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These Bollywood heroes and heroines made our jaws drop as onscreen baddies too!

Unlike many top actors who did negative roles later in their careers, Shah Rukh Khan started off his film career as an anti-hero.

It is hugely liberating for any actor who is relatively comfortable in one’s career doing roles that fall outside the conventional zone. It gives the artiste a certain abandon where he or she doesn’t have to pander to a certain image.

Following is a list of some Bollywood actors and actresses who have tried their hand at grey/negative roles and found varying degrees of success.

Let us start with “Bollywood Baadshah” Shah Rukh Khan.

Shah Rukh Khan

Unlike many top actors who did these kinds of roles later in their careers, Shah Rukh Khan started off his film career with a spat of anti-hero roles.

Both Baazigar (1993) and Darr (1993) made him a household name much before Dilwale Dulhania Le Jayenge (1995).

The impact of Shah Rukh in Darr was so much that the audiences hardly remember Sunny Deol. Not surprisingly, the “Bollywood Baadshah” was the obvious choice for the remake of Amitabh Bachchan’s Don (1978).

In spite of comparisons with Amitabh Bachchan, Shah Rukh made the character of Don his own with his stylish performance in the 2006 release. The actor effortlessly played the negative shades.

Aamir Khan

Among the other Khans, Aamir Khan played a character with grey shades to great success in Deepa Mehta’s directorial 1947: Earth (1999).

Here, he played an ice candy man named Dil Navaz who falls in love with Shanta (Nandita Das), a Hindu woman.

Shanta works as a nanny for a wealthy Parsi Family. However, she loves a Muslim man named Hassan (Rahul Khanna).

This is something that Aamir’s character cannot digest. Partition and the ensuing family tragedy change him completely.

As a person who gets swayed by the hate around him, Aamir delivered a brilliant performance. He did a wonderful job of bringing out the many nuances of his character.

Saif Ali Khan

Saif Ali Khan also made a huge impression with his negative roles in Omkara (2006), Tanhaji: The Unsung Warrior (2020), and Adipurush (2023).

With Omkara, the actor successfully broke his urban image under the skilful direction of Vishal Bhardwaj.

Even in Adipurush, the actor brought certain energy whenever he appeared on the screen.

Interestingly, Salman Khan is the only Khan who did not play a negative role yet.

John Abraham

Before Pathaan (2023), John did several roles mainly consisting of chest-thumping patriotism and slapstick comedies. Nevertheless, most of these films didn’t click.

But the actor made a strong comeback in Siddharth Anand’s globetrotting entertainer Pathaan.

In Pathaan John’s Jim was not the regular clichéd villain. He is someone who is always a step ahead of Shah Rukh Khan’s Pathaan, which adds to the victory of the protagonist at the end.

The action scenes choreographed between Shah Rukh and John had a lot of grit.

Jim also had a solid back story explaining why he does what he does.

After a series of sub-par outings, John Abraham was finally in form. The best part of his performance was how he expressed his angst in the more dramatic bits.

Tabu

In Bhool Bhulaiyaa 2 (2022), Tabu played a double role — one of a dutiful daughter-in-law Anjulika and the other of her twin sister Manjulika who wreaks havoc in Anjulika’s life.

As Manjulika, Tabu let her hair down with a delightfully devilish performance. It was clear that the actress was having a blast.

Apart from Kartik Aryan’s comic timing, Tabu’s double act was another major reason why the film worked.

In Andhadhun (2018), the actress played the wife of a yesteryear movie star. Her character had many layers. She was erratic, vulnerable and deceitful all at the same time. She was simply brilliant in portraying these shades.

Tabu also made a huge impact with Maqbool (2003) and Haider (2014). Both these were adaptations of William Shakespeare’s “Hamlet” and “Macbeth” respectively.

Ranveer Singh

There is no denying that Ranveer Singh’s Alauddin Khilji was more of a caricature meant to glorify the Rajputs in Padmaavat (2018).  But at the same time, his Khilji was easily the biggest backbone of the film.

Ranveer gave an electrifying performance which easily overshadowed both Shahid Kapoor and Deepika Padukone. As viewers, we wanted to see more of him on the screen.

