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Anil Kapoor: An Actor Who Has Been Aging Like A Fine Wine

An overview into how Anil Kapoor can become the next Amitabh Bachchan

Anil Kapoor made his Hindi film debut with a small part in the 1979 film Hamare Tumhare. He appeared as the leading man in the 1980 Telugu film Vamsa Vruksham directed by late Bapu. Anil Kapoor’s first lead role in Hindi was Woh Saat Din also directed by late Bapu. However it was the 1984 Mashaal that gave the actor his first big recognition. In this Yash Chopra directorial Anil Kapoor played a tapori who undergoes a transformation under the influence of Dilip Kumar’s character.  In spite of sharing screen space with legendary Dilip Kumar the actor more than stood his own. He rightfully won Filmfare’s best supporting actor that year.

One of Anil Kapoor’s most memorable films as leading man came in Mr. India directed by ace filmmaker Shekhar Kapur. The film released in 1987 and went on to become one of the major grosser of that year. It mixed science fiction with a relatable underdog story. In the titular role Anil Kapoor delivered a stupendous act. He was in equal measure charming and also vulnerable.

Some of his other notable works as a leading man include Ram Lakhan, Tezaab, 1942: A Love Story among others.

But the genius of Anil Kapoor lies in how he has constantly reinvented himself particularly after he stopped playing the commercial hero. In his second innings the actor has played a variety of roles that ranged from comic, intense and even grey to outright negative characters.

A good example of this range is the Zoya Akhtar directorial Dil Dhadakne Do. This 2015 film saw Anil Kapoor playing a self- made millionaire who never tires of repeating his rags to riches story. But beneath this arrogance his character Kamal is also vulnerable and keeps swallowing anxiety pills. The reason for that is his company is on the verge of bankruptcy.

Anil Kapoor delivered a rousing performance. He effortlessly portrayed the grey shades of Kamal. Some of the best moments in the film belonged to him.

Anil Kapoor has also been part of films specially designed for OTT. A case in point is the 2020 film AK VS AK directed by Vikramaditya Motwane. This unique movie saw Anil Kapoor and filmmaker turned actor Anurag Kashyap playing a fictionalized version of themselves. The film begins with a panel discussion where both of them are participating. A small argument blows up into something severe. Anurag splashes water on Anil Kapoor’s face and leaves the place in a huff. Later he returns and tells him that he has kidnapped his daughter Sonam Kapoor. He also threatens Anil that he has only 10 hours to find Sonam and he cannot go to the cops. He further adds that Anil’s search will be recorded. What follows is an emotional thriller with a twist that viewers don’t see coming. As a tense father Anil Kapoor did a fabulous job. The best part about his performance is his absolute lack of vanity.

Anil Kapoor and Aditya Roy Kapur in Night Manager, Part 2.

If we take some of his outright negative characters the best example is the recently released web-show The Night Manager Season 1 and 2. In this web series Anil Kapoor played a businessman called Shelly. Shelly is supposed to be a philanthropist for the outside world but in real life he is an illegal arms dealer. The monstrous side of Shelly was kept to a minimum in the first season. But in the second season the evilness comes out more. Anil Kapoor delivered a rocking performance both as the suave businessman and also as the merciless monster. One of the scenes in the second season that stays in the viewers mind for a long time is when he talks about bombs in a poetic way while chewing a cigar.

Anil Kapoor in a humour role in Welcome Back

When it comes to comic roles the two Welcome movies are a good example of how the actor left the audiences in splits. In both these films Anil Kapoor is not the main lead. Still he stole the show as one of the main goons along with Nana Patekar. The chemistry between Anil Kapoor and Nana Patekar was great. Even in Mubarakan the actor brought so much energy to the table. His nephew Arjun Kapoor had a double role in the film but the audiences came out of the theaters remembering Anil Chacha more.

Also read: Virupaksha: A solid thriller that is high on both atmospherics and content

After he stopped playing the commercial hero the variety of roles he played increased as we have seen in the above mentioned web shows and films. Here’s hoping that the actor continues to surprise the audiences with many more characters in his upcoming films. Sandeep Reddy Vanga’s Animal, Siddarth Anand’s Fighter etc. are his next big releases. Who knows…he may be the next Amitabh Bachchan!

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Blind: A ‘Sightless’ Thriller

One of the biggest issues with the film is the lacklustre cat-and-mouse game between Sonam Kapoor and Purab Kohli.

Dull direction!
Blind (Hindi)
  • Cast: Sonam Kapoor, Purab Kohli, Vinay Pathak and Lillete Dubey
  • Director: Shome Makhija
  • Producers: Sujoy Ghosh, Avishek Ghosh, and Pinkesh Nahar
  • Music: Clinton Cerejo and Brianca Gomes
  • Runtime: 2 hours 4 minutes
  • OTT platform: Jio Cinema

Shome Makhjia’s Blind is a bland remake of the Tamil thriller Netrikann (2021) which, in turn, was based on the Korean film Blind (2011).

Netrikann also had its issues with the slightly overlong runtime, but it kept the viewers at the edge of their seats for the most part.

Director Milind Rau gave a solid emotional arc that made you sympathise with its visually impaired protagonist Durga (Nayanthara).

