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Maharani Season 3: A Gripping Tale Of Politics And Revenge

Just like the previous two seasons, the web show shines the brightest when it focuses on the politics of Bihar.
  • Main Cast: Huma Qureshi, Sohum Shah, Amit Sial, and Dibyendu Bhattacharya
  • Director: Saurabh Bhave
  • Producer: Naren Kumar and Dimple Kharbanda
  • Music Director: Rohit Sharma
  • Cinematography: Anup Singh
  • Genre: Political Drama
  • Episodes: 8
  • Rating: 3.5/5
  • Published in: Southfirst

For those who haven’t seen the first two seasons, Maharani—created and written by Subhash Kapoor, is loosely inspired by the incidents in the 1990s Bihar.

It was when seasoned politician Lalu Prasad Yadav declared and made his homemaker-wife Rabri Devi his successor.

Season 1

The first season of Maharani was set from 1995 to 1999 and had characters inspired by Naxal and left-wing militants.

Rani Bharati (Huma Quereshi) is the wife of Bihar CM Bheema Bharti (Sohum Shah). In unforeseen circumstances, Bheema Bharti gets severely wounded and appoints his wife Rani as a technical CM until he recovers.

Rani Bharti is a simple woman who is happy with her domestic life. But now, she has to deal with government files, corruption and the caste massacres happening within the state.

In addition, she is not a literate woman.

Initially, Rani Bharti feels like a fish out of the water and wants to return to her simple life. But, eventually, she becomes a firm administrator and wins admirers.

As she grows more confident the inevitable clashes with her husband happen. Season 1 ended with Bheema Bharti going to jail on charges of corruption.

Season 2

In Season 2, Bheema runs a proxy government from jail. Bharti is facing opposition from her husband and the rival politician Naveen Kumar (Amit Sial).

Naveen and Bheema used to be friends. But now, they are big-time foes.

The issues dealt with this backdrop were the demand for a separate Jharkhand state along with the chilling death of Shilpi Jain and Gautam Singh that sent shock waves for both Rani and the state of Bihar.

In this scenario, some of Rani’s decisions don’t go well with her party members. Season 2 ended with Rani Bharti going to jail for a crime she did not commit, and the death of her husband Bheema.

Season 3

Now, you have Season 3, after a gap of one and a half years.

Maharani Season 3 begins with the life of Rani Bharti in prison. She utilises her time in jail to complete her education, which she left midway because of her father.

Rani Bharti also makes moves to strike back against her opponents. In simple terms, Season 3 focuses on how Rani Bharti proves her innocence and comes out of the complex web orchestrated by the cunning Navin Kumar.

The series plays out like an intense game of chess after a point.

Analysis

Huma Qureshi in ‘Maharani Season 3’. (X)

A strong point of Maharani Season 3 is the socio-political commentary.

Director Saurabh Bhave touches upon the illegal sale of liquor despite an alcohol ban in the state. He presents an authentic picture of how this illegal sale leads to the flourishing of illicit crimes.

Apart from the illegal sale of liquor the show also dwells on unauthorized dealings and the brutal electoral tactics.

Saurabh Bhave has also done a good job of showcasing the effect of power struggles and how nasty the political landscape can be. The cutthroat world of politics keeps the viewers thoroughly engaged even when the proceedings become predictable and slightly tedious.

The clinical way Rani Bharati goes about her revenge and completes her education has been well presented.

On the flipside, some twists suffer from weak writing and the middle portions could have done with more thrills.

Huma Quereshi steals the show

Huma Quereshi successfully takes off from where she left off in the first two seasons. She nails the accent and portrays the inner strength of a woman who has come a long way from being called a misfit.

Amit Sial continues to be wickedly charming showcasing the shrewd demeanour of Naveen Kumar perfectly.

The other supporting characters played by Vineet Kumar and Dibyendu Bhattacharya are also in fine form.

Rohit Sharma’s music and Mangesh Dhadke’s background score add another layer to the show.

The song “Kaun Bola Ban Hai” particularly deserves a mention for its satirical tone about the supposed alcohol ban.

Verdict

Maharani Season 3 is a must-watch for those who like political thrillers.

It is streaming on Sony Liv.

https://thesouthfirst.com/entertainment/maharani-season-3-web-series-review-a-gripping-tale-of-politics-and-revenge/

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Showtime: An Entertaining But A Clichéd Take On The Inner Workings Of The Film Industry

Emraan Hashmi has always worked best when playing characters with grey areas and ‘Showtime’ is one more example of that.
  • Main Cast: Emraan Hashmi, Mahima Makwana, Rajeev Khandewal, Mouni Roy, Shriya Saran, and Naseerudin Shah
  • Director: Mihar Desai and Archit Kumar
  • Producer: Karan Johar, Apoorva Mehta, Somen Mishra, and Mihir Desai
  • Music Director: Anand Bhaskar
  • Cinematography: Vivek Shah
  • Genre: Drama
  • Episodes: 4
  • Published in: Southfirst

The story of Showtime has an outlandish but interesting premise.

Raghu Khanna (Emraan Hashmi) is the heir apparent of a studio named Viktory, started by his father Viktor Khanna (Naseeruddin Shah).

The son and father have very different approaches towards filmmaking and the movie business. As a result, they are constantly at loggerheads.

Raghu’s latest production is Pyaar Dangerous. Raghu tries to bribe critics to give good reviews.

A critic of the news samachar is unwell therefore he asks the junior Mahika Nandy (Mahima Makwana) to review the film and say only positive stuff.