Ranveer’s scenes with Jim Sarbh as Malik Kafur were way more enjoyable than the poetic romance of Shahid and Deepika.

Priyanka Chopra

In Aitraaz (2004), Priyanka Chopra played an ambitious woman for whom fame and glamour are more important than anything else. In this quest, Priyanka’s Sonia marries a much older man (late Amrish Puri). Her desire for fame and success is fulfilled, but she doesn’t get sexual satisfaction from her husband.

In order to fulfil her desires, she tries to seduce her ex-boyfriend Raj Malhotra (Akshay Kumar). However, Raj rejects her advances as he is a happily married man. Sonia gets upset by his rejection and falsely accuses Raj of sexually harassing her.

Priyanka played this role very early on in her career. It was a bold move that could have easily backfired, but Priyanka made a huge impact. In fact, she shined more than Kareena Kapoor, who was playing the conventional heroine.

Alia Bhatt

Alia Bhatt‘s Hollywood debut is not exactly a smashing one, particularly for those who have seen her work in Hindi films. But the actress needs to be credited for taking up a grey character in her very first Hollywood venture — Heart of Stone (2023).

She tries to procure it for the villain without knowing his actual purpose. In the process, she is pitted against Gal Godot, the main protagonist.

In the initial portions, we see Alia’s harsh demeanour towards Gal. There is a visible arrogance in the way she speaks to her.

However, there comes a point when Keya goes through an existential crisis. All this was well portrayed by Alia. There is also a tough fight scene between them in mid-air.

Ajay Devgn

In Khakee (2004), Ajay Devgn played a formidable opponent who creates havoc for the police officers, played by Amitabh Bachchan and Akshay Kumar among others.

The actor brought a lot of quirks to his character. The subtle humour that he brought with his dialogues won the hearts of audiences.

His confrontation scenes with Amitabh Bachchan were easily one of the best parts of Khakee. With Khakee, Ajay Devgn showed that he can do a variety of roles.

Amitabh Bachchan

Amjad Khan’s Gabbar Singh in Sholay (1975) is easily one of the most iconic villains that Indian cinema has seen. It is not an easy task to recreate that villainy given how firmly the character has been etched in the minds of the Indian viewers.

But Amitabh managed to play the new-age Gabbar Singh in his trademark style in Ram Gopal Varma Ki Aag (2007). If we keep the comparisons aside, the veteran actor was also quite menacing as a villain.

Apart from the above-mentioned actors and actresses, others too did roles that fell outside the convention of hero and heroine.

For example, Aishwarya Rai Bachchan played a character with a lot of vengeance on her mind in both the Ponniyin Selvan films (2022, 2023).

Akshay Khanna in Race 1 (2008) was superb in his role as a scheming younger brother.

In Race 3 (2018), Anil Kapoor played an illegal arms dealer named Shamsher Singh. Of late, he has been doing more negative/grey roles, and the actor seems to be enjoying them also.

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OMG 2: A Compelling Social Drama That Makes You Laugh And Think

Amit Rai’s directorial is another noteworthy addition to the list of mainstream movies that discuss taboo subjects.

A good follow-up!
OMG 2 (Hindi)
  • Cast: Akshay Kumar, Pankaj Tripathi, Yami Gautam, and Pavan Malhotra
  • Writer-Director: Amit Rai
  • Producer: Vipul D Shah, and Ashwin Varde
  • Music: Sandesh Shandilya and Vikram Montrose
  • Runtime: 2 hours 36 minutes

Director Amit Rai’s OMG 2 is not only a good follow-up to the first part but also works as a standalone film.

In OMG-Oh My God (2012), writer-director Umesh Shukla took several digs at the so-called religious men who feed upon the fears of common folk across religions. There was a sharp commentary on all types of religious hypocrisies.

OMG 2 features a different protagonist this time — a Shiv Bhakt. But what remains the same is how it touches upon an important social topic.

Nevertheless, the sequel is a step ahead in many ways.

Synopsis

Kanti Sharan Mudgal (Pankaj Tripathi) runs a pooja shop near a temple. he is a diehard devotee of Lord Shiva and enjoys respect in his area.

