Sharan Koppisetty takes a familiar set up of a police procedural but gives some interesting touches. A special mention must be made of how the movie questions society’s attitude towards sexual assault victims. The blame entirely placed on them and also the voyeuristic gaze of media channels. The movie also dwells into what real journalism means
Cheekatilo streaming on Amazon Prime jigsaws in different directions. The film begins with a crime scenario like a template serial killer movie. From there we are introduced to Shobhita Dhulipalia’s Sandhya. She is a Television journalist who is going through immense suffocation. The reason being her boss attitude towards news presentation. The game of TRP with tragedy staged as a spectacle is weighing her down. Sandhya is going through a major inner conflict on the disconnect between her personal beliefs and the work she is doing. Simultaneously a series of murders are happening in a particular pattern. Things take a massive turn when Sandhya decides to quit her job and do real journalism through a podcast. She chooses the format of long-term investigation rather than just a clickbait. The identity of the serial killer and how Sandhya helps the police putting her personal life at stake forms the core of Cheekatilo.
There is no denying that Cheekatilo takes a while to get going. The initial portions of police investigation take a bit to warm up but things start to get interesting when Sandhya quits her job and starts podcast. How she does investigation and discovers a distinct pattern makes the viewers anxious on who this dastardly person is and what are his motivations.
The suspense of the killer has been kept well. When the revelation comes its indeed shocking. Not much can be said here but its hair raising which the viewers don’t see coming. The conversation between Sobhita and the antagonist when the latter talks about his modus operandi with an important flashback gives the movie its best moments.
Through the back story of the villain Sharan Koppisetty along with his additional writer talk about unresolved trauma. How this can have an extreme effect is both solidly written and enacted. Yes, the flashback in no way justifies the violence nevertheless it makes the movie more interesting.
Another highlight of Cheekatilo is the depiction of women alone being shamed for the act of rape. How they are made to feel guilty has come out in a hard-hitting manner through two survivors coming forward to share their stories.
Mention must also be made of how Shobita’s character has been written. There is a groundedness to Sandhya with the right mix of vulnerability and fighting spirit. At one point Sandhya accepts defeat shutting down the podcast. Shobhita pulls off the different shades with finesse making the viewers root for Sandhya to win.
Krishna Chaitanya as the cop lends able support but Valdamani Srinivas steals the show in the supporting cast. His character has a major 360 degrees turn the details of which are better seen than me saying.
The cinematography of Mallikarjun adds to the movie’s eeriness especially in the portions of the serial killer hunting down his targets. The background score adds to the thrills too.
Final word: Cheekatilo is a gripping watch for how it intermingles a serial killer story with societal elements.
The movie is a throwback to the typical rural comedies with a nice coming of age angle. Naveen Polishetty who is also the dialogue and screenplay writer does a fine job in entertaining the viewers. The transformation of Raju in becoming a more socially conscious person has come out well. The election portions are a hit and miss nevertheless AOR makes for some harmless fun
Story, screenplay and dialogues: Naveen Pollishetty
Director: Maari
Producers: Suryadevara Naga Vamsi and Sai Soujanya
Production Companies: Sithara Entertainments and Fortune Four Cinemas
Music: Mickey J Meyer
Cinematography: J. Yuvraj
Running time: 2 hours and 30 minutes
Naveen Polishetty’s latest venture has a significant hangover of Nani’s Pilla Zamindar in more ways than one. The backdrop of a royal family and the short cut nature of the heroes is the same. The second half with the villagers’ problems and Raju jumping into election bandwagon for his own selfish gains and how the eventual transformation happens plays out in a certain template. Nevertheless, AOR makes for a breezy watch primarily because of Naveen Polishetty’s treatment of a repetitive plot point.
The story of AOR in simple terms focuses on a young man from a royal family, the once rich family is in a somewhat improvised state now. When Raju goes for the relatives rich wedding, he faces humiliation from an aunt. This makes Raju extremely angry, and he makes a vow of marrying a rich girl himself and challenges that he would give the first wedding card to her. Enter Meenakshi Chaudhary’s Charulatha a seemingly naive girl falling for Raju. Things go smooth in fact too smooth for Raju, but the interval twist changes everything. What is that twist and how things unfold when the real intentions of Charulatha and her father come out forms the basic premise of Anaganaga Oka Raju.
It goes without saying that Naveen Polishetty is the biggest backbone of the movie. He completely justifies the tag of a star entertainment not just as an actor but also as a screenplay and dialogue writer. Most of the jokes work because of the actor’s timing and the energy he brings. The combination scenes with Mahesh Achanta and Chammak Chandra are especially a riot. The entire track of operation Charulatha is outright hilarious. There is a Bahubali like scene with Naveen emerging out of water with a dog. The conversation that follows is very humorous. Sankrantiki Vasthunam child actor Bheemla Revanth Pavan Sai Subhash is an important part of this sequence. His dialogues with Naveen adds to the fun quotient. At the same time, he is also successful in bringing out Raju’s transformation. A key emotional sequence with Meenakshi is a solid example of this.
Meenakshi Chaudhary as Charulatha is also fun to watch whether it’s her obsession with K Dramas or being an extreme dog lover. Her character starts off as someone who appears very naive, but the post interval portions bring out a different side making the movie more interesting. The marriage portions are somewhat hurried, and better writing was needed to develop the emotional bond nevertheless the chemistry between the two make up for the weak writing.
The election portions also have some funny moments particularly the initial scenes of Raju trying to win the confidence of the villagers. There is the track of a padayatra resembling real life incidents and the humorous depiction of countryside problems like lack of good doctors and water among others is narrated in a fun satirical way.
How Raju uses Instagram reels as a way to bring awareness is definitely innovative. The portion of press conference with Naveen trying to imitate a key scene from Mahesh Babu’s Bharat Ane Nenu raises many chuckles as well.
However the problem lies in the track of a weak antagonist, both generically written and performed. This was also a problem with Anil Ravipudi’s Mana Shankara Vara Prasad too. The tonal shift from comedy to serious feels abrupt too. A smoother flaw in the second half was needed.
Mickey J Meyers music is fairly fine but a special number in the middle of second half sticks out like a sore thumb. Among the supporting cast Rao Ramesh is underutilized nevertheless he is successful in bringing out the desperation of a once rich man.
Final word: Angangana Oka Raju is a treat for Naveen Polishetty fans and those looking for typical rural comedies
Ram Abbaraju along with the writers give a fresh spin to the template of one-man caught between two women. The dynamics between Sharwanand and V K Naresh gives the movie its most entertaining moments. Sharwanand delivers his most relaxed performance in a while but VK Naresh as the father is the show stealer. Naresh’s unabashed portrayal of a fifty plus man falling for a 25-year-old and the son helping the father is a lot of fun to watch.
