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Hey Balwanth: A whacky entertainer with a unique plot point

Debut director Gopi Atchara handles a tricky subject with finesse especially the backstories of the women. The second half slips into a Srinu Vaitla zone but the film recovers ground with a good emotional pay off. The perspective change of both Suhas and Shivani towards their respective parents forms the spine of the story

Starcast: Suhas, Shivani Nagaram, VK Naresh, Sudharshan, Vennela Kishore, Sravanti and others

Genre: Comedy/drama

Writer and director: Gopi Atchara

Story: Shankuma Prasanth

Producer: B Narendra Reddy

Production house: Trishul Visionary Studios

Music: Vivek Sagar

Cinematography: Mahi Reddy Pandagula

Running time: 2 hours and 14 minutes

Hey Balwanth previously titled Hey Bhagwan has created a strong curiosity with its business angle. The suspense has been well maintained right through its promotional material. Thankfully the movie doesn’t take long to unravel the suspense.

Without giving spoilers its related to customer satisfaction. Most of the comedy and drama is structured around Suhas’s Krishna wanting to take over his father Balwant’s business (VK Naresh in another solid act). But Krishna isn’t aware of what his father actually does. Sudharshan is Krishna’s buddy. Shivani Nagaram plays Mithra. A career woman running an NGO. Suhas joins there as a business consultant. Soon love strikes. But things take a dramatic turn with the real nature of Balwant’s business coming out. Krishna hides the matter for a while but is eventually forced to reveal the truth. Mithra is visibly hurt yet decides to give Krishna a second chance. However, the complications don’t end there as Mithra gets a shock of her life too connected to her grandfather. There is a scene early on where she talks about following in her grandfather’s footsteps and the interval bang with Mithra facing a major shock sets the base for the second half. Nothing more can be revealed given the various developments.

A strong aspect of Hey Balwanth is the balancing of comedy and drama. Sudharshan punch lines in particular deliver ample laughs even though some of them border on double meaning. His banter with both Suhas and Shivani has come out well. A special mention must be of the sequences in the lodge. It’s a perfect mixture of situational humor mixed with tension. Suhas too raises ample chuckles in the portions of the truth coming out. There is a hilarious bit when Mithra confesses her love to Krishna while he is in a dumbstruck state. The actor’s expressions are a delight to watch. In the emotional scenes too Suhas does a wonderful job whether it’s being ashamed of his father’s business or in the eventual realization on why his father does it.

Shivani Nagaram has perfected the act of a strong woman in the girl next door roles and Hey Balwanth is no exception. Mithra is someone who takes pride in belonging to an orthodox family, this of course gets shattered in the interval and the feelings of shock mixed with tension has been well portrayed by the actor. Her repeated talks about belonging to ‘Maadi Chala orthodox family’ generates chuckles. Like Krishna, Mithra has her own track of self-realization. This has come out well in the scene where she compares her father (Harshavardhan) to Balwant on how the latter has given life to many women unlike her scheming father politician. The different shades of Mithra has been well portrayed by Shivani.

Vennela Kishore as the son of a goon gets a role that has comedy with some impactful dialogues. His track with anchor Sravanti especially has good depth in the scenes where he talks about falling in love with her. The happy union between the two with an important back story elevates Hey Balwanth beyond the comedy of errors.

Sravanti as one of the women in Balwanth’s business gets some impactful scenes as well. A particular mention must be made of the portion where she talks about the past. Veteran actress Annapoorna as the grandmother plays her role with lots of warmth and also a good comic touch.

However, VK Naresh is the main pillar of Hey Balwanth. The senior actor has minimal presence in the first half but in post interval portions his role has more prominence. VK Naresh does a very fine job in the emotional sequences and more importantly he lends dignity as a father figure to the numerous women. Heartfelt conversations between Naresh and Suhas in the pre climax and the climax has been solidly written and enacted. Naresh also gets some fun mass moments. The spoof on Nandamuri Balakrishna is especially hilarious.

The music of Vivek Sagar is more situational, but Kallonu Neeve makes for a soothing listen and watch perfectly capturing the blossoming romance between Suhas and Shivani. The background score adds to the situational humor especially in the lodge sequence.

The cinematography of Mahi Reddy Pandagula gives the film a vibrant look. Coming to the flaws the second half has moments of stagnation with Srinu Vaitla brand of comedy but thankfully the proceedings pick up pace.

Final word: On the whole it is a perfect watch for those wanting a wholesome package with a progressive angle.

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Kohrra Season 2: A solid whodunit with societal aspects

Creator, writer director Sudip Sharma delivers a slow burn but immersive thriller. More than the crime the focus is on systematic exploitation. How crimes don’t happen in isolation and is often connected to the power structures has come out in a gripping manner. Themes like caste and gender among others has been dealt in a nuanced manner too.