His life turns upside down when his son Vivek (Aarush Sharma) gets admitted to the hospital due to exhaustion caused by excessive masturbation (the word used here is a “selfie”).

Things get more problematic when Vivek’s fellow students secretly shoot a video of him doing the act in the toilet and the video gets circulated.  This results in a lot of humiliation for both Vivek and the family.

So, Kanti Sharan decides to flee with his family. It is at this point that Akshay Kumar enters as God’s messenger in human form.

Much like the first film, here too, Akshay guides his protagonist. This time, it is about fighting for his son and not running away from problems.

Kanti Sharan realises that his son has been a victim of misinformation and misguidance. He drags the school authorities and a chemist among others to the court. Here he is pitted against a high-profile lawyer Kamini (Yami Gautam).

Pavan Malhotra plays the judge.

The rest of the story is about how Kanti Sharan brings out the importance of sex education through his arguments and whether Vivek becomes his normal self again.

Highlights sex education

The best part about OMG 2 is how Amit Rai normalises the importance of sex education without making it come across as awkward.

For example, there are scenes where Tripathi shows how the body parts of males and females should be taught in school. He uses the words penis and vagina as normal words. All this comes across as natural.

The film also does a good job of normalising discussions about physical intimacy. There is a progressive outlook that can be felt throughout.

Further, it smartly integrates ancient Indian texts which have references to homosexuality.

There is also a reference to the Kamasutra which Kanti Sharan uses at an important juncture to remind us how progressive the Hindu religion was in the past.

However, the bashing of Macaulay towards the end could have been avoided. It comes as too simplistic.

Commendable performances

What also works for the film are the scenes between Akshay Kumar and Pankaj Tripathi.

The scenes where Akshay imparts wisdom to Pankaj Tripathi bring a smile to your face.

Akshay Kumar plays his part with the right amount of divinity. He also does a Shiv Tandav with admirable ease.

Pankaj Tripathi as Kanti Sharan does complete justice to the arc of the protagonist. His character has several shades from a distraught father to becoming a revolutionary and the actor pulls it off with the finesse that you expect from him.

Yami Gautam as the menacing opponent is also in fine form. She brings in the required aggressiveness and holds her ground.

Pavan Malhotra as the judge has his moments, particularly in his reaction shots.

Verdict

In all, OMG 2 is another noteworthy addition to the list of mainstream movies that discuss taboo subjects.

(Views expressed here are personal.)

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Jailer: A Well Packaged Entertainer

There are enough Rajini moments to keep the fans satisfied
Jailor ( Tamil). 3 out of 5
Starcast: Rajinikanth, Vinayakan, Ramya Krishna, Yogi Babu and others special appearances ( Shiv Rajkumar, Mohanlal and Jackie Shroff)
Director and writer: Nelson Dilipkumar
Producer: Kalanithi Maran
Production Company: Sun Pictures
Music: Anirudh Ravichander
Genre: Action/comedy
Running time: 2 hours and 48 minutes

Jailer, directed by Nelson Dilipkumar, is a commercial potboiler with a mix of everything. There is the father and son emotion with a climax that is reminiscent of Kamal Haasan’s Bharateeyudu. There is also lot of dark humour generated through Yogi Babu’s character. The film takes the viewers back to Baasha times. Like in Baasha the protagonist in this film also has a violent past.

The film begins with the introduction of a gang who smuggles temple sculptures. The head of gang is Varman (Vinayakan). The opening scene establishes the brutality of the antagonist. From here we move to Tiger Muthuvel Pandian (Rajinikanth). Pandian is a retired jailor who now spends most of his time making YouTube videos with his grandson. His son Arjun (Vasanth Ravi) is an assistant commissioner of police who is on the trail of Varman’s gang. Arjun is warned by many not to dig too deep into this case but he refuses to stop the investigation. One day Arjun goes missing and the viewers are led to believe that he is dead. But things are not as simple as they appear to be. In brief Jailor is about what happened to Arjun and how Muthuvel Pandian nullifies the baddies with the help of some delightful cameos.

For any masala potboiler it is necessary that the villain is on par with the hero. Jailor doesn’t disappoint you there. Nelson has created a terrific antagonist with the character of Vinayakan. Vinayakan makes a huge impression with just his body language. Even in the lighter moments the actor does a very good job. A special mention must be made of Harshath playing one of the henchmen. In spite of limited screen time he makes a good impact.

