movies always had a socio political context.
The influence of the Dravadian moment in how K Balachander wrote his characters particularly the women coming across as very strong makes for a fascinating read. Topics of sexuality and the frustration of unemployed youth often found place in K Balachander’s cinema.
The characters which Kamal Haasan played were often surrounded by strong women making him a feminist symbol, this quality made him very endearing to the female audiences of various age groups.
Interpretation of lost and found themes: Another interesting aspect of the book is how K Hariharan looks at the lost and found themes in the movies of Kamal Haasan. A particular mention must be made of his analysis on Michael Madan Kamaraju released in the year 1990. This comedy of errors focuses on three siblings growing up in different places and finally reunited with their mother.
He compares Michael Madan Kamaraju to other famous Indian movies Amar Akbar Anthony (1977) and Raj Kapoor’s (Awaara) which also has the themes of lost and found. K Hariharan puts these movies in the context of many families losing their loved ones while fleeing borders during the tumultuous partition.
Kamal Haasan in Michael Madan Kamaraju
Mention must also be made of the chapter covering Kamal Haasan’s cross over hit Ek Duuje Ke Liye. The nervousness which Kamal Haasan went through (because it was his first Hindi film) while filming the movie and how it went on to defy many odds makes for a very good read. The success of Ek Duuje Ke Liye opened doors to Bollywood for the likes of K S Chitra and K J Yesudas. Interestingly you also had the likes of Lata Mangeskhar, Asha Bhonsle and Udit Narayan making a foray into Tamil and Telugu film industry as a reverse phenomenon.
Another interesting thing about the book is the analysis of Kamal Haasan’s commercial movies. K Hariharan looks at them as part of industrial products. Kamal Haasan viewed commercial filmmakers as simple and honest human beings not governed by philosophies either moral or ethical.
Talking about one of Kamal Haasan’s most political movies Hey Ram there is an interesting analysis on how the initial script was based on the character of Nathuram Godse. Later it became a fictionalized tale of an agonised Hindu wanting to kill Mahatma Gandhi as he suffers a personal loss during the partition. There is a detailed explanation of a scene involving Naseeruddin Shah playing the on screen Mahatma Gandhi. During the shooting in Ooty the musicians were rehearsing the hymn Vaishnava Jana Toh. As soon as Naseeruddin Shah walked in to the set as Mahatma the noisy location went silent and every one walked up to the old man to join in the prayers. K Hariharan describes how Kamal Haasan had Goosebumps all over his body.
Kamal Haasan’s natural flair for comedy has also come out well along with his passion for experimenting with different characters. One slight drawback of the book is that his two Telugu classics Swathi Muthyam and Sagara Sangamam needed more exploration. Even the chapter on Mani Ratnam’s Nayakan doesn’t give much insight except for the very famous breakdown scene.
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
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.
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’. (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.
This Anant Mahadeven directorial is based on legendary director Satyajit Ray’s short story ‘Golpo Boliye Tarini Khuro’.
The Storyteller (Hindi), 28-01-2025, Drama, 1 hour 52 minutes, U/A, OTT
Main Cast: Paresh Rawal, Adil Hussain, and Tannishtha Chattejee
Director: Anant Mahadeven
Producer: Jyoti Deshpande
Music Director: Hriju Roy
Cinematography: Alphonse Roy
Rating: 3.5/5
Legendary director Satayit Ray is a man of numerous talents. He was not only a celebrated director but also a wonderful writer. His stories remain relevant today.
In 2021, a Netflix anthology titled Ray was released. The very talented directors Abhishek Chaubey, Srijit Mukherjee, and Vasan Bala did absolute justice to Satyajit Ray’s stories.
Now you have a feature film The Storyteller directed by Anant Mahadevan based on his short story streaming on Disney Plus Hotstar.
Synopsis
Just like his other stories, this one too holds significant relevance even today, raising important questions. The movie delivers a powerful message about how stories by themselves don’t hold magic; it’s the storyteller who breathes life into them.
The core of The Storyteller is two men of two very different thought processes and backgrounds. Paresh Rawal plays Tarini a man who has never stuck to one proper job throughout his life. However, his one constant love is storytelling.
He enjoys telling stories but is very afraid of putting them down on paper. On the other hand, you have Adil Hussain’s Garodia, a Gujarati businessman from Ahmadabad. Garodia sells luxurious cotton sheets to provide sleep for the rest of the world but he suffers from the plague of insomnia.
To get over his insomnia he puts an advertisement for a storyteller who will put him to sleep through stories. Tarini comes across this advertisement and upon his friend’s insistence decides to become a storyteller given his love for stories.
