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December 29, 2023November 28, 2024

Most Impactful Hindi Web Series Of 2023

A good thing about these web series is several of them have left a huge impression in the minds and hearts of the audiences.

In the last few years, the number of web series in Hindi has been on the rise, particularly after the advent of mainstream production houses in the OTT space.

For example, YRF Chief Aditya Chopra forayed into the digital space in 2023 with the impactful human drama The Railway Men, based on the Bhopal gas tragedy.

First-time director Shiv Rawail had a difficult subject to deal with given the sensitivity of the issue. However, the newbie more than rose to the challenge. He didn’t shy away from addressing the moral corruption within the political landscape of that period.

Zoya Akhtar, of course, created her own stamp in the OTT space with the two seasons of Made in Heaven and Dahaad.

Similarly, acclaimed director Neeraj Pandey struck gold with the web series Special OPS and The Freelancer (though he is only the creator and not the director of The Freelancer his imprint is visible).

A good thing about these web series is several of them have left a huge impression in the minds and hearts of the audiences.

Kaala Paani, directed by the duo of Sameer Saxena and Amit Golani, was a gripping dystopian drama set in the backdrop of a mysterious disease in the Andaman and Nicobar Islands.

The show dealt with various themes like environmental exploitation and the harmonious relationship that indigenous people share with nature. It did suffer from pacing issues but still, it was gripping enough.

The ensemble cast led by Mona Singh also delivered brilliant performances. For Mona Singh, it was a double whammy after her impactful turn in Made in Heaven Season 2.

Similarly, director duo Prashanth Nair and Randeep Jha also delivered an unforgettable tale of courage and resilience Trial by Fire based on a real-life story.

After a long gap, Abhay Deol did some of his work here as Shekhar Krishnamurthy. Much like the other Deols — Dharmendra, Sunny, and Bobby Abhay — also rocked this year but in the digital format.

Now, let’s check the most impactful web series made this year in Hindi.

Made in Heaven Season 2

Contrary to the title Made in Heaven, there is nothing heavenly about how most of the marriages are portrayed in the two seasons. There were solid expectations from the second season, given how the first one was received.

Directors Zoya Akhtar and Neeraj Ghaywan among others not only delivered a solid follow-up but also pushed the envelope further in exposing the double standards and hypocrisies that dwell in our society through different weddings.

Just like the first season, here too, the social aspects came out strongly. Yes, the show could have been done with a crisper edit, but that didn’t diminish the impact of these stories.

Out of all the episodes, my two most favourite are the ones directed by Neeraj Ghaywan. One of them is about a successful author and Professor Pallavi Menke (Radhika Apte).

She is a Dalit Buddhist who asserts her Dalit identity at every step, including her wedding ceremony. Radhika Apte’s fiery performance coupled with Neeraj Ghaywan’s direction made this a punch-packed episode.

Another episode directed by Neeraj Ghaywan revolves around a man and a woman in their 50s having an extramarital affair without the knowledge of their respective spouses. Neelam Kothari and Samir Soni played Kriti and Gulshan respectively.

They were lovers while in college. This episode ends with Kriti taking a bold step that obviously doesn’t go down well with her children.

The performances across the board were first class with special mention to Radhika Apte and Mrunal Thakur in their extended special appearances.

Mrunal played a beauty queen struggling in an abusive relationship. The actress did a wonderful job, particularly in the breakdown scenes.

Dahaad

Dahaad directed by Reema Kagti and Ruchika Oberoi was more than a police procedural about a serial killer.

Some important social issues were also addressed in a hard-hitting manner.

Zoya Akhtar wrote the screenplay for Dahaad. For those who are not aware, Dahaad is inspired by the story of a real-life serial killer Cyanide Mohan.

Vijay Varma as the serial killer was terrific. He played socially deviant roles in the past too, like Darlings. Here too, he makes a huge impact as Anand Swarnakar.

He appears to be a do-gooder on the surface but what he actually does is seduce women from the lower strata of society, particularly the daughters of those who cannot afford to give dowry.

He camouflages himself into a different person each time and seduces them with sweet talk. Once they fall for him and sex takes place, he believes they are characterless and deserve to die.

Vijay was simply fantastic both as a serial killer who has unresolved issues with his dad and also as the middle-class married man who pretends to be a great husband and father.

Another standout feature of Dahaad is the performance of Gulshan Deviah as Devilal Singh. Devilal Singh is not only a determined police officer but also weathers a big storm at home due to his progressive outlook.

Devilal wants his daughter to be independent and not confine herself to being a housewife in future. His wife doesn’t think that way and this results in a conflict between husband and wife.

His progressive outlook can also be seen in the few scenes he shares with his son. The best example of this is the moment when Devilal tells his son that it is natural to have curiosity about sex at his age but at the same time, he needs to be cautious in these matters.

Gulshan was absolutely magnetic in every scene.

Sonakshi Sinha was adequately fierce but her performance feels like a letdown in comparison to others.

Another area where Dahaad slightly faltered was its climax. The confrontation scene between Vijay and Sonakshi needed to be more powerful. Still, Dahaad was definitely a worthy roar.

Scoop

Hansal Mehta has made a niche for himself with stories based on real life, whether it is Shahid (2012), Aligarh (2015) or Omerta (2017).

His web series debut Scam 1992 (2020) was also based on the real-life rags-to-riches story of stockbroker Harshad Mehta.

Continuing this route, Hansal Mehta once again chose a real-life story for his second web series — Scoop. This time the focus was on a real-life investigative Journalist Jigna Vora.

Jigna Vora was falsely suspected of having a hand in the murder of another investigative journalist, Jaideb Sen (Prosenjit Chatterjee). As a result of her arrest, Jigna changes from being a confident journalist to a dejected woman. Karishma Tanna delivered a breakthrough performance in the titular role.

Apart from Karishma, Harman Baweja and Mohammed Zeeshan Ayyub were also competent in their respective parts.

In fact, the character of Mohammed Zeeshan Ayyub is also based on a real-life person named Hussain Zaidi. Hussain Zaidi is, of course, a prominent investigative journalist along with being a prolific writer. He was the mentor of the real-life Jigna.

A strong aspect of the Scoop web series is not only how Hansal Mehta depicted the challenge faced by these journalists in their everyday lives and the effect it has on them, but he also did a first-class job in showing the prejudices that female professionals face.

Hansal Mehta also deserves credit for how he fearlessly exposed the nexus between Dawood Ibrahim and the police.

Hussain Zaidi was also involved in this web series as part of research and his hand is clearly visible on many occasions.

Jubilee

After co-directing Sacred Games in 2018, Jubilee is the first full-fledged web series that Vikramaditya Motwane directed. He successfully transported the viewers into the 1940s.

The focus was the Hindi film industry of that time with the backdrop of the Independence movement and partition.

It is broadly inspired by the lives of prominent yesteryear film personalities Himanshu Rai and Devika Rani (Shrikant Roy and Sumitra Devi in the web series). Prosenjit Chatterjee and Aditi Rao Hydari played these parts.

The other prominent characters include Binod Das (Aparshakti Khurrana) Shrikant’s Man Friday who aspires to become a big actor. Niloufer Qureshi (Wamiqa Gabbi) is a courtesan.

Sidhant Gupta is Jay Khanna, a Pakistani refugee who is desperate to find a footing in Bombay. They both are street smart and end up striking a friendship with a common goal of making it big in the city and Roy Talkies.

Jubilee is a show that immerses the viewers from the first frame. The technical department deserves major kudos along with the director.

The art direction in particular is top-notch. The sets of Priti Gole and Yogesh Bansod are truly era-appropriate. Similarly, the cinematography of Pratik Shah enhances the overall experience.

What also made Jubilee binge-worthy was how Vikramaditya captured the turbulent political atmosphere and the effect it had on the film industry. Many scenes resonate with today’s times.

For example, there is a moment where Prosenjit Chatterji’s Shrikant Roy talks about the dangers of using cinema for propaganda. The characterisations were also layered particularly the ones essayed by Sidhant Gupta, Wamiqa Gabbi, and Aparshakti Khurrana.

Sidhant Gupta perfectly portrayed the pain and also the fighting spirit of a young man who has suddenly become a refugee in what was until recently his own country.

Wamiqa Gabbi’s Niloufer is someone who has big aspirations and to fulfil those dreams she takes all the possible routes. Some of it is questionable too but at the same time, Niloufer never comes across as compromising. Wamiqa effortlessly portrayed all these shades.

Aparshakti Khurrana took a huge U-turn from his regular comic roles. His character Binod Das has some grey shades which the actor pulled off with panache.

Certain passages in the show could have been done with a tighter edit.