Rajinikanth and others in celebration mood

The family moments particularly those between Rajinikanth and his on-screen grandson leave a smile on the viewers face. There is palpable warmth between them.  

The dark humour in the film mostly lands thanks to Yogi babu’s comic timing and the banter that both he and Rajinikanth share. Even the action scenes have a certain element of fun.

Coming to Rajinikanth’s Muthuvel Pandian Nelson has done a good job in designing the character. Initially we see Rajinikanth underplaying but later the character transforms into a menacing force. This has been showcased well. The emotional bits are also done well. There are scenes where there are no dialogues but the emotion is still very much felt.

Vinayakan, the perfect villain

Anirudh’s music and background score is another strong pillar for the film. It elevates the scenes in a major way. My favorite song in the film is Rathamaarey which showcases the family bond.

Finally the cameos have also been integrated well. It is a treat to watch Rajinikanth sharing screen space with Mohanlal and Shiv Rajkumar.

What doesn’t work for Jailor is the subplot of Sunil and Tamannah. It only adds to the length of the second half. Ramya Krishna as a typical housewife plays her part well but some of Rajinikanth’s scenes with her come across as too misogynistic.

Keeping the flaws aside it is good to see Rajinikanth playing his age like Amitabh Bachchan. Hope more good stories are written for him.

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Rocky Aur Rani Ki Prem Kahaani: Inclusivity In Karan Johar Style

The director subverts some of his own themes from his previous films; a case in point being how fear is looked upon as respect in our culture.

Karan Johar’s Rocky Aur Rani Ki Prem Kahaani is everything that you expect from the filmmaker. There are larger-than-life sets and exquisite costumes among other things.

At the same time, the director subverts some of his own themes from his previous films; a case in point being how fear is looked upon as respect in our culture.

The film also makes a strong case for inclusivity through Tota Roy Chowdhury’s character who loves Kathak which is looked upon as a female dance form. It also makes a strong case for inclusivity between two vastly different cultures — Punjabi and Bengali.

Synopsis

Rocky Aur Rani ki Prem Kahaani begins with the introduction of Rocky and Rani (Ranveer Singh and Alia Bhatt respectively).

Rocky is introduced through a dance number where he is surrounded by many women, including Janhvi Kapoor, Sara Ali Khan, and Ananya Pandey (in special appearances).

He is dancing his heart out; but as soon as his grandmother Dhanalakshmi (Jaya Bachchan) appears, he scampers away because he is afraid of her and also his father.

Dhanalakshmi is the owner of a sweet shop — Dhanalakshmi Group. Rocky is the future heir to this business venture.

After the introduction of Ranveer, we move to Alia Bhatt’s Rani Chatterjee. She is introduced as this firebrand journalist who isn’t afraid to take on the Jugular.

The viewers see her grilling a minister about the rising rape cases by uttering a powerful dialogue: “Nazare Kharab Aapki Parde Kare Hum” (You ever tease us and we have to hide behind the curtains).

This sets the base for the drama to follow.

Rocky’s grandfather Kanwal (Dharmendra) is bedridden most of the time because of paralysis. He suffers from memory loss, too.

He has half picture of a woman in one of his books and Rocky believes that this woman might be the key to his grandfather regaining his memory.

The woman turns out to be Rani Chatterjee’s grandmother Jamini Chatterjee (Shabana Azmi). She is a cultural icon known among her intellectual gatherings.

Rocky arranges a meeting between his grandfather and Jamini through Rani.

Real kahaani

Rani initially treats him in a patronising way. But after some flirtation and through some old Hindi songs, they both fall for each other.

Rani isn’t sure about getting into a relationship with Rocky, given the many differences. But she eventually gives in.

However, things are far from easy as both families are contrastingly different from each other.

While the Chatterjees are woke, the Randhawas are as rigid as you get.

Taking the Telugu film Bommarillu (2006) route, the couple decides to go for a swap. Rani starts living with the Randhawas and Rocky with the Chatterjees.

Rani initially treats him in a patronising way. But after some flirtation and through some old Hindi songs, they both fall for each other.

