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Mili: An Engrossing Survival Drama Led By Brilliant Janhvi Kapoor

The genre of Survival drama lends itself to a vast array of human emotions. A film like Tom Hanks’ Cast Away is still considered to be a classic. Closer home Vikramaditya Motwane’s Trapped was a brilliant exploration of the loneliness in a big city, captured in a nail biting manner through the character of Rajkumar Rao. The protagonist in Trapped accidently jams himself inside his apartment. This year itself Fahad Fassil’s Malyankunju explored caste through the lens of a survival drama. Mathukutty Xavier’s Mili, a remake of his own Malayalayam film Helen is a wonderful addition to this list.

Structurally speaking Mili stays close to the original except for a few tweaks. For example in Helen the love interest of Anna Ben is a Muslim boy. Here the director makes Sunny Kaushal a Hindu boy who is supposedly from a different caste.

Milli starts off with establishing the daily routine of its lead character (Janhvi Kapoor).Before getting into the gritty space the director sets up the two important relationships in Mili’s life. One is with her father Niranjan (Manoj Pahwa). The other is with her boyfriend Sameer (Sunny Kaushal). Father doesn’t know anything about the boyfriend. Mili works as cashier at Take Out Mall in Dehradun. Before that Mili worked as a nurse. Milli has aspirations of going to Canada which the father doesn’t exactly approve of but he has no option. Things take a turn when father comes to know about Sameer and all hell breaks loose. The next night Mili gets trapped in the freezer room after a late night shift and no one has any idea of where she has disappeared. What follows is a race against time where the father and boyfriend unite together in search of the person they love. The director also explores the misogyny and the stereotypes attached to young working girls through Inspector Satish (Anurag Arora). 

The first half of Mili is mostly about setting the base and giving an insight into her personality. These portions may appear stretched but they play an important part in the scheme of things. The father and daughter bond gives the film some of its best moments. In both the emotional and lighter bits, the scenes between Janhvi and Manoj Pahwa have certain warmth that touches the hearts of the audience. Manoj Pahwa is one of those actors who can do a variety of roles, case in point being Article 15 and Mulk. Here too as father Manoj makes the audiences root for him. The desperation of a father is brilliantly brought out by the actor.

The love story between Janhvi and Sunny could have been better written; nevertheless their scenes are still good to watch. Sunny Kaushal has less to do but the actor still stands out with his amiable presence. He is successful in bringing out a boyfriend’s concern for Mili. Mathukutty Xavier does a wonderful job in showcasing how Milli’s father develops a fondness for Sameer in their search together for Mili.

For any survival drama the technical departments have to be very strong. Much like the original, here too the production design is one of the biggest assets of the film. Apurwa Sondhi does a brilliant job in converting the freezer room into a battleground. The shots of Janhvi trying to survive in the freezer room are sure to give goosebumps. The cinematography by Sunil Karthikeyan is also award worthy particularly in the freezer room portions.

The police characters may come across as generic particularly Anurag Arora who hasn’t got any redeeming quality but still his character of Satish is an important reminder of how certain stereotypes can become dangerous to young working women’s lives. Sanjay Suri as the other Inspector is the ante thesis of Satish and the actor infuses his part with the required righteousness. Jackie Shroff as the prisoner has a short cameo but his role is important to the proceedings. The senior actor makes his presence amply felt.

Now let’s move to the leading lady Janhvi Kapoor. Since Dhadak there has been a concrete effort on the part of Janhvi to prove her worth in the industry, as someone who is much more than just late Sridevi’s daughter. The actress has been making some right choices with Gunjan Saxena and Good Luck Jerry but with Mili she outdoes herself with a spectacular performance. She is particularly brilliant when the focus shifts to the freezer room. Janhvi makes the pain of Milli so real. The audiences almost pray for her to come out safe. Irrespective of Mili’s box office result there is no denying that the actress is far ahead of her contemporaries like Sara Ali Khan.

AR Rahman’s music isn’t of the popular type but the tunes go perfectly with the mood of the film, they complement the story. Tum Bhi Raahi is my most favorite song in the album. Sun Aye Milli is also a wonderful number. The background score, also composed by Rahman himself, is praise worthy.

Final word: Watch Mili even if you have watched Helen. It is a survival drama that makes you go through a roller-coaster of emotions. Janhvi Kapoor’s performance is the cherry on the cake.