Starcast: Mona Singh, Barun Sobti, Ranvijay Singh, Anurag Arora etc

Genre: Thriller/drama

Creator, writer and director: Sudip Sharma

Additional writers: Gunjit Chopra and Diggi Sisodia

Additional director: Faisal Rehman

Cinematography: Isshan Gosh

Producers: Saurabh Malhotra, Sudip Sharma etc

Production companies: Act three productions and Film Squad Productions

No of episodes: 6

Streaming site: Netflix

Kohrra season 1 released in 2023 was a compelling whodunit with impactful social commentary. Through the murder of an NRI the plot dwelled into drug addiction, the class divide between the elite and the marginalized etc. The second season of Kohrra with the gap of three years pretty much follows the same blueprint but with some additional angles. The inclusion of Mona Singh as sub inspector Dhanwant Kaur brings in a fresh dimension. This is something which I will elaborate on later.

The story of Kohrra season 2 much like the first one begins with a murder. A woman called Preeti Bajwa has been assassinated. Preeti is an NRI, she has returned back to live with her family but ends up as a dead body. What begins off as a regular investigation unearths several secrets. This is the story in brief.

A strong aspect of Kohrra season 2 is the portrayal of different social themes backed with strong writing and performances. One of them is patriarchy and greed. This especially comes out in the scenes of disputes over ancestral property. In spite of legal rights not all women get their rights due to male entitlement and patriarchy. This has come out in an excellent manner as the investigation deepens.

Kohraa 2 also does a solid job in addressing internalized patriarchy. How fellow women ensure that the traditional gender roles aren’t disturbed for securing their own identity has come out in a chilling manner. There is a key moment in the sixth episode related to the murder mystery. Not much details can be given here but how Preeti Bajwa is painted by a fellow woman is a perfect example of how patriarchy is enabled by women equally.

A special mention must also be made of how the web show portrays the machinery of bonded labor. How migrant workers coming from different states are trapped by invisible prisons is impactful too. Their existence being just reduced to labor and a certain indifference towards their sufferings adds an important layer.

The spine of Kohraa season 2 though is the dynamics between Mona Singh and Barun Sobti. Unlike the first season here Barun Soti’s character Garundi takes a while to develop a camaraderie. Mona Singh being a female inspector becomes a hindrance in the beginning but gradually things change with both of them even joking about their emotional upheavals. There is no forced banter here with the lighter moments flowing organically.

Mona Singh’s Dhanwant Kaur belongs to the school of Rani Mukherjee’s Mardaani. Much like Shivani Shivaji Roy from that universe Dhanwant Kaur is also a perfect mix of emotional vulnerability and strong fighting spirit. Dhanwant Kaur faces multiple battles weather it’s her crumbling marriage, a hostile workplace questioning her authority because she is a woman among others. Mona Singh does a splendid job in portraying the different shades of Dhanwant. A special mention must be made of the scene where she gives back to her senior officer when he questions her dedication. Barun Sobti too is solid as Garundi, like Mona Singh he does a fine job in portraying the different nuances. The best thing about the two characters is that they are never reduced to mere archetypes.

The supporting cast is equally effective in maintaining the mystery. The likes of Ranvijay Singh and Anurag Arora in particular make their presence amply felt. The cinematography of Isshaan Singh also plays a key role in enhancing the proceedings. He does a swell job in capturing rural Punjab with all its shades. The atmospherics have a lived-in feel. There is a slight detour when the scene shifts to Himachal Pradesh. The shift may feel abrupt for some, but it offers a freshness in terms of a new setting.

An underling theme of Kohrra Season 2 are the systems which enable the crime and how delivering justice is only confined to that particular case.

Final word: Kohrra season 2 is a worthy follow up in spite of a few pacing problems. For fans of well-made slow burn thrillers the series is a must watch.

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Tu Yaa Main: A gritty survival thriller and a solid relationship drama

Director Bejoy Nambiar strikes a good balance between scares and emotions. Shanaya Kapoor as the rich influencer is the surprise package here. She brings in both emotional vulnerability as well as solid inner strength. Her character Avani is the one who saves the day for herself, and also the male protagonist played by an excellent Adarsh Gourav

Starcast: Adarsh Gourav, Shanaya Kapoor etc

Genre: Thriller/drama

Direction: Bejoy Nambiar

Writer: Abhishek Bandekar

Story: Himanshu Sharma

Based on: The Pool (Thai Movie)

Cinematography: Remy Dalal

Music: Aditya N

Producers: Aanand L Rai, Himanshu Sharma etc

Production Company: Color Yellow Productions and Bhanusali Studios limited

Running time: 2 hours and 30 minutes

Bejoy Nambiar’s Tu Yaa Main is a mix of different themes. On one level the movie examines the world of content influencers and a certain need for validation. At the same time the film also looks at the topics of trust and responsibility in love. How the principal characters stick together as a team getting out of a life-threatening situation is the perfect example of this. The different social backgrounds in this case rich and poor is also a key part especially with Adarsh Gaurav’s character who wants to climb up the social ladder. Last but not the least the movie also briefly addresses animals being displaced from their natural environment and how this can lead to violent consequences. All this a heady cocktail but Bejoy Nambiar does a good job for most part.