Also, Aditi Rao Hydari’s Sumitra Devi needed to be more power-packed both in writing and performance. Her romantic scenes with Jamshed Khan (Nandish Singh Sandhu) with whom she tries to elope are loosely written.

Despite these flaws, Jubilee is still a very well-made web series.

Saas Bahu Aur Flamingo

Filmmaker Homi Adajania created a niche for himself with the likes of Being Cyrus (2005) and Finding Fanny (2014).

With Saas Bahu Aur Flamingo, the director made his digital debut. The show was produced by Dinesh Vijan under Maddock Films.

Dimple Kapadia in Saas Bahu Aur Flamingo — Dimple Kapadia in ‘Saas Bahu Aur Flamingo’. (X)

Saas Bahu Aur Flamingo was a formidable tale of four badass women set in the remote village of Hastinapur, somewhere in Rajasthan.

Savitri (Dimple Kapadia) is a matriarch who runs a company named “Rani Cooperative”. On the surface, this company produces various products but there is also a dark side.

Savitri’s team of women includes Kajal (Angira Dhar), Bijilee (Isha Talwar), and Shanta (Radhika Madan). While Shanta is the rebellious daughter Kajal and Bijilee are daughter-in-laws of Savitri.

These four together run drug business with a firm hand and live life on their terms. Deepak Dobriyal played the role of “The Monk” who is the arch-villain. Ashish Verma and Varun Mitra played the sons of Savitri.

Their characters have zero knowledge about the nature of their mother’s business. However, they soon come to know.

A strong aspect of Saas Bahu Aur Flamingo is how the director Homi Adajania makes Savitri’s palatial haveli a character in itself.

This is a place that is full of secrets. There was also an authenticity to the way the village was portrayed and the rustic makeover of these characters.

Saas Bahu Aur Flamingo is high on both thrills and emotions. There are many moments of tension and unpredictability as the plot thickens.

The emotional aspect can be particularly felt in the characterisation of Dimple Kapadia. Savitri is extremely brutal and menacing. At the same time, there is an emotional gravitas in the way her flashback is revealed.

Similarly, Isha Talwar’s Bijilee had the additional layer of homosexuality. Thankfully, this angle was dealt with sensitivity.

There are also some laugh-out-loud moments, thanks to Ashish Verma playing one of the sons. He brought in many chuckles with his understated humour.

Through his web series, the director also paid homage to both Mirch Masala (1987) and Bandit Queen (1994).

Talking about the performances, Dimple Kapadia led the ensemble by exuding both raw power and required vulnerability.

Angira Dhar and Isha Talwar also stood out with their power-packed performances.

The one slight flaw is the underutilisation of the legendary Naseeruddin Shah. The senior actor was a delight to watch in his portions. Still, the viewers feel that there could have been more of him.

Overall, this group of women gave a solid high to the viewers.

December 28, 2023November 15, 2024

Best Of Tollywood 2023: These Telugu Films Not Only Made Good Business But Also Won The Hearts Of Audiences With Their Content

In 2023, the Telugu film industry did not have any monstrous successes on the scale of RRR (2022) but there are many decent hits like Hi Nanna, Miss Shetty Mr Polishetty, Bhagavanth Kesari, and Virupaksha headlined by stars and tier-2 actors.

Small-budget films like Writer Padmabhushan and Balagam also struck a chord with audiences and critics alike.

Further, in 2023, several new and unconventional themes have been explored in Tollywood.

For example, Balagam was a human drama set against the backdrop of a funeral in rural Telangana. The practices of a specific region were portrayed with authenticity and this majorly contributed to the audience’s connection with the film.

Writer Padmabhushan delves into the struggles of both an aspiring writer and the unfulfilled aspiration of a housewife who wanted to become a writer. This is again a theme that we don’t see in Telugu cinema.

Miss Shetty Mr Polishetty explored the concept of a young man falling in love with an older woman in the backdrop of sperm donation.

Hi Nanna is about the trials of a single father and a complex love story that ends happily. Both these films worked well with their target audiences.

The biggest surprise of 2023 though is the transition of Balakrishna from a macho hero to a father hero. In Bhagavanth Kesari, the actor played a foster father with a salt-and-pepper look that went with his age.

Lastly, Virupaksha was a paranormal thriller that raised some important points about the prejudices and superstitious beliefs set against the backdrop of a particular village.

Now, let us delve a little more into these Tollywood releases:

Hi Nanna

First-time director Shouryuv delivered a riveting emotional saga about a single father and his daughter, along with a mother who battles her inner demons. Hi Nanna moves at a slow pace and is definitely not for those who prefer high-octane entertainers.

The trio of Nani, Baby Kiara, and Mrunal Thakur were simply splendid in their respective parts. For Nani, the role of Viraj is a cakewalk. But still, the actor was a delight to watch — whether it was the boyishness of a young lover or a determined single father in the later stages.

Baby Kiara more than held her portraying innocence and vulnerability like a pro.

Mrunal Thakur as Yashna/Varsha delivered a performance that was a step ahead of last year’s Sita Ramam (2022) in many ways.

On many occasions, she conveyed various feelings with just her expressive eyes, proving yet again why she is a bundle of talent.

Overall, Hi Nanna proved to be a perfect balm for those traumatised by the violent father-and-son dynamics of Animal.

Another strong aspect of Hi Nanna is the mostly soothing soundtrack of Hesham Abdul Wahab. My favourite songs in the album are “Samayama”, “Gaaju Bomma”, and “Ammaadi“.

The one song that sticks like a sore thumb though is “Odiyamma” featuring Shruti Haasan in an extended cameo, which the film could have easily done away with.

Sanu Varghese’s cinematography is icing on the cake, particularly the portions where Viraj talks about his wife in a fairy tale format.

Miss Shetty Mr Polishetty

P Mahesh Babu’s Miss Shetty Mr Polishetty is a romantic drama filled with many layers. On one hand, you have an older woman Anvitha (Anushka Shetty), who wants children but not through marriage. She wants to go for IVF, that too, by choosing her sperm donor.

On one level, the movie has a distinct hangover of Ayushmann Khurrana’s Vicky Donor (2012). But Miss Shetty Mr Polishetty is very much its beast.

A big strength of the film is how P Mahesh Babu has sketched his two protagonists.

Anvitha comes across as very stubborn, at times cold-hearted too, but having said that, the viewers also understand why she is the way she is. The inner trauma of Anvitha was both well-written and enacted.

The director was successful in creating an authentic middle-class milieu through the characters of Murali Sharma and Tulasi playing Siddhu’s (Naveen Polishetty’s) parents.

Miss Shetty Mr Polishetty benefitted immensely from its two primary actors — Anushka Shetty and Naveen Polishetty.

Anuskha fits perfectly into the part of an older woman who is scared of getting into relationships.

Naveen Polishetty was an absolute livewire. His real-life experience of doing standup comedy came very handy. However, he was equally good in the more dramatic portions.

Jayasudha had an extended cameo as Anvitha’s mother, and her fan act of Balakrishna raised some chuckles. A couple of flaws include the rushed transformation of Siddhu’s parents, particularly the father.

Also, the likes of Nassar could have been utilised better.

Bhagavanth Kesari

In Bhagavanth Kesari, director Anil Ravipudi successfully moved away from his regular style of filmmaking and delivered an emotional drama that showed a different side to Nandamuri Balakrishna. At the same time, he satisfied his hardcore fans.

Bhagavanth Kesari is primarily about an ex-police officer turned foster father to Vijji (Sreeleela).

As a young child, Vijji meets Bhagavanth in a jail where her father (R Sarathkumar) worked. Bhagavanth feels an emotional connection with the child from the beginning. After the sudden death of Vijji’s father, he takes over her responsibility.

The biggest USP of Bhagavanth Kesari is easily the emotional drama between Bhagavanth and Vijji. The thought processes of Bhagavanth and Vijji are vastly different from each other.

Vijji’s interests lie more in marrying the love of her life. Bhagavanth, on the other hand, wants to raise her like a lion. In that process, he pushes Vijji to do certain things.

In these portions, the attitude of Bhagavanth reminds the viewers of Aamir Khan’s Mahavir Singh Phogat in Dangal (2016).

Director Anil Ravipudi also made some important points about good and bad touch through a rousing monologue of Balakrishna.

Both Balakrishna and Sreeleela delivered powerful performances. Balakrishna’s command over the Telangana dialect was also commendable. Arjun Rampal made for a worthy opponent.

He brought in the right amount of swag and ruthlessness. It is not the most innovative character, but Arjun Rampal still made it work.

Virupaksha

Karthik Varma Dandu’s Virupaksha is a solid paranormal thriller that scores equally on both the atmosphere and the content.