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Ram Setu: More Adventure And A Younger Hero Would Have Been Better

Before the pandemic entered our lives Akshay was easily one of the most bankable stars in the Hindi Film Industry. The actor had created a brand for himself as a kind of nationalistic hero. Akshay expertly juggled between doing films where he saves the day and also slapstick comedies like the Housefull franchise. Raj Mehta’s Good news was an exception as Akshay’s Varun Batra was an elitist jerk. But since pandemic a lot has changed and Akshay’s brand of cinema has stopped working for people. Bachchan Pandey, Bell Bottom and Samrat Prithviraj are examples of this. Yes, Sooryavanshi was a big hit in 2021 but the film immensely benefited from the timing of its release and also from Rohit Shetty’s fan base.

2022 has been particularly a bad year for Akshay as nothing has worked for the actor. Ram Setu directed by Abhishek Sharma is similar to Nikhil’s Kartikeya 2. Both deal with important mythological characters. Kartikeya 2 was about the existence of Dwaraka and the historicity of Lord Krishna. Ram Setu on the other hand is about Lord Ram and the debate surrounding the bridge of Ram Setu. The film Ram Setu has an interesting premise which could have resulted in a complete edge of the seat thriller but the film doesn’t completely live up to its promise.

Ram Setu revolves around an atheist archaeologist Aryan Kulshrestha (Akshay Kumar). Aryan has been entrusted with the job of disproving the mythological origins of Ram Setu, the bridge between India and Sri Lanka described in Valmiki’s Ramayana. However upon further research Aryan comes to the conclusion that the structure may be actually man- made, implying that Lord Rama may be a historical person after all. Nushrratt Bharuccha plays Akshay’s wife. She is a strong believer in god from the start. Dr Sandra (Jacqueline Fernandez) is an environmental scientist. Senior actor Nassar plays the corrupt businessman. Last but not the least Satyadev plays the Lankan guide AP. He has a mysterious background which we don’t know till the end. This is the story in a nutshell.

Ram Setu works best when we see all the three protagonists in the thick of action. The scenes of Akshay and Co searching for historical evidence keeps you involved. You are curious to know about how Aryan changes from an atheist to a believer and how he will save the bridge.

The scenes which I particularly liked were the ones when the team goes on a trail to find Ravan’s Lanka. They have a certain thrill.

Special mention must also be made of the stunning underwater sequences. Director Abhishek Sharma does a wonderful job in capturing the grandeur of Ram Setu under the Indian Ocean. These shots look straight out of a Discovery documentary.

What also helps Ram Setu are the scenes of Satyadev with Akshay Kumar. Satyadev brings in the much needed energy with his charm and adds a layer of intrigue. He also generates some humor with his poked faced comedy.

Both the cinematography and the production design are also a treat to watch. They give a grand feel which adds to your viewing experience.

What pulls down Ram Setu is the casting of the protagonist. Akshay Kumar as the archeologist is a mixed bag. He is good as the atheist but becomes less interesting as the believer. One reason for that is we have seen Akshay do this in the past too. Also you get the feeling that a younger actor like Karthik Aryan who is light on his feet would have been better. This becomes even more apparent whenever the scenes of Akshay and Nushrratt come up. The significant age gap coupled with their inability to generate any warmth is a major put off.

We also don’t understand why Jacqueline Fernandez was cast as an environmental scientist. She looks beautiful as always but there is nothing that she does, except for mouthing some scientific terms.

The climax in the courtroom is way too elongated. The message is hammered in instead of being organically integrated. By the time the court declares that Ram Setu shouldn’t be demolished you feel thoroughly exhausted. In Kartikeya 2 you cheer for Nikhil when he is successful in his adventure but here there is no feeling of euphoria, just tiredness. As a result the revelation of Satyadev’s identity in the end doesn’t give the necessary high.

Final word: Ram Setu is definitely the best Akshay starrer in the recent past but that is not enough for the film to sail through. Watch Ram Setu if you are interested in mythology or if you want to see how Satyadev fares in his Hindi debut.

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Thank God: A Fantasy Ride That You Won’t Mind Hopping On

Indra Kumar’s Thank God is an attempt at creating a make believe world that wants to entertain, as well as give a message. This is a difficult tightrope and the dramatic bits don’t completely land but still there is no denying that Thank God is a film that leaves you in a good mood. For those who are not aware Thank God is based on the Danish social comedy Sorte Kugler.