A very unexpected friendship develops between the two, but things take a very drastic turn when Garodia starts exploiting the stories of Tarini leading to significant differences.
Strong aspects
Adil Hussain in ‘The Storyteller’. (X)
A very strong aspect of The Storyteller is undoubtedly the characterizations of the two principal characters.
Tarini is a quintessential Bengali with a huge love for Rabindranath Tagore books, fish and Durga puja among others. He loves losing himself in the stories he narrates.
Garodia on the other hand completely embodies a typical Gujarati businessman. His personality comes out strikingly in the design of the house, major focus on numbers and very importantly possessing lots of books but not reading them.
He has a certain obsession about finding success in business leaving little time for artistic traits.
The pace of the movie
This contrast drives the movie in many ways. Director Ananth Mahadevan does a very fine job of exploring this through an unhurried mode of narration.
Paresh Rawal in ‘The Storyteller’. (X)
The pacing of The Storyteller and its aesthetics often reflects that of the art house Bengali movies. This can be a major deterrent for some particularly today’s audiences who are used to a certain kind of cinema.
But this unhurried mode of narration is also a major strength of the movie.
A special mention must also be made of how Tarini doesn’t directly confront Garodia, instead he cleverly exposes the man as a plagiarist.
It is subtle but still powerful. At the same time, the movie also focuses on the shared need of stories through the two men even if they are culturally and thematically very different from each other.
This comes out powerfully in the climax where the director talks about how both men may tell the same tale but their versions will diverge leaving the viewers to decide for themselves which version they prefer.
A social commentary
Through the character of Garodia, the movie also reflects on the exploitation of creative prowess—Rich people wanting to come across as intellectual. This has relevance to today’s digital age. Certain writers are paid a lot of money to ghostwrite the tweets of some so that they come across as humorous.
A certain need and insecurity is what drives Garodia to plagiarize Tarini’s stories. The insecurity of Garodia is not just reflected in stealing Tarini’s stories but also in consuming fish even though he is repelled by the smell of it. In a way, Garodia comes across as a tragic figure as he wants to fit in.
Among the stories narrated by Tarini a mention must be made of the spy pigeon during World War 2 and also a hundred-year-old tree in the Aravali forests.
Technical aspects and characterisation
The Storyteller also benefits from the wonderful atmosphere. Cinematographer Alphonso Roy does a terrific job of capturing the ethos of both Kolkata and Ahmadabad through his lens. The art design also takes the viewers back in time, making it an immersive experience.
‘The Storyteller’ is based on Satyajit Ray’s story. (X)
Talking about the two leads, both Paresh Rawal and Adil Hussain deliver terrific performances, Paresh Rawal completely embodies the typical characteristics of a Bengali man with flair.
He effortlessly gets into the skin of the role proving why he is such a legend once again. His punch lines are a sheer delight whether it is cursing capitalism or the line about plagiarism.
A dialogue needs to be particularly mentioned here. “Nakal Ke Liye Bhi Akal Chahiye” (You need intelligence to even copy something).
Adil Hussain matches step to step-with his delightful act of an insecure businessman. Adil comes across as a half antagonist and a half sympathetic figure; both of which he captures splendidly.
Senior actress Revathy has an extended special appearance as Saraswati. In spite of the brief screen time, Revathy makes her presence amply felt. Mention must also be made of Tannishtha Chatterjee as the Tamil librarian. Her scenes with Paresh though few are still wonderful to watch.
The songs of the legendary writer and poet Rabindranath Tagore such as Purano Shei Dinner Kotha and Tumi Robe Nirobe and the various other folk songs have been seamlessly integrated into the narrative as well.
Final take
To sum it up The Storyteller is a must-watch for fans of serious cinema and of course the many admirers of Satyajit Ray too.
(Views expressed here are personal, edited by Sumavarsha)
‘Sky Force’ directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.
Main Cast: Akshay Kumar, Veer Pahariya, Sharad Kelkar, Sara Ali Khan, and Nimrat Kaur
Director: Sandeep Kelwani and Abhishek Anil Kapur
Producer: Dinesh Vijan, Jyothi Desphande
Music Director: Tanishk Bagchi
Cinematography: Santhana Krishnan Ravichandran
Rating: 3/5
Subjects involving our beloved neighbour Pakistan have been one of Bollywood’s pet themes over many years, whether it is the likes of Kabir Khan’s Bajrangi Bhaijaan (2015) or Aditya Dhar’s Uri (2019).
The love and hate-relationship between India and Pakistan has been the emotional fodder for numerous movies. When it comes to war movies portraying Pakistan there has been an increasing trend of playing to the gallery with zero nuances, of course, exceptions are also there like the Meghana Gulzar-directed Raazi (2018), a movie which looked at the human cost of war.