Additional writers: Bhanu Bhogavarapu and Nandu Savirigana
Producer: Ramabraham Shunkara
Production house: AK Entertainments
Music: Vishal Chandrasekhar
Cinematographers: Yuvaraj and Gnanasekhar VS
Running time: 2 hours and 34 minutes
Love triangles about one man caught between two women is as old as hills. Whether its ex and current or two wives. In these plots comedy of errors with secrets is common. Ram Abbaruju’s Nari Nari Naduma Murari has a familiar core with situations spiraling out of control and some suspense. However, the movie updates this familiar template with some lessons on true love and the importance of being honest with your partner.
Nari Nari Naduma Murari begins with Sharwanand’s Gautam eloping with a girl. The viewers think that he is helping a friend. Satya playing an auto driver supports Gautam at the cost of his auto facing blows. However, the twist is that Gautam is helping the father Kartik (V K Naresh continuing his golden run of form). Kartik is an unabashed 50 plus man who believes that love has no age barrier. Gautam is an architect in a committed relationship with Sakshi Vaidya’s Nithya. She is a daughter of a well-known lawyer played by Sampath Raj. Sampath Raj’s Ramalingam isn’t fully convinced about his daughter’s choice as he believes that there love isn’t true since everything is smooth flowing. However, he agrees for the alliance albeit reluctantly. Gautam though has a secret connected to an ex called Diya (Samyukta Menon). His past love becomes a hurdle for the present love story due to his rash behavior with Sunil playing a marriage registrar. How Gautam overcomes the tricky situations forms the core Nari Nari Naduma Murari.
A strong aspect of NNNM is the entertainment quotient. Whether its the son’s complicated love life or the father’s second marriage. There is an organic flow to the proceedings with many scenes landing. The scenes between Sharwanand and VK Naresh in particular are solid. For example, there is a portion in a tattoo shop with both coming for different purposes. Kartik has come for having a tattoo in the name of the second wife Pallavi, Gautam on the other hand wants to remove the tattoo in the name of the ex-Dia. This leads to a flashback with Gautam talking about his past relationship.
Similarly, the entry of Sunil as a marriage registrar in Gautam’s past is neatly executed. Gautam and Dia have a Sakhi style marriage with the former challenging Sunil on how they would be called as the best couple. This brash attitude of Gautam turns his present love life upside down. Sharwanand’s interactions with Sunil with the former trying to appease raises many chuckles. Sunil as the semi villain is also entertaining with his serious demeanor.
However, the major highlight of NNNM is VK Naresh. In the hands of a lesser actor his track might have turned distasteful given the large age gap, however the senior actor makes the love story work with his unabashed portrayal. He looks completely in love whether its the youthful energy or portraying the sadness when there is a brief spilt. Through the track of Naresh Ram Abbaraju along with the writers show that age is no barrier for love and this majorly works because of Naresh’s committed performance. The character often becomes the punchline of the jokes but Naresh’s bold attitude in portraying the role is top notch. On a side note, cannot to see the actor in the upcoming Hey Bhagwan with Suhas and Shivani Nagaram.
Sharwanand as Gautam is uninhibited, its his most relaxed performance in a while. His mannerisms and expressions especially in the present portions with Samyukta is a treat to watch. The two leading ladies Sakshi Vaidya and Samyukta are in fine form within the confines of their roles. Samyukta though fares better with a dual shaded character.
Sampath Raj as the concerned father waiting for an opportunity is also good. He brings in a certain gravity amidst the comedy of errors. His view on what true love means like the importance of having arguments and patching up has a good philosophical touch. Vennela Kishore shows up briefly as Ramalingam’s former student. The role has a quirky nature with his obsession of cleaning the Guru’s legs as part of showing gratitude. This irritates Ramalingam to no end, but he has no other option.
last but not the least Sree Vishnu in a guest appearance also makes his presence amply felt. His dialogue about the importance of being transparent with your partner and a punchline on Gautam being inspired by Sakhi is very good.
Vishal Chandrasekar’s music is quite good. A particular mention must be made of the song Bhalle Bhalle featuring Sharwanand and Sakshi Vaidya in Kerala. The picturesque locations coupled with the tune makes it a soothing watch and listen. The cinematography is eye pleasing with good production values.
Final word: Nari Nari Naduma Murari perfectly fits the tag of a Sankranti entertainer with its breezy tone, at the same it explores some interesting things too with a comedic touch.
Nikhil Advani along his writers give an important reminder on the very foundation of our constitution. The consequences of partition felt even today is depicted in a hard-hitting manner. The stellar cast led by Siddhant Gupta is top notch
Starcast: Siddhant Gupta, Rajendra Chawla, Chirag Vohra, Arif Zakaria Luke MC Gibney and others
Genre: Historical drama
Director and creator: Nikhil Advani
Writers: Divy Nidhi Sharma, Revantha Sarabhai etc
Producers: Nikhil Advani and Madhu Bojwani
Production houses: Studio Next &Emmay Entertainment
Music: Ashutosh Patak
Cinematography: Malay Prakash
No of episodes: 7
Streaming site: SonyLiv
There is a very poignant moment in Freedom At Midnight season 2 when Chirag Vohra’s Mahatma Gandhi expresses his anguish over divided India. It goes like this “How you divide pain soaked into the soil? How do you divide regret?”. This is one of the many introspective moments in this solid follow up. The second season takes a deep dive into the human paradox of freedom. As a nation we were free on paper with new filled hopes: but the triumph of freedom came with a huge cost something which we need to remember as a nation especially in today’s politically divisive environment.
For those who haven’t seen season 1 this web series is based on a significant novel of the same name. This elaborately detailed work was written by Larry Collins and Dominquie Lapierre. It was centered around partition with the complex scenarios faced by Jawaharlal Nehru, Sardar Vallabai Patel and of course Mahatma Gandhi among others. Nikhil Advani did a fantastic job in portraying the leaders with their contradictions.
Season 2 also follows this blueprint. This time around the focus is on the division of India leading to terrible consequences. The loss of humanity with friends becoming foes and the bloodbath that followed forms a major part of Freedom At Midnight Season 2. The series also looks at the mismanagement from both India and Pakistan as the scenarios quickly spiraled out of control.
A strong aspect of Freedom At Midnight Season 2 is how it never romanticizes independence. Nikhil Advani doesn’t shy away from showing the disturbing reality. How the nation became fragile with huge communal and religious divide comes out in a stark manner.
There is a scene where Siddhant Gupta’s Jawaharlal Nehru says in this new India nothing will be decided on the basis of religion. Ek azaad, secular Hindustan ki pehchan sirf insaaniyat hogi”. This is followed by Sardar Vallabhai Patel looking at Nehru with hope as well as unspoken fears.
