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Mufasa The Lion King: An engaging origin story with darker themes

An image from Musafa The Lion King

The entertainment quotient takes a back seat in this prequel but director Barry Jenkins does a very fine job in exploring the back story of how Mufasa became a king. The film also has stunning visuals particularly the shots of flood. The prequel also gets into a more political zone through the angle of a ferocious pride called outsiders

Voice cast: Aaron Pierre, Tiffany Boone, John Kani, Kelvin Harrison and others

Director: Barry Jenkins

Screenplay: Jeff Nathanson

Based on: The Disney’s Lion King by Irene Mecchi, Jonathon Roberts and Linda Woolverton

Producers; Adele Romanski and Mark Ceryak

Cinematography: James Laxton

Production Company: Disney Walt Productions

Running time: 1 hour and 58 minutes

The 2019 musical drama the Lion King was an entertaining update of the much beloved 1998 animated film. The musical format with the photorealistic animation made it a worthy big screen watch. The humor provided by the characters of Pumbaa and Timon voiced by Seth Rogen and Billy Eichner also gave some chuckle worthy moments. After a gap of 4 years you have the prequel exploring the origin story of Mufasa, how as a young cub he was separated from his parents. Mufasa never wanted the throne, he always wanted to be free of responsibility but destiny had other plans.

The 2019 Lion King was an entertaining update of the much beloved 1998 animated film

In simple terms story of Mufasa The Lion King recounts the tale of the titular character through a wise monkey also called as Mandrill. This wise Mandrill is voiced by John Kani as Rafiki. The plot follows the journey of Mufasa as an orphaned cub to a king. Intermingled in this tale is a friend turned foe Taka/Scar (voiced by Kelvin Harrison jr. )

A strong aspect of Mufasa the Lion King is its CGI department. The work of cinematographer James Laxton deserves a major appreciation. The shots are simply breathtaking particularly the portion where Mufasa gets lost in the flood. Even the battle scenes with a ferocious pride called outsiders keeps the viewers tensed on how Mufasa would come out safe. As already mentioned the prequel comes with a political angle.

This pride called outsiders seem to represent the white colonizers of Africa. It comes out starkly in the attitude of the deadly Kiros (voiced by Mikkelsen). Kiros has a clear goal of conquering everything, he rules the land with an iron fist. There is a strong undercurrent of anti – colonialism underlying the invasion of Africans by Europeans. The underlying message is that more unity would have changed the course of history.

The characterization of Mufasa coupled with the acting of Aaron Pierre is another big plus for the movie. Musafa started off as a carefree cub with no intention of becoming the king in spite of having all the traits but all this changes when Mufasa along with Taka have to run for their life due to this ferocious and deadly pack of outsiders. Mufasa personality has to undergo a significant change, he eventually becomes a leader for the animals in a place called Milele. All these nuances have come out well both in the writing and the voice acting of Aaron Pierre. He does a fine job in conveying both the inner strength and the emotional turmoil of Mufasa.

Aaron Pierre as the voice of Mufasa. He does a very fine job in conveying both the inner strength and emotional turmoil of Mufasa

Also praiseworthy is how the director has built up the rivalry between Taka/Scar and Mufasa. It adds a sense of intrigue on how their relations soured considering that for Taka Mufasa was both a friend and a brother. Kelvin Harrison does a very fine job in showcasing the different nuances going from I am always there for Mufasa, then to an insecure sibling and eventually a bitter antagonist.

Mufasa and Taka

The humor in Mufasa The Lion King doesn’t completely match up to the first part still the prequel has its share of chuckle worthy moments. Billy Eichener and Seth Rogen returning as Timon and Pumbaa respectively have wonderful chemistry in spite of less screen time. Mention must also be made of John Kani. He brings in a lot of warmth.

The music of Mufasa The Lion does fall significantly short in comparison to the 2019 movie. However the song Think “I Always Wanted A Brother perfectly establishes the initial brotherhood between Taka and Mufasa.

To sum it up Mufasa The Lion King is a worthy big screen spectacle for both kids and adults.

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Fatigue of action: A rundown of big-scale movies of 2024

2024 has been a different year for big-scale action movies, as they haven’t had the same box office impact as in previous years. This decline can be attributed to “action fatigue,” but there are also several other factors contributing to the shift.

Unlike 2024, the year 2023 was mostly dominated by macho men taking on the bad guys and beating them to a pulp whether it was Jawan, Gadar 2 or Animal.

2024 has been a different year for big-scale action movies, as they haven’t had the same box office impact as in previous years. This decline can be attributed to “action fatigue,” but there are also several other factors contributing to the shift.

For example, in Devara, a simplistic story was dragged out, testing the viewer’s patience. The movie majorly rode on Junior NTR’s double role and to an extent on Saif Ali Khan’s villainous avatar.

Both actors were wonderful in their respective parts as was the technical department but Koratala Siva’s attempt to have his own Baahubali moment made it just about an average watch.

Suriya made his big screen comeback after a long gap with Kanguva, however, the movie turned out to be a disastrous experience relying purely on the big scale and Suriya to do wonders. Not surprisingly the movie turned out to be a box office turkey leaving a big dent in the producer’s pockets.

Now let’s get into a little more detail about some of the underperforming big-scale action movies.

Fighter

Hrithik Roshan in Fighter
Hrithik Roshan in ‘Fighter’. (X)

Siddharth Anand’s Fighter had all the ingredients of a mega-blockbuster, including big stars like Hrithik Roshan, Deepika and Anil Kapoor. It also had a charismatic Hrithik Roshan coupled with some fantastic Ariel stunts.

Following the success of his previous ventures, War (2019), and Pathaan, Siddharth Anand incorporated the typical elements of patriotism. However, the film suffered majorly from clichéd troupes involving India and Pakistan.

Lines about the real meaning of religion and patriotism had a jaded feel pulling down the movie significantly. Fighter is by no means a complete disaster, still, the film fell majorly short compared to Siddharth Anand’s last two action movies.