Emraan Hashmi in ‘Showtime’. (X)

Raghu’s aide Ziko (Gurpreet Saini) even gifts her the latest smartphone. But on TV, Mahika brutally blasts the film adding that she was given a bribe for a positive review. The review and Mahika’s confession go viral and she loses her job.

But that very night, Viktor Khanna invites Mahika to his home, where they have a heart-to-heart conversation. Mahika expresses her wish for Viktory Studios to return to the heartfelt films they used to make.

After a few hours, Viktor passes away and things take a ludicrous turn when it is revealed that Mahika is Viktor’s granddaughter.

Naturally, Raghu gets the shock of his life but things don’t end there.

The lawyers read out Viktor’s will, which says that the ownership of Viktory Studios has been handed over to the granddaughter.

This changes the lives of Raghu and Mahika forever. Nothing more can be revealed as numerous parallel subplots are integrated into the main story.

Analysis

Showtime works best when it focuses on the characters of Emraan Hashmi and Mahima Makwana.

The interpersonal dynamics and how Mahika takes on the big challenges after the initial shock give the show some of its best moments.

Emraan Hashmi has always worked best when playing characters with grey areas and Showtime is one more example of that.

His Raghu Khanna is supremely brash, hurting people close to him like his love interest Mouni Roy who also plays an item dancer with aspirations of becoming a heroine.

But beneath the brashness, there is also a vulnerability to him that comes through strongly.

Performances

Mahima Makwana in ‘Showtime’. (X)

Emraan Hashmi does a brilliant job of portraying the different shades.

Mahima Makwana also does well in showcasing the switch of a Mahika Nandy from a regular girl to an assertive boss lady.

Among the supporting characters, Rajeev Khandelwal makes the biggest impact. He plays an obnoxious superstar who outlives his stardom but continues to throw tantrums. The actor has a blast in portraying the eccentricities.

Showtime also tackles some important questions regarding South Cinema Vs Bollywood and what should be prioritised more — script or superstars.

What doesn’t work for Showtime is the overtop and formulaic approach taken by the directors.

Directors Mihir Desai and Archit Kumar try to merge real with reel ageing superstars losing touch with reality, and sexy item girls struggling to make a mark as actresses. But this showcase of Bollywood’s dark side offers nothing particularly new.

Also, many actors have been woefully underutilised. These include Naseerudin Shah and Mouni Roy.

Final take

Showtime can be watched if you like some harmless fun and Emraan Hashmi’s acting.

https://thesouthfirst.com/entertainment/showtime-webseries-review-an-entertaining-but-a-cliched-take-on-the-inner-workings-of-the-film-industry/

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Shaitaan: A Chilling Atmospheric Horror-Thriller With A Delightfully Deranged Madhavan

Despite some hiccups in the second half, ‘Shaitaan’ is a welcome return to form for Vikas Bahl after the atrocious ‘Ganapath’.
  • Main Cast: Ajay Devgn, R Madhavan, Jyothika Saravanan, Jangki Bodiwala, and Anngad Raaj
  • Director: Vikas Bahl
  • Producer: Ajay Devgn, Jyoti Deshpande, and Abhishek Pathak
  • Music Director: Amit Trivedi
  • Cinematography: Sudhakar Reddy Yakkanti
  • Run time: 2 hours 12 minutes
  • Genre: Horror-Thriller
  • Rating: 3.5/5
  • Published in: Southfirst

Vikas Bahl has had a roller coaster of a journey starting with Chillar Party (2011), which he directed along with Nitesh Tiwari.

His second film Queen (2013) was much acclaimed for its progressive story along with getting good box office numbers.

Shaandaar (2015) was unfortunately a massive flop, but Vikas struck back with Super 30 (2019). It was a moving drama about the mathematics teacher-educator Anand Kumar (played by Hrithik Roshan). Despite some flaws, Super 30 was a well-made inspirational drama that talked about how education should be a level playing field.

Later, though Vikas Bahl went through a rough patch with Goodbye (2022) and Ganapath (2023), Ganapath ended up being a tough one to endure for both critics and audiences.

But with his latest Shaitaan, the filmmaker has made a good comeback.

Shaitaan is based on the Gujarati film Vash (2023). Since I have not seen that, this will be a standalone review.

Combining horror with suspense is not an easy task given the clichés of the Indian horror genre. But thankfully here there are no creaking doors. The scares mostly come from the sinister plans of the antagonist.

Synopsis

Ajay Devgn in ‘Shaitaan’. (X)

Shaitaan begins with the introduction of Kabir (Ajay Devgn). His family consists of Jyothi (Jyothika), their teenage daughter Jahnavi (Janki Bodiwala) and their son Dhruv (Anngad Raaj).

The first 10 to 15 minutes are devoted to the family moments.

Soon, everything becomes topsy-turvy with the arrival of Vanraj Kshyap (R Madhavan), an expert hypnotist who puts Jahnavi completely under his spell. She obeys every command he gives.

Soon, the commands of Vanraj become increasingly dangerous to both Jahnavi and the rest of her family.

Kabir and Jyothi are helpless in front of this demonic man.

The rest of the story unravels the mystery behind what makes Vanraj so powerful and what are his motives in wreaking havoc. But the most important question is whether Kabir and his wife can save their children from this highly dangerous tormentor.

Analysis

For a film of this nature, building an effective atmosphere of dread is of utmost importance. Director Vikas Bahl scores big time in creating a sense of unease with the help of his cinematographer Sudhakar Reddy Yakkanti.

Amit Trivedi’s background music also helps big time, particularly in the portions where Vanaraj talks about his sinister plans.

Vanraj wants to control young women and make sure that they do not become rebels with a combination of black magic and science.

