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.
An overview into some of the best web series from Hindu and Telugu with different storylines
2025 can be easily categorized as the year of Applause Entertainment whose CEO is Sameer Nair. The year started with the fabulous Black Warrant based on a book of the same name. The web series was directed by numerous people including the fantastic Vikramaditya Motwane. The show presented a very gritty picture of the deeply horrifying situations in a jail making reforms difficult. Next came Criminal Justice Season 4. Directed by Rohan Sippy Criminal Justice Season 4 did an excellent job in exploring issues like mental health and grey areas in marriage: Pankaj Tripathi returning back as Madhav Mishra did an excellent job as always combining humor with empathy.
Last but not the least Nagesh Kukunoor’s The Hunt “The Rajiv Gandhi Assassination Case) also won many hearts. The series was a gripping manhunt with multiple perspectives. The famous quote of “One Man’s terrorist is another man’s freedom fighter”, was explored well. Apart from the above-mentioned web series the other noteworthy ones include Paatal Lok Season 2, Khauf, Kankhajura, Waking of a Nation, Aashram season 3 part 2 and lastly Aryan Khan’s stunning directorial debut The Ba***ds of Bollywood.
As far as Telugu web series is concerned the year was pretty dull with just a handful of impactful shows. Deva Katta’s Mayasabha easily tops the list. Mayasabha was a welcome return to form for the director. The series doesn’t shy away from wearing its politics on sleeves especially the dialogues related to caste disparities. The talented Aadi Pinishetty got a solid role. He was seen as the fictional Chandra babu Naidu and the actor absolutely nailed it. Among others Devika &Danny had a good message of women empowerment through a friendly ghost. Lastly Arabic Kadali though a rehash of Thandel had its highs too. Director VV Surya Kumar did a fine job in dealing with the socio-political aspects. Also, the Pakistani characters had more depth in comparison to Thandel.
Following is an overview into the best web series of 2025 Hindi and Telugu
Black Warrant: Black Warrant directed by Vikramaditya Motwane, Satyanshu Singh and others presents a very gritty picture of jail life. How bringing reforms is extremely difficult was presented well. This web series is based on the book of the same name. The show focuses on the notorious functioning of the Tihar jail set in the 80’s. The base is Tihar jailer Sunil Gupta. Sunil Gupta was known for doing some great work. One of his major achievements is starting Tihar’s first legal aid cell. In spite of getting a secure railway job Suni Gupta pursued his dream of wearing a khaki uniform. Young actor Zahaan Kapoor successfully entered into the shoes of Sunil Gupta.
The web series did an excellent job in capturing the soul of the novel especially the intricate power structure and the various hierarchies based on both caste and religion. The characterization of Zahaan as Sunil Gupta was also well done starting off as a vulnerable young man to becoming more confident. Apart from Zahaan’s performance the supporting characters were also written with nuance especially Rahul Bhatt. Rahul Bhatt’s character is mostly selfish with moments of genuine empathy for his fellow men. The actor did an excellent job in portraying the different shades. Sidhant Gupta as Charles Sobharaj also shined bright. The women characters though needed better writing. Only Rajshri Deshpande made some impact as a firebrand reporter. Nevertheless, Black Warrant is a gripping watch.
Paatal Lok Season 2: Avinash Arun Dhaware’s Paatal Lok Season 2 is a fantastic dive into Nagaland’s socio political landscape. Along with creator Sudip Sharma he made a web series notches above the first one. A strong aspect of Paatal Lok Season 2 was the depiction of Nagaland politics. The contrast between the beautiful landscapes and the immense turmoil of the local population was wonderfully captured. One of the major themes in Paatal Lok Season 2 is the insider versus outsider topic. A section of people coming from outside pay a certain amount of money to a local group in hope of ensuring their safety.