Rani isn’t sure about getting into a relationship with Rocky, given the many differences. But she eventually gives in.

However, things are far from easy as both families are contrastingly different from each other.

While the Chatterjees are woke, the Randhawas are as rigid as you get.

Taking the Telugu film Bommarillu (2006) route, the couple decides to go for a swap. Rani starts living with the Randhawas and Rocky with the Chatterjees.

Rani faces severe opposition from Dhanalakshmi as she doesn’t like her firebrand nature. on the other hand, Rocky faces cultural issues. In a hilarious scene, he thinks that Rabindranath Tagore is Rani’s grandfather because of his long beard.

Whiff of nostalgia

The best part of Rocky Aur Rani Ki Prem Kahaani is how the director uses old Hindi songs at important junctures.

For example, Dharmendra sings “Abhi Na Jao Chod Ke” for the first time when his character regains his memory.

Some of the other songs include “Yeh Shaam Mastani“, “O Saathi Chal“, and “Do Dil Mil Rahe Hai“. These old songs are a character in itself.

However, the best usage has to be “Dola Re Dola” from Sanjay Leela Bhansali’s Devdas (2002). The song starts off with Tota Roy Chowdhury performing in Durga Puja.

Ranveer’s Rocky joins him much to the delight of Alia Bhatt’s Rani and to the horror of Jaya Bachchan. Here the director is clearly subverting gender stereotypes.

Alia and Ranveer hold the fort

What also works for Rocky Aur Rani Ki Prem Kahaani is how Ranveer and Alia play off each other’s energies. Their contrasting personalities work for the film.

Ranveer Singh as Rocky brings the house down with his faulty English and uninhibited performance. The actor equally shines in the scenes showcasing Rocky’s fragile side.

The best example is the emotional moment that he shares with Alia’s father Chandon Chatterjee (Tota Roy Chowdary).

Alia Bhatt plays the firebrand journalist with the finesse that you expect from her. She more than holds her own opposite the veteran actors. She is first-rate in the dramatic bits like the showdown that happens between her and Rocky post the “Dhindora” song.

Veterans steal the show

Another thing that works for the film is the bonding between Dharmendra and Shabana Azmi. Their scenes bring a smile to the viewer’s face.

Dharmendra doesn’t have many dialogues, but the actor is still quite good. Shabana Azmi is a picture of grace and poise. Some of her dialogues are truly wonderful.

For instance, there is a scene where Jamini opens up about why she fell in love with Kanwal and how she doesn’t regret it.

Jamini also adds that she got more love from Kanwal in just seven days than she got from her husband in their entire marriage. Further, she talks about how her grandfather wasn’t as polished as Rani thinks him to be.

Tota Roy Chowdhury is in a wonderful form as the man who loves Kathak and takes pride in being a dancer. There is a heart-touching scene where he talks about how he was the only male student in his dance class.

Jaya Bachchan as Dhanalakshmi is more or less a personification of all patriarchal characters, including her husband. She seems to have taken revenge on behalf of all the women characters who have been subjugated by them — Sweet Vengence.

Technical crafts

Pritam’s music isn’t exactly a blockbuster but still, it works on the big screen. “Dhindora Baje Re” and “Ve Kamleya” are easily the best of the lot.

“Dhindora Baje Re” is further enhanced by the intense scene which precedes the song.

“What Jhumka” makes for a perfect Sangeet number. Alia’s dance moves in sarees particularly stand out.

The cinematography by Manush Nandan is appropriately glossy. He captures the wide canvas of the film well through his lens. Having said that, for some, the canvas may come across as too glossy.

Final take

Rocky Aur Rani Ki Prem Kahaani does remind you of 2 States (2014) and Bommarillu. However, this cultural and family clash is hugely enjoyable if you buy into Karan Johar’s world.

(Views expressed here are personal.)