The cat-and-mouse game between her and the psychopath (Ajmal Ameer) was filled with many tense moments which makes the viewers root for Nayanthara’s Durga.

On the other hand, Shome Makhija’s Blind is mostly devoid of these elements.

Synopsis

For those who haven’t seen Netrikann, Gia Singh (Sonam Kapoor) in Blind is a police officer in Scotland.

One day a severe argument happens between Gia and her younger brother in a car and Gia handcuffs him to the handle of the car.

Meanwhile, an accident happens and Gia crashes on the road with great force. At that exact moment, another car charges into the already wrecked car which takes her brother’s life.

She recovers but loses her sight and also her job. Her efforts to retain her job don’t succeed.

Meanwhile, several girls in the city go missing. One night, a stranger (Purab Kohli), disguised as a cab driver, offers to drop Gia home. But she soon finds something is amiss about the driver.

The ride becomes mysterious when a few knocks are heard from the trunk of the car. Gia manages to escape from the cab after some fight.

She suspects the cab driver is behind the kidnapping of the girls. The rest of the story is about whether Gia, with the help of the police force, is able to find the psychopath and the dangers she faces along the way.

Positives

Before getting into the negatives, it is necessary to mention the very few redeeming features of Blind.

Purab Kohli, as the serial killer surprises you big with his sadistic portrayal. He is someone who is generally associated with soft characters. But here, the actor successfully transforms into a cold-blooded psychopath.

Vinay Pathak, the police officer helping Gia, is also in good form. He provides some much-needed lighter moments.

A mention must also be made of the chase sequence involving Sonam Kapoor and Purab Kohli. It is one of the few moments in the film where you root for Gia.

Coming to Sonam Kapoor, the actress makes a sincere effort, but her limited acting abilities are terribly exposed here. Sonam doesn’t even hold a candle to what Nayanthara did in Netrikann.

Flaws

One of the biggest issues with Blind is the lacklustre cat-and-mouse game between Sonam Kapoor and Purab Kohli. The issue here is not just about Sonam’s acting, but it is also the dull direction of Shome Makijha.

Though Shome Makijha has been an assistant director for films like Sujoy Ghosh’s Kahaani (2012), it is clear that he has not learnt anything from those films.

An example of his dull direction is the telephonic conversation, that Sonam has for the first time with the psychopath. It is so dull that the audience goes into a slumber.

Another major problem with Blind is the lack of a back story explaining why Purab Kohli’s character abducts young women and tortures them to death.

Not a single explanation is given about his psychotic behaviour. This angle was much better explored in Netrikann.

Lillete Dubey, as Aunty Maria gets very little to do, and her scenes with Sonam don’t add much value to the narrative.

Her estranged relationship with her mother just doesn’t make any sense. The police officials, with the exception of Vinay Pathak, come across more as buffoons than anything else.

Final take

Blind’s cat-and-mouse game falters despite the few strong performances.

(Views expressed here are personal.)

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Neeyat: A Concoction Of Agatha Christie And Sherlock Holmes That Produces More Groans Than Thrills

Director Anu Menon creates the right atmosphere, thanks to the art direction and cinematography, but flounders when it comes to storytelling.

Flat direction!
Neeyat (Hindi)
  • Cast: Vidya Balan, Ram Kapoor, Shahana Goswami, Shashank Arora, Amrita Puri, and Shefali Shah (special appearance)
  • Writer-Director: Anu Menon
  • Producer: Vikram Malhotra
  • Music: Mickey McCleary
  • Runtime: 2 hours and 10 minutes

Director Anu Menon’s Neeyat (Motive) is a solid example of how making a mystery film is not everyone’s cup of tea. Apart from the Agatha Christie and Sherlock Holmes hangover, the film also reminds you of Daniel Craig’s Knives Out (2019).

Neeyat also has a minuscule semblance to the pilot episode of Vishal Bharadwaj’s web series Charlie Chopra & The Mystery of Solang Valley (2023).

Well, there is nothing wrong with getting influenced by the works of others provided you make a compelling film. But Anu Menon’s Neeyat provides very few thrills. In fact, the thrills can be counted on your fingertips.

Synopsis

The film’s plot revolves around a fugitive billionaire Ashish Kapoor (Ram Kapoor).

It is easy to guess that he is modelled by several businessmen who have committed financial fraud and escaped from the country. His over-ambitious behaviour causes many innocent employees in his company to commit suicide.

Ashish Kapoor has a beautiful mansion by the seaside in Scotland. He decides to celebrate his birthday there with close family members and friends. They all have their inner demons.

Present at this party is also the supposed CBI officer Meera Rao (Vidya Balan).

Things take a drastic turn when Ashish Kapoor is found dead under the sea. What follows is a whodunnit where each member is a suspect.

Ram Kapoor & Rahul Bose stand out

There are only a few actors who stand out in this ensemble cast.  Chief among them is Ram Kapoor and Rahul Bose.

Ram Kapoor plays the power-hungry billionaire with panache. He does a swell job of capturing the eccentrics of Ashish.

Rahul Bose also has his moments playing Ashish Kapoor’s brother-in-law Jimmy. His character is a caricature but Rahul Bose makes it land with his enthusiasm.