In brief the storyline of Tu Yaa Main focuses on the paths of Adarsh Gourav’s Maruti Kadam and Shanaya Kapoor’s Avani Shah interconnecting. Avani finds Maruti Kadam’s ruffian like nature interesting in spite of the vastly different social backgrounds. The two soon fall in love much to the displeasure of Avani’s family. Things take a dramatic turn with Avani becoming pregnant and Maruti developing cold feet. Cracks start appearing as Avani is thinking of keeping the baby which Maruti doesn’t approve. While on the way to Goa the bike of Maruti faces problems. With the help of a kind inspector, they reach a hotel late in night. Without giving much away the film soon descends into a horror story with a killer crocodile and two young people put to extreme test. The only way to get out of the mess is working together as one unit. How the two eventually come out alive with the relationship becoming stronger than before forms the main premise of Tu Yaa Main.

A major strength of Tu Yaa Main is how Bejoy Nambiar and Abhishek Bandekar built the worlds of Avani and Maruti. The huge contrast in the terms of the social dynamics and also the aspirations of Maruti has come out in an excellent manner. The love story plays out in an interesting manner too with the gradual evolution. A key emotional sequence with Avani talking about her parents’ death connected to an accident in water is solidly written and enacted. This scene holds an important connection in the pre climax where one of Maruti’s legs is stuck with a crocodile following them. Avani’s desperation is juxtaposed with what happened to her parents. Thankfully here though the situation doesn’t end in a tragedy as Avani is able to free Maruti.

Tu Yaa Main also works because of the atmospherics especially the design of the reptile and the deep pool. The pool with its 20 feet length feels like a scary forest in itself and add to that you have two crocodiles one underground and one above. The cinematography of Remy Dalal especially shines in the second half. The way he captures the dread through the lens is fantastic. The background music by Prateek Rajgopal is chilling too in the scenes of face between the crocodile and the two leads. The production design also has an authentic feel whether its the two worlds of Mumbai or the pool sequences. The use of monsoon drenched Mumbai also plays an important role in amplifying the horrors of pool sequences.

The themes of responsibility and trust in a relationship have also been well explored in the conversations between Adarsh and Shanaya. Shanaya’s Avani in spite of her rich background isn’t presented as a caricature. She comes across as a flesh and blood human being with her vulnerabilities and a firmness on doing what she wants to do. Shanaya delivers a very good act especially in the dramatic moments of the second half. Adarsh Gourav as the ambitious rapper with dreams of better life is solid as well. He gets the attitude of a ruffian type spot on both in terms of body language and dialogue delivery. Yes, there is a Siddhanth Chaturvedi hangover from Gully Boy on a few occasions. But Adarsh does a fantastic job in capturing the angst and a desire to rise above his social status.

The theme of environment, in this case displacement of animals could have been explored a bit more though rather than just reducing it to a conversation between Adarsh and a helpful police officer. On the musical front the remixes work more than the original numbers. Having said that Jee liya featuring the blossoming romance works well.

Final word: Tu Yaa Main is an immersive watch especially for fans of high-stake thrillers

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The reinvention of Sivaji with a variety of characters

A summary of Sivaji’s second innings starting from the web series 90’s Middle Class Biopic. How he is doing more solid work than before notwithstanding the recent controversy

There are some actors who peak much later in their careers than the beginning stages. Court and Dhandorra actor Sivaji is a solid example of this. It’s not that Sivaji hasn’t given good performances in the past. For example, in the Neelakanta directed Missamma he played a middle-class employee with big dreams. In the process of impressing the boss (an excellent Bhoomika) his life turns upside down. The actor’s comic timing especially in the second half is a delight to watch. Sivaji brought the house down on many occasions with just his expressions. There is also the Charmi starrer Mantra. In this film the actor played a rowdy who helps Charmi’s Mantra. The film significantly picks up pace with Sivaji’s entry. Both the above-mentioned films aren’t centered on him but still Sivaji made his presence amply felt.

Having said that the current characters starting from the web series 90’s Middle Class biopic has given Sivaji more layered roles. He has made complete use of it too. Apart from being a solid actor Sivaji has also proved himself as a dubbing artist. A special mention must be of the movie Dil starring Nithin. Sivaji dubbed for Nithin and his dubbing was one of the big reasons in the film becoming a hit.

