Much like Season 1, director Nikhil Advani successfully delivers a web show that is high on both thrills and emotions.
For those who haven’t seen the first season of Mumbai Diaries (2021), the plot was about the events that took place amidst the terrorist attacks in Mumbai. At the centre of this story were the doctors in the fictional Bombay General Hospital.
In Mumbai Diaries Season 2, director and creator Nikhil Advani focuses his lens on unfortunate events that took place when Mumbai city was submerged under the floods. He skillfully recreates how the Mumbaikars survived nature’s wrath and their fighting spirit.
Once again, you have the doctors and their staff, who are struggling to save the ailing patients. This time, the challenges are related to infrastructure in the hospital and of course, their personal demons.
For example, Dr Kaushik Oberoi (Mohit Raina) is under severe media trial due to the grieving wife of an ATS chief Mrs Kelkar (Sonali Kulkarni). She blames him for the death of her husband as he couldn’t save him.
Additionally, Oberoi chooses to treat a dreaded terrorist on that fateful night.
On the other hand, there is Chitra Das (Konkana Sen Sharma) who has a traumatic past that is related to her ex-husband Dr Saurav (Parambrata Chattopadhyay).
Dr Saurav visits the hospital on the same night with a delegation comprising of London-based doctors.
Initially, the viewers are made to believe that Dr Saurav’s presence in the hospital is only a coincidence. However, as the story progresses, there is much more to this tale than what meets the eye.
In a nutshell, the story is about how these groups of doctors battle both the unfavourable weather and their personal demons.
A big plus for Mumbai Diaries Season 2 is how the screenwriters have built a sense of urgency through the writing.
The viewers feel an emotional connection towards these doctors and want them to emerge victorious both professionally and personally.
Performances
The performances across the board are brilliant with the standouts being Mohit Raina and Konkana Sen Sharma.
Mohit Raina does a brilliant job of conveying both the inner turmoil and the fighting spirit of Dr Kaushik Oberoi.
Konkana Sen Sharma is wonderful in displaying both the vulnerability and steeliness of Chitra Das. Her subplot with the junior doctor Ahaan (Satyajeet Dubey) has some wonderful moments.
Satyajeet Dubey’s character is attracted towards Chitra Das.
Amidst an intense scene with his fellow junior doctors, Ahaan bursts out about how he brought tickets to watch Love Aaj Kal (2009) with Chitra Das. This brings a smile to the viewer’s face.
A refreshing change from the first season is the character arc of Mansi (Shreya Dhanwantary). Her part was a weak link in the first part, But, this time around, Mansi has been etched out much better.
Coming to the negatives, the show could have done with crisper editing. A couple of narratives have been stretched needlessly. These include a queer character that slows down the proceedings.
Ashutosh Pathak’s background score is another major winner. His work is particularly praiseworthy in intense scenes.
The background score helps in further elevating the performances.
Another noteworthy aspect of this web series is the production design of Priya Suhass. There is an authenticity to how the flood scenes have been recreated.
Final take
To sum it up, Mumbai Diaries Season 2 makes the viewers wish that Nikhil Advani comes up with a Season 3.
The first half of ‘Khufiya’ has some good moments, but it is in the second half that the film completely nosedives.
Vishal Bhardwaj’s Khufiya is based on the espionage novel “Escape to Nowhere” written by Amar Bhushan.
It starts in Dhaka with the death of an undercover spy Hina Rehman (Azmeri Haque Badhon). Hina’s death sends shockwaves to the R&AW office in Delhi.
An investigation leads to the discovery of a mole, Ravi (Ali Fazal) who leaks sensitive information about India to other countries. Charu (Wamiqa Gabbi) is Ravi’s wife.
Tabu plays a raw agent named Krishna Mehra. KM Jeev (Ashish Vidyarthi) is her boss. He gives her the responsibility of catching Ravi.
For Krishna, this mission is not just professional but also personal because she had an intimate relationship with Hina.
The rest of the story is about whether Krishna is able to stop Ravi and what happens when Charu comes to know about the actual identity of her husband.
Second half falls flat
Before getting into the negatives of Khufiya, it is necessary to point out a few positive things.
The scenes between Tabu and Azmeri Haque Badhon are limited. But still, they give the film some of its best moments as they have so much warmth.
It also helps that Azmeri has a striking screen presence. The viewers wish that she had more screen time.