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Barbie: Not just a doll

It is an entertaining film with perfect mix of style and substance. Greta Gerwing gives a feministic touch to the good old Barbie

Barbie (English)                    

Starcast: Margot Robbie, Ryan Gosling, Ariana Greenlatt and others

Director and writer: Greta Gerwig

Additional writer: Noah Baumbach

Based on: Barbie by Mattel

Producers: Robbie Greener, Tom Ackerley and others

 Music directors: Mark Ronson and Andrew Wyatt

Production companies: Mattel films, Heyday films and others

Genre: Fantasy comedy/drama

Running time: 1 hour and 54 minutes

Greta Gerwing created a strong niche for herself with the film Little Women (2019). This novel was adopted by several filmmakers but Greta brought her own distinct stamp. While staying true to the original she managed to bring a contemporary touch.

Ryan Gosling as the most important ken

Now she is back with the film Barbie based on the Barbie fashion dolls. Barbie is set in a fantasy land where everything is utopian. Greta uses this fantasy set up to explore different themes like patriarchy, capitalism, consumerism etc. Earlier also there were television films about Barbie fashion dolls but this one is very different from those.

Some of the Barbies in the Barbie land are just beautiful beings while others are writers, scientists etc. Though it is a matriarchal society there are kens (men) also in this world. Among them the most important ken is played by Ryan Gosling. Among the Barbies the central Barbie is played by Margot Robbie. She falls under the beautiful category. Ryan Gosling’s character aspires to be her boyfriend but she prefers only female friendships.

Things take a turn when Margot Robbie’s Barbie starts thinking about philosophical things like mortality. This leads to many thoughts and she is unable to go about her routine. The magic is gone. She goes to an elderly Barbie who tells her that she must travel to the real world to cure her affliction. Initially she is reluctant to go but later she decides to go. Ryan Gosling follows her without her knowledge. Later she comes to know and accepts him after some hesitation.

What follows is a journey of self discovery and how this trip to the real world turns out to be a life changing experience. For the first time she realises that she is being hated by the human world for her beauty specifications.

One of the best things about the film Barbie is how Greta Gerwing sets up this tale. She immerses the viewers into this fantasy land with brilliant support from costumes, art and set design along with cinematography. The viewers truly feel transported into the Barbie world.

Margot Robbie effortlessly switches from a beautiful doll to a woman of substance

Another aspect that stands out in Barbie is how Greta strikes the perfect balance between entertainment and message. There are many comic moments that leave you in splits. Most of these come from Ryan Gosling. His character goes through a wide arc from comic to emotional and the actor doesn’t miss a single beat. The best part of his performance is his absolute lack of vanity.

Among the characters in the real world the ones that stand out are America Ferrera as Gloria and the teenage daughter (Ariana Greenblatt). Mother and daughter have a strained relationship which changes at different stages. The scenes between them are poignantly written. They become a huge pillar of support for Barbie at a critical juncture. America Ferrera has some impactful dialogues. For example there is a scene where she gives a passionate speech about the contradictory nature of our society. She takes several digs at patriarchy where women are expected to do everything perfectly.

Will Ferrel as ///gloria’s boss

The aspect of consumerism has also come out well through the character of Will Ferrel who plays Gloria’s boss and the head of Mattel Company. It is the company that manufactures Barbies.

Margot Robbie is the perfect choice for the central character as she effortlessly switches from a beautiful doll to a woman of substance. She prefers to be a complete human being with all the imperfections rather than just being a beautiful doll.

The musical numbers of Mark Ronson and Andrew Wyaat are a delight to watch because of their unique staging.

Barbie is worth a watch for not just the kids but to all age groups.

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Bawaal: This Mix Of World War II And Relationship Drama Has Its Moments And Flaws

Weak writing, morose tone of storytelling, and Janhvi Kapoor’s ineffective performance make things worse for the movie.

A downfall for Nitesh Tiwari!
Bawaal (Hindi)
  • Cast: Varun Dhawan, Janhvi Kapoor, Mukesh Tiwari, Manoj Pahwa, and Anjuman Saxena
  • Director: Nitesh Tiwari
  • Producers: Sajid Nadiadwala and Ashwiny Iyer Tiwari
  • Music: Mithoon, Tanishk Bagchi, and Akashdeep Sengupta
  • Runtime: 2 hours 2 minutes
  • OTT platform: Amazon Prime

Nitesh Tiwari is a director who created a strong niche for himself with the likes of Dangal (2016) and Chhichhore (2019). Both films were not only box office hits but also got rave reviews. As a result, a lot was expected from Bawaal.

