Ranveer Singh as Simmba is one of the few bright spots. His wisecracks lift the films energy significantly in the second half but the movie overall reeks of datedness
Main Cast: Ajay Devgan, Kareena Kapoor Khan, Ranveer Singh, Arjun Kapoor, Deepika Padukone, and Akshay Kumar
Director: Rohit Shetty
Producer: Rohit Shetty, Ajay Devgan and Jyothi Deshpande
Music Director: Ravi Basur and Thaman S
Cinematography: Girish Kant Raza Hussain Mehta
There was a period when Rohit Shetty was one of the most commercially successful directors with a terrific track record.
Movies like the Golmaal franchise and Chennai Express (2013) were huge hits with the masses lapping them up, despite fair share of criticism.
However, since the pandemic, things have been going downhill for the director, starting with Ranveer Singh’s Cirkus (2022), a slapstick comedy that produced more groans than laughs. His web series debut, The Indian Police (2024), also didn’t generate much of a favourable response either.
Certain overconfidence has gotten into the director, and Singham Again is the perfect example of this.
Synopsis
The movie has a galaxy of stars and the trademark Rohit Shetty elements but it proves to be a festival dampener. The attempt to link Ramayana with the Singham universe comes across as jarring with zero novelty.
In simple terms, the story of Singham Again focuses on the kidnap of Avni Bajirao Singham (Kareena Kapoor Khan). Bajirao Singham (Ajay Devgan) has to save his wife from the clutches of a deadly villain played by Arjun Kapoor. Since Bajirao cannot do everything on his own, others like Deepika Padukone’s Shakti Shetty, Ranveer Singh’s Simmbaa, and Tiger Shroff’s ACP Satya among others come to the aid of their guru.
All this runs parallel to the Ramleela. A nine-day program meant to convince the audiences that Ramayana is not some myth but actually history.
What works and what doesn’t
Ranveer Singh in ‘Singham Again’. (X)
The first half of Singham Again is all about establishing the Ramayana connection. How Rama and Sita’s story represents true love and the various symbolisms. This soon gets tiring and it also doesn’t help that the movie’s trailer established all the Ramayana parallels along with the introduction of all-stars. As a result, the entire first half feels like a never-ending slow grind.
Dialogues like “India ghuske maarta hai Dushmanon Ko” feel like a forced attempt to evoke patriotic feelings. It is only towards the interval that the movie gets mildly interesting.
The character sketches of Singham’s team barring Ranveer Singh also prove to be a dampener. Deepika Padukone as Shakti Shetty never convinces the viewers that she can be Lady Singham. The stale dialogue delivery coupled with the accent is tough to endure.
Tiger Shroff as ACP Satya has even less to do. He is supposed to be modelled on Lakshman but it seems that Tiger was roped in more as a stunt coordinator rather than an actor.
Performances
Arjun Kapoor in ‘Singham Again’. (X)
The film’s second half is significantly better thanks to Ranveer Singh’s energy and his punch lines. The actor lifts the movie’s energy single-handedly. In one instance, Simmbba is seen talking to Kareena’s Avni about how someone’s wife is always getting into trouble in this Cop Verse.
In the climactic sequence, he looks at Deepika and says “Deko Abhi family bhi badh raha hai”, adding to the laughs.
Arjun Kapoor as Danger Lanka/ Zubair Hafeez gets the menacing attitude right. Yes, some polishing is required but he manages to make for a strong villain.
Ajay Devgan does well within the script’s limitations. As an actor, there isn’t a lot to explore but he is his usual competent self.
Kareena Kapoor Khan looks radiant but after Crew and The Buckingham Murders this is just another movie where she is more of a show piece waiting to be rescued.
Final take
There is nothing to rave about either the film’s music or its cinematography. In conclusion, Singham Again fails to roar. It is high time that Rohit gets out of the action and comedy zone.
2023 has definitely been a far better year for Bollywood in more ways than one. Films like Pathaan, Jawan, Animal, and Gadar 2 have become major blockbusters.
In addition to being blockbusters, both Pathaan and Jawan opened to good reviews.
On the other hand, Animal had mixed reviews. Despite severe criticism about the toxic masculinity promoted in the movie, Animal broke many box office records majorly due to the performances of Ranbir Kapoor, Anil Kapoor, and Bobby Deol.
Gadar 2, as a film, has no emotional impact like its prequel, but there was enough for the hardcore masses to enjoy. Sunny Deol proved he still has the charisma to play a mass hero by pulling off the gravity-defying action sequences.
Apart from these blockbusters, other films that attained hit status include Rocky Aur Rani Kii Prem Kahaani and OMG 2.
2023 has also been a year where not-so-mainstream actors Pankaj Tripathi and Vikrant Massey successfully carried their films on their shoulders. Well, I’m talking about OMG 2 and 12th Fail.