The first half of Khufiya has some good moments, but it is in the second half that the film completely nosedives.
The chief reason for that is the characterisation of Ali Fazal. The actor does a decent job in the first half. But in the second half, both the character and the actor lose the sheen.
Another issue with Khufiya is the serious hangover of both Kurbaan and Raazi. The scenes of Charu spying for Krishna Mehra are distinctly reminiscent of how Alia’s Sehmat communicates with Jaideep Ahlawat’s Khalid Mir in Raazi (2018). This déjà vu doesn’t help in any way.
The pre-climax and the climax are another sore point. Here again, the viewers are heavily reminded of Uri: The Surgical Strike (2019).
Performances
Tabu’s character has many layers. Apart from being a shrewd officer, she also deals with her own inner demons.
These include a failed marriage with Shashank (Atul Kulkarni) who has a brief appearance. She also has a troubled relationship with her son. Tabu portrays all these shades with her usual excellence.
Wamiqa Gabbi also gets a good arc. She starts off as this innocent housewife who presents a certain façade in front of her husband and mother-in-law. When neither of them is there, she is seen dancing with gay abandon and also smoking.
Once Charu gets to know about the real identity of her husband, she undergoes a transformation. The actress does a good job of showcasing those nuances.
Final take
To sum it up, the audiences have many expectations from this Netflix film, given that it was a reunion of Tabu and Vishal Bhardwaj. However, this reunion leaves the viewers with a bitter aftertaste!
Writers: Uday Aghamarshan, Jayanth Tadinada and others
Creator and screenplay: Srinivas Avasarala
Producers: Priyanka Dutt and Swapna Dutt
Production Company: Early Monsoon Tales
Genre: Drama/comedy
No of episodes: 7
Streaming site: Amazon Prime
Contrary to the title of the web series Kumari Srimathi (Nitya Menon) is an unmarried 30 year old woman. The setting of this story is Ramarajulanka. Kumari Srimathi and her younger sister were brought up almost single handedly by their mother Devika (Gautami) and also grandmother Seshamma (Talluri Rameshwari). Keshava Rao (Prem Sagar Rajulapati) is the uncle of Srimathi. Srimathi is fighting a court case regarding an ancestral property that her uncle wants for himself.
In a turn of events the court gives Srimathi the option of buying her uncle’s share of property for 38 lakhs. But that is easier said than done. Srimathi who did hotel management course was working as a floor manager. At this point she decides to set up her own restaurant cum bar in her native village. Devika is already vexed with her daughter’s adamant nature who refuses to get married and this decision only angers her further. The rest of the story is about the challenges that Srimathi faces in her endeavor of becoming a businesswoman and also whether she is able to win the court case.
Stories of family feud is a beaten to death genre but still Gomtesh Upadhye manages to bring a freshness. The newness comes from how he depicts the journey of Srimathi in establishing her restaurant cum bar. He makes a subtle point about how the society differentiates between man and woman while doing the same business.
The director talks about these things in a non preachy manner. Gomtesh Upadhye also deserves credit for his portrayal of Gautami’s character. She is not particularly happy with her daughter’s decisions. Still she comes around and becomes a strong pillar of support at a crucial juncture.
Kumari Srimathi also boasts of some chuckle worthy sequences. One of these include Gautami day dreaming about the consequences of her daughter’s actions. Prem Sagar playing the semi villain has some hilarious punches as well. For example there are moments where he is confused between his twin sons Mani and Phani. What also brings the house down is his understanding of the word ‘nincompoop’.
There is also a love triangle where Thiruveer’s Abhinav and Nirupam’s Sriram compete for Srimathi’s affections. But this track feels out of place in an almost perfect tale.
Nitya Menon’s character is a huge fan of Nani. Nani has a special appearance at a most unexpected juncture. Nani’s presence is only for a few seconds but as viewers we feel a touch of nostalgia on seeing the Ala Modalaindi Jodi again.
Gautami
Cinematographer Mohan Krishna does a good job of capturing Ramarajulanka through his lens. Music directors Staccato & Kamran do a fine job with both songs and background score.
Nitya Menon effortlessly gets into the skin of her character. She portrays the courage and vulnerability of Srimathi in an arresting manner. Gautami and Rameshwari also provide solid support. The three of them together are such a delight to watch.