The filmmaker proved to be a worthy successor to his master — the hugely successful filmmaker Sukumar, who is also the screenplay writer for this film.

best of tollywood 2023 telugu films virupaksha — Sai Dharam Tej’s ‘Virupaksha’. (X)

Virupaksha is one of those movies that instantly draws the viewers in with its ambience. It has some genuine jump scares; on more than one occasion, the viewers would want to close their eyes.

Sukumar’s screenplay is filled with many layers. He, along with his director, comes up with valid arguments against prejudices and superstitious beliefs that stem from ignorance.

They also deserve credit for not making their protagonist Surya (Sai Dharam Tej) larger than life. There are no unnecessary songs or comedy tracks that deviate the audience’s attention.

The twists and turns are engrossing till the end.

A special mention must be made of the climactic punch regarding the character of Samyukta Menon’s Nandini.

On the performance front, Sai Dharam Tej delivered a convincing performance. But it was Samyukta who stole the show with a complex character.

The supporting cast comprising Rajeev Kanakala, Ajay, and Sai Chand were also fine in their respective parts.

Hello Meera (Amazon Prime)

Hello Meera, directed by Srinivasu Kakarala, is a well-made experimental film.

The story revolves around a single character. Gargeyi Yellapragada played the titular role.

Meera is all set to marry a man called Kalyan and is busy finalising the last-minute formalities for her big day in Vijayawada.

A poster of the film Hello Meera — A poster of the film ‘Hello Meera’. (X)

She is on her way back home, but at that exact moment, a cop from Hyderabad calls her to report to a police station at the earliest. The reason is her ex-boyfriend had attempted suicide mentioning her name in the suicide note.

What follows is a story that is not just high on thrills but also dwells on the prejudices that a modern woman faces.

It is not an easy task for any filmmaker to write and engage the audience with a script with only a single actor at its centre. But Srinivasu Kakarala more than rose to the occasion. He ensured that the audience was invested in the plight of Meera. As viewers, you want her to come out safe from this ordeal.

Hello Meera has a series of voice conversations. At times, it does get monotonous, but these voice characters also have a variety.

For example, there is her conservative mother, a father who stands by his daughter, and a future partner who comes across as slightly insensitive.

Teja Paruchuri of Vismai Foods has given his voice to the future spouse.

Gargeyi Yellapragada as Meera is thoroughly impressive. Her reactions to different situations do not come across as staged at any point. She is supremely natural. Her character of a modern woman who is forthright and owns up to the mistakes she has made in the past is something that many modern women can relate to.

Saalar: Part 1-Ceasefire

Saalar: Part 1-Ceasefire directed by Prashanth Neel is an important movie for its leading man Prabhas. The Baahubali star has been struggling big time to maintain his image as a pan-India star.

Prabhas in Salaar — Prabhas in ‘Salaar’. (X)

Many thought that Om Raut’s Adipurush (2023) would bring back the lost glory, but nothing of that sort happened. In fact, the movie only added to Prabhas’ misery.

With Saalar: Part 1-Ceasefire, Prashanth Neel delivered a masala treat which should appeal to the fans of Prabhas.

The biggest strength of Saalar: Part 1-Ceasefire is the intense brotherhood showcased between Prabhas’ Deva and Prithviraj Sukumaran’s Vardha.

Deva’s intense affection for Vardha is visible right from the first scene, and this brotherhood only becomes stronger as the film goes on. Not surprisingly, Prabhas shares most sparks with Prithviraj.

Shruti Haasan played the role of Aadhya. She speaks in a heavily accented American accent, which is irritating, to say the least. Prabhas and Shruti do not have many scenes and aren’t romantically paired at least in this first part.

Prabhas doesn’t have many dialogues, but the actor is successful in portraying the raw aggression reminiscent of Chatrapathi (2005) days.

Prithviraj is also wonderful in portraying both the vulnerability and determination of a future successor caught in the power struggle.

The world of Saalar: Part 1-Ceasefire is similar to Game of Thrones in terms of drama and character dynamics.

Some of the themes explored by the film are the right to leadership and loyalty among others. Prashanth Neel has done a good job of depicting these themes.

Saalar: Part 1-Ceasefire ends with a cliffhanger that sets a good base for the second part.

Apart from an irritating Shruti Haasan, the KGF (2022) hangover does play a spoilsport. Also, the bloodshed in the second half gets too gory much like Animal which was also released in December.

December 27, 2023November 15, 2024

Kho Gaye Hum Kahan: A Well Made Slice Of Life Drama That Exposes The Dangers Of Social Media

Debut director Arjun Varain Singh gives an honest insight into the phenomenon of social media and how this made youth less communicative with each other.

Kho Gaye Hum Kahan (Hindi)
Starcast: Ananya Pandey, Siddanth Chaturvedi, Adarsh Gaurav, Kalki Kochelin, Anya Singh and others
Director and writer: Arjun Varain Singh
Additional writers: Zoya Akhtar, Reema Kagti and Yash Sahai
Music directors: Sachin- Jigar, Ankur Tewari and others
Production Companies: Excel Entertainment and Tiger Baby films
Genre: Drama
Running time: 2 hours and 14 minutes
Streaming site: Netflix

Since internet arrived there has been a huge bloom of social media in everyone’s life particularly the Gen Z. There is no denying that social media has its advantages; communication and spreading information has become easier whether it is for good or bad. But at the same time social media does come with its own share of negatives. There is an obsession to seek validification from complete strangers. Arjun Varain Singh uses the tonality of Dil Chahta Hai and Zindagi na milegi dobara to deliver a timely story that never becomes preachy. What also helps Kho Gaye Hum Kahan is its principal cast. The trio of Ananya Pandey, Siddhant Chaturvedi and Adarsh Gourav are in brilliant form.

***Ananya Pande, Siddhant Chaturvedi and Adarsh Gourav***

Kho Gaye Hum Kahan starts off with establishing the lifestyle of Ahana (Ananya Pandey), Imaad (Siddhant Chaturvedi) and Niel (Adarsh Gourav). They live in a spacious apartment in South Bombay with French windows. Everything looks sleek on the surface but as the story progresses we come to know more and more about these characters. One of the things that make this trio relatable is the side effects of social media.

They have their own share of trauma and insecurities. Their only way of dealing with it is seeking validation on social media. For example Imaad is a Tinder addict who has a major problem with long term relationships. He is a standup comedian who uses humour as a tool to camouflage his internal issues.

Seems like someone dissecting my life: Ananya Pande

Niel is a gym trainer who has dreams of starting his own one day. He doesn’t have the same financial safety as Ahana and Imaad. He constantly compares himself to others by looking at their social media posts and falls deeper into the abyss. He is also in a relationship with a social media influencer Lala (Anya Singh). Lala wants to keep her relationship with Niel a secret as she doesn’t want her ‘hot’ image to be disturbed.

Lastly there is Ahana who has the most stable job among the trio. Ahana is a marketing executive but she also comes with her own share of problems. These include both professional and personal. Her boyfriend suddenly decides to break from her with no valid reason. She retaliates by opening an instagram account and starts posting good pictures of herself presenting a happy image but deep down she just wants to gain back the attention of her ex boyfriend.

***Hone do jo hota hai, the song that involves almost every actor***

Things take a turn when three of them decide to start a business together. However their personal equations go through many upheavals that impact their professional moves.

A major strength of Kho Gaye Hum Kahan is the way the three protagonists have been written. All of them are flawed and there are times where they are outright unlikeable too. Still many youngsters will find a little bit of themselves in them. Thanks to Zoya Akhtar and Reema Kagti’s sensitive writing these characters never become one note or caricaturist.

Director Arjun Varain Singh also does a good job in weaving the angle of class disparity through the character of Niel. There are moments when Niel judges himself and feels like an odd man out.

Kho Gaye Hum Kahan also makes some important points on the lifestyle of social media influencers and how this has a severe affect on youngsters who want to ape them.

***Ananya Pande explores social media***

The film begins off as a breezy friendship drama but soon enters into a very different zone altogether. It becomes a relationship thriller about loneliness in digital age.

Fortunately the direction coupled with the writing makes this a smooth process. However there are a couple of aspects that could have done with more insight. One of them is the co living.

The performances of the central cast also help the film immensely. After 2022’s Gehraiyaan Ananya finally gets a part with some substance. The actress is pitch-perfect in portraying the vulnerability of Ahana. Ananya displays a huge level of maturity in handling different emotions. She also shares a good camaraderie with her two co stars particularly Siddhant. There is a breezy vibe between them that makes it instantly endearing to the audiences.

Siddanth Chaturvedi also gets into the skin of Imaad. He does a very good job in conveying the emptiness and the inner pain hiding behind the mask of standup comedy. Adarsh Gourav continues to show why he is a bundle of talent after White Tiger. He shines bright as the conflicted Niel who wants to hide his middle class upbringing.