Jigra

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

Vasan Bala is known for his unique brand of storytelling. This time he tried his hand at the action genre with an emotional story of an elder sister’s fight.

The director is known for a certain sense of aesthetics. His movies have a Korean touch, something which Jigra also had in its depiction of the fictional country Hanshi Dao.

Jigra was an extremely well-made movie spearheaded by a brilliant Alia Bhatt, yet, the film underperformed as the mass belt didn’t take to the movie much due to its Korean aesthetics.

Singham Again

Rohit Shetty’s Singham Again had a galaxy of stars and a genre in which Rohit has succeeded. But something was majorly off with the movie starting from the long trailer revealing the major parallels with Ramayana along with the character introductions. The result was pretty much a disaster.

Too much time was wasted, introducing the Ramayana parallels and the action sequences were a tired rehash of Rohit Shetty’s previous movies.

The film clashed with Anees Bazmee’s Bhool Bhulaiyaa 3 headlined by Kartik Aaryan, and the latter won at the box office.

Bade Miyan Chote Miyan

A still from the film Bade Miyan Chote Miyan
A still from the film ‘Bade Miyan Chote Miyan’. (X)

Just like 2023, 2024 was also a disappointing year for Akshay Kumar. Bade Miyan Chote Miyan was especially disappointing.

This Ali Abbas Zafar’s directorial had the pet themes of mainstream Hindi Cinema. A deadly enemy wanting to cause harm to the nation and two brave-hearted soldiers tackling the nemesis.

The genre of Bade Miyan Chote Miyan is a cakewalk for Akshay, given his image as a Khiladi but the movie bombed badly in spite of Ali Abbas Zafar’s impressive commercial track record.

A major problem with Bade Miya Chote Miyan, apart from a tedious Akshay was its simplistic portrayal of complex political scenarios.

The solutions were oversimplified lacking the nuances needed. After a point, the movie just became a stretch of one action sequence after another.

Yodha

Sidharth Malhotra in Yodha
Sidharth Malhotra in ‘Yodha’. (X)

Since the success of the Vikram Batra biopic Shershaah (2021) on Amazon Prime, Sidharth Malhotra has been deliberately choosing characters of a patriotic nature. Still, the results have been far from satisfactory.

Yodha directed by Pushkar Ojha and Sagar Ambre despite being a slick action movie with a very watchable Sidharth Malhotra couldn’t do much at the box office.

A major reason for that was the underdeveloped love story between Sidharth and Rashi Khanna’s characters. The emotional drama of the story needed more heft. The movie also suffered from predictability and the typical elements of this genre.

Guntur Kaaram

Mahesh Babu in Guntur Kaaram
Mahesh Babu in ‘Guntur Kaaram’. (X)

Reputed filmmaker Trivikram Srinivas’s Guntur Kaaram was a mix of his usual family drama with the general template of action, romance and comedy.

The pet theme of Trivikram on how the greatest battles are fought with the people closest to you reached a saturation point with this one. Mahesh Babu was a lot of fun to watch with his comic timing and his Guntur dialect.

There was a refreshing carefree nature which the actor nailed. But the movie on the whole was a big bloated mess. Even the scenes of Mahesh Babu punching the baddies couldn’t save this festive movie.

The action scenes were the standard hero elevation shots, which had moments of Trivikram Srinivas’s trademark humour but that wasn’t enough to salvage the proceedings.

The Sankranthi release clashed with Nagarjuna’s Naa Saami Ranga, Venkatesh’s Saindhav, and Prashant Varma and Teja Sajja’s Hanu-man.

With the right mix of mythology and superhero elements, Hanu-man emerged as the clear winner among all the big Sankranti releases.

Bharateeyudu 2/ Indian 2

Kamal Haasan in Indian 2
Kamal Haasan in ‘Indian 2’. (X)

S Shankar’s vigilante action drama Bharateeyudu 2/ Indian 2 had none of the emotional complexities of the 1996 blockbuster Bharateeyudu/ Indian.

The movie was a typical Shankar lecture on how corruption should be uprooted. It had long drawn speeches testing the viewer’s patience.

Bharateeyudu 2/ Indian 2 showed that S Shankar’s cinematic language needs a major changeover. For most of the movie, Kamal Hassan is presented as an unbeatable superhero.

His interactions with the bad guys and how he easily beats them to a pulp were embarrassing, to say the least.

Saindhav

Venkatesh in Saindhav
Venkatesh in ‘Saindhav’. (X)

Venketash’s 75th movie Saindhav was a deliberate attempt from the actor to mix the elements of the family dramas he is known for with bone-crushing action. The film had shades of Lokesh Kangaraj’s Leo —a family man with a violent past.

Saindhav had all the elements of a solid action drama with Venketash delivering a commendable performance both in the action parts as well as the emotional sequences.

But the movie overall didn’t hit the mark because of too much dependence on the scale. The screenplay was extremely uneven. Also, it lacked a solid antagonist. Nawazuddin Siddiqui’s eccentric villain was a pain to watch.

This is all about the underperformance of some big action movies. Clearly, certain exhaustion has set in the viewers’ minds regarding this genre.

This partly explains the tremendous success of the horror comedy/thriller genre as it is giving more exciting storylines.

(Edited by Sumavarsha Kandula)

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Agni : A heartfelt tribute to the bravery of fire-fighters

The movie makes you feel for the numerous trials and tribulations of firefighters, something that we as a common man don’t fully appreciate.
Agni (Hindi), 05-12-2024, Action, Drama, 2 hours, 16+, OTT
  • Main Cast: Pratik Gandhi, Divyendu Sharma, Jitendra Joshi, and Saiyami Kher
  • Director: Rahul Dholakia
  • Producer: Farhan Akhtar and Ritesh Sidwani
  • Music Director: John Stewart Eduri
  • Cinematography: KU Mohanan
  • Rating: 3.5/5

Given Indian cinema’s obsession with men in uniform it is surprising that we haven’t had a full-fledged movie so far on the lives of firefighters.