To sum it up Kumari Srimathi is a well made feministic tale that deserves your time.
Vishal Bhardwaj shows his mastery at creating a dramatic murder mystery, with each suspect coming with his/her secrets.
Vishal Bhardwaj’s fascination with literature is something that needs no introduction.
The acclaimed director has adapted three works of Shakespeare into movies — Maqbool (2003) from “Macbeth“, Omkara (2006) from “Othello“, and Haider (2014) from “Hamlet“.
All these three movies won a lot of critical acclaim along with box office success.
The director has also tried his hand at adapting Ruskin Bond stories— The Blue Umbrella (2005) and Saat Khoon Maaf (2011).
Now, he is back with Charlie Chopra & The Mystery of Solang Valley based on The Sittaford Mystery, one of the crime novels written by Agatha Christie.
The mystery thriller is set in Solang Valley and Manali in Himachal Pradesh.
Synopsis
Right from the first scene, Vishal Bhardwaj shows his mastery at creating a dramatic murder mystery, with each suspect coming with his secrets. Wamiqa Gabbi is the determined Punjabi detective Charlie Chopra.
Brigadier Meherbaan Rawat (Gulshan Grover) is an esteemed member of the Rockford Estate community. Towards the end of the first episode, his shocking death is revealed. It sends huge shockwaves through the community.
Charlie Chopra takes up this case as her fiancé Jimmy (Vivaan Shah) becomes the major suspect. As Charlie Chopra digs deeper and deeper into the case, many secrets tumble out.
The rest of the story is about who the actual culprit is and whether there is something more to the mysterious death of Meherbaan Rawat.
Technical brilliance
For any suspense thriller, it is necessary that the viewers are intrigued throughout. Vishal and his two co-writers successfully manage to keep them hooked till the end.
The setting of the Solang Valley also ends up being a major character in itself, thanks to the cinematographer Tassaduq Hussain. He does a brilliant job in not just showcasing the picturesque setting but is also equally good at imbuing it with an air of enigma.
Vishal Bhardwaj also dwells on social commentary through the supporting cast. He talks about refugees, unrequited love, oppression, and killed aspirations. This gives the story a certain emotional heft.
Vishal Bhardwaj’s music blends perfectly into the atmospherics. Special mention must be made of the two Ghazals sung by Rekha Bhardwaj.
Performances
The ensemble cast is also mostly on point with a particular mention to Wamiqa Gabbi. After this year’s Jubilee (2023), the actress once again shows her versatility with her portrayal of Charlie Chopra.
A scene which particularly stands out is when she breaks down during an imaginary phone call to a character. There are also scenes where Wamiqa breaks the fourth wall with aplomb.
Priyanshu Painyuli also makes a huge impression in his role as a small-time news reporter. Their partnership is quite reminiscent of Sherlock Holmes and Dr Watson. Priyanshu brings in some much-needed comic relief.
Among the suspects, Lara Dutta and Ratna Pathak Shah have better etched-out roles.
Lara Dutta plays Wilayat Hussain, a Ghazal singer from Lucknow. As the series progresses, it is revealed that she was once Colonel Rawat’s love interest.
Now, Wilayat and her daughter Waseema are leading a life of indignity. Wassema suffers from schizophrenia. Lara Dutta effortlessly portrays both the protective mother and the Ghazal singer.
Ratna Pathak Shah’s character, on the other hand, is someone who fakes disability in order to claim insurance money. The veteran actress pulls off the grey shades with the finesse that you expect from her.
Final take
To sum it up, Vishal Bhardwaj delivers another winner. Here’s hoping that the director continues to take inspiration from literature.
A big problem with ‘The Vaccine War’ is the extreme heavy-handedness with which Vivek Agnihotri narrates his story.
Vivek Agnihotri’s The Kashmir Files was one of the biggest hits of 2022. The movie was a surprise hit as not much was expected from it.
And now, the director is back with another heavy subject. This time, the results are not so satisfactory.
The Vaccine War is about a group of determined scientists who face many challenges while making a vaccine when the entire world including India was crippled by the Coronavirus in 2020.
Synopsis
Nana Patekar plays Bhargava, the chief scientist, in the film. He is both eccentric and a workaholic.
At times, Bhargava also comes across as stone-hearted, but he enjoys certain respect from his team.
