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Bloody Daddy: Shahid Kapoor Comes Out All Guns Blazing In This Pulpy Action Thriller

Beneath all the action and thrills, the film has a relatable emotional angle — the father-son dynamic that has come out well.

Provides enough adrenaline rush!
Bloody Daddy (Hindi)
  • Cast: Shahid Kapoor, Ronit Roy, Sanjay Kapoor, and Diana Penty
  • Director: Ali Abbas Zafar
  • Producer: Jyoti Deshpande, Gaurav Bose, and Ali Abbas Zafar
  • Music: Badshah, Aditya Dev and Anuj Garg
  • Runtime: 2 hours 5 minutes
  • OTT platform: Jio Cinema

Ali Abbas Zafar’s Bloody Daddy opens with information on the country slowly getting back to its feet post the second wave of COVID-19 lockdown.

More than the story, it is the racy screenplay that makes Bloody Daddy enjoyable particularly if you are an action junkie.

Synopsis

The setting of Bloody Daddy is the milieu of North India.

In the very first scene, we see Sumair (Shahid Kapoor) and his colleague (Zeishan Quadri of Gangs of Wasseypur fame) racing down the streets of Connaught Place in pursuit of another car.

Soon enough, they manage to catch up with the car and have a fight with two men. They get their hands on cocaine worth ₹50 crore.

This action sequence sets the tone for the rest of the film. Here, it has to be mentioned that Sumair is an NCB officer but not the traditional mainstream cop, as he is not catching the criminal but robbing the cocaine.

In short, he is a dubious cop, and as viewers, we don’t understand whether he is on the right side of the law or the wrong side till the end.

Sikander (Ronit Roy) plays a drug lord-cum-hotelier. He comes to know that Sumair has beaten up his men and is in possession of his cocaine. He abducts Sumair’s son Athrav.

Crux of Bloody Daddy

The one-line story is about how Sumair manages to get back his son. But what makes this drama interesting is the various subplots that director Ali Abbas Zafar integrates.

For example, you have another drug dealer Hamid (Sanjay Kapoor), and two anti-corruption officials, Aditi and Sameer (Diana Penty and Rajeev Khandelwal), who are also on the job.

Soon a cat-and-mouse chase starts, but there is much more than what meets the eye.

Parallel to this, Sumair has a messy relationship with his ex-wife Riya and son Athrav.

The biggest strength of Bloody Daddy is how Ali Abbas Zafar designed the character of Shahid Kapoor.

Sumair isn’t perfect by any means and on certain occasions, he also comes across as a selfish and irresponsible dad.

His moral compass also seems to be oscillating and this keeps the viewers guessing whether he is the good guy or the anti-hero till the very end.

Positive aspects

There is certain believability to the fight sequences that the director and his leading man bring to the table. Sumair’s scenes with his son Athrav are few in number, but they do make an impact.

A special mention must be made of the phone conversation when Sumair instils confidence in his son that he will come out safe.

Bloody Daddy has also some wonderful laugh-out-loud moments.

A good example of this is the hilarious interaction Sumair has with a Nepali cook in the hotel. Some of the other laugh-out-loud moments come from the interactions between Sikander and Hamid.

Beneath all the action and thrills, Bloody Daddy has a relatable emotional angle.

You have a father who eventually wants to make his son understand that he isn’t the irresponsible and indifferent dad that the boy assumes him to be. This has come out well.

What also makes Bloody Daddy even more intriguing is the characterisation of Rajeev Khandelwal. On the surface, he appears to be an honest tough cop but there is a solid twist to his character.

Ali Abbas Zafar also uses the background of COVID-19 smartly to make important points about the growing inflation and the crime rate.

Low points

The second half of Bloody Daddy feels a little stretched because of the long drawn-out cat-and-mouse game.

Diana Penty as the solo female official needed to be better etched. It looks more like an add-on to the story rather than being organic.

Performances

As Bloody Daddy, Shahid Kapoor exudes power and vulnerability in equal measure. He brings a palpable intensity which makes the viewers root for him.

Apart from the intense scenes, Shahid shines bright in the lighter ones, too.

The duo of Ronit Roy and Sanjay Kapoor are also in fine form, particularly Ronit Roy. Rajeev Khandelwal is another actor who makes a strong impression.

The cinematography by Marcin Laskaweic matches the vision of Ali Abbas Zafar. On more than one occasion, the viewers feel that this film should have been released on the big screen.

Final take

Bloody Daddy is a highly watchable action thriller that provides enough adrenaline rush.

(Views expressed are personal.)

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Vimanam: A Turbulent Ride Worth Taking

The spine of “Vimanam”, Samuthirikani’s character and the warmth that the father-son duo share hold the film together.

The one-line story of Siva Prasad Yanala’s Vimanam is about how far a parent can go in fulfilling the wish of their offspring. In this case, it is about a single father and his young son.

The film primarily banks on the emotional bond that the two characters share.

A major portion of the story of Vimanam takes place in the vicinity of the old Begumpet airport of Hyderabad in early 2008. This is the period before the present Shamshabad airport was set up. This setting isn’t merely functional but also works as a character in itself.

Synopsis

Veerayya (Samuthirakani) lives in a colony near Begumpet airport and looks after a “Sulabh Shauchalaya” (public toilets complex).  He is someone who always looks at the brighter side of things.

Though physically disabled, Veerayya is a self-sufficient man who rides a tricycle. He cleans and manages the facility of a community toilet.