Rahul Dholakia best known for his brilliant Parzania (2005), in Agni streaming on Prime Video, takes a deep dive into the many dangers that these fire-fighters put themselves in.

The movie makes you feel for the numerous trials and tribulations, something that we as a common man don’t fully appreciate.

Synopsis

The story of Agni revolves around the investigation of uncovering a dangerous plot behind the periodic fires in the high-rise buildings of Mumbai. These events follow a particular pattern hinting at arson.

Pratik Gandhi plays Vitthal Rao, the head of a fire station. He and his team risk their lives daily without the recognition they deserve. Divyendu Sharma plays Samit Sawant, Vitthal Rao’s brother-in-law and a successful police officer with more material comforts than the former.

Parallel to the investigation, there is also a subplot of interpersonal relationships, in which, Vitthal Rao’s son considers Samit as his hero instead of his own father.

Social commentary

Agni is directed by Rahul Dholakia
‘Agni’ is directed by Rahul Dholakia. (X)

An important aspect of Agni is its impactful social commentary. As the story is about the fire accidents, the makers also dvelve into the risks of illegal buildings, these include restaurants and other public spaces which more often than not accommodate far more people than allowed.

Rahul Dholakia and Vijay Maurya make some important points about the construction of illegal buildings and the risks involved due to the lack of safety protocols. These have come out in a hard-hitting manner making the viewers ponder about the government’s poor handling of basic civic safety.

In spite of all this, the firemen put their lives at stake in order to save as many as they could, in the process losing their lives too.

Agni also scores in how it captures the trauma that a firefighter undergoes. The CGI fire coupled with the shots of flames taking over the sky-high buildings sends a shiver down the viewer’s spine. The movie keeps the viewers on edge over whether the firemen would successfully come out of those flames.

The dynamics between Vitthal Rao and Samit Sawant add a layer of humour to the otherwise tense proceedings. The rivalry between the two could have done with a little more depth. Still, there are numerous entertaining moments. Divvyendu Sharma as Samit Sawant successfully plays to the gallery and works a perfect contrast to Pratik Gandhi’s serious persona.

Performances and technical aspects

Still from the film Agni
Still from the film ‘Agni’. (X)

Talking about Pratik Gandhi, the Scam 1992 actor continues to prove his versatility with an arresting portrayal of a firefighter navigating the various challenges of his dangerous profession.

The way Pratik portrays Vitthal’s inner demons is exemplary, to say the least. Among the other actors, Saiyami Kher also strikes a chord with her emotional act. Her character brings in a different layer as the prominent woman among the male firefighters.

Agni also benefits from the constant twists and turns particularly in the second half. Just when the viewers think they have figured everything out, the movie comes up with an unexpected twist.

Among the technical departments, the production design and the cinematography deserve distinction marks for a job very well done. The recreation of the fire station has an authenticity to it. Also, the first-rate cinematography of KU Mohanan further helps in creating a palpable tension.

Talking about the slight flaws, the movie needed to explore the animosity between Vitthal and Samit in greater detail. Also, a subplot involving a builder’s assassination doesn’t add much value to the proceedings.

Final take

Keeping these small hiccups aside, Agni is a gripping emotional drama with elements of action and thrills.

(Views expressed here are personal, edited by Sumavarsha)

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

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Pushpa 2: The Rule: Watch it for Allu Arjun’s wildfire performance, Fahadh Faasil’s eccentric act

‘Pushpa 2: The Rule’ is a definite improvement over the first one but needed a tighter edit particularly the elongated action sequences which don’t serve much purpose other than establishing Pushpa’s invincibility.
Pushpa 2: The Rule (Telugu), 05-12-2024, Action, Thriller, 3 hours 20 minutes, U/A, Theatre
  • Main Cast: Allu Arjun, Rashmika Mandanna, Fahadh Faasil, and Sunil
  • Director: Sukumar
  • Producer: Naveen and Ravi Shankar
  • Music Director: Devi Sri Prasad
  • Cinematography: Miroslaw Brozek
  • Rating: 3/5

It goes without saying that Pushpa 2: The Rule is one of the most anticipated commercial films of 2024, after the first part Pushpa: The Rise became a huge success across India.

Allu Arjun’s swag and mannerisms, coupled with the rustic, atmosphere found many admirers despite the problematic aspects. With Allu Arjun winning the National Award, expectations have increased multifold.

Synopsis

Pushpa 2: The Rule is a definite improvement over its predecessor. The relationship between Allu Arjun’s Pushpa and Rashmika Mandanna’s Srivalli is far better etched in this one. The chemistry is very much spot on giving the movie some of its best moments. At the same time, there are deficiencies too which I will elaborate on later.

Pushpa 2: The Rule takes off from the first one’s dramatic finale involving Allu Arjun and Fahadh Faasil. From a daily wage worker, Allu Arjun’s Pushpa has now become a very influential person in the smuggling syndicate.

In the second part, the viewers see two shades of Pushpa: one as a doting husband, and two as a kingpin who has maintained his status amidst the return of Fahadh Faasil’s Bhanwar Singh Shekwat and some other old enemies. The second part primarily focuses on the rivalry and how Pushpa maintains his hold while being a perfect husband.

What works and what doesn’t

Allu Arjun and Rashmika Mandanna
Allu Arjun and Rashmika Mandanna. (X)

A strong aspect of Pushpa 2: The Rule is undoubtedly the husband and wife scenes. There is playfulness to their interactions making the scenes adorable. Apart from the light moments, there are also some well-written and enacted emotional ones.

A particular mention must be made of a hugely poignant moment after Allu Arjun’s intense dance in the Jathara episode.

Rashmika’s Srivalli is a strong emotional anchor for Pushpa, and this has come out well in numerous scenes like the lengthy monologue. The actor does a wonderful job of showcasing Srivalli’s different shades.

The rivalry between Allu Arjun and Fahadh Faasil is also entertaining to watch. A major reason for that is the crackling dialogues whether it is the intense portions or scenes underlined with humour. Fahadh in the first part got a raw deal but in this one, the actor gives a memorable act.