His army consists of mostly women. These include Priya Abraham (Pallavi Joshi), Nivedita Gupta (Girija Oak), and Dr Pragya Yadav (Nivedita Bhattacharya).
It is a treat to watch these women handling multiple roles, professionally and personally.
The main villain of this tale is a science journalist Rohini Singh Dhulia (Raima Sen). Her character is shown running a smear campaign against the government, with particular vehemence. She writes long articles that undermine the noble efforts of the scientists.
On the surface, The Vaccine War reminds us of Mission Mangal (2019). There too, you had a group of women scientists headed by Vidya Balan. However, the treatment of both the films is quite different.
Pluses and minuses
A big problem with The Vaccine War is the extreme heavy-handedness with which director Vivek Agnihotri narrates the story.
There is a lot of high-sounding terminology that the director uses, and this ends up boring the audience.
To give credit where it is due, Vivek is successful in staging some good emotional moments. Most of these moments are concerning the characters played by Pallavi Joshi and Girija Oak. Viewers feel genuine empathy towards them.
The struggles of the women scientists in balancing their professional and personal duties are shown well by the director.
He also gives some nice emotional touches to the character of Nana Patekar. The duo makes sure that Bhargava doesn’t come across as a caricature.
Another big problem with The Vaccine War is the characterisation of journalist Rohini Singh Dhulia. This is not the first film which is guilty of portraying the media in a negative light.
Rajkumar Hirani’s Sanju (2018) also made the media a big scapegoat for Sanjay Dutt’s bad image, but the director balanced the negative portrayal of the media with other elements.
Nevertheless, in The Vaccine War, not only does Rohini Singh occupy much more space than needed, but also has a constant smirk on her face which is irritating to watch. There is no second layer either in her characterisation or performance.
Final take
To sum it up, The Vaccine War is a long-drawn showcase of the government’s “achievements”.
From Shah Rukh Khan and Sunny Deol to Ranveer Singh, these Bollywood actors made a comeback of sorts in the current calendar year.
2023 has been a remarkable year for Bollywood in more ways than one. The success rate of films is much higher than last year.
Additionally, some of the major stars have made a smashing comeback after a series of duds — be it Shah Rukh Khan with Pathaan and Jawan, or Sunny Deol with Gadar 2.
Shah Rukh in Pathaan and Jawan
There was a period when Shah Rukh Khan was struggling to deliver solid box-office hits. Films like Jab Harry Met Sejal (2017), Fan (2016), and Zero (2018) are major examples of this.
Rahul Dholakia’s Raees (2017) was a box office success but it was nowhere close to what Aamir and Salman were delivering with 3 Idiots (2009), Dangal (2016), PK (2014), and Sultan (2016).
In between, Shah Rukh played an adorable shrink in Gauri Shinde’s Dear Zindagi (2016) which was a moderate success. But it was only a relief considering how the aforementioned films went.
Of course, he was appreciated for playing a supporting role in a female-centric movie headlined by Alia Bhatt.
After Zero, the actor took time to sign his next films as a leading man and the wait has certainly paid off.
Reinventing himself
At the age of 57, Shah Rukh Khan reinvented himself as an action star in both Pathaan (2023) and Jawan (2023). On the surface, both are masala flicks, but the presentation of Siddharth Anand and Atlee are as different as chalk and cheese.
In Pathaan, Shah Rukh was in equal parts charming and rugged. The actor didn’t disappoint one bit — whether it was in the high-octane action sequences or in the more intense bits like the confrontation scenes with John Abraham.
In Jawan, the Bollywood Badshah further pushed the envelope with his double role. And within that double role, there were a lot of variations.
For example, he is a vigilante who uses unconventional ways to speed up societal changes. He is also a military officer who has been accused of cheating the nation and suffers from partial memory loss.
Jawan can be described as a South Indian thali (meal) with a North Indian flavour. Shah Rukh got the pitch of the film perfectly and delivered a thunderous performance, particularly in the father’s role.
There is also Dunki coming up in December and it is expected to rake in good box office numbers, considering the directorial skills of Rajkumar Hirani along with Shah Rukh Khan’s star power.
Sunny Deol in Gadar 2
When the trailer of Gadar 2 was released, it was dismissed as outdated with not many giving it a chance. But the film’s collections surprised many trade analysts.