Kalki Kochelin plays an older woman who gets involved with Imaad. She is a photographer who is seen doing a project on people who use Tinder. There is nothing to complain about her performance but the character could have done with more meat.

Kho Gaye Hum Kahan is both entertaining and also highly relatable. It should definitely be on your watch list.

December 27, 2023November 19, 2024

Best Of Bollywood Films 2023: An Overview Of Some Impactful Hindi Movies That Did Good Business

2023 has definitely been a far better year for Bollywood in more ways than one. Films like Pathaan, Jawan, Animal, and Gadar 2 have become major blockbusters.

In addition to being blockbusters, both Pathaan and Jawan opened to good reviews.

On the other hand, Animal had mixed reviews. Despite severe criticism about the toxic masculinity promoted in the movie, Animal broke many box office records majorly due to the performances of Ranbir Kapoor, Anil Kapoor, and Bobby Deol.

Gadar 2, as a film, has no emotional impact like its prequel, but there was enough for the hardcore masses to enjoy. Sunny Deol proved he still has the charisma to play a mass hero by pulling off the gravity-defying action sequences.

Apart from these blockbusters, other films that attained hit status include Rocky Aur Rani Kii Prem Kahaani and OMG 2.

2023 has also been a year where not-so-mainstream actors Pankaj Tripathi and Vikrant Massey successfully carried their films on their shoulders. Well, I’m talking about OMG 2 and 12th Fail.

Now, let us get into more details about the best of 2023 Bollywood films, not necessarily the blockbusters.

Pathaan

Siddarth Anand’s globetrotter was an eagerly-awaited movie since it marked Shah Rukh Khan’s comeback to the silver screen as a leading man after a long gap of five years.

Siddarth Anand had a huge responsibility on his shoulders, and the director more than succeeded in delivering a popcorn entertainer with the aid of a fast-paced screenplay by Shridhar Raghavan.

What also made Pathaan the perfect mass entertainer was the strong antagonist in the form of John Abraham.

The combat sequences between Shah Rukh Khan and John were well-executed. John Abraham’s Jim was not just menacing, but he carried an angst. Jim had a solid back story explaining why he did what he did.

Another strong aspect of Pathaan is the backstory of how this spy gets this name. The scenes of Shah Rukh Khan with the locals of Afghanistan have so much warmth in them.

Shah Rukh had a blast playing a full-fledged action hero. He was in equal parts charming and rugged. However, after delivering a series of subpar outings, John Abraham surprised everyone in this action entertainer.

Dimple Kapadia, as the boss lady, was also in fine form.

There were some things in Pathaan which did not quite work. One was the simplistic way the topic of patriotism and the Pakistani angle were dealt with.

Also, the love story between Shah Rukh Khan and Deepika practically jumped out of nowhere.

However, in the final tally, Pathaan was the ideal mass comeback for Shah Rukh Khan.

Rocky Aur Rani Kii Prem Kahaani

Rocky Aur Rani Kii Prem Kahaani and Satyaprem Ki Katha were easily the best romantic films Bollywood produced this year.

Rocky Aur Rani Kii Prem Kahaani had all the staple elements that one expects from a Karan Johar entertainer.

There were larger-than-life sets and some exquisite costumes, particularly gorgeous saris worn by the women. However, there was more to the film than just mere gloss.

Karan Johar subverted some of his own themes from his previous films — like how fear is camouflaged as respect in our culture. He also made some pertinent points on the side effects of toxic masculinity.

Most importantly, Through the role of Ranveer’s Rocky Randhawa, Karan Johar presented a protagonist willing to change and evolve into a better human being.

Just like Ranbir Kapoor’s Ranvijay Singh in Animal, Rocky does not share the best relationship with his father. But he never uses it as an excuse to become a wild “animal”.

In Rocky Aur Rani Kii Prem Kahaani, many scenes could be watched on repeat mode. The sequences of Rocky flirting with Alia’s Rani Chatterjee in his broken English and her amusement bring a smile to the viewers’ faces.

The decency of Ranveer backing off when Rani clarifies that nothing more can happen between them was refreshing.

The scene where Rani proposed to Rocky in the middle of a road was definitely filmy but adorable, given how Karan switched the gender roles.

A major highlight of Rocky Aur Rani Kii Prem Kahaani was the recreation of the song “Dola Re Dola” from Sanjay Leela Bhansali’s Devdas (2002).

Ranveer’s Rocky Randhawa performing Kathak with his prospective father-in-law (Tota Roy Chowdhury) was a pleasant surprise.

The different emotions that Rani Chatterjee went through — from shock, wonder, and finally extreme happiness — were portrayed brilliantly by Alia.

In the second half, the messaging got heavy. Nevertheless, it was not a deterrent.

The performances of the principal cast were brilliant all through, with particular mention of Tota Roy Chowdhury as the Kathak-loving man.

Satyaprem Ki Katha

Just like Rocky Randhawa in Rocky Aur Rani Kii Prem Kahaani, Kartik Aryan’s Sattu in Satyaprem Ki Katha was also a protagonist willing to evolve and change.

Sattu was initially shown as an underdog well out of Katha’s (Kiara Advani) range.

But circumstances not only bring them together but also get them married.

Katha had a haunting past that was initially assumed to be the result of a bad break-up with her ex-boyfriend. But later, it turned out to be something more sinister.

The film was essentially a relationship drama while dealing with an important social issue like date rape.

Director Sameer Vidwans did a good job of depicting the issue of consent in relationships.

At times, Sattu came across as too patient with Katha, but he was never presented as some social reformer. The change in Sattu happened gradually.

Both Kartik and Kiara delivered brilliant performances.

The supporting cast, led by Gajraj Rao, was also in fine form.

OMG 2

This spiritual sequel to the 2012-released film Oh My God was a compelling social drama that looked at the taboo yet important subject of sex education.

The best part of Amit Rai’s direction was how he normalised the discussions around physical intimacy without making it look awkward or uncomfortable.

One of the standout scenes in OMG 2 was Pankaj Tripathi’s Kanti Sharan Mudgal explaining how the body parts of males and females should be taught in school. Pankaj Tripathi did complete justice to the arc of his role.

Akshay Kumar had an extended cameo as Lord Shiva’s messenger in human form.

In Oh My God, Akshay played Lord Krishna. Much like that film, here too, he played the part with the right amount of divinity.

The scenes of Akshay imparting wisdom to Kanti Sharan were good to watch.

Jawan

Jawan was a film that can ideally be described as a Khichdi of Shankar’s brand of vigilante cinema and Shah Rukh’s Chak De India.

At its core, Jawan was a father-and-son drama with 50 shades of Shah Rukh Khan as both father and son.

Shah Rukh Khan in Jawan — Shah Rukh Khan in ‘Jawan’. (X)

Atlee absolutely nailed these father-son moments besides addressing various grassroots problems like underdeveloped government facilities.

One of the women in Shah Rukh Khan’s vigilante gang was played by Sanya Malhotra. Her backstory was based on a real-life person named Dr Kafeel Khan.

Dr Kafeel Khan was falsely accused of the death of several kids at a hospital where the real issue was a lack of proper facilities along with corruption. Dr Kafeel Khan tried to procure oxygen, but his best efforts failed to save the children.

Yes, the presentation of these grassroots issues was simplistic, but still, it hit the viewers hard.

Jawan also benefitted immensely from Shah Rukh Khan submitting totally to the director’s script and giving it his all.

Nayanthara also made a solid Bollywood debut in her dual-shaded role as a determined NSG commander and a single mother.

On the other hand, Vijay Sethupati made for a good opponent, particularly in the second half.

The same cannot be said about Deepika Padukone and Sanjay Dutt.

The energy dipped during the brief flashback scenes of Shah Rukh Khan and Deepika.

Sanjay Dutt’s extended cameo did not add great value to the proceedings.

Nevertheless, Jawan, on the whole, proved to be “paisa vasool” entertainment.

Jaane Jaan (Netflix)

A poster of Jaane Jaan film — A poster of Bollywood film ‘Jaane Jaan’ . (X)

For those who are not aware, Sujoy Ghosh’s Jaane Jaan was based on the best-selling Japanese novel “Devotion of Suspect X“, which already has many onscreen adaptations.

Jaane Jaan was primarily about a single mother named Maya D’Souza (Kareena Kapoor), who runs a local café.

Maya has a dark past related to her ex-husband (Saurabh Sachdeva). Jaideep Ahlawat, Maya’s neighbour and a Mathematics teacher, secretly loves her but is socially awkward. Every day, he visits the café, leading to some amusing moments.

Maya’s life turns upside down after the re-entry of her ex-husband. From here, the movie goes into the zone of the Drishyam series.