His son Raju (Master Dhruvan) is obsessed with both aeroplanes and flying. Raju’s biggest dream is to get on an aeroplane and fly high in the sky. He constantly keeps talking about it.

On many occasions, he keeps running to the airport compound and tries to peep through the crevices.

The life of Veerayya and Raju revolves around these things and some neighbours also play an important part. These include cobbler Koti (Rahul Ramakrishna), auto driver Daniel (Dhanraj), and sex worker Sumati (Anasuya Bharadwaj).

Vimanam takes a happy turn when Veerayya is informed of his son clearing the Sainik School entrance test. Clearing this test is a big thing for Raju.

When everything seems to be going well a tragedy strikes. Raju suddenly faints and is rushed to a hospital.

The doctor reveals devastating news to Veerayya about his son’s health. The rest of the story is about what happens to Raju and whether Veerayya fulfils his son’s dream of flying.

Brilliant characterisation

The spine of Vimanam is how Siva Prasad Yanala has written the character of Samuthirikani.

As earlier said, Veerayya is someone who always looks at the brighter side of things. This aspect has been brought out well by the director.

There are some nice touches that the debut director brings to this familiar tale. Chief among them is how he treats the disability of the protagonist.

His fighting spirit makes him endearing to the audience. There are some wonderful moments which show the warmth that the father and son share, particularly in the first half. The bond between them is the glue that holds the film together.

Shiva Prasad Yanala also deserves credit for how he has written the character of Anasuya Bharadwaj’s Sumati.

Sumati is unapologetic about what she does. She has an innate distrust towards men and treats them only as customers. There is also an important dialogue where Veerayya says that Sumati is not earning money by cheating anyone.

Emotional moments

The director has also created some solid emotional moments that linger in the viewers’ minds for a long time. Yes, some of it is manipulative. But still, it is difficult not to be moved by the situations that Veerayya goes through.

The subplot between Koti and Sumati starts in a lighter vein but there are some nice touches to this subplot as well.

The reason behind Sumati becoming a sex worker is a familiar one. But Anasuya Bharadwaj makes it work with her wonderful performance. She particularly shines in the scene where she bursts out and pours her feelings towards Rahul Ramakrishna’s character.

Weak points

The landing of Vimanam’s first half is quite smooth, but the cracks begin to appear in the second half.

There are some scenes which could have been easily chopped down on the editing table.

One of them is when Veerayya is suspected of stealing and beaten mercilessly by a cop. This scene is meant to make you more sympathetic towards Veerayya.

However, given his physical condition and the circumstances it comes across as more emotional manipulation.

Similarly, there is a scene involving a bunch of rich guys in the most clichéd manner. It is high time that filmmakers stop stereotyping the offspring of rich parents.

Climax

Vimanam‘s climax is also hugely problematic. The viewers are well aware that the son isn’t going to survive for long.

As expected, he does die in the flight but there is a double tragedy in the form of Veerayya also dying.

Two deaths coming one after another becomes difficult to digest for the audience. The ideal ending would have been Veerayya working with and taking care of other children.

Performances

Both Samuthirakani and Master Dhruvan are terrific in their respective parts.

So far, Samuthirakani has mostly featured as a villain in big-budget Telugu movies like Bheemla Nayak (2022), Sarkaru Vari Paata (2022), etc.

But here, the actor plays a character that is vastly different from his previous outings. He does a fantastic job of portraying different shades of Veerayya.

Master Dhruvan also delivers a nuanced performance and makes you root for Raju.

Technical crafts

There is also a certain authenticity to the way the slum has been presented in Vimanam. It has that required rustic feel starting from the body language of the dwellers.

Cinematographer Vivek Kalepu deserves appreciation for how he captures the slum through his lens. The music by Charan Arjun goes well with the flow of the film.

Final take

Despite some contrived melodrama, Vimanam is a welcome break from the usual high masala cinema.

(Views expressed are personal.)

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The Family Man Season 2: A Scintillating Sequel

The expectations from The Family Man Season 2 have been huge ever since its announcement. Fortunately the show turned out to be a worthy one. It not only matches up to the first part but it also goes a step ahead. Through the second season director duo Raj and DK continue to showcase their ability in dealing with conflicts both global and domestic through humanist lens. There are no simplistic heroes and villains here. Both sides come with their own shades of grey.

By the start of Season 2 Manoj Bajpai’s Srikant Tiwari had quit his task force job and joined an IT company. The reason for it is his guilt about certain events that happened at the end of the first season. He also wanted to make his family life work. But both were not working well for him. In fact things became worse.

The backdrop of Family Man Seaason 2 is Northern Sri Lanka. You have a Tamil government in exile who wants to take revenge on PM Basu ( Seema Biswas). Manoj Bajpai’s Srikant who is already vexed with his IT job decides to return back to where he belongs. This time around Srikant is dealing with a hardened LTTE militant Raji ( Samantha Akkineni).

In addition the old enemies have also made a comeback lead by Darshan Kumar. As part of the plan Darshan Kumar’s character along with another person Sajid uses a boy to trap Srikant’s daughter. This is only one side of the story but many other things are happening simultaneously.

The biggest take way from this season is how Raj and DK deal with the character of Samantha’s Raji and the entire LTTE thing in general. Samantha has said in various interviews that she doesn’t look at her character as a villain and you understand the reasons behind it when you see the show. Raji is someone who has faced brutality not only at the hands of the Sri Lankan soldiers but has also been abused by men in day to day life.

There are scenes where we see men trying to get into bed with her, you also have a random stranger trying to touch her inappropriately on a local bus. So her anger is not just about the governments but it is also about the patriarchy and the society at large.