This foundation of secular Hindustan is something that we have forgotten thanks to the current political environment and certain films which have aided this. Mention must also be made of how the series depicts the character of Radcliffe the man responsible for drawing the line. There are scenes of Radcliffe pleading with Mountbatten on how he knows nothing about the geography and the people of India. But Mountbatten is hell bent that Radcliffe should be the one and also there shouldn’t be much delay. It’s hard to not feel for the situation which Radcliffe finds himself in.
The moments of conflict between Jawaharlal Nehru and Sardar Vallabai Patel has also come out in an excellent manner. Both Nehru and Vallabai Patel have different ideas regarding the running of governance leading to some showdowns. In spite of the bitter arguments between the two it never takes a venomous side. There is a moment post Gandhi’s death where Vallabai Patel faces an accusation and Jawharlal Nehru stands up for the senior statesmen.
Chirag Vohra as Gandhi is another highlight of the second season. The questions that he asks about the consequences of partition and his firm belief in the method of Ahimsa gives the show some of its best moments.
Arif Zakaria’s Jinnah is mostly a bitter person but even he too gets moments of humanness. The best example of this is his conversation with Jawaharlal Nehru on how the immense bloodshed was never his intention. There is a genuine regret in the voice. There is also an important portion when Jinnah has to leave Bombay post partition. His mood is very much cranky when seeing the house filled with half closed cartons. In an angry tone he asks the sister Fatima Jinnah (underutilized but effective Ira Dubey) on what the hell is happening. She replies that they are going home. There is a certain emptiness in the eyes of Jinnah brilliantly portrayed by Arif Zakaria.
Ashutosh Patak’s music like the first season is haunting here too. They perfectly encapsulate the human tragedy. The cinematography of Malay Prakash is first rate as well. He successfully brings alive the big scale on which the series has been mounted. There is a lived-in feel to the atmospherics.
On the performances front both Siddhant Gupta and Rajendra Sharma are top notch in their respective parts. They lead the acting department with their excellent performances. The talented Siddhant Gupta brings alive Nehru’s determination as well as portraying the internal and external conflicts with authenticity. Rajendra Sharma as the no nonsense Vallabai Patel brings in the required authority in the confrontation scenes with Siddhanth. At the same time, he aces the emotional scenes too. Mention must also be made of Abhishek Benarjee in an extended special appearance. He is both a victim and perpetrator of the riots. His confrontation scene with Chirag Vohra is an example of some solid acting.
Final word: Freedom At Midnight Season 2 is a much-needed history lesson, to learn from our past mistakes and not repeat.
Director Anil Ravipudi takes a simple husband and wife reconcilation plot but packs it with the right garnishing. The self-deprecation associated with his heroes is in full flow here as well. Chiranjeevi puts up an all-around show embracing the zone of Anil Ravipudi with gay abandon. Daggubati Venkatesh in an extended cameo is an absolute riot too. The scenes between the two senior actors is high on fun.
Story, screenplay, dialogues and direction: Anil Ravipudi
Producers: Sushmita Konidela and Sahu Garipati
Production Company: Shine screens
Music: Bheems Ceciroleo
Cinematography: Sameer Reddy
Running time: 2 hours and 42 minutes
Among the young crop of directors Anil Ravipudi has the highest success rate delivering hits back-to-back. One of Anil’s biggest strengths has been his handling of stars whether its Venkatesh, Nandamuri Balakrishna, Mahesh Babu and now Chiranjeevi. The plots are often outlandish and not high on political correctness: Bhagavanth Kesari is somewhat of an exception to this with the strong message of female empowerment.
But what makes Anil Ravipudi tick is his strong conviction in narrating these outlandish stories. In a short span of time Anil Ravipudi has emerged as a successful commercial filmmaker with shades of late E. V. V Satyanarayana and Krishna Reddy. His latest Mana Shankara Vara Prasad Garu perfectly fits the typical template of an Anil Ravipudi entertainer. The story is wafer thin and sometimes stretched too but the presentation makes it an ideal Sankranti entertainer.
The plot in simple terms is about a middle-class man and NSG officer played by Chiranjeevi. Nayanathara’s Sasirekha is an extremely successful businesswoman with consecutive awards. The two were happily married once upon a time but in the present separated. After many years their lives are intertwined again due to a life threat to Sachin Khedekar’s JVR (he is the father of Sasirekha). How the reconciliation happens forms the spine of Mana Shankara Vara Prasad Garu.
A strong aspect of Mana Shankara Vara Prasad Garu is undoubtedly the return of vintage Chiranjeevi. The character has ample shades of comedy, romance, action and drama and Chiranjeevi attacks the part with relish. There are numerous scenes of self-deprecation in typical Anil Ravipudi style and Chiranjeevi raises many chuckles.
His interactions with the team members played by Harshvardhan, Abhinav Gomatam and Catherine Teresa are very funny to say the least. For example, there is a scene of Shankara Vara Prasad trying to reconnect with the two children by introducing himself as PT Teacher first and then taking things forward. The members in the team caution Shankara Vara Prasad saying that they need to make a proper plan. An overconfident Shankara Vara Prasad is dismissive resulting in a jeopardy.
Similarly, the second half portions of trying to woo back Sasirekha also results in many laughs. As far as the emotional scenes there are moments of pain when Shankara Vara Prasad talks about missing his family while seeing happy family gatherings, Chiranjeevi aces this as well with understated acting. This especially comes out when the daughter unaware of Chiranjeevi being the father talks about how he was a bad example of being a parent. For a moment there is a visible pain masked quickly by Shankara Vara Prasad.
The love story has its moments too like the scenes where the characters are seen communicating with just facial expressions and hand gestures. Both Chiranjeevi and Nayanthara bring in the required charm even though there is a hurried nature to how they fall in love.
Daggubati Venkatesh appears as a third angle adding to the fun element. The two senior actors share a fun camaraderie. Venkatesh as Venky Gowda has lot of fun especially in the scene of describing Sasirekha’s beauty much to the discomfort of Shankara Vara Prasad. The use of songs with Venkatesh dancing to Chiranjeevi’s tunes and Chiranjeevi to Venkatesh is also exciting to watch especially for the fans.
Nayanathara as Sasirekha plays the self-assured woman with grace even though the writing needed to be much better. How she becomes a very successful businesswoman is hardly explored. Also, the end suggesting that she has left business altogether and has become a traditional wife is quite problematic. Nevertheless, Nayanthara is solid in bringing out the tough attitude and a certain feistiness in living life on her own terms. Sachin Khedakar in a semi negative role is impressive as well in spite of the caricaturist portrayal. The actual villain track though is rather flat. It would have been much better if Anil Ravipudi skipped it altogether.