Last but not least, Shefali Shah, in a special appearance, packs a far bigger punch than Vidya in the entire film.

There are a couple of twists that do take you by surprise — one of them is Ram Kapoor’s character and the other is Vidya Balan’s. But these twists come so late that the audiences are exhausted by that time.

Dragged narrative

As mentioned earlier, Anu Menon does create the right atmosphere. This is majorly thanks to Lydia Moss’s art direction and the cinematography by Andreas Neo.

They both are successful in creating a tension-filled atmosphere. This atmosphere adds more depth to the story than the direction.

Ashish Kapoor’s mansion is also a character in itself.

However, a big issue with Neeyat is the dragged narration of Anu Menon. The film takes a long time to get to the point. The pacing is slow and some layers have been unnecessarily added.

Neeyat also tries to make social commentary on how the employees are left in a lurch because of these power-hungry billionaires, driving them to suicide. But these portions don’t make any impact because of the flat direction.

Another major problem with Neeyat is how Vidya Balan goes about her role as Meera Rao. The energy needed for a female Sherlock Holmes is absolutely missing. Vidya plays her character with unenthusiasm.

Verdict

In all, Anu Menon’s Neeyat produces more groans than thrills.

(Views expressed here are personal.)

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The Night Manager Part 2: High On Both Thrills And Human Drama

Part 2 of this espionage drama gives a deep insight into global politics through the character of Shelly played by Anil Kapoor.

Stands out for its performances!
The Night Manager Part 2 (Hindi)
  • Cast: Anil Kapoor, Aditya Roy Kapur, Sobhita Dhulipala, Tillotama Shome, and Saswata Chatterjee
  • Direction: Sandeep Modi, Priyanka Ghose, and Rukh Nabeel
  • Producers: Deepak Dhar, Rishi Negi, and Rajesh Chadha
  • Music: Sam CS
  • No. of episodes: 3
  • OTT platform: Disney+ Hotstar

The first part of The Night Manager followed the journey of an ex-Navy guy-turned-night manager Shaan Sengupta (Aditya Roy Kapur). His life takes a drastic turn when a tormented teenager seeks help from him.

The husband of this teen is a criminal and much older than her. He is also an associate of a businessman named Shelly (Anil Kapoor).

On the surface, Shelly is supposed to be a philanthropist. But in reality, he is a businessman who deals in illegal arms.

Shaan takes the help of a woman called Lipika Saikia Rao (Tillotama Shome) who works for the Indian intelligence.

In spite of his best efforts, Shaan isn’t able to save the teenager. And this leaves him absolutely shattered.

The crux of The Night Manager Part 1 was primarily about how Shaan manages to impress Shelly and gets access to his inner circle.

Season 2 synopsis

The Night Manager Part 2 begins with the illegal arms dealer Shailendra Rungta aka Shelly.

He is still not aware of Shaan’s real identity. His trust in Shaan is so firm that he even makes him a business partner.

On the other hand, Lipika is continuing to trace Shelly at the cost of facing heat from the system.

There is also a secret love story developing between Shaan and Shailendra’s girlfriend Kaveri K Dixit (Sobhita Dhulipala).

However, Shelly’s friend Brijpal (Saswata Chatterjee) isn’t still convinced about Shaan’s reliability. Adding to Brijpal’s woes, he loses Shelly’s trust.

Like most espionage dramas, this web series is also about a man who rises against all odds to save the country. At the same time, The Night Manager Part 2 gives a deep insight into global politics through the character of Shelly.

Sobhita gets a strong role

A big area of improvement in comparison to The Night Manager Part 1 is how the makers designed the character of Sobhita Dhulipala’s Kaveri.

In the first season, she was more of a glam doll. But now, the character has been explored much more.

The romantic moments between Shaan and Kaveri are subtle yet effective. However, as viewers you do wish that Kaveri shouldn’t have been reduced to a damsel in distress towards the end.

Sobhita Dhulipala is quite good and does hold her own opposite the terrific Anil Kapoor.

A peek into world politics

Coming to Anil Kapoor, he does a fantastic job of portraying the evilness of Shelly. The monster side of Shelly comes out much more in The Night Manager Part 2.

For example, there is a scene where he butchers a former associate to death with what looks like a Reynolds ballpoint pen.

One of my favourite moments in the show is when he chews on the cigar and talks about bombs in a poetic way. It is so good to see Anil Kapoor reinventing himself constantly.

As earlier mentioned, the theme of global politics is explored through the character of Shelly.

He may look like the villain, but in reality, he is someone who is very much needed by the Indian government. Because people like him are hired to do the dirty work which the government doesn’t want to lay its hands on.

At one point, Shelly is compared to Osama Bin Laden whom America thought it could control, at least at one point in time.

These moments make the show a cut above the usual espionage drama.

Other characters

Aditya Roy Kapur shows once again why he is perfect for the role of Shaan. He lends the required mystery as Shaan doesn’t express a lot. His good looks also come in handy since Shaan is meant to be a seducer as well.

Another character from The Night Manager Part 2 that stays with the viewers is Saswata Chatterjee’s Brijpal. He effortlessly conveys the turmoil of a man who is losing the trust of his friend.