Initially we see her as a very silent person with no expressions but as the story goes along we are introduced to the darker side of her life. Samantha embodies all these aspects of her character superbly and delivers a performance which pushes boundaries. Her performance in the action scenes is also top notch.

The scenes where the paths of Manoj Bajpai and Samantha cross keep you on your toes. One of my favourite scenes in the series is when Manoj Bajpai’s character question’s Samantha’s about their plans. Can’t give too much away as it will be spoilers but the scene works very well. In simple terms Raj and DK touch upon about how a freedom fighter is a terrorist for a person who is on the other side.  

The treatment of Samantha’s character also extends to the other LTTE ones. Raj and DK along with co writer Supan Varma show that although the path they have chosen is wrong we shouldn’t ignore the struggles and the sufferings that they have undergone.

Another important thing about the show is how Tamil characters speak. It comes across as very natural without sounding caricaturist (for example Chennai Express).

The moral dilemmas of Srikant Tiwari has also been explored well. This particularly comes out in a scene where he and his boss played by Dalip Tahil talk about a mishap related to the first season. This is regarding a Muslim student who gets branded as a terrorist because of Srikant’s mistake.

The friendship between Srikant and Sharib Hashmi’s JK also grows stronger in this one. There is a strong thread of emotion that comes out.

The family portions don’t get the same weightage as the first one but they still work. The character which gets the most growth in the family is the daughter Dhriti played by Ashlesha Thakur. Her character goes through a major transformation in this one. She gets into a relationship with Kalyan AKA Salman. One thing leads to another and eventually it is shown that Salman is not what he appears to be. He kidnaps her on his bosses’ command. In the eighth episode she saves herself from Salman and also from Sajid. She shows that she has inherited her father’s genes and can make for a great agent herself. After that incident we see a more mature Dhriti. Ashlesha Thakur is particularly good in the scenes where she saves herself.

The comedy bits work perfectly and come across as a major relief when the drama gets dark. The scenes which will make you chuckle the most are the ones where Srikant is struggling to adjust with his IT life. There are also some humorous scenes when the action shifts to South India. Most of the humour in these scenes comes from the stereotypes that north and south people have about each other. These include food and other things.

Manoj Bajpai as Srikant continues his good form and shows why he is the perfect actor to play this character. This time around there are more scenes which portray Srikant’s vulnerability and Manoj faces it. Sharib Hashmi continues his impressive form, out of the old nemeses Darshan Kumar looks very dashing and fits the part of the stylish villain perfectly.

The Family Man Season 2 is well worth the wait and it will be interesting to watch how Raj and DK take the franchise forward. Can’t wait for the third season!

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Scoop: Hansal Mehta Brings Alive Yet Another Real-Life Story

“Scoop” scores full marks in depicting the work of investigative journalists and what effect it has on their lives.

Miss it not!
Scoop (Hindi)
  • Cast: Karishma Tanna, Harman Baweja, Prosenjit Chatterjee, Inayat Sood, and Mohammad Zeeshan Ayub
  • Director: Hansal Mehta
  • Producer: Matchbox Shots
  • Music: Achint Thakur
  • No. of episodes: 6
  • OTT platform: Netfilx

Scoop, the latest Netflix series of Hansal Mehta, is based on the real-life account of journalist Jigna Vora.

Starting from the year 2010, Hansal Mehta has become a filmmaker who is synonymous with making real-life stories.

Irrespective of their commercial success, these films have left a huge impact on the audience’s mind. His latest web show Scoop is another noteworthy addition to this.

Synopsis

Jagruti Pathak (Karishma Tanna) is a senior crime journalist working as deputy bureau chief in the newspaper “Eastern Age”. Since Jagruti has a solid network, she excels in her job.

She shares a good rapport with police officer Harshvardhan Shroff (Harman Baweja) who often tips her about several crimes. She also has the support of her editor-in-chief Imran (Mohammed Zeeshan Ayub).

Here, it has to be mentioned that the characters in Scoop of Imran and Jagruthi are based on real-life persons.

Imran is none other than the well-known investigative journalist Hussain Zaidi. He was the mentor of Jigna Vora on whom Jagruti’s role is based.

The murder of a journalist

There is another investigative journalist in Scoop who gets killed mysteriously. He is Jaideb Sen, played by Prosenjit Chatterjee. He works for the newspaper “News Day”.

One day, Sen is found dead in the middle of the road. Gangster Chhota Rajan is suspected to have a hand in this murder.

Meanwhile, things take a tragic turn for Jagruti. She is arrested based on a phone conversation which makes the police think that Jagruti instigated Chhota Rajan to kill him.

The rest of the story is about what happens to Jagruti and who the real culprits are in this murder case.

Strong points

Scoop scores full marks in depicting the work of investigative journalists and what effect it has on their lives. The show also dwells on the prejudices that female professionals face.

The makers of Scoop should also be appreciated for fearlessly exposing the nexus between Dawood Ibrahim and the police, without any fear of backlash.

Another major reason why Scoop is interesting to watch is because of the way the characters are written.

Hansal Mehta, along with writers Mrunmayee Lagoo Waikul and Mirat Trivedi, sketches the characters that stay for a long time in the viewers’ minds.

The best example of this is Karishma Tanna’s Jagruti.

Jagruti goes from a confident journalist to a dejected woman. Her scenes with the jail inmates are particularly disturbing to watch.

Performances

Karishma Tanna easily delivers her career-best performance. Her performance in Scoop should open new doors for the actress.