Gender politics has mostly been a problem with Anil Ravipudi’s movies, and this too isn’t an exception. A scene involving divorce laws caters to a stereotypical mindset painting women in a certain way. There is also a portion of Zarina Wahab as Shankara Vara Prasad’s mother talking about her husband slap and she immediately leaving him in anger. She later talks about coming back and the two having a heart-to-heart conversation. A thing like slapping a partner is a serious thing but Anil Ravipudi treats it in a casual manner making it appear as normal. Having said that it’s refreshing to watch the mother not requesting the former daughter in law to come back: as she rightly says marriage is a personal thing and Sasirekha has every right to go out. Zarina Wahab lends in a quiet dignity in spite of the less screen time.
The music of Bheems Ceciroleo gels perfectly with the movie’s Sankranti vibe. Both Sasirekha and ‘Meesala Pilla’ have been well integrated. The cinematography of Sameer Reddy is suitably lavish.
Final word: Mana Shankara Vara Prasad is an absolute treat for Chiranjeevi fans and those looking for a festive entertainer. The gender politics though is a different matter
Maruthi’s latest directorial is a high concept horror comedy with elements of hypnotism and the power of human emotions: the results though are quite mixed. The emotional bond between Prabhas and Zarina Wahab has been etched well aided by strong performances. But the listless romantic subplots along with the songs slacken the narrative making it somewhat tedious.
Starcast: Prabhas, Zarina Wahab, Sanjay Dutt, Malivaka Mohanan and others
Genre: Horror comedy/drama
Director and writer: Maruthi
Producers: TG Vishwa Prasad, Vivek Kuchibotla and Ishan Saksena
Production Companies: People Media Factory and IV Entertainment
Music: S Thaman
Cinematography: Karthik Palani
Running time: 3 hours and 10 minutes
Maruthi has had an interesting journey starting from the low budget Ee Rojullo in 2012. Since then, he has grown by leaps and bounds directing films with stars. His heroes especially in Bhale Bhale Magadivoy and Mahanubavudu come with certain quirks. These quirks have generated ample chuckles making him a mostly successful director. The hero characterization in his latest The Raja Saab has elements which the director known for. At the same though the film’s commercial elements feel like a story force fitted into the mold of pan India cinema. This holds especially true of the three female leads presented in a very glamorous and sexually overt manner with little substance.
The story of The Raja Saab primarily focuses on Prabhas Raju and Zarina Wahab’s Gangamma. Gangamma is an Alzheimer’s patient needing constant care. She has a deep attachment to her husband’s memories played by Sanjay Dutt. We are initially given the impression of Sanjay Dutt’s character Kankaraju being a good person but as the movie progresses different layers come out. Raju’s desperate search for his grandfather leads to Hyderabad where secrets are unleveled about his grandfather’s dark past and how this ultimately shapes up the battle between grandfather and grandson.
The spine of The Raja Saab is undoubtedly the strong emotional thread between Prabhas and veteran actress Zarina Wahab. Their scenes together are both funny and moving. Raju’s constant frustration with Gangamma’s Alzheimer’s with her talks about the grand past along with her husband raises ample chuckles. For example, there is a scene early on where Raju threatens to walk out of the house annoyed with his grandmother’s nature. This is followed by a poignant moment of her making a promise to never bring up the topic again and then immediately forgetting. This leaves Raju bewildered.
Coming to the drama part the elongated pre climax stretch with shades of the Hollywood movie Inception as well our own Arundati is emotionally stirring. There is an extreme helplessness to Raju making the viewers feel for him, the viewers cheer for Raju when he finally finds a way to defeat Kankaraju and also saves his grandmother.
Zarina Wahab in the stretch resembling Arundhati is seen in a royal avatar, and the senior actress brings in the required authority with her voice modulation. The way she propels Raju to fight back in spite of all the hurdles is a delight to watch.
This stretch also has some fantastic action set pieces and good use of visual effects. Maruthi’s potential as a mainstream director can be felt here in the way he combines scale with content. However, it also has to be said that the direction is very inconsistent something which I will get to later.
Prabhas as Raju is refreshing to watch in a different avatar. The roles has different shades whether it’s being goofy, vulnerable and a strong fighting spirit driven by his love for grandmother. Prabhas is successful in bringing alive all these shades. Much like Kalki 2898AD the character here too isn’t invincible, and this comes out on more than one occasion.
Zarina Wahab brings in a much-needed depth as the Alzheimer’s patient. Her longing for Kanakaraju not knowing the reality of her husband makes the viewers feel for her.
Sanjay Dutt as Kanakaraju is successful in making the viewers detest him. It’s not the most unique role but Sanjay Dutt plays the part with the required abandon. He makes for more than a worthy opponent with his mind games and a strong ability in hypnotizing people. A particular mention must be of the scene between him and Boman Irani. It’s high on psychological play making the viewers anxious on how Raju will eventually defeat Kanakaraju.
A major problem with The Raja Saab are the forced commercial elements. The comedy hits the mark on numerous occasions thanks to Prabhas comic timing as well as the combination scenes with Saptagari and Prabhas Seenu. But the major issue here are the three heroines. None of them share any chemistry with the leading man. Malavika somewhat fares better than Nidhi and Riddhi Kumar. She gets a solid action sequence but soon the character becomes just like any other mainstream heroine.
The scenes of jealousy between Nidhi and Malavika with Raju caught in a thug of war makes the proceedings excruciating to say the least. The sudden appearance of Riddhi Kumar in the haunted haveli making it a quadrangle coupled with the song Nache Nache just makes the viewers impatient.
Even the misunderstanding between Prabhas and Nidhi leading to a quick separation just like the beginning of their love makes the viewers scratch their brains. The editing honestly needed to be much tighter cutting off the unnecessary fluff. The Raja Saab is again a reminder on how these big ventures are treating its heroines unlike the smaller films. Case in point last years The Girlfriend, Paradha and even the teenage rom com Little Hearts.
None of Thaman S songs make any impression, the background score though is much better especially in the climatic portions.
Final word: The Raja Saab is a worthy experiment from Prabhas but could have been a more wholesome experience.
An overview of how Akshaye Khanna has become one of the most sought out character artists in today’s times with a range of characters whether it’s playing the antagonist or police parts among others
Starting from the year 1997 Akshaye Khanna has featured in over 40 movies as a leading man, second lead and character artist roles. As a conventional leading man Akshaye didn’t much have success with the song and dance routine: however, Akshaye has had a great run of form with layered characters where there is no baggage of a mainstream hero as well as a star kid. There was a significant gap of four years when Akshaye took a sabbatical 2012-2016 but the comeback has been resounding to say the least.
One of Akshaye Khanna’s most iconic characters came in the movie Dil Chahta Hai directed by Farhan Akhtar. Over the years the character Sid has become a fan favourite. The role is more mature in comparison to the ones played by Aamir and Saif. There is an understated romance to his scenes with Dimple Kapadia making the viewers wish that they had a happy ending. Akshaye Khanna especially stands out in the interval block with Aamir when the latter chides him for falling in love with a much older woman.