Now, let us get into more details about the best of 2023 Bollywood films, not necessarily the blockbusters.
Pathaan
Siddarth Anand’s globetrotter was an eagerly-awaited movie since it marked Shah Rukh Khan’s comeback to the silver screen as a leading man after a long gap of five years.
Shah Rukh in a still from ‘Pathaan’. (X)
Siddarth Anand had a huge responsibility on his shoulders, and the director more than succeeded in delivering a popcorn entertainer with the aid of a fast-paced screenplay by Shridhar Raghavan.
What also made Pathaan the perfect mass entertainer was the strong antagonist in the form of John Abraham.
The combat sequences between Shah Rukh Khan and John were well-executed. John Abraham’s Jim was not just menacing, but he carried an angst. Jim had a solid back story explaining why he did what he did.
Another strong aspect of Pathaan is the backstory of how this spy gets this name. The scenes of Shah Rukh Khan with the locals of Afghanistan have so much warmth in them.
Shah Rukh had a blast playing a full-fledged action hero. He was in equal parts charming and rugged. However, after delivering a series of subpar outings, John Abraham surprised everyone in this action entertainer.
Dimple Kapadia, as the boss lady, was also in fine form.
There were some things in Pathaan which did not quite work. One was the simplistic way the topic of patriotism and the Pakistani angle were dealt with.
Also, the love story between Shah Rukh Khan and Deepika practically jumped out of nowhere.
However, in the final tally, Pathaan was the ideal mass comeback for Shah Rukh Khan.
Rocky Aur Rani Kii Prem Kahaani
Rocky Aur Rani Kii Prem Kahaani and Satyaprem Ki Katha were easily the best romantic films Bollywood produced this year.
A poster of ‘Rocky Aur Rani Kii Prem Kahaani’. (X)
Rocky Aur Rani Kii Prem Kahaani had all the staple elements that one expects from a Karan Johar entertainer.
There were larger-than-life sets and some exquisite costumes, particularly gorgeous saris worn by the women. However, there was more to the film than just mere gloss.
Karan Johar subverted some of his own themes from his previous films — like how fear is camouflaged as respect in our culture. He also made some pertinent points on the side effects of toxic masculinity.
Most importantly, Through the role of Ranveer’s Rocky Randhawa, Karan Johar presented a protagonist willing to change and evolve into a better human being.
Just like Ranbir Kapoor’s Ranvijay Singh in Animal, Rocky does not share the best relationship with his father. But he never uses it as an excuse to become a wild “animal”.
In Rocky Aur Rani Kii Prem Kahaani, many scenes could be watched on repeat mode. The sequences of Rocky flirting with Alia’s Rani Chatterjee in his broken English and her amusement bring a smile to the viewers’ faces.
The decency of Ranveer backing off when Rani clarifies that nothing more can happen between them was refreshing.
The scene where Rani proposed to Rocky in the middle of a road was definitely filmy but adorable, given how Karan switched the gender roles.
A major highlight of Rocky Aur Rani Kii Prem Kahaani was the recreation of the song “Dola Re Dola” from Sanjay Leela Bhansali’s Devdas (2002).
Ranveer’s Rocky Randhawa performing Kathak with his prospective father-in-law (Tota Roy Chowdhury) was a pleasant surprise.
The different emotions that Rani Chatterjee went through — from shock, wonder, and finally extreme happiness — were portrayed brilliantly by Alia.
In the second half, the messaging got heavy. Nevertheless, it was not a deterrent.
The performances of the principal cast were brilliant all through, with particular mention of Tota Roy Chowdhury as the Kathak-loving man.
Satyaprem Ki Katha
A still from ‘Satyaprem Ki Katha’. (X)
Just like Rocky Randhawa in Rocky Aur Rani Kii Prem Kahaani, Kartik Aryan’s Sattu in Satyaprem Ki Katha was also a protagonist willing to evolve and change.
Sattu was initially shown as an underdog well out of Katha’s (Kiara Advani) range.
But circumstances not only bring them together but also get them married.
Katha had a haunting past that was initially assumed to be the result of a bad break-up with her ex-boyfriend. But later, it turned out to be something more sinister.
The film was essentially a relationship drama while dealing with an important social issue like date rape.
Director Sameer Vidwans did a good job of depicting the issue of consent in relationships.
At times, Sattu came across as too patient with Katha, but he was never presented as some social reformer. The change in Sattu happened gradually.
Both Kartik and Kiara delivered brilliant performances.
The supporting cast, led by Gajraj Rao, was also in fine form.
OMG 2
A poster of ‘OMG 2’. (X)
This spiritual sequel to the 2012-released film Oh My God was a compelling social drama that looked at the taboo yet important subject of sex education.
The best part of Amit Rai’s direction was how he normalised the discussions around physical intimacy without making it look awkward or uncomfortable.