On occasions, the viewers are reminded of the Pied Piper story—a man who lures all the children to seek revenge on the mayor for not giving him gold as promised.

Coming back to the movie, the second half of Shaaitaan does lose its grip with some monotonous moments.

The plot is paper thin and this also contributes to some of the dogginess. Also, the psyche behind Vanraj doing these things could have been explored with more heft. But still, they do not become a major problem.

Brilliant cast

Madhavan in ‘Shaitaan’. (X)

What also makes Shaitaan work is its brilliant cast.

Ajay Devgn, as Kabir, is back in the Drishyam mode playing a determined father wanting to save his family. In spite of the obvious similarities, the actor does a terrific job of showcasing both the vulnerability and determination of Kabir.

There are many occasions where Kabir comes across as helpless and it is in these portions that Ajay particularly shines.

Jyothika is also in fine form. She plays her part with utmost honesty. A particular mention must be made of her combat scene with R Madhavan.

Janki Bodiwala is also pitch-perfect. She laughs, cries, and dances as required with absolute finesse.

Anngad Raaj is cute and his scenes with Ajay are quite adorable.

Last but not least, Madhavan is simply outstanding. As Vanaraj, the actor showcases a vastly different facet of his that audiences haven’t seen before.

Sure, he did play a grey character in Mani Ratnam’s Yuva (2004), but this performance is something else. He does a first-class job of portraying the sadistic and sinister nature of Vanraj.

The actor has had a blast in exploring the mean streak of his role.

Final take

Shaitaan is a good watch for those who are interested in stories that combine horror with suspense. The movie is also a treat for Madhavan’s fans.

https://thesouthfirst.com/entertainment/shaitaan-hindi-movie-review/

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Maamla Legal Hai: An Entertaining Legal Satire Led By A Delightful Ravi Kishan

At times the series feels like an OTT version of Subhash Kapoor’s ‘Jolly LLB’. But still, this Rahul Pandey’s directorial is very much its own best.
  • Main Cast: Ravi Kishan, Nidhi Bist, Yashpal Sharma, and Naila Grewal
  • Director: Rahul Pandey
  • Producer: Amit Golani and Biswapati Sarkar
  • Music Director: Nilotpal Bora
  • Cinematography: Milind Jog
  • Genre: Comedy, Drama
  • Rating: 3.5/5
  • Episodes: 8
  • Published in: Southfirst

Subjects revolving around courtrooms and lawyers always make for an interesting subject. Reason: They represent a form of hope for a common man as Saurabh Shukla’s judge Sunderlal Tripathi says at an important juncture in Jolly LLB 2 (2017).

Subhash Kapoor’s Jolly LLB films engaged the audience thoroughly with witty dialogues and touched upon different social topics.

For example, Jolly LLB (2013) was about a hit-and-run case. It was about the death of some labourers who were run over by a land cruiser while sleeping on the footpath.

Jolly LLB 2 was related to a fake encounter. To begin with, in both films, the protagonists are not very likeable advocates. But they grow a conscience as the plot moves along.

Synopsis

Now, you have Maamla Legal Hai set in the district court of Patparganj. The eight episodes portray a variety of eccentric cases inspired by real-life stories.

VD Tyagi (Ravi Kishan) is a street-smart advocate who aspires to become the bar association president. Tyagi excels at finding loopholes in the legal system to win cases.

He has two assistants who are hilariously nicknamed as law and order.

Sujatha (Nidhi Bhist) dreams of having her chamber one day.

Ravi Kishan in ‘Maamla Legal Hai’. (X)

Vishwas Pandey (Anant V Joshi) is the court manager.

Ananya Shroff (Naila Grewal) is a Harvard-returned advocate with dreams of providing legal aid to the underserved. However, she faces a harsh reality in Patparganj.

In simple terms, the story deals with the wacky nature of the district court and some small-town problems.

Director Rahul Randey deserves distinction marks for how he packages serious issues while maintaining the entertainment quotient.

He touches upon how the strikes of lawyers affect the cases, the connubial rights of prisoners, etc.

Among the many bizarre cases, my favourite one is that of a husband who wants a divorce because his wife does not feel shy during their wedding night.

This may be as unbelievable but at the end of the episode, you have a newspaper clipping showing how this had really happened.

The web series also makes a strong statement on how law and justice are two very different beasts; they should be the same in the ideal world though. This comes out firmly in an episode where Naila Grewal’s character faces a moral predicament while tackling a case.

Well-written characters

Naila Grewal in ‘Maamla Legal Hai’. (X)

The characters have been written with a lot of care. A good example of nuanced writing is Ananya’s constant dilemma regarding her idealism that clashes with pragmatism.

Though she is well-versed in law, there are junctures where the reality sets in and Ananya‘s desire to deliver justice takes a step back.

Similarly, Ravi Kishan’s VD Tyagi may come across as very cunning but he has his humanity, which comes out strongly in a particular episode.

About the performances, Ravi Kishan leads the ensemble with his brilliant performance. The actor does a swell job of portraying the transformation that his character goes through, from being shrewd he comes to understand the power bestowed on him.

However, the complicated relationship of Tyagi with his father needed to be better explored.

At times, the show gets into a melodramatic zone, which doesn’t gel with the overall tonality.

Among the other actors, Nidhi Bisht also makes a big impact with her comic timing and matches up to Ravi Kishan.

Naila Grewal, as an outsider to this bizarre world, also fares well in portraying the existential crisis.

Anant V Joshi’s character is pretty similar to the one in 12th Fail (2023), but he is still fine in what he does.