He perfectly portrays both the eccentric nature and also the simmering anger. Fahadh Fassil makes for a very worthy antagonist.
Another strong aspect of Pushpa 2: The Rule is the portions tying up Pushpa’s baggage of being an illegitimate child. Director Sukumar has given a touching closure to this angle.

An emotional breakdown featuring Ajay as the elder brother is wonderfully written and enacted.

Coming to the flaws, a major problem with Pushpa 2: The Rule is the portrayal of Allu Arjun as an invincible man someone who can defeat anyone and can never lose.

The action sequences by nature are very much over the top and this does become a hindrance more so for those who don’t enjoy larger-than-life heroes. Also, the movie’ wafer-thin storyline doesn’t warrant the huge running time. Editing needed to be much tighter, especially in the second half.

Performances

Allu Arjun in Pushpa 2 The Rule
Allu Arjun in ‘Pushpa 2 The Rule’. (X)

Coming to the main man Allu Arjun successfully takes off without any hiccups. It is clear that Allu Arjun has made Pushpa his own; his outstanding act is easily the strongest pillar of the movie. He not only sells the superhero nature of the role, but also shines equally in the emotionally charged moments.

Talking about his dance in the Jathara sequence, spellbinding would be an understatement. He brings so much depth with those eyes and overall body language. With this film, Allu Arjun once again shows why he is not just a star but also a powerhouse performer who deserves the national award bestowed on him.

Technical aspects

The cinematography of Miroslaw Kuba Brozek is of the highest order. The intensity of the action sequences along with the thrilling night scenes in the forest has been wonderfully captured by him.

Devi Sri Prasad’s music doesn’t completely match up to the first part, but the songs have their moments. Tracks like “Sooseki” and “Peelings” make for a good watch.

Final take

All said and done Pushpa 2: The Rule is a treat for die-hard Allu Arjun fans and action lovers.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/pushpa-2-the-rule-movie-review/

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Sikandar Ka Muqaddar : Not Neeraj Pandey’s best still this heist thriller has its high points

The central performances of Avinash Tiwary and Jimmy Shergill majorly contribute in making the movie engaging even when things go astray.
Sikandar Ka Muqaddar (Hindi), 29-11-2024, Drama, Thriller, 2 hours 23 minutes, 16+, OTT
  • Main Cast: Jimmy Shergill, Avinash Tiwary, Tamannaah Bhatia, and Rajeev Mehta
  • Director: Neeraj Pandey
  • Producer: Shital Bhatia
  • Music Director: Payal Dev
  • Cinematography: Arvind Singh
  • Rating: 3/5

Neeraj Pandey’s latest work plays along the lines of Victor Hugo’s masterpiece Les Miserables. There are themes of moral ambiguity and the relentless persuasion of a cop spanning across years.

More than a thriller Sikandar Ka Muqaddar streaming on Netflix, works as an interesting character study of two individuals whose lives undergo a significant change in the backdrop of a heist.

Synopsis

Sikandar Ka Muqaddar begins off on a high note. A heist happens at a diamond exhibition in the year 2009. Jimmy Shergill’s Jaswinder Singh zeroes on three suspects based on his instincts, something that Jaswinder is very proud of.

The suspects are Sikandar Sharma (Avinash Tiwary), Kamini Singh (Tamannah Bhatia) and Mangesh Desai (Rajiv Mehta). As Jawinder Singh gets deeper into the case the pursuit turns into an endless obsession significantly affecting both his personal and professional life.

Eventually, no one is convicted and the case gradually slips away from people’s memory but Jaswinder is thoroughly convinced that one of the three has definitely stolen the diamond. His primary suspect is Sikandar Sharma. This is the story in brief.

What works and what doesn’t

Stills from the film Sikandar Ka Muqaddar
Stills from the film ‘Sikandar Ka Muqaddar’. (X)

Director Neeraj Pandey along with co-writer Vipul K Rawal waste no time in setting up the proceedings, Jaswinder Singh’s questioning of the three suspects and his strong belief in instincts pique the viewer’s interest in who stole the diamond.

Things are gripping till the point of no convictions being made and Jaswinder Singh losing his job. The movie starts stagnating once it gets into the mode of non-linear storytelling. The constant intercuts do more harm than good.

However, the flashback portion does have some good stretches too. The best is Sikandar’s character battling one major hardship after the other. Also, no character is completely good or evil here. Whether it is the suspects or the cop they come across as individuals driven by the circumstances around them.

Sikandar’s struggles have been shown in detail and it does strike an emotional chord. The film though could have done a little more exploration of Jaswinder’s life post his suspension. Having said that the scars left by the passage of time come across strongly.

Apart from the constant intercuts the movie does suffer from being a slow burn testing the viewer’s patience. The ending also lacks the punch that Neeraj Pandey is known for in his previous movies like Baby (2015) and Special Chabbis (2013).

Performances

Avinash Tiwary and Tamannaah Bhatia in Sikandar Ka Muqaddar
Avinash Tiwary and Tamannaah Bhatia in ‘Sikandar Ka Muqaddar’. (X)

A strong aspect of Sikandar Ka Muqaddar is undoubtedly the strong acting performances particularly that of Avinash Tiwary and Jimmy Shergill. Both the actors rise above the uneven material keeping the viewers invested. Jimmy Shergill who had played the role of a cop previously in films like A Wednesday, managed to bring freshness to this role too.

The character of Jaswinder starts as a cop with a perfect record but soon becomes a wreck in his relentless pursuit. Jimmy does a fantastic job of portraying the various nuances. The fall from grace could have been better explored, yet Jimmy makes the viewers feel the pain of Jaswinder.

Avinash Tiwary is also wonderful as the man who rebuilds his life amidst the constant harassment. He particularly shines in portraying the emotional turmoil of Sikandar.

Apart from these two, Tamannah Bhatia also makes a striking impact as a single mother with secrets of her own. Despite lesser screen time the actress does a very fine job in making the viewers empathize with Kamini’s problems.