But that isn’t enough on some occasions. This especially comes out in a super conversation between Jaideep Ahlawat’s Hathiram and a businessman. Talking about Jaideep Ahlawat the actor was superlative once again. The way he portrays the strong determination while battling professional and personal issues was a delight to watch: mention must also be made of Tilotama Shome playing SP Meghana Baura. As a local police officer and the solo woman, the character brings in an interesting female perspective into what is generally considered a male bastion. Ishwak Singh too made his presence amply felt as once upon a time junior and now Hathiram’s boss. There is a palpable thread of friendship amidst the awkward scenarios.
Aashram season three part 2: Prakash Jha’s Aashram season 3 part 2 was a satisfying conclusion. In spite of some elongated stretches the series makes the viewers ponder about the power held by these fake babas.
The strong determination of Aaditi Pohankar’s Pammi in bringing down the empire of Bobby Deol’s Niral Baba was a treat to watch. A major part of this plan is turning Niral Baba and Chandan Roy Sanyal’s Bhopa against each other. Pammi’s game of seduction though slow paced gave the show some of its best moments. Aaditi Pohankar did an excellent job in capturing the transformation from a victim to an avenger.
The web series also has some fantastic dialogues on aspects related to power and faith. In a very explicit manner Prakash Jha shows devotion being a double-edged sword. How playing with someone’s faith through numerous lies can take you down came out in an excellent manner. Bobby Deol as Nirala Baba was first rate especially in the scenes where the tables are turned against him. There is an important dramatic breakdown featuring the actor and Bobby did an excellent job. Chandan Roy Sanyal had a bigger canvas to play around with compared to the last seasons and the actor did a terrific job too.
Khauf: Khauf directed by Pankaj Kumar and Surya Balakrishnan is a slow burn horror thriller with real word issues. A strong aspect of Khauf is the technical department headed by a fantastic Pankaj Kumar himself. The hostel in which most of the story takes place became a major character in itself: A sense of claustrophobia is palpable creating the right amount of tension. The setting of Delhi is also a masterstroke given the shameful scares associated beyond the gruesome Nirbaya case.
The different issues faced by modern female came out in an impactful manner especially with the main protagonist. Monika Pawar as Madhuri was absolutely fantastic in showcasing the varied emotions. A special mention must be made of the portions where the protagonist becomes more confident after being possessed by a certain thing. Rajat Kapoor in a terrifying negative role was first rate as well. He brought in the right amount of creepiness instilling fear in audiences minds.
Geetanjali Kulkarni in a grey shaded role was wonderful too. The way she oscillates between a worried mother and a tough police woman gave the show some of its best moments. The subplots connected to Madhuri’s hostel mates was also done well with each representing different kinds of issues faced by everyday women in society. One big problem with Khauf is the clichéd use of trauma as a way to give agency to a woman. Also, the show suffered from some abrupt tonal shifts. Nevertheless, Khauf was an excellent show for most part.
Kankhajura: Kankhajura is a gripping psychological drama about flawed humans. Director and writer Chandan Arora did a fine job in exploring the impact of childhood traumas specially bullying and how need for validification leads to manipulative behaviour. This show is based on a series called Magpie from Israel. A strong aspect of Kankhajura is the gradual building of tension. The aspects of past traumas, sibling rivalry and unresolved guilt were integrated well. The cinematography of Rajeev Rai and Vinod Illampally also added to the thrills. Though shot in Goa the web series presents the place in a very different way unlike the usual mainstream route.
Mention must also be made of how the women characters came out. Though a Roshan Mathew and Mohit Raina show reel the female protagonists have an important role too. Sarah Jane Dias and Trinetra Halder had a strong individuality especially the former. There are numerous portions in the series where Sarah Jane Dias is seen giving back to Mohit Raina’s Max about his unlimited greed. This strongness is maintained throughout and as a result the viewers cheer for her when she walks out of marriage. Trinetra Halder as a transgender also played her part with lots of grace successfully bringing out the inner strength.
Waking of a Nation: Ram Madhavani’s Waking of a Nation is a patience tester with the constant back and forth: nevertheless for history buffs especially the series is worth watching. This web series focuses on the events leading up to the horrific Jallianwala Bagh massacre through the eyes of a young lawyer Kantilal Saahani (a fantastic Taaruk Raina).