Another character who deserves a mention is Harman Baweja’s, Harshvardhan Shroff.

Harshvardhan has a lot of fondness for Jagruti. But, at the same time, he is in a situation where he has to save the skin of both his department and himself.

Harman Baweja springs a pleasant surprise with his acting.

Mohammad Zeeshan Ayub as the editor-in-chief plays a character that is very similar to his real-life ideology. He makes Imran immensely watchable.

Prosenjit Chatterjee as Jaideb has a small part, but the actor is impressive every time he appears on the screen.

Technical aspects

Pratham Mehta’s cinematography blends in with the realistic look of the series — whether it is the newsroom, editorial meetings, or even the shady bars and cafes where the reporters meet their sources.

Achint Thakkar’s music and background score uplift the drama in many places.

Pratham Mehta and Achint Thakkar deserve full appreciation for a job well done.

Weak points

Scoop has its share of shortcomings as well. For example, the extended cameo of Shikha Talsania as the Godwoman isn’t well defined in any way and creates a halt in the proceedings.

Similarly, some of the jail portions could have been trimmed. However, these are minor aberrations.

Final Take

Scoop should be high on your watchlist if you are a sucker for stories centred on investigative journalism.

(Views expressed are personal.)

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Zara Hatke Zara Bachke: A Fun Ride While It Lasts

The film benefits from both Vicky Kaushal and Sara Ali Khan. Their chemistry is on point and keeps the viewers invested.

Has its moments.
Zara Hatke Zara Bachke (Hindi)
  • Cast: Vicky Kaushal, Sara Ali Khan, Neeraj Sood, Rakesh Bedi, and Sharib Hashmi
  • Director: Laxman Utekar
  • Producer: Dinesh VIjan and Jyoti Deshpande
  • Music: Sachin Jigar
  • Runtime: 2 hours 12 minutes

Before making his directorial debut with Luka Chuppi (2019), Laxman Utekar was a noted cinematographer who worked on films like English Vinglish (2012) and Dear Zindagi (2016). He was vastly appreciated for his work in these films.

In 2019, Utekar directed the Karthik Aryan and Kriti Sanon-starrer Luka Chuppi, a romantic comedy that explored the concept of live-in-relationships through the lens of comedy. The film also had some satire about moral policing and communal biases in small towns.

The director used the same formula in 2021 with Mimi, starring Kriti Sanon in the lead.

Mimi was about an aspiring actress who agrees to be a surrogate mother for a rich foreign couple as they promise her a lot of money. It is again a film with a lot of situational humor.

But, in both films, Laxman Utekar wasn’t entirely successful in maintaining the balance between humour and social commentary.

His latest, Zara Hatke Zara Bachke is no exception.

The director takes the story of a middle-class couple struggling to find some space for intimacy. The wife tries to find a house of their own. This is a promising premise but the director uses dubious means to achieve this simple desire.

Synopsis

The film begins with a wedding anniversary celebration. Vicky Kaushal plays Kapil Dubey and Sara Ali Khan plays Saumya Chawla Dubey.

Apart from Kapil’s parents, there are also his nosy uncle and aunt in the house. They shift to Kapil’s house due to some personal problems.

The wedding celebration changes into something tragic as Kapil’s aunt smells an egg in the cake. This results in a huge ruckus.

Saumya decides that she and Kapil need a space of their own as their romantic life is frequently interrupted by their relatives. The mama’s son also sleeps between the two.

To achieve her dream, Saumya tries to get a flat under the government programme Pradhan Mantri Awaas Yojana (PMAY).

Here, we are introduced to a dubious agent (Inaamulhaq). He tells Saumya that she would be eligible to get the flat under the single woman’s quota. However, for that, she and her husband need to have a fake divorce. They can remarry once the house is allotted.

What follows is your typical comedy of errors where the couple tries to pursue both the families and the judge that they must be divorced.

To make things spicier, there is also a love triangle coupled with a watchful guard Daroga (Sharib Hashmi).

Creates authentic middle-class milieu

There is no denying that Saumya’s step of faking a divorce in order to get a new flat is very drastic, but having said that, Laxman Utekar is successful in creating an authentic middle-class milieu.

A particular mention must also be made of how he portrays the relationship dynamics between Kapil and Saumya. Their romantic scenes have their share of adorable moments that are simple yet impactful.

Zara Hatke Zara Bachke also benefits from both Vicky Kaushal and Sara Ali Khan. Their chemistry is on point and keeps the viewers invested even when the plot goes off rails.

Vicky Kaushal brings certain reliability to his role as a middle-class husband who would go to any length to make his wife happy.

He particularly stands out in the pre-climax scene in a hospital when Kapil and Saumya have a heart-to-heart talk to iron out their differences.

Sara Ali Khan lends the required fire to her part of a feisty Punjabi Girl. She does go over the top in the emotional bits. But still, she makes an impact.

The film has also got some laugh-out-loud moments.

For example, there is a scene where a government official inspects Saumya’s home to ensure that she is indeed separated from her husband. Kapil is with her at that time. He decides to act like a plumber and that results in some chuckle-worthy moments.

Technical crafts

Sachin Jigar’s music is quite melodious.

Arjit Singh’s “Phir Aur Kya Chahiye” is the number that stands out the most.

Raghav Ramadoss’s cinematography goes well with the mood of the film. He creates some beautiful frames that add a vibrant tone. The art design is also good, particularly in the family’s house.

Derails in second half

However, the big issue with Zara Hatke Zara Bachke is how the plot derails in the second half. There are some subplots that the film could have easily done away with.