Synopsis
Sky Force directed by Sandeep Kelwani and Abhishek Anil Kapur is set during the tumulus war of 1965. The movie follows India’s daring and successful airstrike on Pakistani’s heavily protected Sargodha airbase.
In this very successful mission, the rebellious squadron leader TK Tabby (a promising Veer Pahariya) goes missing. He has a major disregard for protocols, which leads to him flying solo into the enemy territory during a sky-force mission.
TK Tabby goes missing and the higher authorities in the military have zero interest in knowing his whereabouts given his rebellious nature. It is left to Akshay Kumar’s KO Tiger Ahuja to uncover the mystery.
KO Ahuja is both a wing commander and also a fatherly figure to Tabby. The movie follows KO Ahuja’s relentless quest.
Sharad Kelkar in an extended special appearance plays Pakistani squadron leader Ahmed Hussain. He turns out to be a major link for Tiger Ahuja in unravelling the mystery.
What works and what doesn’t
There is no denying that Sky Force has a bumpy start. The initial sequences of camaraderie and the air training portions have a distinct hangover from Siddarth Anand’s Fighter a movie which also featured many air combat sequences.
But the movie soon settles down as the intensity of the 1965 War takes centre stage.
The movie also taps into the bureaucratic frustrations and political red tape. These issues are briefly touched upon effectively. The pre-interval sequence leading to the successful airstrike and then the subsequent disappearance of Tabby is wonderfully staged thoroughly involving the viewers.
The second half focuses on KO Ahuja’s relentless quest and from here on the movie engages the viewers emotionally.
How KO Ahuja finds the first lead thanks to Ahmed Hussain and his determination to uncover bringing closure and also justice to Sarah Ali Khan’s Geeta Vijaya —Tabby’s wife packs in an emotional punch.
The ultimate revelation and how Tabby gets his much-deserved due for his bravery has both been wonderfully written and enacted.
Dynamics between the leads
A major plus for the movie apart from the strong emotional resonance, are the dynamics between Tabby and KO Ahuja.
The on-screen camaraderie between the two characters has been wonderfully established. KO Ahuja sees his lost son in Tabby— there is visible warmth in the light-hearted scenes.
KO Ahuja is a father-like figure to Tabby, someone he respects deeply. Ahuja treats Tabby with warmth but maintains an authoritative stance. In one scene, Tabby is kept on standby and not allowed to take part in any action. When Tabby asks for an explanation, saying he has always looked up to Ahuja as a father, Ahuja responds firmly, “I don’t owe you any explanations.”
Sky Force is also refreshing in the sense that there are no in-your-face celebrations after India defeats Pakistan, no over-the-top dialogues looking down at Pakistan.
The animosity between the two nations isn’t going to last forever. There is a mutual sense of respect for men in uniform in both India and Pakistan. The scenes featuring Sharad Kelker as the Pakistani squadron leader is a very good example of this.
Technical aspects and performances
The action sequences designed by Parvez Shaikh and Craig MacRae are a delight to watch particularly for fans of air combat sequences.
Santhana Krishnan Ravichandrana’s cinematography is also stunning. He perfectly captures the intense action like an action-packed sequence between Veer Pahariya and Sharad Kelkar.
Tanishk Bagchi’s music is of a good standard barring one rather unnecessary party number. Among his compositions, the standout number not surprisingly goes to B Praak’s “O Maaye Teri Mitti Bulaye”. The composition along with B Praak’s soulful voice will move the audiences.
Talking about the main leads Akshay Kumar as KO Ahuja plays a senior officer and a concerned mentor with absolute finesse. He brings in a lot of gravitas making the viewers root for his character.
Veer Pahariya makes a confident debut; he plays the determined soldier with conviction effortlessly embodying a rebellious nature. Sharad Kelkar also leaves a significant impact in his brief role with a restraint act.
Nimrat Kaur and Sara Ali Khan play the typical army men-wife characters. They are good in their limited portions but the characterizations of both leave a lot to be desired.
Final take
To sum it up Sky Force is worth boarding on despite a familiar territory.
(Views expressed here are personal, edited by Sumavarsha)
The performances of the central players is impactful but ‘Hisaab Barabar’ lacks the seriousness required.
Hisaab Barabar (Hindi), 24-01-2025, Comedy, Drama, 1 hour 51 minutes, 16+, OTT
Main Cast: R Madhavan, Niel Nitin Mukesh, and Kriti Kulhari
Director: Ashwini Dhar
Producer: KT Kunjumon
Music Director: Aman Pant
Cinematography: Santhosh Thundiyil
Rating: 2.5/5
Ashwini Dhar’s Hisaab Barabar has its heart in the right place. The movie wants to educate the viewers about financial scams which common men often tend to overlook.