Jaane Jaan was a survival thriller about a determined single mother. In this story, she gets the help of a neighbour who would go to any lengths to save her.

The soul of Jaane Jaan was the relationship dynamics between Kareena Kapoor’s Maya and Jaideep Ahlawat’s Naren. Sujay Ghosh did not miss a single beat in depicting this complex love. He also did complete justice to the novel “Devotion of Suspect X“.

The hill station of Kalimpong also became a character in itself, thanks to Avik Mukhopadhyay’s cinematography.

The scenes between Kareena and Vijay Varma, playing a charming cop for a change, were good to watch.

Both Kareena and Jaideep got into the skin of their characters.

Vijay Varma brought a lot of charm to his scenes.

12^th Fail

12th Fail, directed by Vidhu Vinod Chopra, was a classic underdog drama about a real-life IPS officer — Manoj Kumar Sharma.

The DNA of 12th Fail was quite similar to the underdog stories that Rajkumar Hirani directed — 3 Idiots (2009) and Munna Bhai (2003, 2006) films.

It was meant to give the viewers a warm hug and make them leave the theatres with a happy feeling.

Vidhu Vinod Chopra mostly succeeded in his endeavour. The director, along with his leading man Vikrant Massey, did a wonderful job of showcasing the numerous challenges that Manoj faces.

There were places in the first half where the pace dipped, but having said that, there was also a lot to enjoy, especially if you are a fan of inspirational films based on real life.

Apart from the overall strong performances by technicians, 12th Fail scored distinction marks.

The cinematography of Hemant Wagh, in particular, stood out — whether it was the initial scenes in Chambal or the later ones in Delhi Streets.

Dunki

Rajkumar Hirani’s Dunki will not do the business of Shah Rukh Khan’s last two films — Pathaan and Jawan, but there is no denying that this is an important film in terms of how it addresses an important social issue.

The issue is about borders existing only for the underprivileged. It presents a hard-hitting tale of immigrants in this case Punjabi migrating to England through illegal means for different
reasons.

The first half of Dunki is mostly a breezy watch, but things take a serious turn just before the interval. Vicky Kaushal has an extended special appearance and is at his usual best.

The comic portions in this film don’t have the brilliance of the Munnabhai MBBS (2003), Three Idiots (2009), and PK (2014), but it recovers ground, particularly in the second half when the proceedings get serious.

The second half shows the many dangers Shah Rukh’s Hardy, Taapsee Pannu’s Manu and others go through to reach London. Here, their utopia comes crashing down. The viewers get a short but powerful glimpse of the menial jobs that these immigrants have to do even after securing citizenship.

One of these immigrants is Vikram Kocchar’s Buggu. Buggu passes the IELTS exam and goes to London legally before Hardy and Manu, but he is still not living a happy life.

Rajkumar Hirani’s directorial skills come out in the second half the way he handles the drama.

One of the things that work for Dunki is the love story between Shah Rukh Khan and Taapsee. Both the actors share a good chemistry in both light and emotional scenes.

Anil Grover and Vikram Kocchar also bring a certain gravitas to their respective parts.

Overall, Dunki is a well-made social film. It is not flawless but there is a lot to take away.

December 26, 2023November 19, 2024

Major Duds Of Bollywood In 2023: An Overview Of Some Of Hindi Films That Underperformed At The Box Office

Besides blockbusters in the form of Pathaan, Jawan, Gadar 2, and Animal, Bollywood has also witnessed its share of box-office duds in 2023.

While many Hindi films didn’t do well, Salman Khan’s two releases — Kisi Ka Bhai Kisi Ki Jaan and Tiger 3 — proved to be disappointments. Neither was an outright disaster, but the box-office collections were nowhere close to what Shah Rukh Khan enjoyed this year.

Likewise, Vivek Agnihotri’s The Vaccine War was a nonstarter. Much like his last film The Kashmir Files (2022), this one was also a propaganda film with a different subject. However, the results were contrastingly different.

Akshay Kumar had another disappointing year in 2023. Out of the three releases, only OMG 2 did good business; the other two —Mission Raniganj and Selfiee were dead on arrival.

For Prabhas (since Adipurush is primarily a Hindi film, I am including it here) too, 2023 has been disastrous. Many thought that Om Raut’s Adipurush would break the dry spell of Prabhas after Baahubali (2015, 2017) but nothing of that sort happened. On top of that, the film itself got massively trolled on many counts.

Here’s an overview of the Bollywood flops in 2023:

Kisi Ka Bhai Kisi Ki Jaan

Kisi Ka Bhai Kisi Ki Jaan is much like Chiranjeevi’s Bhola Shankar, a remake of Ajit’s Tamil film Veeram (2014).

However, Kisi Ka Bhai Kisi Ki Jaan is not a complete washout unlike Bhola Shankar, thanks majorly to its Eid release.

The film can be best described as Salman Khan’s version of 2 States (2014) and Shah Rukh Khan’s Chennai Express (2013).

For those who haven’t seen Veeram, Kisi Ka Bhai Kisi Ki Jaan is about a man called Bhaijaan and his bond with his three younger brothers. All three have a girlfriend each but the big brother doesn’t know about them. Bhaijaan himself is unmarried.

He firmly believes that a girl’s entry into the family will ruin their bond. At this point, you have the arrival of Pooja Hedge’s Bhagya with whom he falls in love later. This is the story in brief.

The major problem with Kisi Ka Bhai Kisi Ki Jaan is the half-baked love stories of the three brothers. As a result, viewers don’t feel any empathy for their desperation to find a girl for their Bhai.

The second half of the movie is more engaging, thanks to the scenes of Venkatesh who plays Bhagya’s elder brother with a turbulent past. However, it didn’t turn out to be a wholesome feast for the fans.

Tiger 3

A lot was expected from Salman and Katrina’s Tiger 3, more so after the blockbuster success of the previous spy films War (2019) and Pathaan. There was immense pressure on Maneesh Sharma to deliver. Unfortunately, Tiger 3 was a massive step back.

Tiger 3 had plenty of style but the amalgamation of geo-politics and action didn’t strike a complete chord. For Maneesh Sharma, this was the second consecutive big film where he let down producer Aditya Chopra.

Adipurush

Om Raut tried to do a masala retelling of Ramayana much like his first film Tanhaji (2020) but here, that formula backfired disastrously.

He along with lyricist-writer Manoj Muntashir took many cinematic liberties with the Ramayana.

The dialogues were too modern (or should I say funky), particularly the ones of Hanuman. If late Bapu had seen this Ramayana interpretation, he would have squirmed in his seat.

Saif Ali Khan single-handedly carried the acting department. He visibly had a blast playing Lankesh.

Both Kriti Sanon and Prabhas failed to capture the divinity of Rama and Sita respectively.

The Vaccine War

The Vaccine War directed by Vivek Agnihotri did have its heart in the right place. It depicted the many challenges that a group of scientists, particularly women faced in making a vaccine.

Vivek Agnihotri did stage some good emotional moments. A case in point is the scenes featuring Pallavi Joshi and Girija Oak. However, the extreme heavy-handedness in storytelling became a major roadblock.

The Vaccine War was also severely problematic in the way it portrayed the journalist community. Raima Sen playing Rohini Singh Dhulia has a constant smirk on her face.

We only see her writing long articles downplaying the sincerity of our scientists. There is no second layer and as a result, the viewers feel that she gets more importance than required.

Mission Raniganj: The Great Bharat Rescue

mission raniganj akshay kumar — Akshay Kumar and Parineeti Chopra in ‘Mission Raniganj’. (X)

The DNA of Mission Raniganj is similar to several Akshay Kumar films where he plays the saviour role.

The storyline of Mission Raniganj had all the potential to be a thrilling evacuation drama but unfortunately, nothing of that happens.

Instead of rooting for Akshay and Co, the viewers only feel a sense of dullness.

What also didn’t help Mission Raniganj were the shoddy production values coupled with bad VFX.

Parineeti Chopra as the dutiful wife had a miss-and-blink appearance much like her last film with Kumar Kesari.

It was a pity to see Parineeti Chopra wasting herself after showing solid potential in her initial films like Ishaqzaade (2012) and Shuddh Desi Romance (2013).

Selfiee

Akshay Kumar Emraan Hashmi Sellfiee — Akshay Kumar-Emraan Hashmi’s ‘Selfiee’. (X)

Selfiee is the remake of the critically acclaimed Malayalam film Driving Licence (2019). It was directed by Lal Jr and written by the late Sachy.

Driving Licence was both insightful and entertaining in how it depicted a fan taking on his favourite actor due to a misunderstanding.