One of the standout scenes in OMG 2 was Pankaj Tripathi’s Kanti Sharan Mudgal explaining how the body parts of males and females should be taught in school. Pankaj Tripathi did complete justice to the arc of his role.
Akshay Kumar had an extended cameo as Lord Shiva’s messenger in human form.
In Oh My God, Akshay played Lord Krishna. Much like that film, here too, he played the part with the right amount of divinity.
The scenes of Akshay imparting wisdom to Kanti Sharan were good to watch.
Jawan
Jawan was a film that can ideally be described as a Khichdi of Shankar’s brand of vigilante cinema and Shah Rukh’s Chak De India.
At its core, Jawan was a father-and-son drama with 50 shades of Shah Rukh Khan as both father and son.
Shah Rukh Khan in ‘Jawan’. (X)
Atlee absolutely nailed these father-son moments besides addressing various grassroots problems like underdeveloped government facilities.
One of the women in Shah Rukh Khan’s vigilante gang was played by Sanya Malhotra. Her backstory was based on a real-life person named Dr Kafeel Khan.
Dr Kafeel Khan was falsely accused of the death of several kids at a hospital where the real issue was a lack of proper facilities along with corruption. Dr Kafeel Khan tried to procure oxygen, but his best efforts failed to save the children.
Yes, the presentation of these grassroots issues was simplistic, but still, it hit the viewers hard.
Jawan also benefitted immensely from Shah Rukh Khan submitting totally to the director’s script and giving it his all.
Nayanthara also made a solid Bollywood debut in her dual-shaded role as a determined NSG commander and a single mother.
On the other hand, Vijay Sethupati made for a good opponent, particularly in the second half.
The same cannot be said about Deepika Padukone and Sanjay Dutt.
The energy dipped during the brief flashback scenes of Shah Rukh Khan and Deepika.
Sanjay Dutt’s extended cameo did not add great value to the proceedings.
Nevertheless, Jawan, on the whole, proved to be “paisa vasool” entertainment.
Jaane Jaan (Netflix)
A poster of Bollywood film ‘Jaane Jaan’ . (X)
For those who are not aware, Sujoy Ghosh’s Jaane Jaan was based on the best-selling Japanese novel “Devotion of Suspect X“, which already has many onscreen adaptations.
Jaane Jaan was primarily about a single mother named Maya D’Souza (Kareena Kapoor), who runs a local café.
Maya has a dark past related to her ex-husband (Saurabh Sachdeva). Jaideep Ahlawat, Maya’s neighbour and a Mathematics teacher, secretly loves her but is socially awkward. Every day, he visits the café, leading to some amusing moments.
Maya’s life turns upside down after the re-entry of her ex-husband. From here, the movie goes into the zone of the Drishyam series.
Jaane Jaan was a survival thriller about a determined single mother. In this story, she gets the help of a neighbour who would go to any lengths to save her.
The soul of Jaane Jaan was the relationship dynamics between Kareena Kapoor’s Maya and Jaideep Ahlawat’s Naren. Sujay Ghosh did not miss a single beat in depicting this complex love. He also did complete justice to the novel “Devotion of Suspect X“.
The hill station of Kalimpong also became a character in itself, thanks to Avik Mukhopadhyay’s cinematography.
The scenes between Kareena and Vijay Varma, playing a charming cop for a change, were good to watch.
Both Kareena and Jaideep got into the skin of their characters.
Vijay Varma brought a lot of charm to his scenes.
12th Fail
A poster of the film ’12th Fail’. (X)
12th Fail, directed by Vidhu Vinod Chopra, was a classic underdog drama about a real-life IPS officer — Manoj Kumar Sharma.
The DNA of 12th Fail was quite similar to the underdog stories that Rajkumar Hirani directed — 3 Idiots (2009) and Munna Bhai (2003, 2006) films.
It was meant to give the viewers a warm hug and make them leave the theatres with a happy feeling.
Vidhu Vinod Chopra mostly succeeded in his endeavour. The director, along with his leading man Vikrant Massey, did a wonderful job of showcasing the numerous challenges that Manoj faces.
There were places in the first half where the pace dipped, but having said that, there was also a lot to enjoy, especially if you are a fan of inspirational films based on real life.
Apart from the overall strong performances by technicians, 12th Fail scored distinction marks.
The cinematography of Hemant Wagh, in particular, stood out — whether it was the initial scenes in Chambal or the later ones in Delhi Streets.
Dunki
A still from Rajkumar Hirani’s ‘Dunki’. (X)
Rajkumar Hirani’s Dunki will not do the business of Shah Rukh Khan’s last two films — Pathaan and Jawan, but there is no denying that this is an important film in terms of how it addresses an important social issue.
The issue is about borders existing only for the underprivileged. It presents a hard-hitting tale of immigrants in this case Punjabi migrating to England through illegal means for different reasons.