Ayaan Kapoor (Siddarth Malhotra) is a bankrupt real estate agent married to a cop played by Rakul Preet Singh. Ayaan is someone who has many flaws. He has anger management issues, low self-esteem, and doesn’t get along well with either his wife or the daughter. Additionally he is very jealous and adores Nora Fatehi as a fantasy figure. One day, he meets with an accident. Instead of waking up in a hospital room he wakes up to afterlife. Indra Kumar’s version of afterlife consists of a giant stadium full of people who would be judging him in a game show called The Game of life. The host is C.G shortcut for Chitragupt (A flamboyant Ajay Devgan). If Ayaan gets enough white balls he would be sent back to be resurrected. However, abundance of black balls would mean hell.

What follows is a roller coaster journey where Ayaan has no other option other than to win this Game of life. There are many life lessons along the way presented in the format of an escapist fantasy.

The best parts of Thank God are easily the interactions between Ajay Devgan and Siddarth Malhotra. The one liners of Ajay will leave you in splits. The first half has lot of situational humor. Thankfully Indra Kumar stays away from making it a vulgar comedy. One of my favorite bits in the first half is when Siddarth Malhotra tries to bring his inner Singham but ends up failing miserably. There is also a KBC reference when Ajay Devgan talks about how a superstar had come here once, and took the idea of his game and adapted it as KBC.

Another good thing about Thank God is how the director portrays the transformative journey of Ayaan. The way CG makes Ayaan relive episodes from his own life make the drama more interesting.

The gradual progression in his character and how he learns to appreciate the good happenings in his life and letting go off the bad has been well portrayed.

Thank God heavily relies on the shoulders of Ajay Devgan and Siddarth Malhotra and both don’t disappoint. Siddarth Malhotra is successful in capturing the different shades of Ayaan. This is the first time that Siddarth has tried his hand at a situational comedy and the actor does a pretty good job. The scenes in the first half where he pretends to be a broker in order to sell his bungalow are hilarious to say the least.

Ajay Devgan makes for the perfect modern Chitragupt. The actor is a delight to watch as the all knowing game host who has nothing but the best interests of the contestants at heart. You can clearly see that Ajay is having a ball.

Rakul Preet Singh is good as a devoted wife but suffers majorly due to a one note characterization. Like numerous female characters in this year Rakul ends up being a prop later on. More scenes between Siddarth and Rakul would have enhanced the romantic portions. The talented Seema Pahwa is also relegated to the backseat.

The music is more situational but thankfully the songs do not come across as speed breakers. The song Manike filmed on Siddarth and Nora Fatehi is easily the best song in the album.

Final word: Watch Thank God for some lighthearted moments and if you are in the mood for some life lessons.

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Four Women And Alia

On a rainy night in Mumbai’s Kamatipura area an unusual get together happened.

It was in a restaurant called Princess Plaza.

Badru was sitting at the cash counter when Gangubai walked in.

I am sure you know Badru; the battered wife in the movie Darlings. Now she started a restaurant after her cruel husband Hamza died in a train accident; when the entire nation heaved a sigh of relief. In Mumbai, I suppose, that is the easiest way to get rid of bad guys. But to be fair to Badru she did not push him under the wheels though she thought of it many times. It is he who got knocked down by a speeding train on his own accord while standing on the rail tracks shouting and threatening his wife till his last breadth. One thing is certain. He left at the right time; because if he had continued to live with Badru one of us would have definitely gone and smashed his head.

Coming back to the present Badru is now financially and emotionally a very happy person. On the third anniversary of the restaurant she decided to invite Gangubai, Veera and Bauria aka Mary Jane to her restaurant and spend some time with them. She wanted to know a few things from them.

In few minutes Veera and Bauria also joined them. They seemed to have met at the railway station. One was coming from Himalayas and the other from Goa. Both of them looked quite cheerful. There was an air of enthusiasm and anticipation in everyone’s face. Badru warmly invited them and after a round of introductions they sat down for a chat.

Snacks and chai followed with some light banter. After a while Gangubai asked Badru why she arranged this meeting. Badru looked at all of them and said “Any guesses?”