Tillotama Shome as the heavily pregnant intelligence officer continues her impressive form.

She is in equal parts resilient and vulnerable. She also gets her share of masala moments and the actress knocks them out of the park.

The cinematography by Benjamin Jasper and Anik Ram Verma is of the highest order. The desert shots, in particular, deserve mention.

The background music by Sam CS elevates the drama in several places.

Final take

The Night Manager Part 2 is an espionage drama that manages to stand out with its understanding of world politics and stellar performances.

(Views expressed here are personal.)

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Lust Stories 2: An Engrossing Anthology About Love, Sex, And Desire

Much like its predecessor ‘Lust Stories’ (released in 2018), ‘Lust Stories 2’ also offers a fresh perspective on female desires.

Lust Stories (2018) — directed by Zoya Akhtar, Dibakar Banerjee, Anurag Kashyap, and Karan Johar — was a well-made anthology about female desire.

The protagonists in these segments belong to different generations, socio-economic statuses, and upbringings. But the common aspect that bound them was sex and lust.

The standout story in Lust Stories was the short directed by Zoya Akhtar. Her story was about a domestic worker and her boss. Zoya expertly tackled the issue of a class divide through the lens of lust.

Now, after a gap of five years, you have Lust Stories 2. Much like its predecessor, this also offers a fresh perspective on female desire.

Made For Each Other

Lust Stories 2 begins with R Balki short Made For Each Other. This short primarily looks at checking sexual compatibility before marriage. It opens with Veda (Mrunal Thakur) and Arjun (Angad Bedi).

You have both families discussing when their marriage should take place. At that exact moment, Veda’s  daadi (grandmother, played by Neena Gupta) asks Veda whether she and Arjun had pre-marital sex.

As expected, this leads to a complete silence in the room. Daadi also adds that checking sexual compatibility before marriage is as important as doing a test drive before buying a car.

In the hands of a lesser actor, daadi’s dialogue may have sounded awkward. However, Neena Gupta makes the cool daadi work with her natural performance. Her scenes with Mrunal in particular are very good to watch.

Mrunal Thakur and Angad Bedi don’t have a lot to work with. Nevertheless, they make for a good lovey-dovey couple.

The Mirror

The Mirror, directed by Konkana Sen Sharma, is more intense than Balki’s short.

Isheeta (Tillotama Shome) is an individual leading a mundane life. She has repressed sexual desires.

But one day, things take a significant turn when she accidentally sees her domestic help (Amruta Subhash) engaging in a sexual act with her husband in her house (Isheeta’s).

Instead of confronting the domestic help, Isheeta gets drawn to the scene. She gets a lot of pleasure from watching them.

This segment primarily looks at the inner desires of Isheeta and the complexities that arise from her voyeurism. This short also shows that lust knows no caste, colour or gender.

Both Tillotama and Amruta Subhash are in wonderful form with their uninhibited performances. Though it reminds you of Zoya Akhtar’s short in Lust Stories, Konkana adds many more layers.

Sex With Ex

Sujoy Ghosh’s Sex With Ex is a thriller in typical Sujoy Ghosh’s style. This segment of Lust Stories 2 doesn’t completely draw you in, but it isn’t a complete waste either.

David Chauhan (Vijay Varma) is involved in an accident on the outskirts of a town. While searching for a mechanic he visits a hamlet where he runs into his ex-wife Shanti (Tamannaah Bhatia).

Shanti was assumed to be dead for a long time. Expectedly, this reunion brings a flood of memories.

The best part of this segment is the real-life sensuality that Tamannaah and Vijay Varma bring to the table. The twist at the end also takes you by surprise.

Tilchatta

The last chapter of Lust Stories 2 is Tilchatta (Cockroach) directed by Amit Ravindernath Sharma.

It deals with two issues mainly — firstly, it is about an upper-caste man who still feels that he is living in the age of kings; secondly, it is about a woman trying to find her agency in an abusive marriage.

The patriarch here is Kumud Mishra and the married woman is Kajol.

Tilchatta takes place in a sprawling haveli. Amit Ravindernath Sharma does a wonderful job of bringing out the toxicity and suffocation that Chanda (Kajol) and her son are going through in that large space.

There is an affecting subplot concerning sex workers since Chanda was a sex worker before getting into this haveli. This subplot adds more heft to the drama.

Both Kajol and Kumud Mishra bring their A-game. Kumud Mishra shows once again why he is considered a brilliant actor. He is absolutely terrific as the torchbearer of patriarchy. The way he unabashedly gazes at the bodies of women with so much lust makes the viewers hate him.

Kajol, as the woman trying to find her agency, conveys a lot with just her body language. As viewers, you want her to take the bold step which she eventually does, although things don’t go exactly according to the plan.

Verdict

Much like Lust Stories, Lust Stories 2 also makes a bold attempt at bringing taboo topics to the forefront through the digital space.

(Views expressed here are personal.)

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Satyaprem Ki Katha: A Heartwarming Story that Makes You Want A Real-Life Partner Like Kartik Aaryan’s Sattu

An important aspect of Sameer Vidwans’s ‘Satyaprem Ki Katha’ is how it looks at the issue of consent in relationships.