Final take

To sum it up Sikandar Ka Muqaddar has good performances and some strong passages making it watchable.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/reviews/sikandar-ka-muqaddar-movie-review/

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Vikkatakavi – The Chronicles of Amaragiri web series review: An engrossing, first of its kind Telangana detective show

In spite of some rough edges, director Pradeep immerses the viewers into the world of Amaragiri. The mixture of Telangana folk beliefs with the subplot of bio war enhances the narrative. Promising young talent Naresh Agastya delivers another solid act
Vikkatakavi: The Chronicles of Amaragiri (Telugu), 28-11-2024, Drama, 6 episodes, 16+, OTT
  • Main Cast: Naresh Agastya, Megha Akash, Shiju Menon, Tarak Ponnappa, Raghu Kunche, Mukthar Khan, and Amit Tiwari
  • Director: Pradeep Maddali
  • Producer: Rajani Talluri
  • Music Director: Ajay Arasada
  • Cinematography: Shoeb Siddiquie
  • Rating: 3.5/5

In the last few years, Telangana culture has had a major influx into mainstream Telugu cinema through stories or characters.

A major reason for that is the consistent portrayal and telling of Telangana by the likes of Priyadarshi Pulikonda, Vishwak Sen, Tharun Bhascker and Siddhu Jonnalagadda.

Vikkatakavi: The Chronicles of Amaragiri the new web series streaming on ZEE 5, directed by Pradeep Maddalli and written by Saitej Desheaj is a good addition to this trend. Through the six episodes, Pradeep and Saitej have effectively mixed the Telangana folklore with the detective genre.

The series also pays homage to the legendary Tenali Rama Krishnan, known for his wit and intellect in equal measure.

Synopsis

The story of Vikkatakavi: The Chronicles of Amaragiri is set in the 1970s, in a village called Amaragiri. In this village, people lose their memories as soon they visit the haunted Devathala Gutta.

The story then follows Naresh Agastya’s Ramakrishna aka Vikkatakavi. He is not just a brilliant student but is also known for his exceptional investigation skills. Ramakrishna embarks on a dangerous journey for an emotional reason.

A constant tussle between superstitions and rationalism enhances the plot. The show also has some attention-grabbing twists that keep the viewers guessing about the reasons behind these mysterious happenings. There is a strong connection between Ramakrishna’s past and the happenings in Amaragiri, which adds to the emotional quotient, in addition to the thrills.

Strong technical support

Naresh Agastya in Vikkatakavi
Naresh Agastya in ‘Vikkatakavi: The Chronicles of Amaragiri’. (X)

A strong aspect of Vikkatakavi: The Chronicles of Amaragiri is its world-building. Shoeb Siddiqui’s work, particularly, stands out among the technical aspects. The rustic village atmospherics along with the night sequences set in the forest draw the audiences into the world of Amaragiri.

The production design and costumes are mighty effective in transporting the viewers into a by gone era. Ajay Arsada’s background score is very effective in enhancing the tension-filled sequences.

Apart from the technical aspects Pradeep Malladi also deserves appreciation for how he has integrated the local beliefs of Telangana people with the subplot of a bio war.  Special mention must also be made of the actors playing the village people.

Performances

The romance between Naresh Agastya and Megha Akash is understated without hijacking the central theme. Megha Akash hasn’t got a lot to do but she does have a lovely presence.

Naresh Agastya continues to showcase his versatility with an arresting portrayal of a detective. After this year’s Paruvu Naresh shows a different facet of him. The boyish charm coupled with intensity make him the perfect choice for the central character.

In the supporting cast, Raghu Kanche impresses the most with his terrific act. The way he conveys the negative traits with just expressions is a delight to watch. Tarak Ponnappa and Mukhtar Khan too are proficient in their roles.

Among the speed bumps, the final act needed a much better punch, given the intricate build-up. The final episodes feel lengthy as the viewers tend to form an idea of how things will ultimately go. The series also taps into nationalistic sentiments, but this aspect feels forced.

Final take

Keeping aside the rough edges Vikkatakavi: The Chronicles of Amaragiri is a solid addition to the evolving Telugu OTT space. Definitely worth watching for those like stories with elements of mysticism and thrills.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/vikkatakavi-the-chronicles-of-amaragiri-web-series-review-an-engrossing-first-of-its-kind-telangana-detective-show/

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Yeh Kaali Kaali Ankhein Season 2: A pulpy sequel with engaging twists and a Shakesperean touch

Ya Kaali Kaali Aankhein Season 2 web series banner

A famous quote of Shakespeare on how “The course of true love never did run smooth” perfectly describes this twisted love story. Director Sidharth Sengupta along with his co-writers maintain a palpable tension about what would be the fate of Tahir Raj Bhasin’s Vikrant

Starcast: Tahir Raj Bhasin, Anchal Singh, Surya Sharma, Swetha Tripathi, Arunoday Singh, Saurabh Shukla, Gurmeet Choudhary and others

Director: Sidharth Sengupta

Writers: Varun Bodola, Anahata Menon etc

Producers: Jyoti Sagar and Sidharth Sengupta

Production Company: Edgestorm

Cinematography: Murli Krishna

No of episodes: 6

Streaming site: Netflix

For those who aren’t familiar with Yeh Kaali Kaali Ankhein season 1 it was a twisted love story with a gender twist. Instead of a male obsessive lover there was a possessive female in the form of Anchal Singh’s Purva. She makes life hell for Tahir Raj Bhasin’s Vikrant. What made the show click in spite of a familiar love triangle was its treatment. Director Sidharth Sengupta kept the viewers guessing about what turn the story would take. The performances of Tahir Raj Bhasin and Anchal Singh in particular also made the show engrossing. Season 2 of Yeh Kaali Kaali Ankhein is for most part a worthy follow up to Season 1. There are enough tension filled moments to keep the viewers hooked and the characterizations of Tahir Raj Bhasin and Anchal Singh are like an icing on the cake.