Sivaji’s voice in the confrontation scenes with veteran actor Prakash Raj gave the movie some of the best moments. Dil is one of Nithin few hits as a leading man and a big reason for that is Sivaji’s powerful dialogue delivery.

Not surprisingly Sivaji won Nandi award for best male dubbing artist in 2003. Before the web series 90’s Middle Class biopic the versatile actor faced a slump but the last couple of years have been very fruitful with commercial success and critical acclaim. Yes Dhandorra wasn’t a hit on the Court level for different reasons. One is sandwiched between the monstrous hit Dhurandhar and also Avatar 3, this did some damage apart from Sivaji’s rather unnecessary comment on dresses worn by actresses. Still it won a lot of appreciation especially Sivaji’s nuanced performance of an upper caste bigot undergoing social consciousness.

Now let’s dive into Sivaji’s recent performances showcasing the actors brilliance.

90’s Middle Class Biopic directed by the young filmmaker Aditya Hasan was a major winner for everyone concerned. The success of this web series consolidated ETV Win as a quality production house. In this web show Sivaji was seen in the role of a respected maths teacher and a family man.

The character on the exterior comes across as a taskmaster with an iron grip. At the same there is a vulnerable side too. This especially comes out in the scene where the daughter becomes an adult person. His character Chandra Sekhar is terrified about the responsibilities that will come with this. Sivaji did a very good job in portraying the vulnerabilities of an anxious father successfully showcasing a different facet to the role.

The roles in both Court and Dhandoora have a similar core. In the hands of a lesser role it would have become mimicking but both the writing and Sivaji made sure that they don’t become an overlap. This is especially true of Dhandoora. His act in the first is reminiscent of the hit movie Court, however Sivaji’s prowess as an actor comes in the second half while showcasing the gradual change and eventually undergoing social consciousness.

The breakdown in the court accepting his mistake is very touching. The viewers empathise with his emotional outburst though the character was a caste bigot. Similarly Sivaji’s performance in the scenes with Bindu Madhavi brings out a different side.

In court movie Sivaji played a highly despicable casteist as well as a misogynist. There is no redemption arc for the character Mangapathi here, the role is deliberately one tone, but Sivaji fully embodied the caste fanaticism making the viewers despise him.

This is a brief overview into Sivaji’s second innings. Here’s hoping that the senior actor continues to shine bright with versatile roles like the upcoming Sampradayini Suppini Suddaposini. At the same time it would be nice if Sivaji doesn’t unnecessarily comment like the last time and let his craft do the talking.

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Funky: A low voltage Jati Ratnalu with sporadic moments of humor

Some of the industry related jokes do land like filmmakers’ obsession with splitting movies into two parts. There is also a good emotional scene featuring Vishwak Sen and the on-screen mother Eashwari Rao. But for most part Funky feels like an assemblage of skits rather than a free-flowing screenplay. Also, it lacks the energy of Anudeep’s first movie

Starcast: Vishwak Sen, Kayadu Lohar, V K Naresh, Easwari Rao, Sampath Raj and others

Genre: Comedy

Director and writer: Anudeep KV

Cinematography: Suresh Saragam

Music: Bheems Ceciroleo

Producer: Naga Vamsi

Production banners: Sithara Entertainments and Fortune banners

Running time: 2 hours plus

Anudeep KV’s first movie Jati Ratnalu had a nonsensical plot. But the film was a whacky and enjoyable ride majorly riding on Naveen Pollishetty’s entertaining act as well as the well written quirky scenarios. Since then, Anudeep has been trying to replicate that format but has been thoroughly unsuccessful. His latest Funky is a perfect example of this. The focus is too much on industry related workings and the humor generated out of that rather than genuine wit.

In one way the plot of Funky can be described as a fictional take on the Hatrick director Nag Ashwin and Ashwini Dutt’s daughter Priyanka. Vishwak Sen is Komal the director of the movie titled Funky. The constant budget increase has a toll on the producer played by V K Naresh. Kayudu Lohar playing Naresh’s daughter takes over the production. How Komal manages to complete the movie overcoming different hurdles along with a blossoming love story forms the main core of Funky.

As already mentioned Funky has sporadic moments of humor. The portions featuring V K Naresh as the stressed producer does raise some chuckles. This is mainly because of Naresh’s comic timing though the part is underwritten. The scenes are relatable for numerous production heads.

Similarly, a scene featuring filmmaker Harish Shankar giving advice to an upcoming director is fun too. This portion takes a clever dig at directors splitting their movies into two parts. The sequences involving Sampath Raj as a goon/financer also raises some chuckles. The conviction brought by Sampath Raj is a big reason for this.

The love story between Vishwak and Kayudu Lohar has its moments too. To give credit the two actors share a good chemistry. Kayudu Lohar as the producer’s daughter delivers a feisty performance, she perfectly captures the tough nature of Chitra as well as a slightly soft side. Vishwak as the bumbling director tons down his usual mannerisms and comes up with a fun act.