There are portions where Kapil and Saumya have to act like brother and sister. These scenes come across as unnecessary.

Kapil’s mami has a backstory of suffering from a deadly disease. This comes out of nowhere.

But then, Zara Hatke Zara Bachke ends on a happy note when they realise that their fake divorce is leading to real quarrels. After that, they give up on the new flat and settle in their old house.

Verdict

Zara Hatke Zara Bachke is a fun ride. At the end of the day, you take away the performances, music and some delightful moments, particularly in the first half.

(Views expressed are personal.)

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Anek: An Admirable Effort But Lacks Focus

With Mulk, Article 15 and Thappad Anubav Sinha has created a strong niche for himself. Each of these three films has covered important socio-political issues. For example, Mulk was about the growing Islamaphobia in the country. Article 15, on the other hand, was about a young police officer who comes upon the horrors of caste discrimination. Lastly, Thappad looked at whether a slap can lead to divorce. All these were powerfully made films that stayed with you for a long time. With his latest Anek, the director shifts his focus to the mostly neglected north east. Omung Kumar’s Mary Kom was also set in the northeast but Anek falls in a very different zone altogether. This is a highly political film which talks about the alienation and lack of opportunities for the youth in northeast. The director focuses his lens on the racial abuse faced by the people of northeast.

There is no denying that Anubav Sinha makes an important statement through Anek, but having said that the script is all over the place. Anubav Sinha jumps from one issue to another. You get the feeling that cramming of too many things is happening. It looks like Anubav Sinha was bombarded with too many ideas.

Anek tells the story of a secret agent Aman (Ayushmann Khurrana) who goes by the name of Joshua. He opens a café in a city somewhere in the northeast. This café becomes the base for his operations. He has been sent by the government to neutralize Tiger Sangha (Loitongbam Dorendra Singh), he is a militant leader who runs a parallel government in the region. The government wants him to fall in line and sign a peace accord. Along with this you also have the track of a boxer Aido (Andrea).  Aido wants to become a part of India’s boxing team. Her reasoning is recognition in sports would give her a platform to highlight the problems of her region.

Her father Wangao (Mipham Otsal) is a revolutionary who believes that independence isn’t necessarily earned through guns. Wangao’s belief is that independence can be won through social reforms as well, interactions with these two changes Joshua. He begins to question the motives of his handler Abhar (Manoj Pahwa). There is also Kumud Mishra playing the wily minister. Last but not the least JD Chakravarthy also makes a comeback to the screen as another agent. What follows is a complex political thriller covering many burning issues.

First and foremost Anubav Sinha deserves credit for how he shows the militancy in northeast. They are never branded as terrorists but as revoluntaries. A lot of effort has gone into understanding what makes these young people take up arms. There is a distinct empathy which comes out. Also the film never goes into the jingoistic zone in spite of the political background.

Some of the conversations strike a definite chord, they make you think. For example, there is an important conversation between Ayushmann Khurrana and JD Chakravarthy about what makes someone an Indian. Is it the place where you come from, the language that you speak etc? The film also dwells into how the idea of peace can be utopian and also be subjective. This particularly comes out through JD Chakravarthy’s character.

Ewan Mulligan’s cinematography is another major plus for Anek. It is perfectly in tone with the requirement of the film. The cinematographer shows both the aesthetic beauty of northeast along with the destructive side. 

One of the factors that pull down Anek is the lack of coherence. This is majorly due to the tone that Anubhav Sinha has adopted. In telling too many things the direction often becomes indulgent. More focus was also needed on developing the characters of common people. A good example of this is the Andrea’s Aido. The character is too sketchily written for you to completely empathize with her.

The half baked romance between Ayushmann and Aido isn’t convincing in any way. It could have been either avoided, or be written in a better manner.

The overtly political nature also alienates the audiences somewhat. The first half in particular has too much of politics.

As expected the performances of the cast are on point. Ayushmann Khurrana is as dependable as ever. He once again shows his versatility as an undercover agent who develops a conscience. Andrea makes a confident debut, some rawness is there in the emotional scenes but there is no denying that Andrea has a bright future. Manoj Pahwa stands out in the supporting cast. He imbibes the necessary ruthlessness. It is also good to see JD Chakravarthy in his role of the field agent. He makes his presence amply felt.

In a nutshell, Anek is a step in the right direction, but more finesse would have made it memorable.

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Malli Pelli: An Autobiographical Movie Worth Watching For Its Theme And Performances

After two directorial debacles, MS Raju delivers a much better film. The film is one-dimensional but still, there is a lot to ponder.

Malli Pelli (Telugu)
  • Cast: VK Naresh, Pavitra Lokesh, Vijaykumar, Jayasudha, and late Sarath Babu
  • Director: MS Raju
  • Music composers: Suresh Bobbili and Aruldev
  • Runtime: 2 hours and 10 minutes

MS Raju, as we all know, has produced many blockbusters, including Varsham, Okkadu and Deviputrudu.

In 2008, MS Raju made his directorial debut with the film Vaana; however, true to its title, the film was a washout.

But that didn’t stop the producer from directing films. He made his next film Tuneega, starring his son Sumanth Ashwin. But the result was the same.

Back with Malli Pelli

After staying away from the big screen for some time, Raju is now back with his third big-screen directorial Malli Pelli.

The film has created quite a buzz, thanks mostly to the real-life couple VK Naresh and Pavitra Lokesh. Their real-life relationship has been making headlines for a long time.