Yeh Kaali Kaali Ankhein Season 1

Season 2 of Yeh Kaali Kaali Ankhein begins with the kidnap of Aanchal Singh’s Purva. The kidnapper is Arunoday Singh’s Jalan but the one who orchestrated the entire situation is Vikrant. Vikrant had actually hired Jalan to get rid of Purva forever but now Jalan has double crossed Vikrant. The reason for Jalan’s double crossing is he wants more money. Adding to Vikrant’s woes is his lover Shikha (Swetha Tripathi) getting married to another man. Additional problems pile up for Vikrant with the entry of Guru (Gurmeet Choudhary). He is a tech savvy agent along with being Purva’s close friend. At one point Guru and Shikha had spent considerable time together and he had confessed his feelings of love to Purva too. But Purva had made it very clear that she doesn’t love him. Guru is determined to bring Purva back at any cost, it is both professional and personal for him. He gets suspicious of Vikrant having a hand in the kidnap leading to an exciting cat and mouse game.

A strong aspect of Yeh Kaali Kaali Ankhein season 2 like the first season is the layered characterization of Tahir Raj Bhasin. Towards the end of season 1 Vikrant had transformed from a normal small-town boy to a man on mission. The characterization had undergone a significant change with Vikrant becoming a morally ambivalent person. In this season the grey shades are more pronounced. Much like Sushmita Sen’s Aarya Vikrant too is forced to bring out the inner demon in him. He was just a normal guy wanting to lead a happy life with his sweetheart Shikha and stay away from both Purva and her politician father Akheraj Awasthi (Saurabh Shukla) but due to certain circumstances his life had taken a very different route.

Tahir Raj Bhasin does a splendid job in pulling off Vikrant’s emotional turmoil. For example, there is a scene where Vikrant visits Shikha a day after her wedding to cover up an important matter. He is absolutely devasted on discovering that Shikha is no longer his and blames her for giving up. Shikha retorts by saying that he too had married Purva surrendering to the circumstances. The way Tahir portrays the breakdown of Vikrant’s ego in that particular moment is exemplary.

Tahir Raj Bhasin does a splendid job in pulling off Vikrant’s emotional turmoil

Some of Vikrant’s actions are indeed questionable but at the same time there is a strong vulnerability too making it hard for the viewers to dislike him completely. Apart from Tahir Anchal Singh’s Purva too successfully takes off from where she left from the previous season. The character of Purva in comparison to the first season is more layered. The viewers get a physiological insight into how she has grown into this extremely possessive person. Anchal does a very fine job in humanizing the role of an obsessive lover. The dynamics between Vikrant and Purva continue to be the major backbone of the web show.

Anchal Singh does a very fine job in humanizing the role of an obsessive lover

Special mention must also be made of Saurabh Shukla’s Akheraj Awasthi. His role of a powerful politician acquires new shades in season 2. There is a scene where Akheraj confesses on how he should have brought up his daughter better apologizing to Vikrant. Brijender Kala much like the first season raises many chuckles with his comic timing. A standout scene between Tahir and Brijender Kala is when Vikrant questions the father about his unwavering loyalty to Akheraj, how he is willing to sacrifice the entire family in name of devotion. In fact, both the fathers function as a major catalyst for how Vikrant and Purva have shaped up.

Gurmeet Choudhary as the new entrant proves to be a worthy opponent for Vikrant. He does a fine job in showcasing Guru’s determination along with the emotions of love. Anant Vijay Joshi of 12th Fail fame is only used to give a humorous touch to an otherwise tense narrative. His portions come as a welcome relief amidst the chaos although the writing could have been better. The show at times also suffers on the account of a few cinematic liberties like Guru’s omnipotent surveillance technology.

Murli Krishna’s cinematography is of a very high standard whether it is the snowcapped mountains or how he captures the brilliant action set pieces. The stunts designed by Amar Shetty are on par with any big screen action movie. The iconic title track of Baazigar ‘Yeh Kaali Kaali Ankhein’ has been recreated wonderfully. The recreated track enhances the tension at many places.

Yeh Kaali Kaali Ankhein is definitely worth watching for those who like dark thrillers.

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All We Imagine As Light: A compelling slice of life drama about female friendships along with the hustle and bustle of Mumbai

  • Starcast: Divya Prabha, Kani Kusruti, Chhaya Kadam, Hridhu Haroon and others
  • Director and writer: Payal Kapadia
  • Producers: Thomas Hakim and Julien Graff
  • Production Companies: Petit Chaos, Chalk &Cheese Films etc
  • Cinematography: Ranabir Das
  • Music: Topshe, Guebrou etc
  • Running time: 2 hours and 4 minutes
  • Genre: Slice of life/drama

Payal Kapadia’s All We Imagine As Light can be categorized into two parts. The first half focuses primarily on the tough lives of migrant workers, people coming from far off places trying to make a place for themselves in alien surroundings. In this case it is the busy city of Mumbai where numerous people come from different areas trying to make a living. In the second half there is a tonality shift as it focuses on two of the central characters coming out of their closet and taking a stand. This mixture of themes is not seamless, still there is a lot to savor particularly for those who enjoy layered stories.

All We Imagine As Light majorly focuses on the lives of three women headed by Prabha (Kani Kusruti), she is head nurse in Mumbai hospital. Prabha was abandoned by her husband a long time back. From the outside she may appear unaffected but there is an unspoken loneliness. Then there is the rebellious Anu (Divya Prabha). Anu is trying to establish herself in this city of dreams, she is in love with a Muslim man which can lead to dangerous consequences. Lastly there is Chhaya Kadam’s Parvati, Parvati also works in the same hospital. She is asked to vacate the apartment by the property developers who want to construct a big building in that place. Parvati has been living in Mumbai for a very long time, yet she is not able to prove that the house is hers. Upon losing the battle she returns to her native seaside village. Anu and Prabha go to help her in relocating, leading to a significant change in their lives.