One of Akshaye’s biggest strengths is letting his work doing the talk rather than indulging in extra pr machinery. He comes and chews the scenery, then goes underground resurfacing again at the time of his next release. The perfect example of this attitude is the latest release Dhurandhar. Akshaye has received a lot of praise and rightly so for his fantastic portrayal of Rahman Dakiat. Akshaye has been called the scene stealer overshadowing Ranveer but there have been zero interviews from Akahaye about his show stealing turn. Of course this method doesn’t work for every actor as each has a different personality. Akshaye meanwhile has quietly moved on to his Telugu debut Mahakali amidst both the mega success and also the controversial exit from Drishyam 3. Akshaye Khanna’s attitude towards acting may appear non serious but the intensity which he brings on screen is terrific.
Akshaye Khanna’s Telugu debut Mahakali
In simple terms he has constantly reinvented himself with a variety of characters and is currently in the best phase of his career. Along with Bobby Deol Akshaye Khanna is another example of how some actors peak much later in their careers.
Following are some of Akshaye Khanna’s best performances across different genres
Much before the negative roles in 2025’s Dhurandhar and Chhaava Akshaye Khanna delivered some scintillating acts in the films Race, Humraaz and Section 375. All these come under negative/grey roles. In the first Race Akshaye played a calculative and cunning man, the character Rajiv Singh alternates between brotherly affection and scheming against his own sibling. Akshaye pulled off the different shades with finesse: his work especially stands out in the scene of Rajiv pouring out his frustration regarding his half elder brother.
In Humraaz Akshaye played a conman Karan Malhotra. Karan is very good at deception, and this is revealed gradually. The best part of Akshaye’s performance is the slyness with which he plays the role particularly in the second half when the malicious side comes to the fore. Much like Race this is also a character with simmering anguish. He starts off as an ardent lover before turning into a spiteful man. Akshaye pulled off this transformation in an excellent manner.
In Ajay Behl’s Section 375 Akshaye is defence lawyer Tarun Saluja. He played a shrewd layer fighting for a filmmaker accused of rape. Tarun is a firm believer in the quote “We are not in the business of justice; we are in business of law”. In short his ideology differs significantly from Richa Chadda’s Hiral Gandhi. This difference of ideological stance gave the movie some of its best moments. Akshaye Khanna simply chewed the scenery with his fantastic act. In the hands of a lesser actor the role would have become extremely detestable but the conviction with which Akshay uncovers the botched-up police investigation with the sharp arguments is a delight to watch. One of the stand out scenes concerning Akshaye’s acting is when the character is splashed with ink by a protester: this is followed by Tarun looking at his reflection in the mirror, the anguish in those eyes is very palpable. Yes, the politics of Section 375 is a bit slippery given the timing of the then Me Too Movement. The movie looks at how men can also be falsely accused of sexual assault but for Akshaye’s acting alone Section 375 is very much worth a watch.
Apart from wonderful performances in negative roles Akshaye has also aced cop characters in the 2017’s Ittefaq a remake of the 1969 one and also Drishyam 2. In Ittefaq the actor effortlessly switched between comedy and being serious: The way Akshaye’s goes about investigating the double murder case gives the movie its best moments. Whether it’s chiding his junior officers for indulging in tea during a crime scene or straightening out a colleague with just a piercing gaze the actor was simply sublime.
In Drishyam 2 Akshaye once again stole every scene that he was a part of. The cat and mouse game between him and Ajay is where the movie gathers momentum. A stand out portion is Akshaye visiting the house of Ajay Devgan’s Vijay Salgoankar. Akshaye doesn’t even raise his voice but the overall demeanour is more than enough. The actor brought in a certain authority in his interactions with Ajay and the family. Mention must also be made of the solid one liners: yes dialogues itself are first rate but Akshaye with his portrayal enhanced them further.
Apart from the above-mentioned parts Akshaye has also proved his versatility in comedy. These include the likes of Hungama (2003), Hulchul and Tees Maar Khan. In Hungama he played the role of Jeetu. An ambitious entrepreneur caught in a web of misunderstandings. Akshaye raised ample chuckles in the scenes of banter with the ever-reliable Paresh Rawal. In Hulchul Akshaye’s character falls in love with a woman from rival family, Akshaye’s scenes with Arshad Warsi playing a friend/sidekick raised ample chuckles. Last but the not the least there is Tees Maar Khan by Farah Khan. In this movie Akshaye played a caricature of a popular Hindi actor. It’s over the top by design but the gleeful abandon with which Akshaye plays the role makes the portions interesting.
This is all about some of Akshaye Khanna’s best performances and how he has evolved over the years. Here’s hoping the actor continues to shine and entertainers the viewers with diverse roles.
Director Sriram Raghavan successfully charts into a new territory with Ikkis. The film is successful in not just honoring the bravery of Arjun Khetarpal (a Param Vir Chakra hero): but it also explores the aftermath and the human cost of war. Above all though Ikkis is a perfect swan song for the late Dharmendra. The veteran actor brings in an emotional resonance especially in his monologue about the endless cycle of violence. His scenes with the ever-reliable Jaideep Ahlawat gives Ikkis its best moments
Starcast: Agastya Nanda, Dharmendra, Jaideep Ahlawat, Vivan Shah, Sikander Kher, Rahul Dev and others
Genre: Drama
Director and writer: Sriram Raghavan
Additional writers: Arjit Biswas and Pooja Ladha Surti
Producer: Dinesh Vijayan
Production Company: Maddock
Cinematography: Anil Mehta
Music: Sachin Jigar
Running time: 2 hours and 24 minutes
In today’s age of hyper nationalism, the term patriotism is often confused with demeaning our neighbor Pakistan or presenting Muslims in a certain way. Aditya Dhar’s films starting with Uri to Dhurandhar are a perfect example of making movies to please a certain political party. Nuanced depiction of war is hard to fine but Sriram Raghavan achieves a unique feat with his latest Ikkis. The broad story has the familiar tropes of sacrifice and a young man fighting against all odds in the direst of circumstances.
However, within this familiar palate Sriram Raghavan brings in something new. The newness comes from the characterization of Jaideep Ahlawat’s Brigadier Nissar. Nissar is a far cry from the stereotypical Pakistani commanders. There’s a humanness to him and this comes out wonderfully on numerous occasions. The storyline of Ikkis juggles with three different timelines. One timeline is about Agastya Nanda’s Arjun Khetarpal fighting in the war, two the romantic track and lastly the scenes between Brigadier Nissar and late Dharmendra’s M. L Khetarpal. Brigadier Nissar hosts M.L Khetarpal taking him to different places in Pakistan. There is a specific reason for Nissar doing it and this is something to be explored on screen rather than me saying.