However more than a bumbling director Vishwak does a better job in the portions of Komal dealing with two faced relatives. A key sequence where Vishwak talks about being wired differently while having an emotional side is a solid example of good writing coupled with acting.

A major problem with Funky is the overreliance on humor. The industry related jokes soon get tiring in the absence of a coherent screenplay. Funky also suffers from a major hangover of Jati Ratnalu’s brand of comedy. What felt fresh there feels highly repetitive here.

A subplot involving Anudeep, Kalyan Shankar etc is in bad taste. Their comments on Kayudu Lohar’s Chitra and suddenly becoming responsible people has no head or tail. Similarly the role of Jai Krishna who was so good in Little Hearts is a major bummer here.

Bheems Ceciroloe’s music also makes matters worse. The songs only add to the running time instead of enhancing the plot in any way. Suresh Sangaram’s cinematography though gives the movie a vibrant look.

Final word: Funky works best for those looking for time pass stuff

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O Romeo: An intense concoction of revenge and love with a strong female protagonist

Director Vishal Bhardwaj delivers his most massiest film to date. The best part of O Romeo is the transformation of Tripti Dimri’s Afshan. Her character arc from fragile to driven by vengeance drives O Romeo. Tripti also gets some good action blocks including one where she saves Shahid’s Ustara and she makes complete use of it. The overdose of blood and cuss words though isn’t everyone’s cup of tea

Starcast: Shahid Kapoor, Tripti Dimri, Avinash Tiwary, Farida Jalal, Nana Patekar, Hussain Dalal and others

Genre: Action drama/romance

Based on: Mafia Queens of Mumbai Hussain Zaidi

Story: Hussain Zaidi

Direction, screenplay, music dialogues: Vishal Bhardwaj

Additional screenplay: Rohan Narula

Producer: Sajid Nadiadwala

Production Companies: VB Films and Naidadwala Grandson

Cinematography: Ben Bernhard

Running time: 2 hours and 58 minutes

The works of noted crime and investigative journalist Hussain Zaidi has often been adapted by Bollywood filmmakers. These include chapters from the novel Black Friday and Mafia Queens of Mumbai. Vishal Bhardwaj’s latest is also inspired from the latter’s source material focusing on Hussain Ustara and Sapna Didi. Of course, O Romeo has its fictional elements, but the characters are loosely inspired from a chapter in Hussain Zaidi’s book.

The storyline of O Romeo briefly focuses on contact killer Ustara (a swashbuckling Shahid Kapoor) and a woman hell bent on revenge Afsha (a terrific Tripti Dimri). How romance develops between the two amidst Afsha’s quest for revenge and how this in turn flips Ustara’s life upside down forms a major part of O Romeo. Avinash Tiwary plays the primary antagonist Jalal.

A strong aspect of O Romeo is the world building of Vishal Bhardwaj. The director takes his own sweet time in establishing the world of both Ustara as well as Afsha. How their paths interconnect has been nicely done. Yes, Ustara is a merciless hit man and a womanizer at the same time though he isn’t a one tone character. Both Vishal and Shahid imbibe him with different shades like the scenes of concern towards Afsha or even the portions of vulnerability. The little nuances make him come across as a flesh and blood human being rather than a caricature.

How Ustara gradually falls in love with Afsha has been well written and enacted. The viewers feel the intense love of Ustara when Afsha goes missing for a while. In the case of Afsha too how her back story shapes up the present personality is top notch. Vikrant Massey as the dead husband has a brief but important role. The scenes between Vikrant and Tripti are few, still they play a key role in the audiences connecting to her current emotional scars.

The transformation of Tripti into entering the crime world never comes across as jerky. It has been written and enacted in a layered manner. Tripti is absolutely solid in portraying Afshana’s different shades whether its oscillating between revenge and falling in love again or fighting against the baddies like pre interval action block. Afshana starts off as fragile but finds agency in the world of crime. This aspect in particular makes her an interesting character and Tripti doesn’t miss a single beat.

Shahid as Utsara is purposefully over the top delivering a deliciously unhinged act. He brings in both style and emotional depth as per the requirements. The actor especially shines in the intense scenes with Tripti. Nana Patekar as Utsara’s boss also makes his presence amply felt. The scenes between him and Shahid are filled with dark humor making the viewers chuckle. Farida Jalal as the grandmother has a striking presence especially in the scene of giving an important advice.

Tamannaah Batia as the wife of Avinash Tiwary brings a quiet strength. Avinash Tiwary as the Spanish based don proves to be more than a worthy adversary with his strong personality coupled with the quirky nature. Last but not the least Hussain Dalal is entertaining too as Shahid’s friend/sidekick.