All We Imagine As Light majorly focuses on the lives of three women

A strong aspect of All We Imagine As Light is how Payal Kapadia captures the struggle of immigrants. She portrays the sense of alienation which outsiders feel even after staying so many years in their city of dreams. In fact, the city of Mumbai becomes a major character in itself. The divide between the haves and have nots has been explored subtly. The duality of a big city like Mumbai where there is both belonging and alienation has a gritty feel.

What also makes the first half an immersive experience is the cinematography of Ranabir Das. Through his lens he skillfully captures both the race of life and also the loneliness of the people living there.

The wonderful characterization of all the three women is another big strength of the movie. They have distinctive traits making the movie very engrossing. The chemistry between the three actresses is an icing on the cake. The sisterhood comes out strongly, it has a lived-in feel adding to the immersive experience.

The director also deserves credit for how she portrays the loneliness and vulnerabilities with simple, yet very effective scenes. For example, in one scene Prabha is seen embracing a rice cooker. This simple act brilliantly conveys Prabha’s yearning for sex/husband’s touch.

As already mentioned, the second half has a tonal shift which slows down the movie. There is a scene of extended intimacy between Anu and her Muslim lover in the beach. This stays on for a little too long. Similarly, there is a confusing bit where Prabha saves a man who is initially suspected to be dead. The purpose of this bit takes a while to understand, at one point the viewers may think that this man is actually the husband who had abandoned her, but it turns out to be something else. This illusion proves to be an effective catalyst in Prabha getting over her past, but again it slows down the proceedings considerably. Crisper editing in both the above-mentioned portions would have made the film better.

It goes without saying All We Imagine As Light majorly runs on the shoulders of the three leading ladies. The trio are in fantastic form delivering brilliant performances. Kani Kursuti as Prabha gave a nuanced performance conveying her loneliness and the unspoken desires. Divya Prabha’s chirpiness works as a perfect foil to Kani Kursuti’s restrained act. She effortlessly portrays both the free-spirited nature as well as the inner conflicts. Chhaya Kadam successfully takes off from her feisty act in Laapata Ladies. She does a wonderful job in bringing out both her inner strength and also a palpable sadness. Her efforts to preserve her home and dignity amidst the mounting pressures gives the movie some of its best moments.

Chhaya Kadam in All We Imagine As Light. She successfully takes off from her feisty act in Laapata Ladies

All We Imagine As Light is a poignant take on resilience, female friendships and the power of healing through shared experiences. In spite of the bumpy second half this movie deserves a watch on the big screen.

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I Want To Talk: Not Shoojit Sircar’s best, yet this tale of determination and resilience is worth watching

Abhishek Bachchan delivers an extraordinary performance rising above the uneven storytelling. The father and daughter dynamics are the movie’s strongest suit.
I Want To Talk (Hindi), 22-11-2024, Drama, 2 hours 2 minutes, U/A, Theatre
  • Main Cast:Abhishek Bachchan, Ahilya Bamroo, and Johny Lever
  • Director: Shoojit Sircar
  • Producer: Ronnie Lahiri, Sheel Kumar
  • Music Director: George Joseph, Koyna
  • Cinematography: Avik Mukhopadhayay
  • Rating: 3/5

Shoojit Sircar, known for his films like Piku (2015), October (2018) and Sardar Udham Singh (2021), focuses primarily on grief, death and hope.

His latest release I Want To Talk also dabbles with similar themes. In fact, it feels like an extension of his previous films, so much so that, some parts of Abhishek Bachchan’s characterization have a hangover of Amitabh Bachchan in the engrossing Piku.

Synopsis

Based on an incredible real-life story, I Want To Talk focuses on Abhishek Bachchan’s Arjun Sen. Arjun is a typical marketing man who can manipulate customers with ease.

He has given more importance to rising high in his career, and as a result, his personal relationships aren’t in the best shape.

The story takes a turn when Arjun’s professional career hits rock bottom when he is diagnosed with a particular type of cancer.

His doctor, Dr Deb played by Jayant Kriplani, gives him a timeline of just about 100 days leading to a major metamorphosis in Arjun Sen’s life.

This is the story in brief.

Abhishek as Arjun Sen

Abhishek Bachchan in I Want To Talk
Abhishek Bachchan in ‘I Want To Talk’. (X)

A story like I Want To Talk relies a lot on how well your central character showcases the gamut of emotions. And Abhishek Bachchan is easily the movie’s biggest strength. He gets into the skin of the role.

It is a character filled with many layers and Abhishek makes sure that the viewers root for him in spite of the fact that Arjun isn’t always likeable.

How he portrays the initial hopelessness to eventually transform himself into a fighter is simply outstanding.

Father daughter dynamics

The actor particularly shines in the scenes with the daughter played by the fantastic Ahilya Bamroo.

The way he portrays Arjun’s possessiveness and the attempts to reconnect with the daughter is heart-touching.

Ahilya Bamroo more than holds her own opposite Abhishek. She wonderfully conveys the emotional turmoil of a teenage daughter caught in a complex situation.

The intense scenes between her and Abhishek are a delight to watch. Underneath the anger, there is also a tenderness which comes out strong.

Apart from the father and daughter dynamics mention must also be made of the equation between Arjun and Dr Deb. The scenes between them have shades of humour particularly the portions of banter.

A scene which deserves a particular mention is when Arjun crashes into Dr Deb’s Sunday lunch and comes to know that most of his stomach has to be cut. Jayanth Kriplani as Dr Deb plays his part with a lot of warmth giving the movie some of its best moments.

What doesn’t work

A major issue with I Want To Talk is its way too languid pace. The movie feels way too slow with some repetitive shots. The film also needed a much better exploration of Arjun’s relationship with his ex-wife.

It comes across as a side note adding little heft. The portions featuring Johny Lever also drag down the movie significantly.

The attempt to infuse humour into a morbid subject like this doesn’t always land, unlike an October.

A movie like this hasn’t got much place for music, still, the tunes are lacklustre, to say the least.