Verdict

Maamla Legal Hai is a hilarious satire that needs to be watched for its social commentary and striking performances.

https://thesouthfirst.com/entertainment/maamla-legal-hai-web-series-review/

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Laapataa Ladies: A Well-Made Feministic Tale That Shouldn’t Be Missed

After making a respectable debut with ‘Dhobhi Ghat’, Kiran Rao goes a step ahead with this ‘Laapataa Ladies’— a perfect example of feel-good storytelling with solid content.
  • Main Cast: Nitanshi Goel, Pratibha Ranta, Sparsh Shrivastava, Ravi Kishan, and Chhaya Kadam
  • Director: Kiran Rao
  • Producer: Kiran Rao and Aamir Khan
  • Music Director: Ram Sampath
  • Cinematography: Vikash Nowlakha
  • Genre: Comedy – Drama
  • Rating: 4/5
  • Published in: Southfirst

There are two ways of making a feminist movie. One is the heavy drama mode where everything is amped-up and the other is feel-good storytelling where the focus lies on subtlety without compromising on the core.

Kiran Rao’s Laapataa Ladies belongs to the second category.

On more than one occasion, the film feels like a warm hug.

Synopsis

The story of Laapataa Ladies is about two newlywed brides — Phool Kumari (Nitanshi Goel) and Pushpa Rani/Jaya (Pratibha Ranta).

Sparsh Shrivastava plays Deepak Kumar, the husband of Phool Kumari. On the way back from marriage, Deepak and Phool go through multiple modes of transportation — from a scooter and bus to a train.

A still from the film ‘Laapataa Ladies’. (X)

His friends and family eagerly wait to welcome the new bride. Things take a drastic turn as soon as the bride is unveiled. It turns out that Deepak mistakingly brings another man’s bride instead of his.

This is all because of the multiple newly-married women onboard the train in the same costume.

Naturally, Deepak’s world turns upside down with his dreams of married life crashing.

After the initial shock, Deepak decides to look for his bride along with finding the whereabouts of Pushpa Rani’s family.

Adding to this already chaotic situation is the dubious local cop (Ravi Kishan knocking it out of the park again with his second release of the week).

Director Kiran Rao and her writers have touched upon heavy topics like the importance of education, self-reliance, and the unnecessary practices and diktats women are subjected to.

But at no point does the film feel heavy-handed, this is because of Kiran Rao’s treatment apart from the sharp writing.

Best parts

‘Laapataa Ladies’ is a comedy-drama. (X)

My favourite portions in the film are those involving Phool and her interactions with a street vendor, a beggar, and a chai wali.

There is a unique bond that Phool forms with an elderly lady named Manju Maai (a delightful Chhaya Kadam).

Manju Maai was a victim of domestic abuse. Her husband used to drink alcohol and physically abuse her. His justification is that violence should be allowed in love as it is a way of showing affection, this seems to be an indirect attack on Sandeep Reddy Vanga’s Arjun Reddy (2016) and the recent Animal (2023), although it could be unintentional.

Back to Laapaata Ladies, Phool learns important things from Manju Maai and in the process, she becomes self-reliant. There is so much warmth in the way Phool forms a bond with the three, it is a delight to watch.

My other favourite portions of the film are the ones involving Pushpa Rani/Jaya. There is a certain mystery involving her character, she is more than happy to stay away from the person she is married to.

Pushpa Rani develops a strong friendship with Deepak’s Bhabhi and encourages the women to find their voice.

She also plays an important role in Deepak eventually finding Phool.

Performances

Laapaata Ladies has many scenes of rib-tickling humour from the fantastic Ravi Kishan. His comic timing coupled with the dialect is top-notch.

At no point, did his performance come across as hammy. In simple terms, Ravi Kishan has an absolute blast as a cop who loves taking bribes but still has a conscience.

Both Nitanshi Goel and Pratibha Ranta are wonderful in their respective roles.

Sparsh Srivastava as Deepak also sparkles in his well-written role. He brings out the sensitivity of Deepak in a pitch-perfect manner.

Ram Sampath’s music is in perfect sync with the film’s nature. Sajni sung by Arjit Singh is a soothing number as is “Dheeme Dheeme” sung by Shreya Ghoshal

The one slight flaw of Laapataa Ladies is a minor subplot involving a crooked politician. It has been patchily written.

Final take

Laapataa Ladies is a small movie with a big heart, highly recommended.

https://thesouthfirst.com/entertainment/laapataa-ladies-hindi-movie-review/

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Social Dramas Shift From Theatres To OTT Space

A rundown of how gritty stories are of late being made more for the OTT platforms, both as films and web series.
Published in: Southfirst

The COVID-19 pandemic has resulted in many changes in the film industry. The uncertainty of what works and what doesn’t work on the big screen has grown bigger than before.

The demand seems to be more for larger-than-life entertainment — whether it is Pushpa: The Rise (2021), RRR (2022), Pathaan (2022), Jawan (2023), or Rocky Aur Rani Kii Prem Kahaani (2023).

Sure, there are also the likes of Vikrant Massey’s 12th Fail (2023), which sprung a huge surprise. But many films which did well since COVID-19 are full of action and heroism.

Of course, movies with messages when mixed with entertainment — social dramas — do reach more audiences.

For example, in Shah Rukh Khan’s Jawan, director Atlee touched upon some pressing grassroots issues like poor facilities in government hospitals and farmer suicides among others.

In Rocky Aur Rani Kii Prem Kahaani — a mainstream love story, director Karan Johar made some important points on inclusivity, the side effects of toxic masculinity, etc.