Vishal Bhardwaj’s music with his longtime collaborator Gulzar has an interesting mix. On the one hand there is Ishq Ka Fever and Hum To Tere Hi Liye. Then there are the likes of Aashiqon Ki Colony. This mix makes the soundtrack diverse, and the songs look good on the screen.

Coming to the flaws the second half feels quite stretched with some of the twists. A few revelations like the one involving Tamannah’s character need not have been withheld for so long. Also, the movie tends to become self-indulgent with the overdose of blood and cusswords. The track of Disha Patani too doesn’t add much value to the movie apart from her sensuous moves with Shahid.

Apart from the soundtrack Ben Bernhard’s cinematography also deserves a mention in the technical department. How he captures the notorious world of crime as well as the larger than nature is noteworthy.

Final word: O Romeo is a definite big screen watch in spite of the somewhat overindulgent nature.

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Bhima’s Wife: Kavita Kane does it again

Just like her previous books Kavita Kane brings to life a neglected character. This time around its Hidimbi. The novel takes the readers through a roller coaster of a journey whether its the fairy tale like love story and then the separation. By the end you appreciate Hidimbi’s strong inner strength. Kavita Kane gives a powerful feminist streak in terms of how Hidimbi is never reduced to a helpless victim.

Both our epics Ramayana and Mahabharata give solid scope for constant reinterpretation. The reason being the huge canvas with a diverse set of people. The most minor characters give scope for solid drama. Over the years Kavita Kane has emerged as a wonderful storyteller. The way she picks up forgotten women from the epics and gives voice to them makes for a delightful read.

Bhima’s Wife is another solid addition. The novel in brief focuses on the different facets of Hidimbi’s life whether it’s her marriage with Bhima in spite of the massive cultural divide and then the Pandavas abandoning her once she gives birth to a boy among other things. How Hidimbi status is often ignored as the first Pandavas’s daughter in law forms an important part of the novel as well.

A theme which strongly resonates in Bhima’s wife is challenging the traditional stereotypes attached with rakshasas. There is often a tendency to slot them as cannibalistic figures. But Kavita Kane shows how the so called uncivilized has higher moral standards than Pandavas. This especially comes out in the kinds of questions raised by Hidimbi on acceptance, identity and dignity.

She doesn’t spare Bhima as well in spite of the deep love. For example, there is a part where Hidimbi questions him on how an innocent family became a collateral damage for the Pandavas to survive in the burning of a Lacquer house. Chapters like these bring out the fiery spirit of Hidimbi as well as challenging traditional perceptions.

Mention must also be made of how the novel presents Bhima. Bhima is often associated with brute strength. But here Kavita Kane showcases him as a flawed and vulnerable human being. There is a visible romantic side to Bhima in the chapters post Hidimbi’s pregnancy. How he takes care of her like a small child is adorable. The readers wish that he listened to his heart rather than trying to be an ideal son.

The novel also dwells into superior attitude showed by the Pandavas. A sense of supremacy in how they view the clan of Hidimbi isn’t spell out loud but it comes out effectively. By the end the readers feel that Hidimbi was used by Kunti and co for their selfish plans and then later abandoned.

However, the biggest strength of Bhima’s wife is how Kavita Kane brings alive the different shades of Hidimbi in her characteristic style. Yes, a sense of repetitiveness can be felt for those familiar with her work, still there is a lot to admire. The book starts off with Hidimbi being scared of her brother but as the novel progresses, she emerges as a strong woman. This can be especially seen in Hidimbi bringing together the warring tribes. How she maintains peace and harmony with her powerful presence is a perfect example of the novel’s feminist streak.

Final word: Bhima’s Wife is a solid read for those who enjoy mythological retelling as well as fans of Kavita Kane’s earlier works.

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Om Shanti Shanti Shantihi: A remake done right with good dose of feminism

Director A R Sajeev does a fine job in capturing the soul of Jay Jaya Jaya Hey with the backdrop of Godavari. The biggest victory of OSSS is how it captures the different ways in which patriarchy continues to suffocate women. The subtle digs on the growing trend of Alpha male with a special mention to Sandeep Reddy Vanga’s problematic defense of Arjun Reddy is especially memorable.

Starcast: Tharun Bhascker, Esha Rebba, Bramhaji and others

Genre: Comedy/drama

Direction and screenplay: A R Sajeev

Dialogues: Nanda Kishore Emani

Original movie: Jaya Jaya Jaya Hey (Malayalam movie 2022)

Producers: Vivek Krishnani, Aditya Pitte, Naveen Sanivarapu etc

Production Companies: S Originals and Movie Verse Studios

Music: Jay Krish

Cinematography: Deepak Yaragera

Running time: 2 hours and 11 minutes

Remakes are always a tricky business especially stories taken from Tamil and Malayalam. The major reason for that is their distinctive style both in terms of narration and stories. If the reworking is frame to frame the director is called out for doing a copy paste job. On the other hand, adding certain things upsets the fans of the original hugely even if those changes are necessary. AR Sajeev’s interpretation of JJJH falls somewhere in between. The narrative structure is mostly similar with some scenes being more or less a copy paste: at the same time the movie does have some freshness too. This majorly comes from the Godavari setting along with some additional scenes. Om Shanti Shanti Shantihi uses humor as an effective tool. This particularly comes out in the combination scenes of Tharun Bhascker and Bramhaji playing a supposed well-wisher.