Kantilal Saahani is a beneficiary of western education making him an outsider amongst his group of friends. This character is apparently based on Sri Chamanlal Harilal Setalvad a man known for cross examining General Dyer.
A strong aspect of this Ram Madhvani directorial is the depiction of the political events leading up to the massacre. Ram Madhavani along his writers were especially good in shedding light on the controversial Rowlett act. The depiction of the massacre with just sound design and panic stricken reactions of the people gives a haunting experience too.
An important subplot in Waking of a Nation is the themes related to racial discrimination not just by the British; it’s also about the discrimination followed by fellow Indian on the basis of caste and religion. The underlying message is about the need to stay united irrespective of caste and religion. This is an important message keeping in mind today’s divisive political environment.
Ba***ds of Bollywood: Aryan Khan could have easily chosen to be a leading man with his background of badshah Shah Rukh’s Khan son. Instead, Aryan chose to be a director showcasing his uniqueness. Ba***ds of Bollywood is a wonderful whimsical ride with strong satire. Much like Zoya Akhtar’s Luck By Chance the Ba***ds of Bollywood too is a percipient take on the starry world of movies. But this one goes a step ahead in dealing with the insider and outsider debate along with exploitative producers coupled with the uncertain nature of fame etc.
Lakshya Lalwani’s Aasman is an outsider going through a roller coaster ride of different emotions. The series features a number of cameos from Ranveer Singh, Karan Johar and Emraan Hashmi among others. Emraan Hashmi as an intimacy coach works the best among the extended cameos. Raghav Juyal’s reaction on seeing Emraan is priceless. The character goes into a complete fan mode singing Emraan Hashmi’s famous songs. Emraan’s absolute bewilderment on how to deal with the fan boy moment coupled with Raghav Juyal’s acting is simply fantastic. Apart from the glossy packing the show also has some strong emotional moments. A specific mention must be made of Anya Singh in the role of Aasman’s manager. She lends in certain gravity as a trusted ally making the viewers wish that they also had a loyal manager like her. Mona Singh and Vijyant Kohli in the role of parents were wonderful too like the sequence where the father gives an important advice on never backing down. The friendship between Lakshya and Raghav also gave the show some of its best moments. It was wonderful to see the different dynamics after last year’s Kill.
Lakshya as Aasman showed that Kill was no fluke coming up with a solid act. He brought alive the determination of Aasman as well as a certain cheeky nature. Bobby Deol as one of the primary villains continued his golden form bringing in both a starry aura as well as solid acting chops. Overall Aryan established himself as a promising masala director especially the climatic twist. He definitely made his father proud.
Best Telugu web series (2025)
Mayasabha: Mayasabha directed by Deva Katta is an excellent socio-political drama. The web series as earlier said doesn’t shy away from wearing politics on its sleeves especially the dialogues related to caste prejudices. In simple terms the story is based on Chandra Babu Naidu and late Rajasekhar Reddy. The fictional names are Karakala Krishnama Naidu and Dr MS Rami Reddy. Aadi Pinishetty and Chaitanya Rao did an excellent job in their respective parts.
The dynamics between the two principal actors was one of the shows biggest strengths. How they start as idealists with a common aim of transcending social divisions and their differing responses to societal pressures were written with nuance. The portions of two disagreeing offers a fresh take on political rivalries by never getting venomous. Maysabha also deserves credit for the way it gives voice to the marginalized. There are disturbing scenes of people caught in a major crossfire due to power hungry politicians. The character of Ravindra Vijay wanting to shield his family from violence is a perfect representation of this theme.
The supporting cast were also excellent especially Divya Dutta and Sai Kumar. Divya Dutta playing the role of Indira Gandhi had a commanding presence. The track of emergency has a contemporary touch especially in the dialogue “You will give birth to a line of dictators who will use your method, impose emergency and not even call it one.” Sai Kumar as the legendary NT Rama Rao shined with his strong voice modulation and a powerful presence.