However, commercial trappings don’t always gel with issue-based films. For example, take Bheed (2023). It was mainly a story about the mass migration of workers during the COVID-19 lockdowns.

Director Anubhav Sinha chose to insert a love story which didn’t gel in the overall tonality of Bheed. It was the commercial elements like these that hampered the film in a big way.

Now, let us look at the social dramas streaming on the OTT platforms:

OTT space sees influx of social dramas

After the advent of OTT, many social issues have come to light on screen.

For example, Manoj Bajpayee’s Sirf Ek Bandaa Kaafi Hai (2023) was a legal drama based on the trial of Asaram Bapu who raped a minor. This movie garnered a lot of acclaim for the realistic portrayal of the courtroom along with Manoj Bajpayee’s performance.

Pankaj Tripathi’s Kaagaz (2021) was about the struggle of a farmer who was declared dead in official papers. This social drama got decent reviews with particular praise for Pankaj Tripathi’s performance as a common man.

Vidya Balan’s Sherni (2021), again a social drama, dealt with the protection of wildlife which includes saving tigers.

Now, even the big production houses and stars have made a foray into OTT. I will start with King Khan.

Shah Rukh Khan’s Red Chillies made a few films on some important topics — Love Hostel (2022), Darlings (2022), and Bhakshak (2024). Darlings is a co-production of Alia and Shah Rukh Khan.

Love Hostel

A poster of the series ‘Love Hostel’. (X)

Vikrant Massey and Sanya Malhotra’s Love Hostel was set amidst the background of families and Khap panchayats resorting to honour killings.

Sanya Malhotra played a Hindu girl named Jyothi in it, while Vikrant Massey played a Muslim named Ahmad. They stay in a protection home after marrying without the consent of their respective families, but this protection home does not guarantee their safety in any way.

Bobby Deol as Dagar is seen in the role of a ruthless mercenary who is hired to kill these young lovers.

Director Shankar Raman made this chilling film that questioned the self-appointed custodians of society.

The subject of Love Hostel isn’t particularly novel but what made this film click was the taut narration coupled with the trio of Vikrant Massey, Sanya Malhotra and Bobby Deol.

As the ruthless mercenary, Bobby evoked fear with just his demeanour. Dagar is someone who believes that his actions are necessary to keep the social fabric intact and the actor got the nuances of the character spot on.

Vikrant and Sanya as young lovers also made a striking impact; they aced the dialect apart from sharing a wonderful chemistry.

Bhakshak

‘Bhakshak’ on Netflix. (X)

Bhakshak, directed by Pulkit, was based on the real-life incidents of sexual abuse that happened in Bihar’s Muzaffarpur shelter home.

Bhumi Pednekar played the role of a small-time independent journalist who wants to bring out the reality of this shelter home.

In the recent past, the portrayal of journalists in movies has been quite objectionable. But here, the director did an authentic job of depicting journalism and journalists.

The scenes of sexual exploitation were also shown with the required sensitivity, never bordering on exaggeration.

Bhumi Pednekar aced her role as did Sanjay Mishra and Aditya Srivastava, among others.

Darlings

A poster of the film ‘Darlings’. (X)

Jasmeet K Reen’s Darlings is a dark comedy/thriller about two Muslim women; Alia Bhatt as Badrunissa—the daughter and Shefali Shah as Shamshunissa—the mother.

Badrunissa faces both physical and emotional abuse from her husband Hamza (a scary Vijay Varma) but is always hopeful that he will change.

Shefali Shah’s Shamshunissa is more practical as she already experienced abuse from her spouse.

Darlings does have tonal issues in the second half but for a debut director Jasmeet K Reen did a good job in showcasing the unequal power structure of marriage and also the usage of the bustling chawl (lower middle class colony) which became a character in itself.

After Darlings, Alia Bhatt co-produced Poacher, a web show on another important social issue, which is about the poaching of elephants.

Richie Mehta is the director. His follow-up to Delhi Crime works as both an investigative thriller and human drama. It makes the viewers do some serious soul-searching about the need for peaceful co-existence between man and nature.

The Railway Men

Stills from the series ‘The Railway Men’. (X)

Yash Raj Films is mostly known for producing big-scale entertainers. But, of late, it came up with a web show on a social issue — The Railway Men.

Of course, they have produced films like Chak De India (2007), Rocket Singh: Salesman of the Year (2009), etc. However, The Railway Men, produced by Aditya Chopra is a different entity altogether, as the series is based on the sensitive subject of the Bhopal gas tragedy.

Shiv Rawail made his debut as a writer cum director with this one. The debutant focused his lens on the little-known heroes of the Indian Railway who put their lives at stake to save thousands of people from the lethal gas.

The subject of The Railway Men is not an easy one to handle but Shiv Rawail showed a lot of maturity aided by some powerful performances from Kay Kay Menon and Babil Khan, among others.

More social dramas

Director-producer Karan Johar also sprang a pleasant surprise on the eve of Valentine’s Day with the docu-series Love Storiyaan (2024).

Love Storiyaan (2023) focused on real-life couples across age groups and states narrating their stories of resilience and strength. The narratives could have easily fit into a movie but he chose to do a docu-series.

Arjun Varain Singh’s Kho Gaye Hum Kahan (2023) is a friendship-based story on the loneliness of Gen Z in the digital era.

Zoya Akhtar also is a commercially successful director but she chose Kho Gaye Hum Kahan‘s story for the OTT space.