The film was also a brilliant take on the psyche of human nature. Both Driving Licence and Selfiee have more than one similarity with Shah Rukh Khan’s film Fan (2016) but unlike that movie, here you have an amicable solution.

Director Raj Mehta along with his writer Rishabh Sharma delivered an entertaining film. It was easily Akshay’s best outing as a leading man in recent times.

He took many potshots on himself like the scene where his character Vijay Kumar talks about the number of films and advertisements he has to do every year. The makers also did a good job of showcasing the vulnerability beneath all the swag.

Emraan Hashmi’s fan act was initially not so convincing but he settled into a groove soon. Despite being an entertainer, Selfiee joined the list of those South remakes that have bitten the dust.

Shehzada

Shehzada directed by Rohit Dhawan is a perfect example of how a masala film should not be made. The original, Ala Vaikunthapurramuloo is no classic and has problematic aspects at its core.

However, Trivikram’s directing skills combined with Allu Arjun’s swag majorly contributed to Ala Vaikunthapurramuloo being a smash hit. The music of Thaman S was an absolute chartbuster too.

A big problem with this toothless remake (Shehzada) is the absolute lack of conviction and energy. Rohit Dhawan badly faltered in delivering a proper entertainment package.

Though Shehzada is crisper with some unnecessary characters removed it did not help the film. Kriti Sanon as a hotshot lawyer is also less objectified when compared to Pooja Hedge.

Another hugely problematic aspect of Shehzada is the portrayal of the rich kid. In the original too, this was a problem but here, Rohit dumbed down Ankur Rathee’s Raj to a whole new level.

Kartik Aryan tried his best to fill the big shoes of Allu Arjun. Though he was reasonably good, he is no Allu Arjun!

Gumraah

Gumraah is another Hindi remake of the Tamil Film Thadam (2019). Director Vardhan Ketkar took a huge risk by casting Aditya Roy Kapur in a double role.

The only solo successful venture of Aditya Roy Kapur’s career so far has been Aashiqui 2 which became a big hit more due to the chartbuster album, particularly the song “Tum Hi Ho“.

Gumraah primarily suffered on two counts. The one is the fatigue factor of seeing many remakes. The other issue was its leading man.

Aditya Roy Kapur was given too much to handle. He was definitely earnest but that was not enough to lift the film. Mrunal Thakur and Ronit Roy were efficient in their respective parts but their roles could have been done with more meat.

Tejas

Sarvesh Mewara’s Tejas was a major misfire in many ways. If we compare it to other successful patriotic films the thrilling moments can be counted on our fingertips. The women empowerment angle too was done far better in Gunjan Saxena (2020).

A big problem with Tejas is how it became an extended version of Kangana’s angry rants on social media. The perfect example of this is the pre-climax scene where Tejas (Kangana Ranaut) goes on a long rant about the sacrifices made by the Indian soldiers and how they go unnoticed. There is nothing heartfelt about the entire scene.

Much like her other release Chandramukhi 2, Tejas too ended up as an epic disaster. This female version of Uri (2019) did not strike a chord even with the hardcore BJP fans.

December 25, 2023November 20, 2024

Disasters Of Tollywood 2023: These Telugu Films Failed Big Time In Meeting The Box-Office Expectations

2023 has not been a great year for many star actors in Telugu — Chiranjeevi, Pawan Kalyan, Ravi Teja, Vijay Devarakonda, and Samantha.

In the case of Megastar Chiranjeevi, he started off the New Year well with a commercial hit Waltair Veerayya. Though not a great film, the festival season of Sankranthi along with the mass elements made it a profitable venture.

However, his Bhola Shankar failed big time in getting a thumbs-up from critics and audiences.

Chiranjeevi’s co-star in Waltair Veerayya, Ravi Teja also delivered big financial disasters in the form of Ravanasura and Tiger Nageswara Rao in 2023.

Likewise, Pawan Kalyan’s Bro did not attract the audience in a big way, despite Trivikram writing the screenplay and dialogues.

Following is an overview of some of the Telugu films that failed to meet the expectations:

Bhola Shankar

Nothing worked for Bhola Shankar since its inception. Its director Meher Ramesh delivered two massive disasters before this — Shakti (2011) and Shadow (2013). In fact, he never had a significant success in his career.

On top of that, Bhola Shankar was a remake of a regular commercial potboiler Vedalam (2015, Tamil), which had nothing extraordinary in terms of storyline.

So, it was quite baffling to see Chiranjeevi remaking this, that too with a flop director.

Expectedly, the film bombed even with the loyal fans.

Meher Ramesh made Vedalam look like a classic with his direction.

The most cringeworthy scene in Bhola Shankar is the recreation of the famous bench scene of Khushi (2000) where Pawan Kalyan keeps looking at Bhumika’s navel. Here, you had Chiranjeevi and anchor Sreemukhi. It was so awkwardly filmed and definitely was not a pretty sight.

Ravanasura and Tiger Nageswara Rao

Both Ravanasura and Tiger Nageswara Rao had interesting storylines where Ravi Teja did push himself as an actor.

For example, Tiger Nageswara Rao was based on a real-life dacoit and the events that happened in Andhra Pradesh in the 1970s.

Ravi Teja’s character had some grey shades, which the actor pulled off with conviction.

However, the problem was with the inconsistent direction of Vamsee along with repetitive shots of bloodshed. What also did not help Tiger Nageswara Rao were the romantic subplots of Ravi Teja with his leading ladies.

Ravanasura, too, had Ravi Teja playing a character with grey shades.

In the beginning, we see him as a bumbling junior lawyer, but soon enough, there is a significant U-turn. Ravi Teja did a fantastic job of portraying the unhinged nature of his role.

However, his efforts were not enough to save the movie from drowning.

A major reason for the failure of Ravanasura was the haphazard flashback of his character Ravindra. Viewers did not feel any emotional connection with him.

Once the flashback ends, the proceedings become even more tedious.

Only the Ramayana connection was well done, but it does not add much to the film in the overall scheme of things.

Kushi

Shiva Nirvana’s Kushi was a crucial film for Vijay Devarakonda, Samantha, and of course, the director himself.

As the title suggests, Kushi had a safe subject, which could have given a lot of happiness to everyone. However, Shiva Nirvana did not make complete use of this opportunity.

Kushi had an interesting backdrop of two vastly different families. The hero’s father is a staunch atheist who does not shy away from expressing his opinions on God and astrology.

The heroine’s father, on the other hand, is not just a staunch believer in God but also gives religious lectures.

In structure, Kushi is similar to Mani Ratnam’s Sakhi (2000). Like Sakhi, here too, you have two rebellious lovers who decide to make their own home.

Both Vijay Devarakonda and Samantha delivered good performances and shared a scintillating chemistry on screen.

But the first half of Kushi dragged a lot, particularly in portions where Samantha’s Aaradhya is pretending to be a Muslim. As a result, viewers felt restlessness, despite Vennela Kishore’s comic excellence.

The second half was much better when the focus shifted to marital issues. When Samantha’s character has a miscarriage, she thinks that it happened because of her husband not doing homa (homam). Expectedly, some serious arguments lead to discord in domestic life.

The music of Hesham Abdul Wahab was melodious for the most part. However, all these elements were not enough to save Kushi from bombing.

Bro

Bro, directed by Samuthirakani, had a decent pre-release buzz, thanks mostly to Sai Dharam Tej and Pawan Kalyan coming together. Additionally, you had Trivikram writing screenplays and dialogues.

Markandeya (Sai Dharam Tej) is a man with many family responsibilities. He cannot afford to give time to anyone, including his girlfriend. One day, he meets with a road accident on the way from Visakhapatnam. Pawan Kalyan plays “Titan”, also known as the God of Time.

He gives Markandeya 90 days to complete his duties. In these 90 days, Markandeya undergoes a major transformation.

Stories revolving around God-giving life lessons are as old as hills. Still, they can be engaging if the narration is interesting.

Unfortunately, both Samuthirakani’s direction and Trivikram’s screenplay were subpar.

Bro had too many references to Pawan Kalyan’s political ideology and his previous hit songs.

It was clear that Samuthirakani banked heavily on audiences coming to see real-life mama-alludu (uncle-nephew) on screen. The chemistry between Sai Dharam Tej and Pawan Kalyan was pleasant but nothing great.

Agent

Director Surender Reddy’s Agent tried to be an action-packed spy entertainer like Shah Rukh Khan’s Pathaan, but the required sharpness was missing.

The film was definitely lavish in scale along with some well-executed action sequences.

However, Agent suffered from a meandering storyline along with a vapid heroine — Sakshi Vaidya.

Another problem with the Telugu film was the weak back-story of Dino Morea’s character, who calls himself God.

Akhil, in his new avatar, delivered an uninhibited performance, but that was not enough to save the film from sinking badly.