Devika &Danny: B Kishore Devika &Danny is an interesting mix of supernatural elements and a young woman breaking out of self-imposed shackles. The web series has simple but effective storytelling. The show starts off as an anthesis to one of Ritu Varma’s hit movie Pelli Choopulu. Devika lacks a certain agency unlike Chitra from that movie at least in the initial portions. This is established in a very effective manner setting the tone for the subsequent transformation. How a ghost played by Surya Vashishta becomes a medium for this gives the show some of its best moments. There’s nothing unpredictable here but the small nuances make a big difference.
B Kishore also did a good job in addressing generational through the roles of Gopuraja Ramana as Devika’s prospective father in law. Subbaraju played the role of Devika’s fiancée. Both the actors did justice to their parts especially Subbaraju with his serious expressions and a certain exasperation.
In the role of Devika Ritu Varma delivered an assured performance with the right mixture of vulnerability and inner strength. Surya Vashishta as the friendly ghost was charming too making the viewers wish that the two had met in different circumstances.
Arabic Kadali: Arabic Kadali directed by VV Surya Kumar had a major hangover of Thandel with its themes. Nevertheless the show is worth watching for its handling of socio-political aspects. A special mention must be of the Pakistani characters who are presented in a much more layered manner. A good example of this is the scene where a judge is seen defending Indian fishermen in front of Pakistani officials. Even Amit Tiwari as the evil warden gets a credible redemption arc too.
Lastly Poonam Bajwa playing Dr Fatima isn’t afraid to express her opinions. The actress played the role with the right amount of warmth and authority. Arabic Kadali though doesn’t just confine itself to Indian Prisoners languishing in Pakistani jails; it also talks about the Pakistani ones in a similar situation. The underlining message is the need for humanity across borders.
Satyadev in the role of Badri makes sure that the character’s saint like nature never comes across as irritating. The actor is especially impressive in the scenes of emotional vulnerability. Anandhi as Ganga also did a good job in portraying the inner strength. Much like Sai Pallavi in Thandel she too is a woman of steel not letting cynicism get to her. Yes the love story could have done with more intensity still the viewers root for Badri and Ganga to get together.
Directors Raj &DK, Suman Kumar and Tusshar Seyth do a good job in depicting the complexities of northeast. Like the previous seasons here too the characters come with shades of black and white. Yes, the series doesn’t quite match up to the previous ones nevertheless there is a lot to enjoy. The performances led by the ever-reliable Manoj Bajpayee and Jaideep Ahlawat deserve a special mention.
Before dissecting the third season of Family Man it’s necessary to acknowledge how much the representation of Northeast has changed. From a visual prop to now a living and breathing entity. The specialty of The Family Man series has always been a certain grounded nature with a relatable protagonist. In Season 3 there is a moment where Manoj Bajpayee finally reveals his real job nature to the family. The grown-up son played by an endearing Vedant Sinha has an exciting reaction saying do you have a code name like Tiger, lion etc. Srikant replies that he works for the intelligence and not circus. This simple but effective conversation sums up why The Family Man series has always been special differing vastly from YRF’s route of fantasy spy heroes.
Without giving much away season 3 focuses on a new project called Sahakkar. The aim is to help the northeast states who are deprived of development and peace with the common man suffering the most. However, things take a dramatic turn due to some bomb blasts putting the project on temporary hold.
Manoj Bajpayee’s Srikant Tiwari and Dalip Tahil as NIA chief Gautam Kulkarni meet a very respected leader David Khuzou (Sunil Thapa) to bring the project back on track. However, a major obstacle comes in the form of Jaideep Ahlawat’s Rukma. Rukma is a hit man and a drug baron but interestingly he doesn’t take drugs or drinks personally. Srikant Tiwari becomes a suspect due to certain circumstances. From being a respected spy, he becomes the most wanted man. This is the story in brief.