Through the central character played by R Madhavan, the movie wants to make the viewers more aware of the snowballing effect of corruption and how we should be extra vigilant.
These themes are indeed thought-provoking but Ashwini Dhar’s treatment leaves a lot to be desired.
Synopsis
The story of Hisaab Barbar focuses on an extremely righteous railway ticket examiner Radhe Mohan Sharma (a sincere R Madhavan). Radhe Mohan Sharma is an expert at accounts, his maths never goes wrong.
One day he notices a small discrepancy of ₹27.50 in his bank account. Upon further investigation, Sharma comes across a major financial scam worth ₹2, 400 crores. This financial scam has been orchestrated by a greedy banker Micky Mehta (an over-the-top but fun Neil Nitin Mukesh).
As Radhe navigates the various layers of corruption and bureaucracy he is confronted with various hurdles both professional and personal.
The other important character is played by Kriti Kulhari, the character Poonam Joshi starts as a love interest but as the plot progresses her real identity turns out to be something else.
On the shoulders of Madhavan
Neil Nitin Mukesh in ‘Hisaab Barabar’. (X)
What saves Hisaab Barabar from completely falling off is undoubtedly the sincerity of R Madhavan. As the humble ticket collector facing off corrupt businessman R Madhavan does a very good job of portraying both vulnerability and determination.
He brings an emotional heft to the role, particularly in the portions where both his professional and personal life come to a standstill.
Niel Nitin Mukesh as the over-the-top antagonist often borders on being a caricature still it is clear that the actor has had a blast.
He chews the scenery with gleeful abandon perfectly oscillating between being menacing and also raising chuckles. His performance and characterization work as a perfect contrast to R Madhavan’s grounded act. The interplay between the two characters is undoubtedly a major plus for the movie.
Kriti Kulhari as Poonam Joshi has various shades, starting off as a love interest and then to her real identity. Kriti Kulhari does a very fine job although the romantic track between her and Madhavan comes across as a major speedbreaker.
The movie’s ultimate message about a common man’s strength and how with great determination one can overcome numerous challenges is indeed admirable. It leaves the viewers with a good feeling.
Flaws
Kriti Kulhari in ‘Hisaab Barabar’. (x)
As far as the flaws go, the biggest minus of Hisaab Barbar is the tonal inconsistencies, the balance between light-hearted humour and the seriousness required leaves a lot to be desired.
The attempt to inject humour in some of the crucial scenes leaves a very bad taste, a good example of this is a major scuffle between R Madhavan and a bank employee.
Instead of being taut and intense, the entire portion is reduced to a silly gag. The film also suffers from certain filminess, the resolution to the tussle between R Madhavan’s Radhe Mohan and Niel Nitin Mukesh’s Mickey cultivates in an overtly simplistic mode.
The operation of financial crimes also lacks the necessary depth, particularly for the more discerning audience, the production values are of a very low standard. The movie’s low budget is clearly visible in the tacky cinematography of Santhosh Thundiyil.
Final take
To sum it up Hisaab Barabar is a decent watch if you are looking for a time pass movie and are an R Madhavan admirer.
(Views expressed here are personal, edited by Sumavarsha)
Director Avinash Arun Dhaware and creator Sudip Sharma push the envelope further giving a new perspective. The absence of the chilling Abhishek Banerjee from the first season is definitely felt, still there is a lot to admire in the way the duo construct a social drama in the guise of a police procedural.
Paatal Lok Season 2 (Hindi), 17-01-2025, Crime, Thriller, 8 episodes, 16+, Web series
Main Cast: Jaideep Ahlawat, Ishwak Singh, Tillotama Shome, Gul Panang, Nagesh Kukunoor, and Merenla Bose
Director: Avinash Arun Dhaware
Producer: Karnesh Ssharma and Babita Ashiwal
Music Director: Naren Chandavarkar and Benedict Taylor
Cinematography: Avinash Arun Dhaware
Rating: 4/5
For those who haven’t seen the first season of Paatal Lok, it was loosely inspired by Tarun Tejpal’s Novel The Story of My Assassins.
Acclaimed actor Neeraj Kabhi played the role of the journalist-novelist Tarun Tejpal. The show revolved around an assassination attempt gone wrong. Jaideep Ahlawat played a low-ranking officer called Hathiram Chaudhary.