The strongest aspect of Ikkis is undoubtedly the scenes between Dharmendra and Jaideep. The movie’s core themes is explored through them. Both these men have fought numerous wars for their respective nations, so they perfectly understand the emotional baggage that comes with it. The scars of a war are always there and this has been wonderfully explored in their conversations. The approach is refreshingly restrained without making it us versus them. M.L Khetarpal like the many partition refugees has his origins in Pakistan but eventually settles in India.
A major reason for Khetarpal’s Pakistan visit is seeing his ancestral home apart from a reunion party with former army mates. For a man who has seen a lot of emotional turmoil he has an upbeat nature brilliantly portrayed by Dharmendra. A special mention must be made of how Khetarpal reacts to Nissar’s confession. There is a remarkable restraint followed by an important monologue on the futility of war and the cycle of violence with its tragic aftermath. The beautiful bond shared between these characters in a short span of time is a delight to watch. In more ways than one Ikkis feels like a Sriram Raghavan’s version of Bajarangi Bhaijaan. Ikkis has a much-needed message of humanity, and this is very important especially in today’s politically divisive environment.
Apart from the late Dharmendra Jaideep Ahlawat is another strong pillar for Ikkis. The fantastic actor never overplays the guilt of Nissar. There is a grace to his overall demeanor and Jaideep nails the different shades especially when he has an important breakdown. Jaideep is truly one of the best actors that we have today, someone who is extremely versatile.
Agastya Nanda as Arjun Khetarpal turns out to be a good choice for the titular protagonist. The rough edges are still there in the scenes of drama nevertheless the young actor makes a good impression: its a performance which is far ahead of the OTT debut Archies. He brings in the right amount of enthusiasm and the required daredevil nature. The romantic scenes though act as a major speed breaker. They have been loosely written, and it doesn’t help that Simar Bhatia is rather flat with her expressions. The songs too by Sachin Jigar belong to a different movie and not this.
In the supporting cast Vivan Shah, Sikander Kher and Rahul are competent especially Vivan playing Arjun Khetarpal’s captain. Agastya and Vivan share a good camaraderie especially in the scene where Vivan advises Arjun on how firing alone doesn’t make someone a man.
Vivan Shah from Ikkis
In the technical department Anil Mehta’s work deserves a special mention. How he has captured the nature of war tanks with a gritty texture is praiseworthy. The action sequences have a different feel to them as you don’t have the usual template of action seen in war dramas.
Final word: Ikkis is a much-needed tale of patriotism without demeaning Pakistan. The thread of emotional baggage across borders makes Ikkis a poignant war drama.
Director Muralikanth Devasoth takes a while to find his footing. The constant back and forth with abrupt tonal shifts makes it a little jarring: nevertheless, the movie is eventually successful in engrossing the viewers. The character graph of Sivaji is the biggest strength of Dhandoraa. Froma caste bigot to undergoing social consciousness
Starcast: Sivaji, Nandu, Navadeep, Bindu Madhavi, Muralidhar Goud, Ravi Krishna and others
Genre: Social drama
Director and writer: Muralikanth Devasoth
Music: Mark R Robin
Cinematographer: Venkat Shakumari
Producer: Ravindra Benarjee Muppaneni
Running time: 2 hours and 15 minutes
Telugu Cinema has seen a major surge in terms of anti-caste and women centric narratives. This year itself you have had Court and Iravai Moodu. Two strong movies exploring different social hierarchies from the angle of caste in an effective manner. Dhandoraa directed by Muralikanth Devasoth belongs to a similar space but with a different thread. The movie explores the guilt of the anti-hero and how he eventually finds redemption.
The storyline of Dhandoraa in simple terms focuses on an upper caste farmer deeply obsessed with caste pride. How his regressive thought process affects the lives of the children and how the protagonist/antagonist learns from his huge mistakes forms the core of Dhandoraa
As already mentioned the biggest strength of Dhandorra is the solid graph of Sivaji. In the first half Sivaji’s act feels similar to the hit movie Court. The caste arrogance with an attitude of a dictator is very reminiscent of that one. However, in the second half the viewers see a different side. The scenes with Bindu Madhavi playing a prostitute showcase a humane nature. A man who is struggling to find inner peace with the daughter’s death and the son drifting far away. Though Bindu Madhavi plays a prostitute Muralikanth Devasoth treats her with dignity, never making the interactions crass.
Sivaji’s character cares deeply about her and that comes across in numerous scenes. For example, there is a portion where the friend uses a slur word and Sivaji immediately reprimands him. The two share some heartfelt conversations especially the scene leading to the character transformation. In spite of a wobblily dialect Bindu Madhavi does a very good job particularly in the scene where the character opens up about her dark past and also makes Sivaji introspect about his deep obsession with caste pride.
Sivaji continues his golden run of form with a very good act. Both the writing and Sivaji make sure that the role doesn’t become a caricature. The scene where he opens up about his wrong doings incurring the wrath of his fellow community is a solid example of the fine actor Sivaji is.
Nandu as the estranged son with different ideology is also good. There is a deep angst in the man which Nandu pulls off successfully. His character Vishnu isn’t perfect by any means: he has his own faults in his attitude towards the daughter character of Bindu Madhavi. A lack of sensitivity can be seen and Nandu nails all these shades. Navadeep plays a frustrated sarpanch with panache. His interactions with the oddball characters amidst the background of a funeral raises ample chuckles though it does take a while getting used to the screwball humor.
At the same time Navadeep’s role has an emotional pay off in the pre- climax. There is an important connection between the movie’s opening scene and the background from which he has become a sarpanch. This leads to an emotionally poignant moment which Navadeep pulls off well. Among the rest Ravi Krishna as one of the doomed lovers is entertaining while also delivering a strong act in a crucial scene of questioning Sivaji’s regressive attitude.
One of Dhandoraa’s flaws is the lack of sufficient build up for the love story. Better writing was needed to make the track more heartfelt. Also, abrupt shift of mood from tragic to screwball humor especially the first half doesn’t always land.
Music by Mark R Robin goes well with the mood of the movie. The song Pilla in particular makes for a good listen and watch. There is also a sad version of the same coming in at a crucial juncture. Venkat Shakumari’s cinematography is suitably rustic giving a lived in experience.