The nostalgia associated with Gadar (2001) definitely played a part in making it a box-office hit. But more than that, it is Sunny Deol as Tara Singh who sold the movie with his intense performance. Even at the age of 65, Sunny has a commanding presence that resonates well with the audience.
After a series of disasters like Bhaiaji Superhit (2018), Yamla Pagla Deewana Phir Se (2018), and Mohalla Assi (2018), the Bollywood actor is back with a bang with Gadar 2.
His performance particularly stands out in the emotional scenes that Tara Singh shares with his son Jeetay (Utkarsh Sharma). The action scenes are deliberately over the top but Sunny Deol sells them with his conviction.
Ranveer Singh in Rocky Aur Rani Ki Prem Kahani
Before the pandemic, Ranveer was having an absolute dream run with his varied characters. Whether it was the despicable Alauddin Khilji in Padmaavat (2018), the masala cop in Rohit Shetty’s Simmba (2018), or the young Muslim boy who has a fascination for rap in Zoya Akhtar’s Gully Boy (2019).
In all these movies, the Bollywood actor got critical acclaim as well as box office success. But post-pandemic, things started going downhill for the actor.
It started with Kabir Khan’s 83 (2021). Ranveer won rave reviews for his portrayal of Kapil Dev and so did the film. And yet, it didn’t achieve its full potential. The sudden hurricane of Pushpa: The Rise(2021) definitely played a spoilsport for this Ranveer Singh-starrer.
His next release Jayeshbhai Jordaar (2022) was directed by a new director Divyang Thakur. The flick didn’t do well at the box in spite of tackling a socially relevant subject.
Much was expected from Rohit Shetty’s Cirkus (2022) but neither the director nor the actor could recreate the success of Simmba (2018).
Ranveer’s Rocky is a flamboyant Punjabi guy who wears his heart on his sleeve. He is someone who is neither politically nor culturally sophisticated.
His life undergoes a metamorphosis after falling in love with a fiercely opinionated Bengali journalist Rani Chatterjee (Alia Bhatt).
The role of Rocky gave Ranveer ample scope to display both his comic and dramatic skills.
On many occasions, Ranveer brought the house down with his broken English. A good example of this is when Rocky attempts poetry to flatter Rani who is very amused.
On the other hand, he was also equally effective while displaying the fragile side of Rocky. For example, there is a brilliant dramatic scene where he apologises to Rani’s onscreen dad (Tota Roy Chowdhury).
Rocky gives a heartfelt monologue about how he has been conditioned to think in a certain manner from childhood. He also talks about the Cancel Culture and how none of us will learn anything if we keep on cancelling each other.
Ranveer also surprised one and all with his Kathak performance on the famous number “Dhole Re Dhola.” His sizzling chemistry with Alia was an icing on the cake.
Ayushmann Khurrana in Dream Girl 2
Ayushmann Khurrana already proved his credentials as a good actor in different genres. Whether it is Sriram Raghavan’s thriller Andhadhun (2018) or Anubhav Sinha’s social drama Article 15 (2019), he gave a series of hits before the pandemic.
However, post-pandemic, Ayushmann’s brand of cinema stopped working; they were not just outright disasters, none of them took a good opening either.
As a result, the Bollywood actor took the route of a masala comedy with the film Dream Girl 2 (2023). Dream Girl 2 definitely had the sequel advantage.
Dream Girl (2019) remains Ayushmann’s highest-grosser to date. Dream Girl 2‘s critical response was mixed but Ayushmann’s performance, particularly as Pooja, did receive a good response.
Dream Girl 2 earned over ₹100 crore at the domestic box office.
John Abraham in Pathaan
In the last few years, John Abraham has been following the route of Akshay Kumar — either playing a patriotic hero or doing slapstick comedies.
The likes of Pagalpanti (2019) and Satyameva Jayate-2 (2021) were disasters both critically and commercially. But, with Pathaan, John more than made up for his previous lacklustre outings.
His role as Jim was not just about being a dashing villain, there is also an emotional back-story about why he does what he does. As viewers, you might not agree with his actions but you do understand his resentment with RAW (Research and analysis wing).
There are certain moments where John Abraham expresses the angst of his character and he did a good job.
Akshay Kumar in OMG 2
Unlike the above-mentioned actors Akshay Kumar is not the leading man of OMG 2 (2023), nor is it a major supporting role. In OMG 2, he had only an extended cameo as the messenger of Lord Shiva in Human form.