Skanda

Boyapati Srinu’s Skanda is a signature Boyapti macho film that is high on testosterone but low on emotional coherence.

The director has been most successful with Nandamuri Balakrishna. Their duo delivered three blockbusters — Simha (2010), Legend (2014) and last year’s Akhanda (2022).

However, Boyapati Srinu did not have the same level of success as other actors like Ramcharan in Vinaya Vidheya Rama (2019) and now Ram in Skanda.

At its core, Skanda is a tale of revenge with the backdrop of the two-state chief ministers. Ram tried his level best to save this sinking ship. He definitely looked at ease in this Boyapati universe, but the film, on the whole, did not appeal to even hardcore Boyapati fans.

Shaakuntalam

After burning hands with the 2015-released Rudramadevi, director Gunasekhar yet again tried his hand with a large-scale epic. This time, the film is based on the famous play Abhigyana Shakuntalam, written by the legendary playwright Kalidas.

Gunasekhar tried to marry the sensibilities of an Indian epic with the texture of a Hollywood Disney film.

But Shaakuntalam turned out to be an even bigger dud than Rudramadevi. It was a colossal disaster, particularly for Gunasekhar and Samantha.

Samantha did justice to the different shades of Shakuntala; the naivety of an ashram girl in the beginning and then, the inner strength of a wronged woman.

Shaakuntalam had its share of powerful moments, like the court scene where Shakuntala questions the inability of Dev Mohan’s Dushyant to recognise her.

Allu Arha also made a sparkling debut in her short screen time. But the film never came across as a cohesive whole.

December 23, 2023November 14, 2024

Salaar Part 1: Prashanth Neel Delivers The Perfect Mass Comeback For Prabhas

The film can be described as Kannada’s Game of Thrones with the ambience of KGF films. Prithviraj Sukumaran makes his presence amply felt as the parallel hero

Rating 3 out of 5
Starcast: Prabhas, Prithviraj Sukumran, Sreya Reddy, Jagapati Babu, Shruti Hassan and others
Director and writer: Prashant Neel
Dialogues: Sandeep Reddy Bandala, Hanumaan Choudary, Dr. Suri and others
Producer: Vijay Kiragandur
Production Company: Homabale Films
Based on: Ugram ( Kannada movie) by Prashant Neel
Genre: Action drama
Running time: 2 hours and 58 minutes
Published in: Primepost

Not much was expected from Prashanth Neel when the first KGF released but the action drama surprised one and all with its box office numbers. Originally made in Kannada, the film also released in Hindi clashing with Anand L Rai’s Zero and completely outsold the SRK starrer. The raw action and Yash’s swag coupled with the backdrop of Kolar Gold Fields made it a huge success.

The second part of KGF went on to do even bigger business. The buzz around Salaar has been huge since its inception, this in spite of Prabhas’s lackluster form in the recent past. A lot of hopes were pinned on Salaar and thankfully the director has given the perfect mass treat that rewinds memories of Chatrapathi. However Salaar isn’t for those who despise macho heroes and are not huge fans of the KGF films.

***Shruti Haasan, Prashanth Neel and Prabhas***

Salaar begins with establishing the ultra strong friendship of Deva (Prabhas) and Vardha (Prithviraj Sukumran). They have each other’s back in both good and bad times. The very first scene of Salaar has Deva fighting a seasoned wrestler just to get Vardha’s nathooni back (a particular nose ring that the clan wears). Later on we see Vardha saving Deva and his mother (Easwari Rao) from his father’s men. In this process Vardha also sacrifices a major part of the territory his clan owns. That night Deva and his mother vanish. But before going Deva takes a promise from Vardha that he should not hesitate in reaching out for his help in times of distress.

From here the story goes into a flash forward where Deva and his mother are living in Assam. Through some vague hints we understand that Deva has sworn to his mother to never touch a weapon again. The mother in fact is so touchy even when she sees a plastic knife. All this changes with the entry of Aadhya Krishnakanth (Shruti Hassan with a heavy American accent); her life is in danger for reasons that will become more clear in the second part. Things take a turn when Deva’s mother frees Deva from his promise, in order to save Aadhya. This results in Deva smashing a lot of people to pulp.

***Shriya Reddy makes a solid impression***

The second half is entirely devoted to a dystopian city of Khansar that has several tribes with distinct characteristics. The politics and the character dynamics of this dystopian city are similar to the popular web show Game of Thrones.

Not surprisingly the biggest strength of Salaar is the strong brotherhood showcased between its two main leads. Deva’s intense affection for his friend is reminiscent of Ranbir Kapoor’s character in Animal. There is also a Mahabharata touch in how they are shown to be fierce warriors.

Prabhas shares most sparks with Prithviraj and that is clearly visible on more than one occasion. For example there is a scene where both of them take on some drug infested zombies. It is a sequence that enthralls the masses. The two actors are also seen indulging in banter amidst the fight and have some hilarious punch lines.

The world building of Khansar has also been done well. Bhuvan Gowda’s cinematography is top notch. He effectively captures the tumultuous atmosphere of this fictional city. Some of the themes explored in the second half are right to leadership and loyalty among others. Prashanth Neel has done a good job in exploring these themes. Ravi Basur’s soundtrack goes well with the mood of the film. Thankfully there is no forced romantic subplot between Prabhas and Shruti.

***Shruti Haasan’s American accent is irritating***

Shruti Hassan’s put on American accent is irritating to say the least. In fact most of the women characters in Salaar are relegated to the background (of late most big action movies are doing the same). The only actress who makes a solid impression is Sriya Reddy. She plays the firebrand daughter of Jagapathi Babu’s Raja Mannar.

The second half has an overdose of violence which will be off putting for a section of audiences. The film’s runtime is almost three hours; some portions of the film could have been trimmed or chopped.

Prabhas plays a mostly brooding character who does not even break into a smile. The actor has not got many dialogues but he is successful in portraying the raw aggression. Prabhas particularly shines in the scenes with Prithviraj.

Prithviraj Sukumaran as a parallel lead more than makes his presence felt. The actor does a solid job in portraying both the vulnerability and the determination of a future successor caught in the power struggle. The actor’s own dubbing of Telugu does take some time in getting used to but it is not a major hindrance.

Salaar part 1 ends on a cliffhanger that sets a good base for the second part, there are indications that this brotherhood may turn into enmity.

December 21, 2023November 14, 2024

Dunki: This Rajkumar Hirani Directorial Is A Heartwarming Tale That Tackles An Important Social Issue

The ace director is once again successful on taking the audiences through an emotional rollercoaster particularly in the second half

Dunki (Hindi)
Rating 3.5 out of 5
Starcast: Shah Rukh Khan, Taapsee Pannu, Anil Grover, Vikram Kochhar, Boman Irani and others extended special appearance (Vicky Kaushal)
Director and writer: Rajkumar Hirani
Additional writers: Kanika Dhillon and Abhijat Joshi
Producers: Gauri Khan, Rajkumar Hirani and Jyoti Deshpande
Production Companies: Jio Studios, Red Chillies entertainment and Rajkumar Hirani films
Genre: Comedy/drama
Running time: 2 hours and 36 minutes

Rajkumar Hirani is one of those filmmakers who has struck a chord right from his first one Munnabhai MBBS. The director has successfully developed the knack of bringing social issues to the fore in a way that is accessible to the mainstream audiences. The one exception though is Sanju as that was an autobiographical work.

With his latest Dunki Rajkumar Hirani has focused his lens on Donkey Flight (illegal immigration). The film opens with the characters of Manu (Taapsee Pannu), Buggu (Vikram Kochhar) and Balli (Anil Grover). They have been in London for the past 25 years but now they are homesick and want to return to India. But this is not possible for reasons that cannot be revealed here.

The only person who can get them back to the country is Hardyal Singh Dhillon aka Hardy (Shah Rukh Khan). Manu, Buggu and Balli plan a meeting with Hardy in Dubai. The irony here is that once upon a time three of them were desperate to make a good living in London. The story shifts to a flashback where we are introduced to a group of people apart from those already mentioned. Their biggest dream is going to London in search of better prospects. Unfortunately all of them are poor in terms of both social status and education. In this scenario Hardy comes to that town situated in Punjab. Boman Irani plays Gulati. He runs an English speaking course. In this group of friends only one manages to pass the IELTS Exam. Manu and Balli manage to overcome their disappointment. Vicky Kaushal’s Sukhi though is not able to swallow the bitter pill. Sukhi’s reasons for going to London are different from Manu and Balii. He wants to save his ex girlfriend from an abusive marriage. Just before the interval there is the disturbing scene of Sukhi committing suicide by burning himself. Now Hardy takes it upon himself to make sure that Manu, Balii and others reach London even if it is through the illegal and dangerous means of Dunki.