Addresses pertinent social issues.
Satyaprem Ki Katha (Hindi)
  • Cast: Kartik Aaryan, Kiara Advani, Gajraj Rao, Supriya Pathak, Rajpal Yadav, and Shikha Talsania
  • Direction: Sameer Vidwans
  • Producers: Sajid Nadiadwala, Shareen Mantri Kedia, and Kishan Arora
  • Music: Meet Bros, Tanishk Bagchi, and Payal Dev
  • Runtime: 2 hours 26 minutes

There is a famous quote in English which says that “Don’t judge a book by its cover”. This goes perfectly well with the film Satyaprem Ki Katha.

The trailer promised a breezy romantic film, but it is more than just a rom-com. Director Sameer Vidwans addresses some pertinent social issues through the lens of a romantic drama.

Synopsis

Satyaprem aka Sattu (Kartik Aaryan) is an underdog who falls in love with Katha (Kiara Advani). Katha belongs to different strata of society which is out of Sattu’s league.

However, circumstances not only bring them together but also get them married. Nevertheless, the marriage doesn’t take off.

Katha comes with a haunting past. Initially, the viewers think it is a case of a bad break-up with her ex-boyfriend. However, it turns out to be more sinister.

The crux of Satyaprem ki Katha is about two things primarily — one is how Sattu wins Katha over; secondly, it is about Katha letting go of her trauma and finding the courage to face the truth.

Picks up pace in second half

The movie does take time to get going. The boy-meets-girl moments don’t have a lot of meat. The director takes time to get to the real meat of the story.

But its picks up after the marriage of Sattu and Katha. The interval point further raises the expectations of the audience and the second half drama is one of the film’s biggest selling points.

Sameer Vidwans does a wonderful job of showing how the relationship evolves between Sattu and Katha. The evolution is not only about their relationship but also about their individual characters.

Societal issues

An important aspect of Satyaprem Ki Katha is how it looks at the issue of consent in relationships.

The film also briefly reminds you of the famous Amitabh Bachchan dialogue “A No is a No”.

Kiara’s Katha is a victim of date rape. Her ex-boyfriend penetrates her badly, even when she resists. Katha’s father has no idea about this.

Kartik Aaryan’s Sattu does come across as too idealistic with his patient behaviour. But as viewers, you don’t mind because Sattu is not presented as some social reformer.

Sattu, of course, has his moments of frustration and the change in his character happens gradually.

The film has also got some entertaining family moments. The best examples are the ones featuring Kartik Aaryan and his on-screen dad Gajraj Rao. There is visible warmth between them in both the comic and emotional bits.

Director Sameer Vidwans presents an authentic middle-class milieu.

Cinematographer Ayananka Bose does a good job of capturing the locality of Ahmedabad.

Performances

The songs composed by multiple composers are mostly melodious. The best of the lot is “Naseeb Se and Aaj Ke Baad“. “Gujju Pataka“, on the other hand, isn’t high on lyrics but Kartik’s dancing along with the peppy tune makes it an energetic track.

Out of the two leads, Kartik Aaryan scores more with his act. He is not only good in the goofy bits but shines equally in intense scenes.

Kiara Advani takes some time to settle down. The reason behind her character’s aloofness doesn’t have the required emotional heft in the beginning. But both Kiara and her character get better as the film progresses. Overall, she delivers a competent performance.

Final verdict

In Satyaprem Ki Katha, Katha is fortunate to have a happy ending which many women can’t hope to have. Many more Sattus are the need of the hour!

(Views expressed here are personal.)

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Tiku Weds Sheru: A Hotchpotch Of ‘Luck By Chance’ And ‘Tanu Weds Manu Returns’ That Leaves You With A Bitter Aftertaste

Avneeth Kaur’s confident debut and Nawazuddin Siddiqui’s earnestness aren’t enough to salvage this wreck of a film.

A complete dud!
Tiku Weds Sheru (Hindi)
  • Cast: Nawazuddin Siddiqui and Avneet Kaur
  • Direction: Sai Kabir
  • Producers: Kangana Ranaut
  • Music: Gaurav Chatterji
  • Runtime: 1 hour 51 minutes
  • OTT platform: Amazon Prime

There have been several films set against the backdrop of the film industry and Tiku Weds Sheru is one such.

For example, Shyam Benegal’s Bhumika (1977) was based on a well-known Marathi stage and screen actress of the 1940s. Even before that, Guru Dutt’s Kaagaz Ke Phool (1959) explored the turbulent life of a famous filmmaker.

If we talk about recent times, Zoya Akhtar showed the journey of two aspiring actors who arrive in Mumbai to become big stars in Luck By Chance (2009). Though the film didn’t make a lot of money, it was critically appreciated and won the best debut director award for Zoya.

This year, you had the web series Jubliee (2023), directed by Vikramaditya Motwane. It was about the film industry of the 1940-50s through five major characters. It turned out to be a major hit on Amazon Prime.

Sai Kabir’s Tiku Weds Sheru majorly takes inspiration from two films — Luck By Chance Kangana Ranaut’s Tanu Weds Manu Returns (2015). Even the title resembles it.