Though there was not much scope for performance, Akshay still brought the right amount of divinity to his part. It is easily his most relaxed performance in the recent past.
Akshay Kumar also pulled off a Shiv Tandav with ease. After the debacle of Samrat Prithviraj (2022) and Raksha Bandhan (2022), OMG 2 must have been a much-needed relief for him.
Based on: The Devotion of Suspect X by Keigo Higashino
Producers: Ekta Kapoor, Shobha Kapoor, Akshai Puri and others
Production Companies: Balaji Motion Pictures 12th Street Entertainment etc.
Streaming site: Netflix
Genre: Mystery/drama
Running time: 2 hours and 19 minutes
For those who are not aware Sujoy Ghosh’s Jaane Jaan is based on the famous Japanese novel ‘The Devotion of Suspect X’ by Keigo Higashino. This novel has seen many adaptations. In fact the Drishyam films are supposed to be inspired from this novel.
Jaane Jaan has been an eagerly awaited film for two reasons. One is its director Sujoy Ghosh who has established his credentials as a thriller specialist with Kahaani and Badla. Two is the diverse star cast featuring Kareena Kapoor Khan, Jaideep Ahlawat and Vijay Varma. Jaane Jaan is not in the same league as Kahaani but there is a lot to like here too.
Jaane Jaan primarily revolves around three characters. The setting of this film is a misty hill station called Kalimpong in West Bengal. Maya D’ Souza (Kareena Kapoor) is a single mother who works at the local café. Naren Vyas (Jaideep Ahlawat) is a mathematics teacher at a local school. Naren is also Maya’s neighbour. He is socially awkward but is besotted with Maya. Maya comes with a dark past which is connected to her ex husband Ajit Mhatre (Saurabh Sachdeva). Her new life is shaken up by his re entry but in an accidental scuffle husband dies. She buries him with the help of her neighbour.
Vijay Varma is a police Inspector who is assigned the task of finding Ajit Mhatre. For a change his character Karan Anand is not a deranged psycho (like in Darlings, Dahaad and Pink). What follows is a survival thriller of a determined single mother in the style of Drishyam films. In this case she also has the help of her besotted neighbour .
First and foremost Jaane Jaan is not about who the culprit is. So it is not a story of whodunit in the classical sense. It is more about how the culprit evades the authorities. Sujoy Ghosh takes his own sweet time to establish the daily routine of Maya and how Naren secretly loves her. For some the slow pace might be a hindrance but these portions are necessary in the overall scheme of things.
A big plus for Jaane Jaan is the technical department headed by Avik Mukhopadhyay. He captures the different colour pallets brilliantly through his lens. His cinematography is such that the hill station becomes a character in itself.
The background music composed by the band of Shor Police is in complete sync with the mood of the film. There is no scope for songs in a film like this but the title number pictured on Kareena Kapoor makes for a good watch and listen.
Kareena Kapoor Khan successfully takes off from where she left in Laal Singh Chaddha. Her Maya D’ Souza is a mixture of steely resilience, vulnerability and charm among other things. Kareena delivers a knock out in her debut digital project.
The way Jaideep Ahlawat who played Naren is smitten by Maya brings a smile to the viewer’s face. His love for Maya and the extent to which he helps her makes you wish that Maya had ended up with him. He was terrific in bringing out the various nuances of his character.
Vijay Varma for a change is a charming cop and the actor plays it with the required coolness. It is refreshing to see Vijay in this avatar. The scenes between Vijay and Kareena are good to watch. During the investigation Karan also falls in love with Maya and the scenes where he flirts with her are adorable. Saurabh Sachdeva is pitch perfect as the abusive husband in his brief screen time.
Jaane Jaan does suffer from editing issues. The film could have been cut short by fifteen minutes. The climax has the typical shock value of a Sujoy Ghosh thriller although it might not be everyone’s cup of tea.
Vijay Krishna Acharya is known for directing big-budget extravaganzas. All his films — Tashan (2008), Dhoom 3 (2013), and Thugs of Hindostan (2018) — belong to the action genre and feature big stars.
However, the subject of his latest outing — The Great Indian Family — on the surface appears as a misfit for the director. But he pleasantly surprises us, particularly, when the film gets to the meat of the story.
The Great Indian Family is about a Brahmin boy Ved Vyas Tripathi, also known as Bhajan Kumar.