This increase in social issues in OTT platforms has its positives as more authentic presentation is possible. But at the same time, there is also the danger of theatrical experience being reduced to just larger-than-life entertainment stories.

https://thesouthfirst.com/entertainment/trend-alert-social-dramas-shift-from-theatres-to-ott-space/

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Poacher: This Gripping Ecological Drama Thriller Is A Reminder Of The Need For Peaceful Coexistence Between Man And Nature

Richie Mehta makes a scathing commentary on the human ambition of wanting to dominate every aspect of the world and its repercussions.
Poacher (Malayalam)
  • Main Cast: Nimisha Sajayan, Roshan Mathew, Dibyendu Bhattacharya, and Ankith Madhav
  • Director: Richie Mehta
  • Producer: Alia Bhatt and Prerna Singh
  • Music Director: Andrew Lockington
  • Cinematography: Johan Huerlin Aidt
  • Genre: Action Thriller
  • Episodes: 8
  • Rating: 4/5
  • First Published in: Southfirst

Richie Mehta’s Delhi Crime (2019 and 2022) is easily one of the best web series that has come out in the last decade. Both seasons were gripping, not just as an investigative thriller, but the human drama is equally powerful.

Not surprisingly, Shefali Shah got a lot of acclaim for her brilliant performance. The senior actor got a new lease of life with that show.

Now, the director is back with another binge-worthy show. This time around, Richie Mehta focused his lens on the burning issue of poaching (hunting animals illegally) — in this case, the ivory of elephants being smuggled.

The story of Poacher is based on real-life incidents that took place in Kerala.

Through the eight episodes, Richie Mehta makes a scathing commentary on the human ambition of wanting to dominate every aspect of the world and the repercussions of that on wildlife.

Synopsis

At the heart of its story are some determined forest officers led by Mala (Nimisha Sajayan). Mala’s life mission is to ensure that the poachers are apprehended and paid for their crimes.

A still from the series ‘Poacher’. (X)

She has a deep bond with the forest and the wildlife. She is emotionally driven for a reason, which is better understood by watching the web show rather than saying it.

And then, there are Alan (Roshan Mathew) and Neel (Dibyendu Bhattacharya).

These three officers and a few more people lead an extensive investigation from Kerala to Delhi.

The human–animal conflict and the need for wildlife conversation is a critical socio-political issue that concerns the lives of not just animals but also human beings.

Richie Mehta does an amazing job of making the viewers feel empathetic towards the plight of these majestic creatures.

Running parallel to the investigative drama is a much-needed perspective from the animal kingdom. Some scenes showcase the retaliation of animals.

Through these portions, the director makes the viewers contemplate deeply—even those not passionately interested in wildlife about the potential consequences, if the roles were to be reversed.

Many important questions have been raised about the dynamics between humans and animals.

Analysis

Though primarily a Malayalam web series, there are also segments where the actors speak in Hindi, English and a bit of Bengali. But this switch does not hamper the flow thanks to the captivating narration and the brilliant performances.

Nimisha Sajayan in ‘Poacher’. (X)

This is the second web series of this year after Abhishek Chaubey’s Killer Soup, where the characters alternate between different languages. This is indeed a good trend.

Coming back to Poacher, Richie Mehta also does a wonderful job of exploring the intricate world of poaching.

He talks about how poachers are just pawns in the bigger scheme of things and how the bigger evils are the wealthy dealers and the monstrous human beings who want to dominate the food chain.

Poacher is also technically solid, with particular mention of the cinematography of Johan Huerlin. He does a swell job of capturing both the beauty and the terror of the events happening in the forests of Kerala.

Although Poacher is mostly gripping, some of the climatic scenes could have been done with a tighter edit.

The performances across the board are simply fantastic.

Nimisha Sajayan delivers a spectacular performance by effortlessly conveying the grit and turmoil of Mala.

After The Great Indian Kitchen (2021) and Chithha (2023), this is another powerhouse performance from this brilliant actor.

Roshan Mathew works a perfect foil by bringing in some much-needed lightness. He is very effective in bringing out the humour and sensitivity of Alan.

Dibyendu Bhattacharya’s performance is also top-notch. He brings out the hot-headedness of Neel without any hiccups.

The other supportive characters also shine in their respective parts.

Final take

Poacher is a must-watch on many counts. It is easily one of the best web shows you will find this year.

Richie Mehta did it again with a thought-provoking show, and Alia Bhatt consolidated her position as a quality producer.

https://thesouthfirst.com/entertainment/poacher-malayalam-web-series-review/

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Article 370: An Unabashed Glorification Of Governments Policies

In simple terms, ‘Article 370’ is about how Zooni and Rajeshwari play a big role in bringing the government’s efforts to fruit.
  • Main Cast: Yami Gautam, Priya Mani, Arun Govil, Iravati Harshe, Raj Zutshi, and Divya Seth Shah
  • Director: Aditya Suhas Jambhale
  • Producer: Jyoti Deshpande, Aditya Dhar, and Lokesh Dhar
  • Music Director: Shashwat Sachdev
  • Cinematography: Siddharth Deena Vasani
  • Genre: Political, Drama
  • Run Time: 2 Hours 40 Minutes
  • Rating: 2.5
  • Published in: Southfirst

In the last few years, there has been a disturbing trend of movies pandering to the ruling party — whether it is Vivek Ranjan Agnihotri’s The Kashmir Files (2022) or Sudipto Sen’s Kerala Story (2023).

The latest, Aditya Suhas Jambhale’s Article 370, perfectly fits into this category.

The film is divided into six chapters and moves between the timeline of 2015 and 2019.

Synopsis

Article 370 primarily follows the journey of two women. One is a Kashmiri intelligence officer Zooni Haksar (Yami Gautam).

She has a firebrand personality. Zooni doesn’t believe in following orders and goes more by instinct, much like the leading men do in these kinds of films.