A film starring a real-life couple has a different charm about it. Not surprisingly, the biggest strength of Malli Pelli is the chemistry that the lead actors share and the solid emotional moments that the director created.

Narendra (Naresh) is a prominent Telugu actor with a vast amount of wealth and respect. However, his personal life is going through huge turbulence because of a broken marriage.

Soumya Sethupati (Vanitha Vijaykumar) plays Narendra’s psychotic third wife.

One day he meets a Kannada actress Parvathy (Pavitra Lokesh) and develops feelings for her. He communicates the same to her despite knowing fully well that she is a married woman.

Story of two people with broken marriages

Parvathy’s marriage is also on the rocks although she presents a picture of a happily married woman. Parvathy also has feelings for Narendra but she is apprehensive about how society would react, particularly the media.

The rest of the story deals with the complexities of their relationship and how it develops in the end.

First and foremost, the story is designed in such a way that the viewers completely empathise with the couple.

The respective spouses of Narendra and Parvathy are portrayed as one-dimensional, with no redeeming quality. This does get bothersome after a while, particularly in the second half.

But still, the emotional quotient is strong. As a result, you are willing to overlook the soft spots.

The story has been narrated in six chapters, a technique that is well used by MS Raju. This format enhances the drama.

Mix of light and dramatic moments

Malli Pelli has a good mix of light and dramatic moments. The scenes of Narendra flirting with Parvathy do bring a smile to your face. Their romance is treated maturely with no vulgarity.

The concept of an older couple finding solace in each other has been dealt with with the right amount of sensitivity.

Stories like this are always a welcome break given that this genre is mostly associated with younger actors.

Raju is also successful in portraying the moral dilemmas that Narendra and Parvathy go through before they decide the direction in which they should take their relationship.

The flashback portion of Parvathy, though abrupt, has its moments. There is a caste angle that the director added to the spouse of Parvathy.

Performance of the actors

Jayasudha plays a character modelled on Vijay Nirmala, Naresh’s real mother.

Even though her scenes with Naresh are few, there is a lot of warmth in those scenes.

The same applies to the ones featuring Sarath Babu as Superstar Krishna. Watching Sarath Babu on screen evokes a lot of nostalgia given that he passed away recently.

However, it is VK Naresh and Pavitra Lokesh who shoulder the film majorly. He does a swell job of bringing his real-life persona to the character. The senior actor is having a splendid second innings and this is another worthy addition.

Pavitra Lokesh also lends wonderful support. She does a good job of portraying the character’s transition.

Coming to the flaws Vanitha Vijaykumar comes across as very irritating both character-wise and acting-wise. A more nuanced characterisation would have made it more real.

The same applies to the portrayal of the media. It is not only caricaturish but also highly offensive.

A middle-aged romance and Naresh’s performance are the best things about this film.

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Dahaad: A Gripping Thriller That Goes Much Beyond The Usual Police Procedural

Zoya Akhtar and Reema Kagti script a serial-killer story that also looks at important social issues plaguing our society.

Dahaad (Hindi)
  • Cast: Sonakshi Sinha, Gulshan Devaiah, Vijay Varma, Sohum Shah and others
  • Directors: Reema Kagti and Ruchika Oberoi
  • Music: Gaurav Raina Tarana Marwah
  • No. of episodes: 8
  • OTT platform: Amazon Prime

Zoya Akhtar has created a niche for herself in the industry with her strong storytelling skills; whether it is stories about the elite (Zindagi Na Milegi Dobara and Dil Dhadakne Do) or the underdogs (Luck By Chance and Gully Boy).

Audiences expect a certain quality when her name is associated with any project.

After co-directing the blockbuster web series Made In Heaven, Zoya delivers another winner, Dahaad.

Though she isn’t the director of this one, she is one of the creators and also has written the additional screenplay.

For those who are not aware, Dahaad is inspired by real-life serial killer Mohan Kumar, also known as Cyanide Mohan.

Synopsis

The story of Dahaad is set in a small town called Mandawa in Rajasthan.

Sonakshi Sinha plays Inspector Anjali Bhaati, an officer who belongs to a backward caste.

She gets the case of a girl who is said to have eloped with a Muslim man taking along cash, jewellery, and other things.

She initiates the investigation with her fellow officers Devilal Singh (Gulshan Devaiah) and Kailash Parghi (Sohum Shah).

During the investigation, the cops discover many similar cases of girls eloping with anonymous partners, which raises the question of whether they were all linked.

Eventually, Anjali finds that all the eloped girls died by consuming cyanide.

Anand Swarnakar (Vijay Varma) is the prime suspect. However, Anjali is not able to gather strong evidence against him.

Meanwhile, Anand plays many tricks with the police and poses as a victim who is being harassed by Anjali.

The rest of the story follows Anjali’s pursuit of the case. Where her suspicions about Anand right? If so, how does she and her team manage to arrest Anand red-handed?

Also. why is the killer attacking girls from only a particular social stratum?

The presentation

The best thing about Dahaad is how the Zoya Akhtar, Reema Kagti, and Ruchika Oberoi team uses the town of Mandawa and Rajasthan.

Both these become a character in themselves, and the social issues have been presented in a hard-hitting manner.

For example, despite being a police officer, on more than one occasion Bhaati is reminded of her lower caste.

Anjali has to fight against both sexism at the workplace along with questions about her lineage.

A scene which deserves particular mention is the one when Anjali lashes out at a wealthy man who doesn’t allow her to enter the house because of her lower caste.

There is also a subplot of how people are used as scapegoats. It is brief but Ruchika Oberoi and Reema Kagti make some important points.