“All of us suffered in life for no fault of ours. Maybe you wanted to know how each one of us is coping with it now.” Veera was the first one to speak. She seemed to have given a lot of thought about the purpose of this meeting.

“Of course… that is one of the reasons. But did you ever think of whose faults we all suffered” replied Badru.

 “I am not very educated like some of you. But I can say that we women are also very gullible. Why did I elope with a man whom I hardly knew and leave my house? In my obsession to become an actor, a heroine I neglected my safety and paid the price” said Gangubai.

 “You might think it was your fault. But for many women like me there is no choice. My father died. I had no one look after me. I had to migrate for work. How would I guess I will land up with rapists and drug mafia? Many things are not in our hands” Bauria said.

 “True. Look at me. I am from a rich family. Ideally I should not have had any serious problems. But see what happened. My own uncle sexually abused me. I was a child. Even my mother could not protect me. The man who accidentally kidnapped me was much more decent than my own uncle” Veera recollected her ordeal.

Badru was silent for a long time. Then she looked at each one of them intensely. Slowly she started to speak.

 “For Veera it was her uncle. For Gangubai it was her lover. For me it was my husband. For Bauria it was the outside male world. I feel we are not safe anywhere – inside home or outside; with anyone – family or outsiders. Swimming in oceans and climbing high mountains are considered great achievements. People don’t realise we are no less achievers. We are the SURVIVORS of male cruelty. We are the ones who should be shown to the suffering girls and women of this country as the real role models, at least until the society changes for the better. I wish no woman should think of taking her life after seeing how we shaped our lives. I invited all of you to celebrate our new life.”

They looked at each other and broke into laughter. They all seem to agree with the new term they coined for themselves. “Let us change the name of this restaurant to Survivors and invite all our fellow survivors to this place” laughed Gangubai.

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Godfather: The Return Of Chiranjeevi

Prithviraj Sukumaran’s Lucifer was a competent political thriller within the realms of what is considered mainstream in Malayalam. Mohanlal’s charisma was one of the primary reasons that the film worked. Vivek Oberoi was also terrific as the bad guy. Prithviraj Sukumaran’s direction wasn’t flawless but still the actor director did a good job in capturing the socio-political scenario.

Mohan Raja’s Godfather on the other hand is a massier version of Lucifer. There are ample slow mo shots of Chiranjeevi accompanied by a thundering background score of S. Thaman. There are punch dialogues which are aimed to make the fans happy. But at the same time Mohan Raja makes sure that the film hasn’t got any unnecessary subplots like a forced romantic track or a crude comic subplot.

Much like Lucifer here too the political drama keeps you invested. It also immensely helps that young actor Satyadev makes for more than a worthy antagonist to Chiranjeevi, this is something which I will elaborate on later.

Godfather begins at an Interpol facility in France where a high- ranking agent hands over a confidential case of an elusive mastermind Abraham Quershi to another agent. From here we move to India where PKR, the supreme leader of a political party is no more. The death of PKR has sent the state into a crisis and a new leader must be elected. The key players in this musical game of chairs are introduced by director Puri Jagannadh making his acting debut as investigative journalist Govardhan.

Brahma (played by Chiranjeevi) is an intelligent and popular leader among the masses and is also the backbone of the deceased CM. This ideally should make him the perfect candidate. However senior leader Narayana Varma (Murali Sharma) and PKR’s son-in-law Jaidev (Satyadev Kancharana) have other plans. Additionally PKR’s daughter Satyapriya (Nayanathara) is also thrown into the mix. There is also Salman Khan in a swashbuckling extended cameo as Masoom Bai, although there is nothing masoom that the actor is doing here.

The best thing about Godfather is how director Mohan Raja sets up the plot. It keeps you hooked. There are many unexpected twists and turns regarding the supporting characters that keep you glued to the screen. The best examples of these are the characters essayed by Sunil and Shafi. Initially we see that Sunil and Shafi are working for Chiranjeevi and Satyadev respectively. However there is a twist in a tale that you don’t see coming.

The director also deserves credit for how he showcases Chiranjeevi as a mature politician. Chiranjeevi hasn’t got many dialogues but the actor still packs a punch with his eyes. His screen presence and settled performance is a treat to watch.

NAYANTHARA BRINGS A CERTAIN DEPTH TO HER ROLE.