A strong aspect of season 3 is the humanistic lens through which the directors and writers have depicted complex political issues. The representation of northeast people and the state’s situation has a nuanced touch. Even the rebels headed by Paalin Kabak’s Stephen Khuzou are treated in a sympathetic manner. The ideological differences between Stephen and David in spite of the same goal has been both well written and enacted. At one point Srikant and men get shelter from Stephen in very dire circumstances. There are some heartfelt conversations between Srikant and Stephen when the latter opens about picking up a gun at a young age.
In more ways than one the viewers feel they are watching the continuation of Paatal Lok Season 2. This is also due to the presence of Jaideep Ahlawat this time on the other side of the fence. Yes, Paatal Lok Season 2 took a more layered look at the northeast complexities nevertheless what Family Man Season 3 pulls off is also commendable.
The locations of northeast become a major character in itself. It helps in shaping up the tension particularly in the sequences where Srikant and co are on the run. Cinematographer Jay Charola deserves a major appreciation for how he has captured the different moods of northeast landscape through his lens. The music composed by Sachin- Jigar along with Ketan Sodha has a nice northeast flavor adding to the authenticity.
Even the antagonists especially Jaideep Ahlawat has some interesting touches. Rukma can be extremely brutal brilliantly established in his intro: at the same time, he has a different side. This especially comes out in the portions with the girlfriend and the segment when he is trying to embrace fatherhood. Jaideep does a fantastic job as always pulling off the different shades with finesse.
Nimrat Kaur playing an elegant villain brings in the right amount of ruthlessness and charm There are some unsaid feelings in the portions featuring Jaideep and Nimrat. The writing here does fall short but the actors more than make up for it.
The depiction of family dynamics also deserves a mention. The falling marriage and Srikant’s exasperation at everything from bureaucracy to the children’s teenage moods have been wonderfully written and enacted. A special mention must be of a scene where Vedant Sinha’s Athrav patiently explains to his father about nonbinary terms and gen ze slangs in general. Srikant has a bemused, but earnest look on his face genuinely showing interest. As Srikant Manoj pulls off the various shades with his usual finesse. Whether its sarcasm, vulnerability and a fighting spirit even when everything is falling apart.
Sharib Hashmi returning as JK is in great form too. His humor as always is impeccable like the train scene featuring Paradha actor Raj Mayur. JK tries to present himself as a Telugu person leading to a hilarious cooked up story from Srikant. This portion is small but very entertaining. At the same time the scenes featuring JK and Srikant have an emotional resonance when Srikant opens up about a past mistake. JK comforts Srikant by saying that he should focus more on how to get out of the current mess. Mention must be also made of Vijay Sethupathi respiring his role from Farzi. It’s a short but a memorable cameo. The banter between Vijay and Manoj is a treat to watch.
As far as the flaws some subplots are left hanging. This includes the daughter being bullied at school for her opinions. Even the professional life of Priyamani’s Suchitra needed a better handling. Priyamani brings in an emotional heft though the writing doesn’t support her. The same applies to Seema Biswas playing the role of PM Basu. In comparison Shreya Dhanwanthary gets a better arc as the ambiguous Zoya, and she does a very good job. The series also tries to poke fun at the Alpha male image with Athrav taking advice from JK on how to impress his crush with macho methods. At the same time the sister drops in saying how typical is it of two males discussing what a female wants. This is an interesting thread to explore but the makers dump it midway.
Final word: The Family Man Season 3 is worth watching for its depiction of northeast complexities and of course if you are a fan of Manoj or Jaideep.
Director Avinash Arun Dhaware and creator Sudip Sharma push the envelope further giving a new perspective. The absence of the chilling Abhishek Banerjee from the first season is definitely felt, still there is a lot to admire in the way the duo construct a social drama in the guise of a police procedural.