On the other hand, Avik Mukhopadhyay’s cinematography is of a fine order. He does a fine job of capturing the various moods of the protagonist through his lens.

Final take

Overall I Want To Talk leaves something to be desired. Given the emotional core of the subject, the film could have been much more, yet Abhishek Bachchan’s stand-out act along with the main message of fighting against all odds make it worth watching.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/i-want-to-talk-movie-review/

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Freedom At Midnight web series review: A brilliant exploration of events leading up to the partition

Director Nikhil Advani skillfully captures the political turmoil of the time, which ideally should have been the celebration of free India but ended as a harrowing experience with the religious conflicts. 
Freedom At Midnight (Hindi), 14-11-2024, Historical drama ,7 episodes, 13+, OTT
  • Main Cast: Sidhant Gupta, Chirag Vohra, Rajendra Chawla, Luke McGibney, Cordelia Bugeja, Arif Zakaria, Ira Dubey, Malishka Mendonsa, and Rajesh Kumar
  • Director: Nikhil Advani
  • Producer: Monisha Advani and Madhu Bhojwani
  • Music Director: Ashutosh Patak
  • Cinematography: Malay Prakash
  • Rating: 4/5

Starting from Kal Ho Naa Ho (2003) and Salaam- E- Ishq (2007) director and producer Nikhil Advani has had a fascinating career so far.

He has dabbled in various genres whether it is the action dramas Batla House (2019) and D-Day (2013) or the two seasons of Mumbai Diaries— a medical thriller.

This year Nikhil further proved his versatility with the movie Vedaa—a gritty social drama with hardcore action.

Synopsis

The web series Freedom At Midnight, streaming on Sony Liv, though has to be the biggest risk taken by the director. Given the complexity of the events and also the probability of being accused of aligning to a particular political spectrum.

The series is based on the book “Freedom at Midnight” by Dominique Lapierre and Larry Collins.

Fortunately, Nikhil has passed the test with flying colours. He has succeeded in not only making a gripping series but at no point does the show take sides blaming a particular person or party. Instead, it places the viewers amidst the powerful leaders who have fought for India’s independence letting the audiences make their own judgments.

At the heart of Freedom At Midnight are the complex political scenarios represented by the numerous leaders. The main ones are Pandit Jawaharlal Nehru (Sidhant Gupta), Sardar Vallabhai Patel (Rajendra Chawla), Mahatma Gandhi (Chirag Vohra), Mohammad Ali Jinnah (Arif Zakaria) and Lord Louis Mountbatten (Luke Mc Gibney).

Through the seven episodes, Nikhil Advani along with writers Gundeep Kaur, Ethan Taylor, Divy Nidhi Sharma, and Revantha Sarabai, gives a strong insight into the political machinations and the numerous differences of opinions leading to clashes.

Analysis

A still from the series Freedom At Midnight
A still from the series ‘Freedom At Midnight’. (X)

As already mentioned, Freedom At Midnight doesn’t take sides at any point, instead, it presents the viewers with various perspectives.

Whether it is Gandhiji’s unwavering idealism in spite of the clash of opinions between Nehru and Sardar Vallabhai Patel, or Jinnah’s uncompromising attitude on wanting Pakistan among others.

The series presents the leaders with their flaws, fears and contradictions. The best examples of this are the portions involving Jinnah’s calculated decisions or Nehru’s quiet torment.

The scenes of religious discord leading to incidents of communal violence give the show some of its best emotional scenes. Although these scenes are set in a particular time period, there is contemporariness to them, as religious discord, is still a major issue in the present time.

Technical brilliance

Freedom At Midnight is a historical drama
‘Freedom At Midnight’ is a historical drama. (X)

Freedom At Midnight immerses the viewers from the first frame and a major reason for this is Malay Prakash’s cinematography.

The close-up shots of the emotional upheavals faced by Nehru, and Gandhi in particular transports the viewers into those turbulent times making them feel that they are watching the happenings from up close.

Both the cinematography and the production design are the main pillars of this web show.

Talking about the production design, the scenes of the Viceroy’s house along with the portions showcasing the riot-torn neighbourhoods serve as a perfect masterclass in creating an authentic world in an era where VFX is dominating mainstream cinema.

Ashutosh Patak’s music is equally poignant enhancing the series’ emotional scenes significantly. There is a haunting quality to the tunes in perfect sync with the nature of the show.

Performances

Sidhant Gupta as Nehru in ‘Freedom At Midnight’. (X)

The performances of the entire cast are brilliant starting from Sidhant Gupta. The young actor successfully takes off from his fantastic performance in Jubilee (2023).

As Jawaharlal Nehru, he perfectly portrays the inner conflicts of a leader who is torn between his ideals and the grim pragmatism that was the need of the hour, his scenes with Chirag Vohra’s Gandhi in particular are very impressive.

The scenes of the unfortunate discord and how he portrays a quiet resolve are truly brilliant.

Arif Zakaria is also terrific making sure that Mohammad Ali Jinnah never becomes a caricature. He portrays him as a complex personality with shades of frailty, ambition and conviction.

Jinnah is someone who is both formidable and tragically flawed. Both the writing and Arif Zakaria’s performance bring out these nuances wonderfully.

Chirag Vohra as Gandhi plays his part with lots of grace. His performance particularly in the scenes of anguish is praiseworthy.

Rajendra Chawla as Sardar Patel portrays both the grit and the gentleness of the leader in a perfect manner. Special mention must also be made of Rajesh Kumar playing Liaquat Ali Khan. The actor makes for a perfect partner in crime for Jinnah.

The women characters though needed better etching. Both Ira Dubey’s Fatima and also the actress playing Lady Mountbatten are introduced with great promise but end up mostly relegated to the background.

Final take

Keeping aside this small niggle, Freedom At Midnight is a moving emotional tale of how freedom came at a heavy price.

(Views expressed here are personal, edited by Sumavarsha Kandula)

https://thesouthfirst.com/entertainment/freedom-at-midnight-web-series-review-a-brilliant-exploration-of-events-leading-up-to-the-partition/