Final word: Dhandoraa is a fine addition to the list of anti-caste narratives. This is a worthy big screen watch especially for the performances and thought-provoking dialogues
An overview into some of the best Hindi movies this year with a brief insight of gender and caste concerning Dhadak 2, Homebound and Phule
2025 like 2024 has also seen a handful of successful films. These movies are Chhaava, Saiyaara, Raid 2 and Aditya Dhar’s monstrous hit Dhurandhar. An interesting feature of 2025 though has been some solid films dwelling into the themes of gender and caste. Topping this list is Shazia Iqbal’s Dhadak 2 based on the hit Tamil movie Pariyerum Permul. Thankfully the movie improved on the original significantly with its depiction of the female protagonist. Unlike the original Dhadak 2 is set in a city but this change doesn’t lessen the caste horrors in any way. Apart from a much-improved gender angle Dhadak 2 also had dialogues related to the reservation taunts faced by the lower caste. There is an important portion in the movie where Priyank Tiwari’s Shekhar talks about the origin of reservation. The dialogue goes like this reservation came because of casteism and not the other way around.
The gender angle came out strongly with a fantastic Tripti Dimri. Vidhi is someone with a mind of her own asking uncomfortable questions however she stays in a privileged bubble with little awareness about the struggles faced by the lower caste. But all that changes when she falls in love with Siddanth Chaturvedi’s Neelesh a timid Dalit youth with big dreams. There is a very poignant conversation between the two when Neelesh opens up about his bitter experiences in the context of a college professor constantly taunting him for his reservation seat. This opens up a new world for Vidhi and the movie progresses the character becomes fiercer. Even when Neelesh keeps a certain distance due to her father Vidhi doesn’t give up on the relationship standing by her love. Apart from standing up for her love Vidhi also questions the patriarchal attitude of her cousin brother played a terrific Saad Bilgrami. Vidhi questions the concept of honour being solely attached to women’s actions. Tripti did an excellent job in bringing out the different shades of Vidhi. Siddanth Chaturvedi was first rate as well making the viewers feel the angst and cheering for the character when Neelesh decides that enough is enough especially the pre climax outburst.
2025 has also been a mini comeback for senior actor Akshay Kumar both in terms of box office and acting performances. A special mention must be made of Kesari Chapter 2 and Jolly LLB 3. In Kesari Chapter 2 Akshay played the role of C Shankaran Nair a real life lawyer who fought against the crown. The movie directed by Karan Singh Tyagi is based on a book The Case That Shook The Empire. As Shankar Nair Akshay did a very fine job in conveying the emotional turmoil along with the fighting spirit. Kesari Chapter 2 also featured a strong woman character in the form of Ananya Pandey’s Dilreet Gill. Dilreet breaks numerous social conventions of that period. Yes, this character doesn’t exist in the book nevertheless this role makes the movie more interesting. A specific mention must be made of an important cross examination portion where Ananya goes from being nervous to takings things head on. Similarly, there is also a scene of Dilreet confronting Shankaran Nair on how he shouldn’t run away, instead he should fight against the crown and bring the truth out. Ananya did an excellent job in both the above-mentioned scenes.
In Jolly LLB 3 Akshay played he played a crooked lawyer developing a social conscious with practiced ease. Akshay particularly shined in the fiery courtroom arguments. There is a palpable intensity in the way Akshay talks about farmer subsidies being dismissed as Khairat (charity). The actor makes you feel the transformation.
Emraan Hashmi too made a solid comeback with a layered role in Suparn Verma’s Haq. Yes, Yami Gautam is the center, but Emraan too has a significant role in making the movie more interesting with his nuanced performance of an entitled husband. True to its the title the movie is an important social drama on women’s rights and respect being equally important to love. The very underrated Akshaye Khanna knocked it out of the park with two solid negative roles. One Chhaava and another Dhurandhar. In Dhurandhar especially he stole the limelight with a swashbuckling act often overshadowing Ranveer.
Following are some of the best Hindi movies in 2025
Saiyaara: Mohit Suri’s Saiyaara is an intense romantic drama done right. Unlike Mohit Suri’s mostly doomed romances Saiyaara has a more contemporary touch. This particularly comes out in the second half when Ahaan Pandey’s Krish Kapoor goes from a hot headed rockstar to a devoted boyfriend. The way Krish takes care of Aneet Padda’s Vani gives relationship goals. He puts his love above the need for fame. At the same time there is no clichéd trope of sacrificing music altogether. Krish’s deep love for Vaani isn’t a weakness. Instead, it adds to his music. This comes out in a thunderous manner during the title song. Through the role of Krish Mohit gave a refreshingly different protagonist, a young man striking the perfect balance between ambition and love. Saiyaara also benefitted from two brilliant leads. Both Ahaan and Aneet Padda were terrific in their respective parts. Rajesh Kumar and Geeta Agarwal as Vani’s parents were also good. Special mention must be made of Alam Khan as KV. KV doesn’t understand Krish’s intense love for Vani, but this doesn’t stop him from standing by his friend.
Music has always been Mohit Suri’s biggest strength and Saiyaara is no different. Tracks like Humsafar and the super title song with fantastic vocals coupled with Ahaan’s acting adds to the movie’s emotional quotient.
Chhaava: Laxman Utekar’s Chhaava treads along the familiar path of Hindu nationalism with Muslims being portrayed as merciless invaders. The movie doesn’t break any new grounds in its treatment of Swarajya and Muslim rulers. Nevertheless, the movie is a worthy big screen experience mainly for the technical department along with a brilliant Vicky Kaushal and Akshay Khanna.
Thankfully Akshay Khanna’s Aurangzeb doesn’t become another version of Ranveer Singh’s Khilji. Akshay evokes terror with just his piercing gaze and overall demeanor. A special mention must be made of the scene where Aurangzeb expresses disappointment on hearing the news of Shivaji’s death. The admiration for Shivaji’s bravery is palpable.
As Sambhaji Vicky Kaushal did an excellent job in nailing both the physicality and emotional side. Keeping aside the historical controversies on the kind of man Sambhaji actually was Vicky was first rate. The action sequences were also a treat to watch especially the portions of Marathas outsmarting the Mughals using guerrilla tactics.
Thamma: Aditya Sarpotdar Thamma is a major gender bender reversing the usual Knight in shining armor trope. Rashmika Mandanna as Taraka/Tarika had a fantastic role with the right of ferociousness and also tender moment: Rashmika was simply in portraying the different shades. Ayushmann Khurrana as a small time reporter Alok also did well especially in the transformation portions. Whether it’s the initial shock of turning into a Betaal himself or adjusting to the new identity Ayushmann brought his usual finesse.
The love story is the core of Thamma. This aspect does take a while to gather momentum but as the plot progresses the viewers become engrossed on where the romance is heading. In the supporting cast veteran actor Paresh Rawal made his presence amply felt. He brought in some chuckles as well bringing gravity in a few emotional sequences. Nawazuddin Siddiqui as the comic villain suffered somewhat on the account of weak writing: nevertheless, Nawazuddin was wonderfully eccentric embracing the whacky tone with flair.
Haq: Suparn Verma’s Haq is a gripping tale of perseverance and fighting for one’s rights. The movie is based on the landmark Supreme Court judgement in the case of Sha Bano. Though set in the 1980’s the battle for dignity holds relevance even today. The movie at no point demonises the Muslim community. The focus is on men twisting laws as per their convenience and using religion as a façade to justify male entitlement irrespective of faith.