Paatal Lok Season 2 (Hindi), 17-01-2025, Crime, Thriller, 8 episodes, 16+, Web series
Main Cast: Jaideep Ahlawat, Ishwak Singh, Tillotama Shome, Gul Panang, Nagesh Kukunoor, and Merenla Bose
Director: Avinash Arun Dhaware
Producer: Karnesh Ssharma and Babita Ashiwal
Music Director: Naren Chandavarkar and Benedict Taylor
Cinematography: Avinash Arun Dhaware
Rating: 4/5
For those who haven’t seen the first season of Paatal Lok, it was loosely inspired by Tarun Tejpal’s Novel The Story of My Assassins.
Acclaimed actor Neeraj Kabhi played the role of the journalist-novelist Tarun Tejpal. The show revolved around an assassination attempt gone wrong. Jaideep Ahlawat played a low-ranking officer called Hathiram Chaudhary.
Hathiram is suddenly assigned a high-profile case changing his life forever. The series also took inspiration from the traditional concepts of heaven, earth and hell.
These served as metaphors to explore the different classes of India along with other aspects. Through a police procedure, various burning topics like caste atrocities, media biases and Islamophobia among others were explored in an impactful manner.
Apart from Jaideep Ahlawat’s stellar act, the first season is also remembered for Abhishek Banerjee’s deadly Vishal Hathoda, a notorious hitman with a love for dogs.
The role of Vishal Hathoda showcased a different facet of him; Abhishek got rave reviews for his excellent act. After a gap of five years, Paatal Lok Season 2 has arrived amidst high expectations.
Bingeworthy season 2
Jaideep Ahlawat in ‘Paatal Lok Season 2’. (X)
Thankfully the second season turns out to be even more bingeworthy. What sets apart the second season is the setting of Nagaland, giving the viewers a new perspective on the socio-political situation of the state.
Just like the first season the second one also starts as a police procedural. The plot begins with the brutal murder of Jonathom Thom, a prominent personality of Nagaland.
Jonathom Thom was deeply involved in the peace process of the state involving 20, 000 crore investment. On the surface, this may appear as a simple peace process but there is a lot at stake for the local government.
Running parallel to this is the case of a missing daily wage labourer and a nightclub dancer. Hathiram Chaudhary is investigating this. On the other hand, Ishwak Singh who played Constable Ansari in the first season is now an IPS officer.
Ansari has deep respect for Hathiram’s honesty and investigation skills in spite of being in a higher place. As the plot progresses these threads become intertwined.
The eight-episode saga covers a vast range of topics like the socio-political turmoil of the North East, and the struggles of orphans who fall into the trap of crime.
Nagaland politics
Ishwak Singh in ‘Paatal Lok Season 2’. (X)
A major USP of Paatal Lok Season 2 is undoubtedly its depiction of Nagaland politics. The contrast between the beautiful landscapes with the immense turmoil of the local population has been wonderfully depicted.
The writing team of the second season which also includes Abhishek Banerjee does a terrific job of bringing alive the ethnic clashes between the different groups.
One of the major themes in Paatal Lok season 2 is the insider versus outsider topic. There is a section of people who have come from outside creating their own identity. Despite being Nagaland residents for a long time, they have to pay a certain amount of money to a local group in the hope of ensuring their safety.
But sometimes even that doesn’t work. This comes out strikingly in a conversation between Haitharam and a local business family.
The character of Haitharam serves as a medium to make the viewers more aware of the major conflicts involving the North East.
Women stuck in oppressive system
The series also does a terrific job of exploring the plight of the numerous women stuck in an oppressive system. Director Avinash Arun Dhaware along with the writers presents this in a hard-hitting manner through the characters of Rose Lizo and Aslena Thom.
One is a young woman battling addiction; the other is a conflicted widow. Through these subplots, a strong statement is made about the numerous trials and tribulations faced by those living on the fringes of society.
The supporting cast has numerous actors from the Northeast. All of them do a very good job in their respective roles adding a certain authenticity. Avinash Arun Dhaware deserves a major appreciation for casting northeastern actors in supporting parts as this adds to the immersive experience giving it a rooted feel.
Characterisation
Apart from the political aspects, the interpersonal relationships particularly the one between Hathiram and Ansari have been brilliantly written and enacted. Both Haithram and Ansari are unsure of how to behave with each other given the shift in power dynamics.