***Shah Rukh Khan with Taapsee Pannu, Vicky Kaushal, Vikram Kochhar and Anil Grover***

The first half of Dunki mostly has a breezy tone to it. There are many instances of Raj Kumar Hirani’s trademark humor in the portions featuring Boman Irani. The humor here hasn’t got the quality of the directors previous ones particularly the Munnabhai films and PK. The punch lines in fact come across as forced on certain occasions. However there are scenes which tickle your funny bone too.

There are also cute moments between Shah Rukh Khan and Taapsee that bring a smile to the viewers face. Through this love Rajkumar Hirani focuses on the serious subject of illegal migrants. How they resort to dangerous routes in order to reach foreign countries. Many of them do not even make it and die in the process.

There are scenes in the second half where we see the characters going through several ordeals in harsh terrains. These moments are disturbing to watch.

***Raj Kumar Hirani, the successful director***

Rajkumar Hirani is also successful in making some pertinent points about the struggles of Non English speaking Indians.

What doesn’t work for Dunki apart from the inconsistent humor are its foreign characters. They are mostly reduced to stock caricatures.

Talking about the performances Shah Rukh Khan blends well into the world of Raj Kumar Hirani. He particularly shines in the second half when things get serious. Taapsee Manu is also solid as Manu. She shares a good chemistry with SRK. Her Punjabi dialect is also spot on bringing back memories of Anurag Kashyap’s Manmarziyaan.

There are portions in the film where SRK and Taapsee are seen with grey hair reminding the viewers of Khan and Preity Zinta in Veer Zara. The prosthetic work is neat and as a result the audiences feel that they have convincingly aged.

Vikram Kochhar and Anil Grover also lend good support. They don’t feel burdened by the presence of SRK at any point. Vicky Kaushal in an extended special appearance makes his presence amply felt.

Pritam’s music is not a chartbuster but goes well with the mood of the film. Lutt Putt Gaya has a catchy tone. O Maahi and Nikile The Kabhi Hum Ghar Se are soulful in nature.

Watch Dunki for the top notch performances and the social relevancy of the subject.

December 16, 2023November 28, 2024

The Freelancer-The Conclusion: Tame Ending Plays A Spoilsport In This Otherwise Gripping Rescue Drama

Mohit Raina delivers an explosive performance. Kashmira Pardeshi effortlessly brings out various emotions of fear, hope, and vulnerability.

Has its issues but you’ll enjoy!

The Freelancer The Conclusion (Hindi)

Cast: Kashmira Pardeshi, Mohit Raina, Anupam Kher, and Ayesha Raza
Director: Bhav Dhulia
Producer: Neeraj Pandey
No. of episodes: 3
OTT platform: Disney+ Hotstar

For those who haven’t seen the first season of The Freelancer, the story is primarily about a newly married girl struck in ISIS-controlled Syria. The web series is based on the novel “A Ticket To Syria” by Shirish Thorat.

Alia (Kashmira Pardeshi) is manipulated by her husband and in-laws and taken to Syria. She does not know the real identity of her new family.

However, after a while, Alia realises that the terrorist outfit has brainwashed her husband and in-laws.

On the other hand, ex-police officer-turned-mercenary Avinash (Mohit Raina) shares a close bond with Alia from her childhood. He takes it upon himself to bring her back from Syria, no matter the dangers involved.

Avinash instils confidence in Alia to hang in there and not lose hope.

And now, The Freelancer —The Conclusion, the second season of The Freelancer, is about how Avinash carries out this dangerous operation with the help of his friends and fights his inner demons.

Analysis

The Freelancer The Conclusion poster — A poster of ‘The Freelancer-The Conclusion’. (DisneyPlusHS/X)

A strong aspect of The Freelancer —The Conclusion is the technical department.

The production values of the web series are fantastic.

The recreation of ISIS-controlled Syria has an authentic feel.

The action sequences have been well choreographed.

Director Bhav Dhulia is also successful in maintaining a good pace.

Of course, Alia gets eventually rescued, but you are still tense about how she will come out safe. There is one moment in particular when everything seems lost, and the viewers feel tense about the safety of Alia.

Unlike the first season, the scenes of Avinash and his wife (played by Manjari Fadnnis) suffering from the aftermath of their son’s death have come out much better.

A good example is the scene where the husband and wife finally find closure and decide to move on.

Mohit Raina & Kashmira Pardeshi are show-stealers

The Freelancer The Conclusion web series — ‘The Freelancer-The Conclusion’ web series is streaming on Disney+ Hotstar. (DisneyPlusHS/X)

The character arc of Anupam Kher, who plays the mentor-cum-guiding force of Avinash, has not seen any growth. But still, the senior actor has a pleasing presence.

It is Mohit Raina and Kashmira Pardeshi who majorly shoulder the acting department.

Mohit Raina delivers an explosive performance both in action scenes and serious ones.

Kashmira Pardeshi carries off from where she left in the first season without hiccups. She effortlessly brings out various emotions of fear, hope, and vulnerability.

What does not work for The Freelancer — The Conclusion is the staging of the final operation. Here, the director makes it look like an absolute cakewalk.

Also, the show needed some good emotional moments between Avinash and Alia after the final rescue.

From the beginning, the viewers are made to believe that this rescue operation is personal for Avinash. But that does not come across strongly in the final portions due to the sketchy writing.

Verdict

The Freelancer — The Conclusion has its issues, but there is enough to enjoy, especially if you are a fan of Neeraj Pandey.

December 11, 2023December 5, 2024

Vadhuvu: This Thriller Has Its Moments But Director Poluru Krishna Fails In Sustaining The Audience’s Interest Throughout

One of the things that work for ‘Vadhuvu’ is the short duration of its episodes. Each episode is a little above 20 minutes.

A watchable fare!

Vadhuvu (Telugu)

Cast: Avika Gor, Nandu Vijay Krishna, and Ali Reza
Director: Poluri Krishna
Producers: Abhishek Dogra and Shrikant Mohta
Music: Sriram Maddury
No. of episodes: 7
OTT platform: Disney+ Hotstar

Thrillers are one of the most tough genres to execute for any director.

Engaging the audience in the guessing game and making them feel a sense of high throughout is not an easy job.

Vadhuvu, directed by Poluru Krishna, has an interesting storyline and mysterious characters who come with a set of motivations. However, the director is not entirely successful in keeping the audience hooked.

For those who are not aware, Vadhuvu is based on a Bengali show titled “Indu“. Since I have not seen that, this will be a standalone review.

Synopsis

Poluru Krishna directorial Vadhuvu — Poluru Krishna’s directorial ‘Vadhuvu’. (X)

Anjuri Indu’s (Avika Gor) wedding gets cancelled when her younger sister runs away with her groom.

This affects Indu and her family psychologically. After a year, Indu finally gets another match. She is married to Anand (Nandu), but even this doesn’t happen smoothly.

After entering Anand’s house, Indu comes across some mysterious scenarios.

What are the reasons behind Anand’s family behaving suspiciously? Why did Indu’s sister run away with the groom that Indu was supposed to marry?

The rest of the plot is about unravelling answers to these questions.

Analysis

One of the things that work for Vadhuvu is the short duration of its episodes. Each episode is a little over 20 minutes. As a result, the viewers don’t feel restlessness even when things stagnate.

As mentioned above, the characters in Vadhuvu are mysterious, and this works for the series, at least initially. As viewers, you know something weird is happening, and this keeps you hooked on what might be the reasons behind it.

In the technical department, the background score deserves a definite mention. It is suitably eerie and adds to the tense atmosphere.

There isn’t much scope for the cameraman to showcase his work here since the series has an indoor setting. Nevertheless, the cinematography is quite good.

Performances

Avika Gor in Vadhuvu — Avika Gor in ‘Vadhuvu’. (X)

As far as acting is concerned, the trio of Avika Gor, Ali Reza, and Nandu do most of the heavy lifting. Avika Gor does a good job of depicting the turmoil of Indu.

Ali Reza gets a good amount of screen time as Indu’s brother-in-law Arya. He successfully showcases the grey shades of his role.

Nandu, as Iindu’s husband, is a delight to watch in the way he skillfully conveys the frustration and suspicious nature of Anand.

The rest of the actors leave little to no impact.

A major issue with Vadhuvu is certain repetitiveness in the proceedings and the slow pacing. There are some redundant scenes which the director could have easily done away with.

Also, the web show leaves you with more questions than answers. There are too many cliffhangers that come across as a major deterrent in the way of the audience’s enjoyment.

Final take

Vadhuvu is a web series that is just about watchable.

The mysterious characters and the performances of the central trio leave an impact. It is not a solid thriller though.