Ved Vyas (Vicky Kaushal) faces an identity crisis when all of a sudden he comes to know that he is actually a Muslim by birth.
His father, rather the adopted father Siya Ram Tripathi (Kumud Mishra) is a most respected pandit of the small town where the film is set.
Manoj Pahwa plays the uncle of Ved Vyas. His character Balak Ram goes through a shift when the identity of Ved Vyas is known. All this happens when Siya Ram Tripathi is on a pilgrimage.
Yashpal Sharma, on the other hand, plays the rival pandit who wants to bring down the popularity of Siya Ram Tripathi.
And finally, you have the female lead Manushi Chillar who shows no improvement from her Samrat Prithviraj (2022) days.
Positives
The Great Indian Family does take time to get going. Vicky Kaushal’s scenes with his two friends don’t add much to the film.
Manushi Chjillar’s entry only further slackens the proceedings. Her attempt at being a Punjabi firebrand is rather laboured. There is zero spunk.
Vicky’s chemistry with Manushi has none of the sizzle that he shared with Sara Ali Khan in Zara Hatke Zara Bachke (2023).
The best portions of the film are the scenes where Ved Vyas is going through an existential crisis. There was a time when he was adored by his uncle and others. But now, the same family turns its back on him owing to societal pressure.
The situation reaches a point where Ved Vyas seriously thinks of embracing Islam. The paradox here is that without knowing his identity, he finds shelter in a Muslim family. Additionally, his Sikh girlfriend has no issues about him belonging to either of the religions.
It is in these bits that the directorial skills of Vijay Krishna Acharya come forth.
Performances
Another area where the movie scores is the scenes featuring the senior actors Manoj Pahwa and Kumud Mishra.
Manoj Pahwa plays a citizen who is good at heart but can get easily influenced by WhatsApp forwards. But the director makes sure that he doesn’t become a caricature.
Vicky Kaushal and Manoj Pahwa have a couple of dramatic showdowns, and these bits are a delight to watch because of the intense acting on display.
Kumud Mishra conveys a lot with his silence and expressions. The actor particularly shines in the scene where he opens up to the other family members about how he and his wife decided to adopt the boy born to a Muslim mother.
What pulls the film apart from the female lead is the lacklustre music. The only song that works in The Great Indian Family is “Kanhaiya Twitter Pe Aaja“. It has a catchy tune along with Vicky Kaushal’s energy.
Pritam’s soundtrack in Rock Aur Rani Ki Prem Kahani (2023)had far better songs.
Final take
The story of The Great Indian Family might sound a little clichéd and a filmy attempt at unifying religions in these difficult times. But it is still an effort that needs to be appreciated.
Director Bharath YG takes the familiar template of a big mansion with scary elements to explore the negative shades in human beings.
The film industry across the languages has a fascination for horror/thriller stories. Periodically, one director or the other has revisited this genre.
Ram Gopala Varma was successful in delivering some genuinely scary films like Urmila Matondkar’s Bhoot (2003).
In the recent past, Amar Kaushik was successful in reinventing the genre with his film Stree (2018). In Stree, the director used the popular legend of “O Stree Kal Aana” (Oh woman, visit tomorrow) and gave it a feministic touch.
On the other hand, directors like Rohit Shetty and Anees Bazmee have made popcorn entertainers with elements of horror.
Now, director Bharath YG takes the familiar template of a big mansion with scary elements in this web series to explore the negative shades in human beings. The shades include lust, anger, and greed.
But the jump scares are presented in a very clichéd manner. It is high time that filmmakers do away with such clichéd elements for scaring the audiences.
Synopsis
Athidhi — now streaming on Disney+ Hotstar — marks Venu Thottempudi’s debut in the OTT space.
Ravi (Venu Thottempudi) is introduced as a writer, who is living with his paralysed wife Sandhya (Aditi Gautam). He is trying to reinvent himself as a writer.
At this point, a mysterious woman Maya (Avantika Mishra) and a Youtuber Savari (Venkatesh Kakumanu), take shelter in his house. Savari makes videos on the non-existence of ghosts.
There is also a cop called Prakash (Ravi Varma). None of these characters are what they appear on the surface. They have secrets of their own. Revealing anything more will not be appropriate.
Positives
One of the things that stands out in Athidhi is the technical department.