Unfortunately, his latest directorial doesn’t quite reach expectations in spite of a solid set-up.

Synopsis

The film begins in Lucknow with the heroic entry of the protagonist Ajay Dixit fondly called Ajju (Varun Dhawan). Looking at his swag and the adoration of the locals, viewers think that Ajju is doing a high-profile job.

But actually, he is a history teacher. However, it is quite a mystery how he got the job, given his ignorance of the subject and his lack of interest.

Ajay Dixit has a fake aura that he himself builds over a period of time. For him, image is everything.

In reality, Ajju is just a man-child and also a big liar. He marries Nisha (Janhvi Kapoor) but keeps away from her.

Nisha was a strong independent woman before the rushed marriage. She is now patiently waiting for her husband to accept her even after nine months of marriage.

Ajju never accepts Nisha as a wife because of her epileptic fits.

The self-made image of Ajju comes crashing down when he slaps a student in the class for asking a question about World War II. The student turns out to be the son of an MLA (Mukesh Tiwari).

Expectedly, all hell breaks loose and Ajju is temporarily suspended.

He comes up with a plan of travelling to the various locations in Europe which were ravaged by World War II and teach the students about the tragedy live.

In order to convince his father (Manoj Pahwa), Ajju plans to take Nisha along and paints a picture of wanting to repair his relationship.

His parents fall for this and give him the required money. The rest of Bawaal is about how Ajju undergoes a transformation and learns some important life lessons.

Positives

Before getting into the negatives, Nitesh Tiwari needs to be appreciated for how he uses World War II as a narrative tool.

He uses the horrors to make some important points. For example, in a scene, there is a clear message about the futility of war.

Similarly, in another scene, Nisha talks about the greed of Hitler and explains how not being content with oneself leads to disastrous consequences. 

The scene depicting the gas chamber incident is also quite poignant.

Mitesh Mirchandani’s cinematography in the World War II portions is successful in bringing alive the horrors of those times.

Performances

Of the two leads, Varun Dhawan is the clear winner. His character Ajju shares more than one similarity with Badri in Badrinath Ki Dulhania (2017).

In spite of the similarities, Varun does a terrific job of portraying the different shades. In fact, on many occasions, he seems to be acting on behalf of Janhvi Kapoor as well.

Janhvi Kapoor seems to have walked straight out of the sets of Mili (2022) and Good Luck Jerry (2022). It is puzzling how a supposedly strong woman would stay with a husband for nine months who insults her on every occasion.

Alia’s Vaidehi in Badrinath Ki Dulhania had far more spine, though she eventually ends up with Badri. But that was only after he changes, and becomes a better person.

Janhvi’s expressions hardly change. It looks as if she is forced to act.

Flaws

The biggest issue with Bawaal is the lack of a strong foundation for the love story between Nisha and Ajju.

The combination of weak writing coupled with Janhvi Kapoor’s ineffective performance makes things worse for the movie.

Bawaal also suffers from a morose tone of storytelling. There aren’t many light moments that make your heart flutter.

The lovey-dovey moments can be counted on the tip of the fingers.

The music composed by Mithoon and others isn’t bad but could have been much better, given the genre of the film. The need is for more soulful songs.

Final take

In a nutshell, Bawaal is a huge downfall for Nitesh Tiwari.

(Views expressed are personal.)

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The Trial: A Gripping Drama That Goes Much Beyond The Courtroom

The real-life references that director Supan Verma brings in make Kajol’s web series debut interesting to watch.

A worthy remake!
The Trial (Hindi)
  • Cast: Kajol, Jisshu Sengupta, Sheeba Chaddha, Gaurav Pandey, Alyy Khan, and Kubbra Sait
  • Director: Supan Verma
  • Producers: Ajay Devgan and Rajesh Chadha
  • Music: Sangeet-Siddharth
  • No. of episodes: 8
  • OTT platform: Disney+ Hotstar

Director Supan Verma’s The Trial is centred on a woman named Nayonika Sengupta (Kajol).

It is a remake of The Good Wife (English, 2009) and deals with many relevant topics like corruption, politics, media trials, and fake news. It also marks the web series debut of Kajol.