The emotional bits featuring Chiranjeevi and Nayanathara will also move you. Nayanthara brings a certain depth to her role. It is not a part with a wide arch but it is to the credit of Nayanthara’s acting talent that you root for Satyapriya.

However the biggest strength of Godfather is easily Satyadev as the antagonist. The way he holds his own opposite Chiranjeevi is remarkable to say the least. He is the major reason why this political tussle never feels one sided.

The interactions between Chiranjeevi and Satyadev are terrific to watch. The best example of this is the jail episode where Satyadev taunts Brahma. This film should ideally open new doors for this talented actor.

AS MASOOM BHAI THE ACTOR CLEARLY HAS A BALL, EVEN THOUGH HIS FACE HAS BEEN CLEARLY DE-AGED.

The entry of Salman Khan is also perfectly timed. As Masoom Bhai the actor clearly has a ball, even though his face has been clearly de-aged. The climax fight where Chiranjeevi and Salman take on baddies is a treat for the fans.

The film has also got some well written political moments particularly in the first half. Puri Jagannadh as the investigative journalist is successful in representing those who are frustrated with corrupt politicians.

Godfather isn’t without its flaws. The second half is comparatively less interesting and the likes of Murali Sharma etc could have been used better. Also the music of Thaman is a big downer. The background score is definitely a banger but there are times where it swells too much.

Final word: Godfather is a welcome return to form for Chiranjeevi after the debacle of Acharya. It is an enjoyable political ride even if you have seen Lucifer.

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Vikram Vedha: A Solid Remake Powered By A Terrific Hrithik Roshan

Remakes are always a tricky business, more so when you are remaking Tamil and Malayalam films. The reason being both these industries have a certain grammar of storytelling. Having said that the Tamil and Malayalam industries have also butchered acclaimed Hindi films like Special Chabbis and Andhadhun respectively, earlier this year Siddarth Sen did a wonderful job in remaking Nelson Dilipkumar’s Kolamaavu Kokila. The director retained the core but at the same time upgraded it as well by setting it in Bihar.

Gayatri Puskhar’s Vikram Vedha is considered to be a classic and rightly so. The director duo used the Vikram and Betal analogy to create a new kind of cop versus gangster film. In the Tamil film Madhavan had played Vikram and Vijay Sethupati was Vedha. Vikram is a cop who has a very clear boundary of what is right and wrong. But his life turns upside down after the entry of the dreaded gangster Vedha. Vedha makes Vikram question his beliefs each time that they meet. The questions of Vedha form the crux of this multi layered story. The engaging narration coupled with Madhavan and Vijay Sethupati’s performances made this thriller an engrossing watch.

Much like the recent remakes here too you have original directors helming the project. The setting of the Hindi one changes from Chennai to Lucknow. The plot is largely the same expect that you have a fresh set of actors, Saif Ali Khan as Vikram and Hrithik as Vedha respectively. The character of Vedha in this one is also a bit massier compared to the original. Vikram also comes with his own set of quirks.

Much like the original the biggest strength of this too lies in the equation that the lead characters share. Both Hrithik and Saif get equal opportunities to shine. Yes Hrithik has the meatier part but Saif also stands his own as the cop who is forced to question his own morals. He particularly shines in the confrontation scenes with Hrithik. There is also some sly humor which the makers have added and the actor delivers it to perfection.

However there is no denying that Hrithik Roshan is the star of the show. As earlier said his role is massier compared to Vijay Sethupati and this works in the favor of the film.  As Vedha, Hrithik lets his eyes do most of the talking. His facial features and body language are a delight to watch. Hrithik is effortlessly menacing, ruthless and yet extremely emotional in parts. The Greek God looks have sometimes come in the way of people acknowledging the actor’s insane talent but with this role Hrithik firmly reestablishes his position as an actor/star who is not afraid to push the bar.  Much like the remake of Amitabh Bachchan’s Agneepath here too Hrithik makes Vedha his own. It is a treat to watch the actor embrace this rugged avatar.

The setting of Lucknow also gives the film a different touch. The director duo of Gayatri and Pushkar have done a good job in making sure that the localities of Lucknow are also an integral part of the story.  

The action scenes have also been choreographed well. My favorite bit is the pre-interval block where the police are searching for Vedha and you have Vedha escaping to a container yard. The confrontation that follows is a treat to watch.