Standout performances

Gulshan Devaiah’s Devilal Singh is a character that stands out the most along with Vijay Varma’s Anand Swarnakar.

We see Devilal Singh not just as a determined police officer but also as a husband and a father who is weathering a storm at home.

He has a progressive outlook on how his daughter shouldn’t confine herself to being a housewife in future. He wants her to be strong and independent.

His wife on the other hand isn’t so progressive and as a result, there are constant tussles.

Devilal Singh is so progressive that he even makes his son understand that curiosity about sex is natural at his age and that there was nothing wrong with that. However, he also tells his son to be careful.

Gulshan Devaiah steals every scene he is in with a magnetic performance.

The antagonist

Vijay Varma is a veteran at playing socially deviant characters; whether it is Pink or last year’s Darlings.

Still, the actor makes a huge impact with his character in this series. Anand is a complex character as he appears to be a do-gooder on the surface.

Apart from being an excellent Hindi professor he also runs a mobile library for the underprivileged but soon enough the viewers can understand how calculative he is.

He spends most of his time outside the home and his equation with his father is not great as there are severe daddy issues.

Vijay Varma is in fantastic form. Both as a middle-class married man struggling to make out ends meet and also as a serial killer who has unresolved issues with his father.

Striking aspect

Another striking aspect of the web series is how it doesn’t paint all men as monsters.

Certain women characters in the web show are equally regressive.

This particularly comes out in the scenes when Anjali talks to the parents of the eloped girls. All of them think that it was good that their daughters eloped instead of being a financial burden at home.

They declare that they had nothing to do with girls.

It must be mentioned that Anand only targets women from the lower strata of society and whose parents were not in a position to pay a big dowry.

He camouflages himself as a different person and seduces them by talking sweetly. Once they fall for him and agree to have sex, he thinks they are loose characters and eliminates them with cyanide.

Slightly off

One of the areas that Dahaad slightly falters is the climax.

After all the cat and mouse game the confrontation between Sonakshi and Vijay could have been more impactful.

Another issue with the web series is the casting of Sonakshi in the role of Anjali Bhaati. Sonakshi is adequately fierce in her demeanour but is rather one-dimensional in how she approaches the character.

The cinematography by Tanay Satmam is of the first order. He does a wonderful job of capturing the rusticness of the terrain. The Rajasthani dialect used is also mostly flawless.

Final verdict

Dahaad is definitely a worthy roar and a noteworthy addition to the career of Zoya Akhtar.

(Views expressed are personal)

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Anni Manchi Sakunamule: A Well-Made Entertainer In Typical Nandini Reddy Style

Anni Manchi Sakunamule isn’t high on the story but the director is successful in creating heartwarming moments.

Anni Manchi Sakunamule (Telugu)
  • Cast: Santosh Sobhan, Malvika Nair, Rajendra Prasad, Rao Ramesh, and Naresh
  • Director: B.V Nandini Reddy
  • Producer: Priyanka Dutt
  • Music: Mickey J Meyer
  • Runtime:: 2 hours and 35 minutes

Director Nandini Reddy has emerged as a strong filmmaker with films like Ala Modalaindi (2011), Kalyana Vaibhogame (2016) and her last Oh Baby (2019). An key quality of her films is the entertainment factor. More than the plot, the viewers remember Ala Modalaindi and others because of the director’s treatment.

Her latest Anni Manchi Sakunamule perfectly falls into this category. Though it is a familiar tale of two families who are stuck in a land dispute, what makes the movie rise above the template is how she deviates from the typical tropes that we associate with films of this kind.

Synopsis

The story of Anni Manchi Sakunamule is set in the fictional hillside town of Victoriapuram. There are two families in a legal battle over the ownership of a coffee estate for decades (there is a hilarious origin story to the dispute).

In the present day, there is Sudhakar (VK Naresh), who is modest and likeable, and Prasad (Rajendra Prasad), who is wealthy and money-minded.

On one rainy night, their respective wives are rushed to a hospital for delivery. Here a baby-swapping happens because of an alcoholic doctor Jagadamba (Urvasi), and negligent staff.

This part is reminiscent of the Trivikram blockbuster Ala Vaikuntapuramlo (2020), but thankfully, here you don’t have any jealous employee scheming against his boss.

The leads

Coming back to the story, while Rishi (Santosh Sobhan) is raised by Prasad, Aarya ( Malavika Nair) is brought up by Sudhakar.

Both Rishi and Aarya become high school buddies despite the family dispute. They have contrasting personalities. While Aarya is more ambitious and hard-working, Rishi is more laid back, and his interests lie in cooking, travelling, etc.

Rishi loves Aarya since childhood, but he doesn’t express it as he feels Aarya deserves a better person than him.

Talking about the leads, both Santosh Sobhan and Malavika Nair are in good form, particularly Malavika. She does a splendid job of showcasing the ambitious nature of Aarya. She is successful in portraying both inner strength and also vulnerability.

The rest of the story deals with how the family dispute is solved and whether Rishi will express his love for Aarya. And very importantly, do the families come to know about the swapping of babies and what impact that has on them?

Nandini Reddy’s strengths

The thing which strikes you most about Anni Manchi Sakunamule is how Nandini Reddy has subverted some of the tropes that we associate with this genre. The best example of this is the equation between Rishi and Aarya.

Though there is a generational trauma that both the families carry, that doesn’t stop Rishi and Aarya from becoming friends. Yes, there are moments when the duo are at odds with each other but in general, these moments have nothing to do with their families.