Special mention must be made of Kapil Kumar’s background score and Manoj Katasani’s cinematography.
The background music definitely enhances the key scenes.
Manoj Katasani successfully captures the show’s eeriness through his lens.
The most impressive twist is the flashback regarding the ghost. Through it, Bharath YG raises some pertinent points about greed and jealousy.
There is also an underlying message — too much greed will lead to disastrous consequences.
The ghost is presented as a messenger of God to teach this lesson to humans.
Performances
The performances in Athidhi are a mixed bag.
Venu Thottempudi is someone who is mostly associated with comic romantic roles. But here, the actor ventures out of his comfort zone. He pulls off an impressive act, particularly in the key emotional scenes.
The next good performance comes from Avanthika Mishra. Her character has quite a few layers and the actress does a good job.
But Venkatesh Kakumanu overacts as a YouTuber. Instead of feeling sorry for Savari, viewers feel irritated whenever he is on screen.
Aditi Gautam as the wife suffers on account of a half-baked characterisation.
Final take
Athidhi is not an entirely satisfying ride but the show has its moments.
The biggest problem with ‘Kaala’ is the many back and forths dealing with multiple characters that float in and out.
A black mark in Bejoy Nambiar’s filmography!
Kaala (Hindi)
Cast: Rohan Mehra, Taher Shabbir, Avinash Tiwary, and Nivetha Pethuraj
Director: Bejoy Nambiar
Producers: Bejoy Nambiar, Bhushan Kumar, and Krishan Kumar
Music: Gaurav Godkhindi
No. of episodes: 8
OTT platform: Disney+ Hotstar
The story of Kaala has certain elements inspired by the recent blockbusters Pathaanand Jawan, but the experience here is far from rousing.
Bejoy Nambiar’s Kaala moves along two parallel storylines.
On one hand, you have an IB officer named Ritwik Mukherjee (Avinash Tiwary). This is set in 2018. Ritwik Mukherjee is given the task of investigating a huge case of “reverse hawala” (a transaction where the money is transferred back to the original sender).
This reverse hawala is being run by Naman Arya (Taher Shabbir) in West Bengal. Naman Arya is a business tycoon who uses waste recycling as a front for the money laundering that he does.
As Ritwik gets deeper into the case, he finds a certain link that connects to his past.
Parallel storyline
Running parallel to this plot is the storyline set in 1988. This portion begins with a military truck being blown up on the Indo-Bangladesh border.
Subhendu Mukherjee (Rohan Vinod Mehra) is a solo survivor who somehow manages to escape by jumping into the water.
He is accused of cheating his own battalion by helping the rebel forces use the wartime tunnels as a route for smuggling.
As Kaala progresses, a complicated chain of events happens leading to Ritwik being labeled as a rogue and criminal, much like Subhendu Mukherjee.
But it goes without saying that they both have been falsely implicated. To nobody’s surprise, Subhendu turns out to be Ritwik’s father.
What follows is a familiar tale of a son avenging his father’s insult by gradually coming to know about his father’s courage.
Positives
One of the few positive aspects of Kaala is the portions involving Rohan Vinod Mehra. His scenes have an emotional resonance. As viewers, you feel for the plight of Subhendu Mukherjee.
Taher Shabbir also does well as a cool businessman.
Also, to the credit of Bejoy Nambiar, he doesn’t waste any time in setting up the world of money laundering.
Flaws
The biggest problem with Kaala is the many back and forths dealing with multiple characters that float in and out. Bejoy Nambiar does a lot of globetrotting, much like the other SRK-starrer Pathaan (2023). But here, the globetrotting doesn’t have any value to the plot.
The series starts with the issue of money laundering in the name of reverse hawala. But soon, that is relegated to the background. It becomes more about Ritwik’s fight for his father, but not in a positive way.
There is also a subplot dealing with homosexuality — involving one of the villains (Jitin Gulati). It is not just poorly placed but has been written with zero nuances.
This is sad because you have had web shows that have portrayed homosexuality in a much more nuanced manner.
A case in point is this year’s Taali, a web show on the transgender activist Gauri Sawant.
There is no denying that Kaala has been stylishly mounted. But the slickness cannot compensate for the overall dullness.
Final take
To sum it up, Kaala is a big black mark in the filmography of Bejoy Nambiar who is capable of doing much better stuff as we have seen in Shaitan (2011) and Wazir (2016).