This aspect also gives the show some of its best moments; an underlying thread of friendship despite the awkward scenarios has come out wonderfully.
‘Paatal Lok Season 2’ is a crime thriller. (X)
Special mention must also be made of Tillotama Shome’s SP Meghana Barua. A mother of a six-year-old son and a local police officer who has established her space in what is generally considered as a male bastion.
Meghana’s knowledge of local politics adds a fresh dimension. Tillotama does a fantastic job of portraying the different nuances although the character could have been more developed.
Gul Panag reprising her role of Hathiram’s wife doesn’t get a lot to do just like in the first season, still, she shines bright in the emotional scenes. Director Nagesh Kukunoor as the shrewd businessman with several skeletons in his closet also makes a strong impact.
As Haithram Jaideep immerses himself coming with a superlative act again, the way he portrays the strong determination while battling both professional and personal issues is a sheer delight to watch.
Ishwak Singh is also terrific giving solid support as a young police officer dealing with the complexities of his new role.
Final take
To sum it up Paatal Lok Season 2 is absolutely binge-worthy, and a must-watch for fans of Paatal Lok Season One, and Jaideep Ahalwat admirers.
(Views expressed here are personal, edited by Sumavarsha)
Junaid Khan deserves kudos for choosing an issue-based story for his debut feature. Although the story is set in pre- independence times the plot holds a huge relevance even today. Self-appointed godmen exploiting female devotees in the name of religion is a rampant thing even after so many centuries.
Starcast: Junaid Khan, Jaideep Ahlawat, Shalini Pandey, Sharvari Wagh and others
Director: Siddarth P Malhotra
Writers: Sneha Desai, Vipul Mehta and Kausir Munir
Based on: The book Maharaj by Saurabh Shah
Cinematography: Rajeev Ravi
Music: Sohail Sen
Producer: Aditya Chopra
Production house: Yash Raj Banners
Streaming site: Netflix
Godmen have a magnetic power over their female devotees, in spite of the fact that several of them have been accused of sexual offences whether it is Gurmit Ram Rahim or Asaram Bapu. Maharaj directed by Siddarth P Malhotra of Hichki fame focuses on one such godman. Junaid Khan playing Karsandas Muji is a social worker and a journalist. From a young age itself he starts questioning certain social customs of those times.
Jaideep Ahlawat is Jadunath ji short form JJ. Jadunath is a high priest of a major sect of Vaishnavites called Pushtimarg. The words of JJ are considered divine. Many women are enchanted by him and want to become his special devotees through charan seva. Shalini Pandey who plays Karsandas Muji’s fiancée Kishori who is in huge awe of JJ. Kishori willingly falls into the trap of Jadunath leading to a huge argument and a breakup with Karsandas. Later she comes to know about the reality of the self-styled godman, but it is too late as the relationship is beyond repair. In simple terms the story of Maharaj focuses on how Karsan exposes JJ by writing about his sexual escapades and the subsequent court case that was fought in the supreme court of Bombay (1862).
The first half of Maharaj is definitely uneven. There are elaborately choreographed dance sequences, and the styling does come across as too modern. The music of Sohail Sen doesn’t help the matters either. But the movie finds its ground as soon it moves into the confrontational zone. There are some powerful dialogues that question the wrongful religious practices and the blind faith. This comes out strongly in a commanding monologue delivered by Junaid.
There is also an important voiceover by Sharad Kelkar on how we do not need a third person to have a connection with God. The underlying message of the voiceover is that a person doesn’t become God because of dharma, dharma is just a way to become a good human being.
Siddarth P Malhotra has also touched upon the freedom of press and how a young man refuses to bow down in spite of many hurdles. These scenes hold a mirror to today’s society as today’s journalists also face many restrictions.
Junaid Khan as Karsandas, just like the movie takes a while in finding ground but the actor becomes better as the movie progresses. He manages to hold his own opposite the supremely versatile Jaideep Ahlawat. Jaideep Ahlawat as JJ conveys a lot with just his expressions and overall body language. As expected, the actor delivers a brilliant performance.