Director Sai Kabir tries to address many pertinent issues like misogyny and patriarchy here, but his direction lacks the required clarity. Tiku Weds Sheru neither works as a romantic drama nor as a story of two underdogs.

Shiraz Afghani aka Sheru (Nawazuddin Siddiqui), is one of the many countless junior artists slogging it out in the film industry. Apart from being a junior artist, he works secretly as a pimp too.

Synopsis

Tiku (Avneeth Kaur) is a fierce girl from Bhopal. She has a good flair for poetry. Tiku aims to escape from her misogynistic family and become a superstar in Bollywood.

Her ticket to Bollywood comes in the form of Sheru who pretends to be a film financer. The duo gets married.

He uses the dowry money to repay a loan shark. Sheru doesn’t know that Tiku has already got a boyfriend and is using him as a gateway to reunite with him. This boyfriend promises to make her a superstar.

But eventually, he dumps her as expected. The rest of the story is about how Tiku and Sheru navigate their personal lives, and also the world of showbiz.

The only positive aspect

The only positive aspect of Tiku Weds Sheru is the performances of the individual actors.

Avneeth Kaur, in particular, sparkles as the girl who aspires to be a superstar. She shines equally in both the dramatic and comic bits. With a much better script, this girl can go a long way.

Nawazuddin Siddiqui brings certain earnestness to his part, as he does in most of his films. His performance here is no Manto (2018). Nevertheless, he is sincere.

But at the same time, Nawazuddin looks completely out of place in the dancing portions.

Fails to do justice

But as a pair, there is a complete lack of chemistry between the leads. It is not just about the hugely significant age gap. But there is a general awkwardness in the romantic scenes which only adds to the woes of the film.

The biggest issue with Tiku Weds Sheru is that it does not do justice to any of the themes handled.

The issues of the plight of the junior artists and the casting couch are very pertinent, but director Sai Kabir makes a mockery with his inept direction.

The supporting characters are another big joke. All of them are one-note characters. As a result, none of them leaves an impact.

Kangana’s cameo also comes out of nowhere. It is a part that could have been easily deleted

Verdict

Tiku Weds Sheru is the first venture for Kangana as a producer and the third film for Sai Kabir. Unfortunately, it turns out to be a complete dud. Hope they come up with better and more original stories in future.

(Views expressed here are personal.)

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Jee Karda: A Tale Of Friendship With Good Dose Of Fun And Drama

Director Arunima Sharma’s web series is a good attempt at exploring the different problems faced by today’s youth.

A mirror of contemporary times!
Jee Karda (Hindi)
  • Cast: Tamannaah Bhatia, Anya Singh, Aashim Gulati, Suhail Nayyar, and Hussain Dalal
  • Direction: Arunima Sharma
  • Producer: Maddock Films
  • Music: Sachin Jigar
  • No. of episodes: 8
  • OTT platform: Amazon Prime

Arunima Sharma’s Jee Karda (What the Heart Wishes) is a relatable tale of seven childhood pals, now in their 30s going through different issues.

Through this tale of friendship, Arunima Sharma touches upon multiple topics. Not all of them are fleshed out sufficiently. But still, there is a lot to enjoy particularly if you are in the mood for some fun.

Jee Karda begins with an old man making a prophecy about a bunch of schoolchildren. He tells each of them how their lives will turn out and what things they need to keep a distance from.

Children dismiss this farfetched prophecy, and we fast forward to 15 years.

At the centre of this tale is Lavanya (Tamannaah Bhatia). She is on the verge of marrying her childhood friend Rishabh (Suhail Nayyar). Even at that stage, we see her struggling to come to terms with the idea of marriage and the complexities that come with it.

Among others, Arjun (Aashim Gulati) is a popular Punjabi pop singer who is often embroiled in controversies. Preet (Anya Singh) is struggling to find a compatible partner.

Sheetal (Samvedana Suwalka) is married to Sameer (Malhar Thakkar). She is facing the challenges of living in a joint family and is desperate to have her own space with her husband.

Melroy (Sayan Banerjee) is in a problematic relationship with a guy called Yavar. Melroy is trying to cope with Yavar’s inability to come out of his closet.

The last one in the group is Shahid (Hussain Dalal), a school teacher struggling financially to make ends meet.

In a nutshell, Jee Karda looks at how these seven friends navigate the challenges of adulthood.

There is no denying that the theme of Jee Karda isn’t exactly original. The story at times reminds you of both Shashanka Ghosh’s Veere di Wedding (2018) and also Ayan Mukherjee’s Yeh Jawaani Hai Deewani (2013).

But what makes the show work is how Arunima Sharma deals with the different plotlines.

Strong plotlines

One of the best tracks in Jee Karda is the one involving Sayan Banerjee as Melroy. He is a homosexual man who had to face a lot of problems because of that.

The director does a wonderful job of portraying the arch of his character. It also helps that Sayan did complete justice to the character.

Another subplot that deserves a mention is that of Hussain Dalal’s Shahid.

Shahid comes from the lower social strata, in comparison to his friends. As a result, life has never been easy for him. Hussain Dalal does a very good job of bringing out the vulnerability of Shahid.