For those who haven’t seen JJJH this Telugu adaptation focuses on an arranged marriage between Esha Rebba’s Prashanthi and Tharun Bhascker’s Omkar Naidu. Both of them belong to the same social space but vary significantly in terms of marriage expectations. Omkar Naidu comes with major temper issues revealed gradually. How Prashanthi goes from a vulnerable young woman to taking things heads on forms the core of Om Shanti Shanti Shantihi.

A strong aspect of OSSS is the depiction of power dynamics. The scenes are reminiscent of most patriarchal households. This includes both the paternal and maternal. Elders camouflaging dominance in the name of concern has a realistic feel. This starts from the beginning itself and continues to be an underlying theme.

The characterization of Omkar Naidu is another plus. His entitled nature as earlier said comes out gradually. In the marriage meet up Omkar Naidu comes across as a progressive person when he talks about not having a problem in Prashanthi finishing her studies. There is also a first night sequence where Prashanthi says that she needs more time to get physically intimate. Omkar Naidu agrees with zero protest.

However, things gradually change when Prashanthi does some experiments in cooking. He has a set eating style like having Idli with Chutney for daily breakfast. Omkar Naidu reluctantly goes through Prashanthi’s cooking experiments but one day loses patience throwing away the plate and also slapping her.

Even his attempts to pacify after every slap is reflective of his entitled nature. Prashanthi ends up ordering the food in accordance with her husband and not her liking. This constant cycle has a repetitive nature but soon things reach a boiling point. It doesn’t help that Prashanthi’s mother and father show a casual attitude to their daughter’s sufferings.

As expected, things reach a saturation point and Prashanti gives Omkar a taste of his own medicine. Again, the pre interval twist won’t be new for those who have seen the original. Nevertheless, it sets a solid base for Prashanthi’s transformation.

Another major asset of OSSS are the portions featuring Bramhaji and Tharun. Bramhaji’s satirical comments especially his dialogue on Godavari people’s nature of being humorous does raise some chuckles. Bramhaji’s character is also casually misogynistic, this comes out clearly in the way he gives advises Omkar Naidu on how to control his wife by pretending to have changed and then making her pregnant.

The dialogues written by Nanda Kishore Emani are also wonderful whether its the satirical humor or the scenes questioning patriarchy. A mention here must be made of how he uses Sandeep Reddy Vanga’s extremely problematic defense of Arjun Reddy. The expression on Esha Rebba’s face with the mother defending the son’s in law beating through the director’s defense on how physical violence is an expression of love paints a disturbing picture. Nanda Kishore Emani through his dialogues successfully brings out how fellow women enable patriarchy as well. Nanda Kishore Emani is also there in a short but an important role, a college professor who makes big claims of being a liberal but is actually hollow.

The biggest asset of OSSS though is the lead pair of Tharun and Esha Rebba. In spite of most scenes being familiar the two actors stand tall. They are a big reason for the movie being compelling even for those who have watched the original. Tharun Bhascker embodies Omkar’s causal entitlement without any over the top theatrics. Tharun along with director and writer make Omkar a relatable character without coming across as a caricature. The particular slang used by Tharun adds to the entertainment quotient too. Tharun’s performance in the comic portions like trying to be a Alpha male by learning Karate with disastrous results is a laugh riot. Esha Rebba is also solid in portraying the transformation. She strikes the perfect balance between vulnerability and strong inner strength. The Karate sequences have been well executed too.

Having said that the use of karate as a give back in both the original and the remake isn’t quite practical. The reason is not all women have the physical strength. Coming back to OSSS the humor in some places lingers more than necessary. This is particularly true of the court room scene featuring veteran actor Bramhanandam.

The atmospherics of Godavari become a character in itself, and the locations are colorful well captured by Deepak Yaragera. Jay Krishna’s music goes well with the flow of movie without any unnecessary numbers.

Final word: Om Shanti Shanti Shanthi is a good adaptation with its own pluses. In one way this can be called The Girlfriend in a slice of life zone.

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Mardaani 3: Rani Mukherjee roars again

Director Abhiraj Minawala along with the writers bring new dimensions to the general template. The character of Janaki Bodiwala as a determined woman constable gives a fresh angle. The investigation scenes featuring her and Rani Mukherjee gives the movie some of its best moments.