Shalini Pandey and Sharvari Wagh have brief but important roles. Each get a solid emotional scene which they pull off well. Sharvari brings a certain vivaciousness to the proceedings. She particularly shines in the sequence where her character confesses about being forced to do charan seva at a young age.
Maharaj is a praiseworthy debut for Junaid Khan in spite of some sluggishness.
Based on: The Devotion of Suspect X by Keigo Higashino
Producers: Ekta Kapoor, Shobha Kapoor, Akshai Puri and others
Production Companies: Balaji Motion Pictures 12th Street Entertainment etc.
Streaming site: Netflix
Genre: Mystery/drama
Running time: 2 hours and 19 minutes
For those who are not aware Sujoy Ghosh’s Jaane Jaan is based on the famous Japanese novel ‘The Devotion of Suspect X’ by Keigo Higashino. This novel has seen many adaptations. In fact the Drishyam films are supposed to be inspired from this novel.
Jaane Jaan has been an eagerly awaited film for two reasons. One is its director Sujoy Ghosh who has established his credentials as a thriller specialist with Kahaani and Badla. Two is the diverse star cast featuring Kareena Kapoor Khan, Jaideep Ahlawat and Vijay Varma. Jaane Jaan is not in the same league as Kahaani but there is a lot to like here too.
Jaane Jaan primarily revolves around three characters. The setting of this film is a misty hill station called Kalimpong in West Bengal. Maya D’ Souza (Kareena Kapoor) is a single mother who works at the local café. Naren Vyas (Jaideep Ahlawat) is a mathematics teacher at a local school. Naren is also Maya’s neighbour. He is socially awkward but is besotted with Maya. Maya comes with a dark past which is connected to her ex husband Ajit Mhatre (Saurabh Sachdeva). Her new life is shaken up by his re entry but in an accidental scuffle husband dies. She buries him with the help of her neighbour.
Vijay Varma is a police Inspector who is assigned the task of finding Ajit Mhatre. For a change his character Karan Anand is not a deranged psycho (like in Darlings, Dahaad and Pink). What follows is a survival thriller of a determined single mother in the style of Drishyam films. In this case she also has the help of her besotted neighbour .
First and foremost Jaane Jaan is not about who the culprit is. So it is not a story of whodunit in the classical sense. It is more about how the culprit evades the authorities. Sujoy Ghosh takes his own sweet time to establish the daily routine of Maya and how Naren secretly loves her. For some the slow pace might be a hindrance but these portions are necessary in the overall scheme of things.
A big plus for Jaane Jaan is the technical department headed by Avik Mukhopadhyay. He captures the different colour pallets brilliantly through his lens. His cinematography is such that the hill station becomes a character in itself.
The background music composed by the band of Shor Police is in complete sync with the mood of the film. There is no scope for songs in a film like this but the title number pictured on Kareena Kapoor makes for a good watch and listen.
Kareena Kapoor Khan successfully takes off from where she left in Laal Singh Chaddha. Her Maya D’ Souza is a mixture of steely resilience, vulnerability and charm among other things. Kareena delivers a knock out in her debut digital project.
The way Jaideep Ahlawat who played Naren is smitten by Maya brings a smile to the viewer’s face. His love for Maya and the extent to which he helps her makes you wish that Maya had ended up with him. He was terrific in bringing out the various nuances of his character.
Vijay Varma for a change is a charming cop and the actor plays it with the required coolness. It is refreshing to see Vijay in this avatar. The scenes between Vijay and Kareena are good to watch. During the investigation Karan also falls in love with Maya and the scenes where he flirts with her are adorable. Saurabh Sachdeva is pitch perfect as the abusive husband in his brief screen time.
Jaane Jaan does suffer from editing issues. The film could have been cut short by fifteen minutes. The climax has the typical shock value of a Sujoy Ghosh thriller although it might not be everyone’s cup of tea.