The story of Samvedana Suwalka is similar to what we had earlier seen this year in Zara Hakte Zara Bachke (2023). However, there is no denying that the claustrophobia of her character Sheetal is easily relatable for many married women.

Coming to the main leads, Tamannaah Bhatia gets to portray a character which is vastly different from what we have seen in her earlier films. To Tamannaah’s credit, she does pull off a wonderful performance.

There are times when she goes overboard. But nevertheless, she is impressive.

Aashim Gulati is also fun to watch as the Punjabi pop singer. His character Arjun is not just high on energy, but there is also a vulnerable side to him.

Another aspect that works for Jee Karda is the family scenes featuring Lavanya’s mother and Rishabh’s parents. Their contrasting ideologies have been well portrayed by the director.

Weak points

Among the seven friends, the one track that sticks out like a sore thumb is Anya Singh’s Preet. The arc given to her is the weakest of all.

One major problem with Jee Karda is the overdose of the “F” words. After a point, it does get irritating.

Technical aspects

The cinematography by Mahendra Shetty is suitably glossy adding to the rich production values. Sachin Jigar’s background music also works well.

Final takeOverall, Jee Karda is a good attempt at exploring the different problems faced by today’s youth. Some of them manage to resolve them while others don’t; a mirror of contemporary times.

(Views expressed here are personal.)

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Prabhas: The rise and decline of the ‘Baahubali’ star

Here’s an overview of how Rebel Star Prabhas has gone from a strong force to a pale shadow of himself, post-‘Baahubali’.

Prabhas made his debut with Jayanth C Paranjee’s Eeswar in 2002. He has been part of over 20 films to date. His most famous projects include Varsham (2004), Chatrapathi (2005), Darling (2010), Mr Perfect (2011), Mirchi (2013), and of course the Baahubali (2015 & 2017) films.

Of the 20-plus films, only eight are hits at the box office. The rest of them have either done average business like his first film Eeswar or have been complete disasters like Munna, Yogi, and Rebel.

So, it is not that Prabhas hasn’t seen flops before, but his once magnetic screen presence has seen a total dip after the world-famous Baahubali. Also, the actor has become too macho leaving little or no space for other emotions like vulnerability.

Machoism and sentiment

His debut film Eeswar was a typical “rich girl loves poor boy” story filled with all the clichés that we associate with the genre. Despite this, he made an impressive debut, for there was certain ease in his acting.

There was a time when Prabhas made efforts to cater equally to both masses and classes. For example, SS Rajamouli’s action-drama Chatrapathi was meant to make him the darling of the masses.

The director presented him as macho, but there were also some solid emotional moments beneath all that action. Prabhas more than stood his own, even opposite a senior actress like Bhanupriya. His scenes with over-the-top Shafi also showed a different side of the actor.

Romance and action

In Varsham and Mirchi, the Rebel Star struck a perfect balance between a romantic and an action hero. His romantic scenes with both Trisha and Anushka Shetty respectively had many adorable moments.

In between, he also tried his hand with a classy period film like Pournami (2006).  Of course, it also had its share of action scenes. But there is also a hugely vulnerable side of Prabhas, especially in his scenes with Trisha.

Pournami wasn’t a blockbuster when it was released but it continues to be a film that is remembered fondly by the class audiences.

The likes of Mr Perfect and Darling, on the other hand, established Prabhas as an out-and-out lover boy. Contrary to the title Mr Perfect, his character Vicky isn’t flawless. There are times when he comes across as too selfish. But Prabhas managed well to balance the different shades of his character.

The Baahubali films directed by Rajamouli, of course, took the stardom of Prabhas to a different level. Baahubali 1&2 allowed him to portray different shades — a fierce warrior, a righteous prince who stands up for his beliefs, a loving husband, etc.

But, since then, things are on downhill with Saaho (2019), Radhe Shyam (2022) and the latest Adipurush (2023). There could be multiple reasons for these disasters, but the chief reason is they did not match up to the expectations after Baahubali.

In the case of Saaho, director Sujeeth made a mess of what was essentially a revenge drama with an underworld background. The plot was convoluted unnecessarily with too many characters.

Sujeeth tried to show some 50 shades of Prabhas. But in the process, the style took over substance. Chunky Pandey as Devraj was the only actor in the supporting cast who made any impression.

As for the Baahubali-star, he comes across as rather bored for most of the movie. There is a lazy attitude that we see in the actor and this makes Sahoo even worse. The close-up shots did not exactly help either.

Radhe Shyam: Another debacle

Radhe Shyam directed by Radha Krishna Kumar was an interesting attempt given that it is a love story where there are no human villains. You don’t have any action scenes where Prabhas takes on the baddies. Here, it is fate that plays spoilsport.

And the conflicts arise from his destiny, not his fellow human beings. Though Radhe Shyam was a complete departure from Saaho in many ways, the box office result was the same.

To the credit of Prabhas, he did put in a sincere performance. But the romantic side wasn’t as convincing as in Mr Perfect. He did try to rise above the muddled script.

The biggest reason behind Radhe Shyam’s failure was the lack of clarity on the part of director Radha Krishna Kumar. It was not clear at any point whether he was supporting science or astrology. It also didn’t help that Prabhas and Pooja Hedge’s chemistry was far from convincing.