She manages to capture and kill Burhan Wani. But this only leads her to be transferred to Delhi.

On the other end of the spectrum lies bureaucrat Rajeshwari (Priya Mani).

Rajeshwari is the exact opposite of Zooni in terms of temperament. Rajeshwari is as cool as a cucumber. She is a representative of the government’s efforts to revoke Article 370.

In simple terms, the story focuses on how Zooni and Rajeshwari play a role in bringing the government’s efforts to fruit.

A slow start

‘Article 370’ is a political drama. (X)

The first half of Article 370 is more about setting up the plot. Nothing much happens, and as viewers, you feel a certain amount of restlessness. But thankfully, the film does pick up speed around the interval point.

There are many thrilling moments in the second half where the audiences feel an adrenaline rush. A particular mention must be made of a battle sequence that takes place during a critical juncture. The action choreography here is top-notch, just like Uri: The Surgical Strike (2019).

Another USP of Article 370 is its two leading women. It is refreshing to see two female actors being the driving force of a story.

Yami Gautam delivers an intense performance. She nails the part of a hot-headed person who is also vulnerable.

Priya Mani’s performance, on the other hand, works as a perfect foil to the intensity of Yami. The actor underplays her role but still stands out.

The other supporting characters are fine, in their respective parts, with particular mention of Arun Govil as PM Narendra Modi.

The background score by Shashwat Sachdev also helps significantly make the second half more effective.

Politics of the film

A major problem with Article 370 is its depiction of the Kashmir politicians. They come across as more cartoonish villains rather than proper political personalities.

Throughout the movie, they are shown as greedy people who do nothing apart from scheming and creating paid stone pelters.

In contrast to this, Modi & Co are shown to be the only ones concerned about the welfare of the Kashmir state and its people.

Also, the voices of an ordinary Kashmiri are barely heard, except for one old man who is only seen lamenting against the existing leadership in the valley.

Verdict

Article 370 works perfectly if you are a devotee of Narendra Modi. But for the rest, it is a tough pill to swallow.

https://thesouthfirst.com/entertainment/article-370-movie-review/

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The triumph of ‘Hanu-Man’ amidst star-studded Sankranthi films…

Storywise, ‘Hanu-Man’ doesn’t boast of much novelty. It is a classic tale of good versus evil with the superhero tropes of Hollywood.
Published in: Southfirst

Much like Teja Sajja’s character Hanumanthu in the film, Hanu-Man is also an underdog in more ways than one.

Neither Prasanth Varma is a blockbuster director nor the leading man Teja Sajja. The young actor was still finding his footing as a commercial hero when the fantasy flick was released.

Sure, he was a part of the hugely successful film Oh! Baby (2019), but that was primarily Samantha and Lakshmi’s vehicle.

In such a scenario, Hanu-Man was up against Mahesh Babu, Venkatesh, and Nagarjuna — three big stars of Tollywood.

Guntur Kaaram (2024) was the reunion of Mahesh Babu and Trivikram. Saindhav (2024), on the other hand, was the 75th film of Venkatesh.

Saindhav had a massive pre-release buzz, and Venkatesh sounded very confident in his interviews and functions. Additionally, director Sailesh Kolanu of the successful HIT franchise was helming it.

Lastly, Naa Saami Ranga (2024) was expected to rake in good numbers given the rural atmospherics. Furthermore, Nagarjuna’s last two Sankranthi releases were commercially successful.

The USP of Hanu-Man

A poster of Teja Sajja’s ‘Hanu-Man’. (X)

Hanu-Man not only held its own among all four Sankranthi releases but also emerged as the biggest winner.

Storywise, Hanu-Man doesn’t boast of much novelty. It is a classic tale of good versus evil with the superhero tropes of Hollywood.

The protagonist of this tale is a small-time thief in a fictional village called Anjanadri, a village located miles away from urbanisation.

The protagonist here is the last person whom you would associate with having superhero powers.

What made Hanu-Man click was how Prasanth Varma weaved the elements of mythology in a contemporary setting. The amalgamation of devotion with the superhero elements made a perfect mix.

The transformation of Teja Sajja’s character was also done well, and the young actor pulled off the different shades with finesse.

Varalaxmi Sarathkumar, as Hanumanthu’s elder sister, was another big strength of the film.

The brother-sister bond gave the movie an emotional gravitas. Varalaxmi Sarathkumar also had her masala moment, which was a treat to watch.

Though the film’s budget doesn’t come anywhere close to Adipurush (2023), the special effects are far superior. These factors made Hanu-Man a big hit among all age groups.

Underwhelming performances

A poster of Mahesh Babu’s ‘Guntur Kaaram’. (X)

The other three Sankranthi releases underperformed for different reasons.

In the case of Guntur Kaaram, Trivikram’s favourite theme of discord in families and an estranged son fixing things backfired badly. Mahesh Babu had fun with his role but for the audiences, it was a slog for the most part.

The tone of Venkatesh’s Saindhav is similar to Lokesh Kanagaraj’s Leo (2023), a family man with a violent past.

A poster of Venkatesh’s ‘Saindhav’. (X)

Venkatesh works as a crane operator in the port city of Chandraprastha. Before taking up this job he was a member of a drug cartel.

Things take a drastic turn when his daughter is diagnosed with SMA (Spinal Muscular Atrophy). To survive, she needs urgent medical treatment that costs ₹17 crore.

Saindhav had all the elements needed for a solid action drama. Venkatesh, as the single father, also delivered a commendable performance and pulled off the action sequences with the required intensity.