Director Suparn Verma along with writer Reshu Nath take their own sweet time in unravelling the different layers. Emraan Hashmi’s Abbas isn’t presented as a chauvinistic villain from the beginning itself. There is a genuine romantic side. As a result of this gradual process the eventual transformation doesn’t come across as jerky. Haq also benefits from solid confrontation scenes with very good acting from both Yami and Emraan. The need for a respect in a relationship and how that’s equally important to love is one of the main themes in Haq. An important conversation between Yami Gautam and the second wife played by Vartika Singh perfectly reflects this, as Shazia Yami nailed both the vulnerable and ferocious side not afraid to voice her opinion in front of so called wise people.
Homebound: Neeraj Ghaywan’s return back to the big screen was very much worth the wait. Unlike his debut feature Masaan the politics of Homebound is more in your face but the effect is equally solid. Through the tale of two friends the director did an excellent job in capturing the struggles of marginalized. In this case it’s both caste and religion. Homebound also struck a chord for its heartfelt depiction of migrant worker’s plight.
The movie doesn’t directly critique the government but for those who can read between the lines the administrative failure is very much palpable. The movie is based on an article written by the noted writer Basharat Peer. In the second half his touch is very visible. Mention must also be made of the love story between Vishal Jethwa’s Chandan and Janhvi Kapoor’s Sudha. Both come from the Dalit community but the dynamics are different with Sudha being the more empowered one. Janhvi has a crucial monologue about educate, organize and agitate. She played the role with the required confidence bringing in a much needed lightness to the otherwise grim proceedings. As Chandan and Shoaib both Vishal and Ishaan got into the skin of their respective characters. They did a wonderful job in bringing the friendship alive. Ishaan especially shined in the sequence where he desperately wants to save his friend by egging him on. It’s so emotionally moving.
Metro In Dino: Anurag Basu’s Metro In Dino is a solid spiritual sequel exploring the complexities of love and marriage. He did an excellent job in reflecting the contemporary society like the fast lifestyles and sometimes fickle nature of marriages. Among the numerous parallel stories the one which stood out the most was the track involving Pankaj Tripati and Konkana Sen Sharma as Monty and Kajol respectively. The marriage is going through a midlife crisis, the relationship has lost its spark and Monty takes the aid of a dating app. This only complicates the matters with Monty chatting with Kajal unknowingly. Kajol also plays along go to see how far her husband would go leading to a chaotic situation. Both Pankaj and Konkana were excellent feeding off each other. Kajol comes across as someone with spine not forgiving her husband easily. Kajol is also not afraid to give back to her mother played by Neena Gupta. Kajol questions the mother about the passive acceptance of her husband’s infidelity and how she doesn’t want to end up like that.
Among the other parallel stories Neena Geena playing an older woman finding liberation in twilight years was also a treat to watch. The transformation of Neena Gupta’s Shivani from a doormat to becoming more independent was wonderful to watch.
Phule: Ananth Narayan Mahadeven’s autobiographical drama Phule is a hard-hitting tale of revolution and solid companionship. The movie tackles issues which are relevant to today’s times. In spite of facing CBFC brunt like Dhadak 2 Phule still came out as an unsparing movie. This is majorly due to the power packed dialogues. There is crispiness to the arguments made by Pratik Gandhi. For example, there is a brilliant portion in which the male protagonist questions an upper caste man for avoiding a barber by doing his own shaving.
Apart from tackling social issues director Ananth Narayan Mahadevan also did an excellent job in showcasing the mutual love and respect Jyothiba and Savitri Bhai Phule had for each other. Jyothiba truly comes across as a feminist in the way he treats Savitri. He acknowledges her contribution numerous times. Jyothiba also stands up for Savitri in an importance scene when the father suggests a second marriage. The love and affection that the two had for each other is difficult to find in any married couple whether it’s of past or present.
Phule also benefitted from solid acting. Both Pratik Gandhi and Patralekha imbibed the strong nature of their respective characters. Pratik brought a quiet intensity expressing a lot with his eyes. Whether its showcasing pain, determination or the tender moments. Patralekha too disappeared into the part capturing the feministic spirit with ease. A special mention must be made of the scene where Savitri Bhai Phule is threatened by an upper caste man. Instead of retreating she holds her ground with a solid response.
Raid 2: Rajkumar Gupta’s follow up to the 2018 Raid works as a utopian tale delivering justice, the beats are familiar nevertheless Raid 2 is engaging especially the antagonist role played by a wonderful Ritesh Deshmukh.
Unlike Saurabh Shukla’s rustic character from the first part Ritesh Deshmukh’s Dada Bai is more of a sophisticated politician. This worked as an interesting contrast to the first part. Ritesh did a very good job in capturing the different shades. He was particularly good in conveying menace with just his eyes. Saurabh Shukla in an extended was also a hoot. He made the movie more entertaining with his punch lines especially in the portions of taking pleasure in Dada Bai’s downfall.
Mrs (Zee 5): Mrs directed by Aarti Kadav is a very good take on internalized patriarchy. Like the original movie The Great Indian Kitchen Mrs also does a fine job in giving a voice to those women relegated to the household. Aarti Kadav brought in small but significant changes enhancing the story. A big change from the original is the profession of the protagonist coupled with the urbane location.
The appliances and the kitchen structure in Mrs are glossier: but the drudgery of a housewife remains the same. The dripping of water is also familiar coupled with numerous cooking shots of same nature.
In this movie Nishant Dahiya plays a gynaecologist. This element adds an interesting layer as man is able to understand other women’s bodies but when it comes to his own wife there is a very mechanical process. He doesn’t give a care on whether she also wants to participate in that moment. Sanya Malhotra as Richa did an excellent job in showcasing the different shades making the viewers root for her.
Stolen (Amazon Prime): Karan Tejpal’s Stolen is a taut social thriller/drama; The atmospherics are similar to Navadeep Singh’s NH10 but Stolen has its own identity. The distinctiveness comes from the plot centred on two brothers. One of the brothers played by Shubham Vardan is the more considerate one. Abhishek Benarjee on the other hand is a typical corporate guy trying his level best to dissuade the other one from helping a poor woman.
This sibling dynamics with an emotional undercurrent gives the movie some of its best moments. The cinematography of Ishaan Ghosh also played a significant role. The visuals had a lived in feel. A major divide between the privileged and underprivileged came out in a solid manner as well.
Abhishek Benarjee in one of his best characters till date did an excellent job. The way Abhishek showcased the eventual transformation was fantastic to watch. Shubham Vardan also provided solid support. Mia Maezler as a desperate woman in search of her missing child was good too bringing in a raw intensity.