Adipurush: More of a video game

Now to the latest Adipurush. Om Raut’s take on the Ramayana is something that writer Valmiki would cringe at. With the weird tonality that the director adopted Adipurush became more of a video game than the story of Lord Rama.

Apart from the lapses in the story, the performance of Prabhas was also rather laboured. There was no attempt on his part to get into the headspace of Rama. The actor treated it as any other mainstream character.

The magnetic presence associated with the actor is also completely missing in this film. His broad frame did not help in any way. Forget about NT Rama Rao, even others who acted as Rama fared much better.

And now, for the Baahubali actor to return to form, he needs to do two things seriously — choosing his scripts wisely and getting rid of his laziness in acting.

Let’s hope that his forthcoming Salaar and Project K would bring out the better version of the actor!

https://thesouthfirst.com/entertainment/prabhas-the-rise-and-decline-of-the-baahubali-star/

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Adipurush: Prabhas’s Latest Outing Is A Misfire Of Epic Proportions

In spite of all the resources available, Om Raut has delivered an absolutely subpar film that makes a mockery of the ‘Ramayana’.

Prabahs-starrer Adipurush was one of the most keenly anticipated movies of this year. It was expected to be a mega-comeback for the actor.

However, since the release of its teaser, it has been hitting the headlines for the wrong reasons more often than for the right ones.

Only the songs have managed to create some buzz. Unfortunately for Prabhas, Adipurush is going to be another severe setback after Saaho (2019) and Radhe Shyam (2022).

A subpar film

In spite of all the resources available, director Om Raut has delivered an absolutely subpar film that makes a mockery of the Ramayana.

Om Raut made a smashing Bollywood debut with his first film Tanhaji: The Unsung Warrior (2020). Ajay Devgn played the title role in it.

Saif Ali Khan was the chief antagonist, playing Aurangzeb’s trusted guard Udaybhan Singh Rathore.

In spite of its hyper-nationalism, Tanhaji still worked primarily because of the performances, and also the scale on which Om Raut mounted the film.

I won’t go into the story of Adipurush as Ramayana is an epic that needs no introduction. So, let’s delve straight into the analysis.

Before getting into the negatives, it is necessary to mention the few positives that Adipurush has.

To give credit where it is due, the music and the background score do manage to pump in the much-required emotions.

The movie begins with the wonderful song “Ram Siya Ram“. Manoj Muntashir’s lyrics coupled with his singing make the track an absolute winner.

“Jai Shri Ram” has a robust energy which makes the audience sit up.

The background score done by Ajay-Atul and Sachet-Parampara is rousing.

A particular mention must be made of the background score whenever Saif Ali Khan’s Raavan comes on screen.

Saif as Raavan

Saif Ali Khan clearly has a ball playing Raavan and it shows in every scene. Thanks to his strong screen presence, the actor brings a certain energy that uplifts the film considerably.

Yes, the part does remind you of Ranveer Singh’s Allauddin Khilji in Padmaavat (2018) and also Saif’s own Udaybhan Singh Rathore. But still, there is no denying the impact of Saif.

Saif has always been at his best when not playing the typical hero and this thunderous performance is proof of that.

Vatsal Seth as Indrajeet deserves a mention. He makes a striking impact in spite of his limited screen time.

Too many flaws

Coming to the shortcomings, Prabhas and Kriti Sanon are easily the weakest links of Adipurush.

The success of the Baahubali films (2015 & 2017) has changed the fortunes of Prabhas, both positively and negatively.

On one hand, it has opened new doors for the actor. But the expectations have also risen many folds.

An important part of his success has always been his magnetic screen presence but that charisma was nowhere visible in both Saaho and Radhe Shyam, particularly the former.

Here, too, Prabhas comes across as rather dull. At no point does he succeed in making the audiences feel that he is Rama, the Ideal Man/God that crores of people in this country worship.

It is very clear that the actor has treated this role as any other mainstream character. At no point does he get into the headspace of Rama.

Kriti Sanon as Sita

Kriti Sanon, on the other hand, does suffer from a sketchy characterisation. She is largely absent in the second half. Even when she is there, she comes across as bland.

Much like Prabhas, Kriti has also failed to internalise her character.

The chemistry required between Prabhas and Kriti Sanon is completely absent.

Weak characterisation

The characterisations of the “Vanar Sena” also leave a lot to be desired. The accent of Devdatta Nage’s Hanuman, in particular, is rather jarring.

Om Raut has tried to give Hanuman a modern touch, but the dialogues are completely out of sync with what viewers generally expect from Hanuman.

Poor VFX

The VFX is another big disaster. Adipurush is a film that is supposed to have been made on a budget of ₹600 crore. But as viewers, you wonder where the budget went.

In spite of the flaws in the story, Brahmastra (2022) was at least a visual spectacle. But the graphics in Adipurush seems to have been designed by amateurs.

The battle scenes, in particular, are both laughable and exhausting. They test the viewers’ patience to the optimum. One wishes to see the end as quickly as possible.

Final take

A runtime of almost three hours makes things worse for Adipurush. Instead of being an epic tale, it turns out to be an epic bore.

(Views expressed are personal.)