What happens that brings Nayonika back to work is what The Trial is about.

Synopsis

One day, Nayonika’s husband Rajiv Sengupta (Jisshu Sengupta) is arrested by the police for seeking sexual favours. This incident results in her coming out of her retirement.

With the help of Vishal Chaubey (Alyy Khan), she manages to get a job at a law firm co-founded by him. Vishal and Nayonika have a past which didn’t end happily.

At the law firm, Nayonika faces the brunt of both gossip and the sexual scandal of her husband before she proves herself as a competent lawyer.

In a nutshell, the series focuses on the different cases that Nayonika takes up along with how she bravely takes on the challenges that arise in both her professional and personal life.

Makes references to real-life incidents

One of the things that makes The Trial interesting is the real-life references that director Supan Verma brings in.

For example, one of the cases is about a cricketer who commits suicide and his girlfriend is hounded by the media. A negative campaign is run against her.

This reminds you of the Bollywood actor Sushant Singh Rajput’s case.

Here, the director makes some valid points about how these media trials have a severe effect on the person who is already battered.

The Trial also has some satirical commentary on the legal system which lands perfectly.

Realistic portrayal of relationships

Supan Verma does a good job of exploring the dynamics between a mother and her two young daughters. It has been treated in a realistic manner.

The two daughters face a lot of humiliation in school because of the father’s sex scandal. In fact, they are forced to mature before age.

Another track that deserves a mention is the one involving Vishal and Nayonika.

Vishal never lets their bad past come in the way of supporting Nayonika. On more than one occasion, we feel that Nayonika should have ended up with Vishal and not Rajiv.

Further, the back story of how Nayonika and Rajiv ended up together could have been explained better. But still, the scenes between Kajol and Jisshu Sengupta do pack a punch.

The aloofness of Nayonika and her hesitancy to trust Rajiv again has been wonderfully portrayed.

Performances

As Nayonika, Kajol delivers a formidable performance and is successful in bringing alive the different layers. She brings in the right amount of grit, vulnerability, and despair.

Jisshu Sengupta is solid on his part as a guilty husband.

Sheeba Chadda as Vishal’s law firm partner brings in the required authority.

The rest of the actors also deliver good performances.

Final take

Watch The Trial for a realistic portrayal of Nayonika’s professional and personal life.

(Views expressed here are personal.)

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Hostel Days: Entertaining And Relatable, Particularly To Hostelites

Without deviating from the usual tropes associated with this genre, director Aditya Mandala makes it an engaging watch.

Director Aditya Mandala’s Hostel Days narrate the tale of six engineering students and the various experiences that they go through in their hostel life.

At the centre of this story are Sai (Darahas Maturu), Chitharanjan Bhattacharya (Mouli) and Naveen Yadav (Akshay Lagusani). The series primarily focuses on bullies in the hostel, last-minute preparation for exams, falling in love, etc.

Without deviating from the usual tropes associated with this genre, Aditya Mandala makes it an engaging watch.

Subplots

Campus dramas have their own magic irrespective of what age bracket the viewers are in. The best thing about it is, as expected, the camaraderie that the director creates between the three men. It feels organic.

There are also certain subplots which deserve a mention. These include body shaming and the love-hate relationship between parents and teenagers. They, too, are dealt with sensitively.

This web series also benefits from the witty anecdotes given by the college staff appearing at crucial junctures.

For example, there are the cameos of Jhansi and Rajeev Kanakala. These special appearances have been smartly integrated.

Performances

The acting, across the board, is quite impressive.

Darahas Maturu as Sai brings in the required innocence.

Mouli Tanuj as the wise Geek is also in fine form.

However, Akshay Lagusani steals the show with his uninhibited acting.

Among the female leads, Jaiyetri Makana shines the brightest as a youngster who is on the path of self-discovery.

Nevertheless, one major issue with Hostel Days is the hangover of 3 Idiots (2009) in the ragging portions. Though it works as a bonding tool between the three friends, the lasting after-effects of such bullying also needed to be exposed.

Final take

In all, Hostel Days makes for a breezy watch, particularly if you are in the mood for something light-hearted.

(Views expressed here are personal.)

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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.)