Starcast: Rani Mukherjee, Janaki Bodiwala, Malika Prasad, Prajesh Kashyap, Jishu Sengupta, etc

Genre: Thriller/drama

Director: Abhiraj Minawala

Writers: Aayush Gupta, Deepak Kingrani, and Balijeet Singh Marwah

Cinematography: Artur Zurawski

Producer: Aditya Chopra

Production house: Yash Raj banners

Running time: 2 hours and 10 minutes

The Mardaani movies is a special franchise for how it places a female cop at its center. Yes, the format is more or less the same with psychotic villains and an action-packed showdown with Rani Mukherjee taking on the bad guys. There is also a strong ma Durga symbolism in the climatic moments. Still the three Mardaani films are refreshing in terms of how it balances the protagonists strong fighting spirit with moments of emotional vulnerability.

The third part of Mardaani ticks all the familiar boxes, at the same time there are some fresh aspects too. Apart from Janaki Bodiwala’s character the director has given good psychological insight into the mindset of the villains. How their actions are molded by the corrupt system rewarding human apathy adds an interesting layer to the movie. Mardaani 3 in brief focuses on the major network of human trafficking, in this case underage girls belonging to the lower strata of society. Things are going very smooth for Malika Prasad’s Amma but one kidnapping changes her life upside down. This is connected to the daughter of an influential man. Like the previous girls the men think that she belongs to a poor family, but this one misstep leads to a cat and mouse game between Amma and Rani Mukherjee’s Shivani Shivaji Roy. However, Amma isn’t alone in this there is one more hugely evil person aiding her. How Shivani Shivaji Roy exposes human trafficking network forms the basic premise of Mardaani 3.

A major strength of Mardaani 3 is the crisp narrative structure. This is especially true of the first half. Abhiraj Minawala doesn’t waste any time in setting up the plot. Weather it’s the daredevil nature of Shivani Shivaji Roy or Amma’s dastardly nature. The viewers are immediately hooked on what will happen next. The social commentary underneath the investigative has some powerful moments too. The attitude of the influential father in not caring about the other kidnapped girl gives a clear insight into social inequalities. Even the attitude of senior officers is reminiscent of societal apathy towards the not so privileged.

The meeting of Amma and Shivani Shivaji Roy in the latter’s house is striking too. The backstory gives good psychological insight into how she has become this hardened soul. Apart from Malika Prasad’s intimidating portrayal Prajesh Kashyap’s Ramanujan also leaves a lasting impact. His character comes with multiple shades. Not much details can be revealed but the interval twist springs a major surprise.

Janaki Bodiwala’s Fatima is another interesting aspect of Mardaani 3. She starts off a not so confident young woman restricted to just supplying tea, but Shivani sees a capable person in Fatima. As the film progresses the viewers see Fatima punching above her weight and facing near death situations. Janaki does complete justice to the part showing that her Bollywood debut Shaitaan was no fluke.

Ultimately though Mardaani 3 belongs to the ever-reliable Rani Mukherjee. She has made the character her own and this time too its no different. Rani Mukherjee is absolute fire in both the high intense moments as well the few dramatic scenes. Mention must be made of how Shivani feels emotionally knocked out when unable to save one of the kidnapped girls. The climatic fight has a big ma Durga hangover and Rani imbibes the fiery nature in a first-rate manner.

Jishu Sengupta another regular feature of Mardaani movies has an extended special appearance. He doesn’t have much screen time, but Jishu lends in a lot of warmth especially in an important conversation with Rani. Thankfully the movie doesn’t present all men as monsters. The team of Shivani has compassionate men too.

The second half somewhat suffers to a deja vu of Delhi Crime web show mainly because of women being the antagonists there and here as well. Also, a subplot of Fatima supposedly switching sides isn’t convincing enough. Nevertheless Mardaani 3 has a lot going for it

Coming to the technical departments the cinematography of Artur Zurawski fits the gritty tone. The atmospherics have the required tension especially the dark underbelly of human trafficking and beggar mafia. There is no scope for songs in this one and thankfully there is none. The background music of John Stewart Eduri enhances the action sequences like the pre interval twist and climatic showdown.

Final word: Maardani 3 is a worthy follow up especially for those who like gritty thrillers with impactful social commentary.

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Cheekatilo: A twisted tale of male unresolved trauma

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

Starcast: Sobhita Dhulipalia, Vishwa Rachakonda, Krishna Chaitanya, Vadlamani Srinivas and others

Genre: Thriller/drama

Director and writer: Sharan Koppisetty

Additional writer: Chandra Pemmaraju

Producer: Suresh Babu

Production company: Suresh Productions

Cinematography: Mallikarjun

Music director: Sricharan Pakala

Running time: 2 hours and 6 minutes

Streaming site: Amazon Prime

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.