Hathiram is suddenly assigned a high-profile case changing his life forever. The series also took inspiration from the traditional concepts of heaven, earth and hell.
These served as metaphors to explore the different classes of India along with other aspects. Through a police procedure, various burning topics like caste atrocities, media biases and Islamophobia among others were explored in an impactful manner.
Apart from Jaideep Ahlawat’s stellar act, the first season is also remembered for Abhishek Banerjee’s deadly Vishal Hathoda, a notorious hitman with a love for dogs.
The role of Vishal Hathoda showcased a different facet of him; Abhishek got rave reviews for his excellent act. After a gap of five years, Paatal Lok Season 2 has arrived amidst high expectations.
Bingeworthy season 2
Jaideep Ahlawat in ‘Paatal Lok Season 2’. (X)
Thankfully the second season turns out to be even more bingeworthy. What sets apart the second season is the setting of Nagaland, giving the viewers a new perspective on the socio-political situation of the state.
Just like the first season the second one also starts as a police procedural. The plot begins with the brutal murder of Jonathom Thom, a prominent personality of Nagaland.
Jonathom Thom was deeply involved in the peace process of the state involving 20, 000 crore investment. On the surface, this may appear as a simple peace process but there is a lot at stake for the local government.
Running parallel to this is the case of a missing daily wage labourer and a nightclub dancer. Hathiram Chaudhary is investigating this. On the other hand, Ishwak Singh who played Constable Ansari in the first season is now an IPS officer.
Ansari has deep respect for Hathiram’s honesty and investigation skills in spite of being in a higher place. As the plot progresses these threads become intertwined.
The eight-episode saga covers a vast range of topics like the socio-political turmoil of the North East, and the struggles of orphans who fall into the trap of crime.
Nagaland politics
Ishwak Singh in ‘Paatal Lok Season 2’. (X)
A major USP of Paatal Lok Season 2 is undoubtedly its depiction of Nagaland politics. The contrast between the beautiful landscapes with the immense turmoil of the local population has been wonderfully depicted.
The writing team of the second season which also includes Abhishek Banerjee does a terrific job of bringing alive the ethnic clashes between the different groups.
One of the major themes in Paatal Lok season 2 is the insider versus outsider topic. There is a section of people who have come from outside creating their own identity. Despite being Nagaland residents for a long time, they have to pay a certain amount of money to a local group in the hope of ensuring their safety.
But sometimes even that doesn’t work. This comes out strikingly in a conversation between Haitharam and a local business family.
The character of Haitharam serves as a medium to make the viewers more aware of the major conflicts involving the North East.
Women stuck in oppressive system
The series also does a terrific job of exploring the plight of the numerous women stuck in an oppressive system. Director Avinash Arun Dhaware along with the writers presents this in a hard-hitting manner through the characters of Rose Lizo and Aslena Thom.
One is a young woman battling addiction; the other is a conflicted widow. Through these subplots, a strong statement is made about the numerous trials and tribulations faced by those living on the fringes of society.
The supporting cast has numerous actors from the Northeast. All of them do a very good job in their respective roles adding a certain authenticity. Avinash Arun Dhaware deserves a major appreciation for casting northeastern actors in supporting parts as this adds to the immersive experience giving it a rooted feel.
Characterisation
Apart from the political aspects, the interpersonal relationships particularly the one between Hathiram and Ansari have been brilliantly written and enacted. Both Haithram and Ansari are unsure of how to behave with each other given the shift in power dynamics.
This aspect also gives the show some of its best moments; an underlying thread of friendship despite the awkward scenarios has come out wonderfully.
‘Paatal Lok Season 2’ is a crime thriller. (X)
Special mention must also be made of Tillotama Shome’s SP Meghana Barua. A mother of a six-year-old son and a local police officer who has established her space in what is generally considered as a male bastion.
Meghana’s knowledge of local politics adds a fresh dimension. Tillotama does a fantastic job of portraying the different nuances although the character could have been more developed.
Gul Panag reprising her role of Hathiram’s wife doesn’t get a lot to do just like in the first season, still, she shines bright in the emotional scenes. Director Nagesh Kukunoor as the shrewd businessman with several skeletons in his closet also makes a strong impact.
As Haithram Jaideep immerses himself coming with a superlative act again, the way he portrays the strong determination while battling both professional and personal issues is a sheer delight to watch.
Ishwak Singh is also terrific giving solid support as a young police officer dealing with the complexities of his new role.
Final take
To sum it up Paatal Lok Season 2 is absolutely binge-worthy, and a must-watch for fans of Paatal Lok Season One, and Jaideep Ahalwat admirers.
(Views expressed here are personal, edited by Sumavarsha)