But the film was not entirely satisfying for fans of the action genre. The big reason for that is the uneven screenplay coupled with the lack of attention-grabbing twists.

Nawazuddin Siddiqui played an eccentric antagonist with a mix of Hindi and Telugu dialogues. But the unhingedness of his character comes across as irritating.

Doesn’t hit the mark

A poster of Nagarjuna’s ‘Naa Saami Ranga’. (X)

Naa Saami Ranga, directed by Vijay Binni, is a decent entertainer, provided you are not looking for a lot.

The village atmospherics are good as are the performances, particularly of Allari Naresh.

But the sharp writing needed for a wholesome Sankranti film is missing. The portions of Nagarjuna with his love interest Varalakshmi (Ashika Ranganath) feel dated.

The friendship between Nagarjuna’s Kishtayya and Allari Naresh’s Anji needed to be etched better.

To conclude, Hanu-Man has once again proved why big stars are not always needed to draw the audience in huge numbers.

Sometimes, solid storytelling can transform an actor into a star!

https://thesouthfirst.com/entertainment/the-triumph-of-hanu-man-amidst-star-studded-sankranthi-films/

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Bhamakalapam 2: A Delicious Sequel With An ‘In-Form’ Priya Mani

Director Abhimanyu Tadimeti keeps the viewers thoroughly intrigued. The characterisation of Priya Mani’s Anupama continues to be a big highlight.
Bhamakalapam 2 (Telugu); Crime Thriller, 2 hours 8 minutes U/A
  • Main Cast: Priya Mani, Shranya Pradeep, Bramhaji, and Seerat Kapoor
  • Director: Abhimanyu Tadimeti
  • Producer: Sudheer Edara and Bhogavalli Bapineedu
  • Music Director: Prashanth V Vihari
  • Cinematography: Deepak Yaragera
  • Rating: 3.5
  • Published in: Southfirst

Bhamakalapam (2022), directed by Abhimanyu Tadimeti, was an engrossing thriller with elements of crime, greed, and religion.

The pivot of the first part was about an extremely valuable egg that is worth ₹200 crore. This egg is stolen by someone and gets lost again.

Priya Mani’s Anupama was a homemaker-cum-YouTuber who kept a sharp eye on the neighbourhood. In a way, she was the Sherlock Homes of her apartment.

Abhimanyu Tadimeti did a good job of building the mystery around the egg along with making a strong statement about finding god within you.

The first part was released in 2022 and now, you have the sequel after a gap of two years.

The second part begins with Anupama and her family shifting to a new place.

Synopsis

Priya Mani and Sharanya Pradeep in ‘Bhamakalapam 2’, a thriller. (X)

Anupama’s husband Mohan (Pradeep Rudra) asks her to not meddle in other people’s issues. Meanwhile, Anupama launches a restaurant with the revenue generated from YouTube.

She makes Shilpa (Sharanya Pradeep) her business partner.

Just when everything seems to be going well, the life of Anupama takes a drastic turn.

She unintentionally helps the police in catching a criminal while practising driving with the instructor next to her.

Bramhaji plays the teacher. He uses this incident to increase the popularity of his driving school.

The person gets out on bail and starts threatening Anupama. To get out of this mess, Anupama and Shilpa approach Sadanand (Anish Gurwara), who used to work as the head of Narcotics Control. However, this only results in the situation becoming messier.

A situation comes when Anupama has to steal an illustration of an adult male chicken worth a lot of money. She has no other option.

Additionally, Anupama and Shilpa are selected to participate in a major cooking competition. Adding to this mix are the new characters like Jubeda (Seerat Kapoor).

Playing to the strengths

A big strength of Bhamakalapam 2 is the jugulbandi between Priya Mani and Sharanya.

The actors take off effortlessly from where they left off in the first part. Their scenes together leave the viewers in splits.

Abhimanyu Tadimeti also does a good job of developing the new characters.

For example, the viewers are initially supposed to sympathise with the character of Sadanand, an outcast officer. But soon, that changes with his behaviour towards Anupama. His plans of stealing the valuable item and how he goes about it keep the viewers on the hooks.

Similarly, the track of Seerat Kapoor, a former TV actor, has also been well-written. The character comes with grey shades that go beyond just her glamorous looks.

The portions of the heist mixed with the cooking competition are another highlight of the film.

A few minutes after the cooking competition begins, Anupama deliberately cuts her finger as it is time to execute the heist plan.

While doing Sadanand’s job, she also gives cooking instructions to Shilpa through the second earphone.

A far-fetched heist

A still from the film ‘Bhamakalapam 2’. (X)

The heist scenes are far-fetched in nature, but what makes them work is the handling of Abhimanyu Tadimeti.

Pre-climax also has a good twist regarding the illustration of the adult male chicken, but the subsequent sequence is not entirely satisfactory.

Almost every character has a gun in their hands, and the shooting scenes don’t add much to the narrative.

Also, the eventual fate of this adult male chicken goes out of the window. The director should have clarified this.

However, Abhimanyu Tadimeti does deserve credit for setting up a good base for part 3.

Priya Mani is once again spot-on in the title role. She portrays the mental strength of Anupama with absolute finesse.

Priya Mani is seen doing some action, and the actor excels in that, too.

Sharanya Pradeep raises many chuckles, particularly in the scenes where Shilpa has to cook solo.

Bramhaji, as the driving instructor, has a brief presence, but he is an absolute riot.

The rest of the actors are fine in their respective parts.

Final take

Bhamakalapam 2 makes the viewers eager for the third part.

It is streaming on Aha Video.

https://thesouthfirst.com/entertainment/bhamakalapam-2-movie-review/