Nandini Reddy does a good job of exploring their relationship
which takes several turns through the film. Rishi and Sudhakar are also cricket buddies who play matches together. There is warmth in the scenes featuring them. Likewise, Prasad also has respect for Aarya’s street-smart nature. At one point he even expresses a wish to adopt Aarya.

Strong female lead

Another striking feature of Anni Manchi Sakunamule is how Nandini Reddy has written the character of Aarya. Malavika Nair’s Aarya is someone who runs the household’s financés with an iron grip. She is also the primary breadwinner. Her scenes with Naresh are a delight to watch. There is also Rishi’s firebrand grandmother (Sowcar Janaki); her feistiness brings a smile to the audience’s face.

Supporting actors

The film has a huge motley of supporting actors, but unlike the big-ticket ventures, here most of them have solid arcs. The best of the lot is Rajendra Prasad and Gautami. Rajendra Prasad has a tricky part, given the money-mindedness of Prasad and also his dissatisfaction with his son, but the senior actor manages to make sure that his role doesn’t become a caricature.

Gautami as the benign mother is a pleasure to watch. There are recurring gags of Gautami’s hearing disability, but at no point does Nandini Reddy use it for crude humour.

Vennela Kishore also brings in many laughs as the annoyingly pleasing son-in-law. Vasuki who plays his wife, makes a comeback after decades but there is nothing significant about her character.

The flaws

Despite its many positives, Anni Manchi Sakunamule also got its share of lags.

For example, there is an unnecessary love
triangle that doesn’t add anything to the story.

There is also a debate where the characters argue about the cuisines of Andhra and Telangana. This is staged in a rather clumsy manner.

Technical aspects

Micky J Meyer’s music is melodious and adds to the proceedings. Sunny Kurapati and Richard Prasad’s camerawork bring alive the beauty of Coonoor.

Final verdict

It is a good entertainer particularly if you enjoy a slice of life dramas and also if you are an admirer of Nandini Reddy’s kind of films.

(Views expressed are personal.)

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Newsense: A Web Show That Gives An Insight Into The Nexus Of Media And Rural Politics

Sai Prawin Kumar’s directorial Newsense consists of many threads that sustain the interest of the audiences for the second season also.

Stories centred on politics and journalism make great subjects because both are interconnected pillars of our society.

Newsense is one such show. However, this isn’t an easy genre to crack for a director as a certain authenticity is needed, as well as some political knowledge.

Director Sri Prawin Kumar looks at the nexus between politics and the media in small towns. He creates a web of characters who can’t be slotted as black or white.

He does a wonderful job for the most part. The director is also hugely aided by his cast, starting with Navadeep, who disappears into his part.

Synopsis

The backdrop of Newsense is a small town called Madanapalle in Andhra Pradesh, set in the 1990s and 2000s.

The show primarily explores unethical journalism practised by a set of stringers, along with a few politicians who want to grab power at any cost.

Shiva (Navadeep) is a street-smart journalist who belongs to the same category.

But sometimes, he deviates from the norm by presenting the truth (although not completely), and as a result, he gets into trouble.

For Shiva and his fellow stringers, it is a battle between doing the right thing, and also staying alive. Often we see them accepting covers of money from both political parties.

Newsense deals with several issues like the role of media in society, and the impact of sensationalising news, among other things. It does not hesitate to criticise the media and its corrupt practices.

Though the story is set in the Rayalaseema region, the director thankfully doesn’t resort to over-the-top action sequences that the viewers are forced to see in typical action movies.

Newsense grips the viewers from the start with its multi-layered narrative. As viewers, we empathise with the sufferings of the local people, who are sandwiched between two political parties.

For example, there is a farmer who fights for his land, which has been illegally occupied by miscreants, a woman searching for a missing husband, etc. There is certain believability about the problems they face.

Despite the show’s serious tone, there is also some raw humour which comes as a respite.

The chemistry between the leads

Neela is an aspiring news anchor and Shiva’s love interest.

Through the character of Neela, the director touches upon the perspective of a female journalist in a town that is dominated by male journalists. The interaction between Shiva and Neela has a certain playfulness combined with a local flavour.

This has been both wonderfully written and enacted. The chemistry between the duo is spot on. Newsense’s light moments mostly feature Shiva and Neela (played by Bindu Madhavi).

Talking about the leads, both Navadeep and Bindu Madhavi are in very good form.

Navadeep gets into the skin of his character, starting from the dialect. He embraces the several grey shades of his character with aplomb.

Bindu Madhavi lights up the frame whenever she is on screen. She is supremely natural on her part.

Strong technical aspects

What also adds to the impact are the dialogues of Jayasimha. He does a good job of making the viewers introspect without resorting to rhetoric.

The background music of Suresh Bobbili goes well with the flavour of the series, Newsense. There is only one song in the show— Myneeru Pillagada. This track makes for a soothing watch, both for the ears and the eyes.

Three cinematographers are involved with this web series— Anantnag Kavuri, Vedaraman and Prasanna. They capture the rustic terrain wonderfully through their lens.

Nanda Gopal to rescue

There are some moments where the graph does go down.

But thankfully the show gets back on track with the entry of Sub-Inspector Edwin (Nanda Gopal), in the fifth episode.

Nanda Gopal has an arresting presence which makes the viewers look forward to his portions despite the limited screen time. The rest of the supporting actors also make an impact.

Final verdict

Overall this web show is binge-worthy, particularly if you have a keen interest in politics and media. It shows how lives are ruined because of the unholy relationship between two great pillars.