Vedha’s emotional bond with his younger brother Shatak (Rohit Saraf) is also neatly done. It is not as effective as the Tamil original but still it does tuck at your heartstrings. Rohit Saraf is a great choice for the role. He brings in that required innocence. Special mention to also Sharab Hashmi, he stands out in the supporting cast as the ambitious sidekick. Radhika Apte hasn’t got a lot to do as Vikram’s wife with a different set of ideology, but their scenes are still good to watch

Coming to the flaws Yogita Bihani comes across as a weak link. Her love story with Shatak comes across a speed breaker unlike the original where Varalakshmi SaratKumar aced the same part. You also wish the makers had dwelled a bit more into the workings of the UP Police.

Final word- Vikram Vedha is a largely satisfactory reworking that does justice to the original. Hrithik Roshan is the garnishing that adds more flavor and makes it an appetizing meal.

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Ponniyan Selvan Part 1 – More Of A Docu Drama Than A Historical Epic

The genre of big scale epics has seen a huge revival thanks to filmmakers like Sanjay Leela Bhansali, SS Rajamouli and even Ashutosh Gowariker to an extent. The likes of Bajirao Mastani, Bahubali 1 and 2 and Jodha Akbar have created a deep impact in the audiences mind. With Ponniyin Selvan Part 1 legendary director Mani Ratnam attempts a genre which he has never done in the past. For those who are not aware the movie is based on a novel by the same name. Since I have not read the novel I will be purely judging the movie as a standalone piece.

Ponniyin Selvan tries to be a gripping combination of thrills, intrigue and emotions.  However, in its effort to be plot heavy the film ends up being neither here nor there, particularly for the Telugu and Hindi audiences.

The story is majorly centered on the character of Vanthiyathevan (Karthi) he is entrusted by Aditya Karikaaludu (Vikram) with the task of delivering important messages to Karikaaludu’s father and sister (Prakash Raj and Trisha respectively). As per the messages plans are being laid out by princely kings to bring down the Chola Empire. Vanithiyathevan’s duty is to find out what are the evil plans and who are hell bent on tarnishing the glory of the Chola Empire. Aishwarya Rai plays princess Nandini. Nandini is someone who comes with a mysterious past, this mysterious past is connected to Karikaaludu. Other important characters include Jayam Ravi as Ponniyin Selvan.

What follows is a complex drama that is hard to keep up with.

One of the few redeeming factors of PS-1 is some of the performances starting with Karthi. The actor is a delight to watch whenever he is on screen. His comic timing and the general energy that he brings to the screen is something that uplifts the film at many places. His interactions with both Aishwarya and Trisha bring a smile to your face.

Vikram as Karikaaludu has less screen time but the actor’s intense performance is a treat to watch. Jayram Ravi makes his entry in the second half but the actor makes his presence amply felt.

Both Aishwarya Rai Bachchan and Trisha look like million bucks thanks to director Mani Ratnam and the costumes by Eka Lakhani. Mani Ratnam along with Sanjay Leela Bhansali are one of those few directors who best understand how to use Aishwarya. Here too Mani Ratnam casts her smartly as the enigmatic queen with her own secrets.

Cinematography by Ravi Varman also goes perfectly with the requirement of the film. He does a good job in showing the grandeur of Cholas through his lens. The production design by Thota Tharrani also adds to the richness of the frames.

The biggest issue with Ponnin Selvan- 1 is the numerous subplots integrated into the story by the director. Too many things are happening simultaneously and as a result it is difficult to catch up the plot.

The film is also filled with many characters that don’t make any impact whatsoever. Perfect examples of these are ones played by Prakash Raj, Sarat Kumar and Rehman.

The film’s editing is also subpar as the drama moves at a very slow pace, particularly in the second half. Some of the scenes are way too lengthy. A perfect example of this is the climax where Karthi and Jayam Ravi take upon some villains. The fight scene happens in a ship with thundering rain as a backdrop. It is definitely jaw dropping but this action block goes on way too long. Because of this the cliff hanger at the end doesn’t really make an impact.

Music by AR Rahman is pleasant but nothing spectacular. It is nowhere close to their previous associations.

Final word: Watch PS-1 if you are a fan of Mani Ratnam or you like slow paced historical dramas. The rest can give it a skip.