The first half of Dunki is mostly a breezy watch, but things take a serious turn just before the interval. Vicky Kaushal has an extended special appearance and is at his usual best.
The comic portions in this film don’t have the brilliance of the Munnabhai MBBS (2003), Three Idiots (2009), and PK (2014), but it recovers ground, particularly in the second half when the proceedings get serious.
The second half shows the many dangers Shah Rukh’s Hardy, Taapsee Pannu’s Manu and others go through to reach London. Here, their utopia comes crashing down. The viewers get a short but powerful glimpse of the menial jobs that these immigrants have to do even after securing citizenship.
One of these immigrants is Vikram Kocchar’s Buggu. Buggu passes the IELTS exam and goes to London legally before Hardy and Manu, but he is still not living a happy life.
Rajkumar Hirani’s directorial skills come out in the second half the way he handles the drama.
One of the things that work for Dunki is the love story between Shah Rukh Khan and Taapsee. Both the actors share a good chemistry in both light and emotional scenes.
Anil Grover and Vikram Kocchar also bring a certain gravitas to their respective parts.
Overall, Dunki is a well-made social film. It is not flawless but there is a lot to take away.
From Shah Rukh Khan and Sunny Deol to Ranveer Singh, these Bollywood actors made a comeback of sorts in the current calendar year.
2023 has been a remarkable year for Bollywood in more ways than one. The success rate of films is much higher than last year.
Additionally, some of the major stars have made a smashing comeback after a series of duds — be it Shah Rukh Khan with Pathaan and Jawan, or Sunny Deol with Gadar 2.
Shah Rukh in Pathaan and Jawan
There was a period when Shah Rukh Khan was struggling to deliver solid box-office hits. Films like Jab Harry Met Sejal (2017), Fan (2016), and Zero (2018) are major examples of this.
Rahul Dholakia’s Raees (2017) was a box office success but it was nowhere close to what Aamir and Salman were delivering with 3 Idiots (2009), Dangal (2016), PK (2014), and Sultan (2016).
In between, Shah Rukh played an adorable shrink in Gauri Shinde’s Dear Zindagi (2016) which was a moderate success. But it was only a relief considering how the aforementioned films went.
Of course, he was appreciated for playing a supporting role in a female-centric movie headlined by Alia Bhatt.
After Zero, the actor took time to sign his next films as a leading man and the wait has certainly paid off.
Reinventing himself
At the age of 57, Shah Rukh Khan reinvented himself as an action star in both Pathaan (2023) and Jawan (2023). On the surface, both are masala flicks, but the presentation of Siddharth Anand and Atlee are as different as chalk and cheese.
In Pathaan, Shah Rukh was in equal parts charming and rugged. The actor didn’t disappoint one bit — whether it was in the high-octane action sequences or in the more intense bits like the confrontation scenes with John Abraham.
In Jawan, the Bollywood Badshah further pushed the envelope with his double role. And within that double role, there were a lot of variations.
For example, he is a vigilante who uses unconventional ways to speed up societal changes. He is also a military officer who has been accused of cheating the nation and suffers from partial memory loss.
Jawan can be described as a South Indian thali (meal) with a North Indian flavour. Shah Rukh got the pitch of the film perfectly and delivered a thunderous performance, particularly in the father’s role.
There is also Dunki coming up in December and it is expected to rake in good box office numbers, considering the directorial skills of Rajkumar Hirani along with Shah Rukh Khan’s star power.
Sunny Deol in Gadar 2
When the trailer of Gadar 2 was released, it was dismissed as outdated with not many giving it a chance. But the film’s collections surprised many trade analysts.
The nostalgia associated with Gadar (2001) definitely played a part in making it a box-office hit. But more than that, it is Sunny Deol as Tara Singh who sold the movie with his intense performance. Even at the age of 65, Sunny has a commanding presence that resonates well with the audience.
After a series of disasters like Bhaiaji Superhit (2018), Yamla Pagla Deewana Phir Se (2018), and Mohalla Assi (2018), the Bollywood actor is back with a bang with Gadar 2.
His performance particularly stands out in the emotional scenes that Tara Singh shares with his son Jeetay (Utkarsh Sharma). The action scenes are deliberately over the top but Sunny Deol sells them with his conviction.
Ranveer Singh in Rocky Aur Rani Ki Prem Kahani
Before the pandemic, Ranveer was having an absolute dream run with his varied characters. Whether it was the despicable Alauddin Khilji in Padmaavat (2018), the masala cop in Rohit Shetty’s Simmba (2018), or the young Muslim boy who has a fascination for rap in Zoya Akhtar’s Gully Boy (2019).
In all these movies, the Bollywood actor got critical acclaim as well as box office success. But post-pandemic, things started going downhill for the actor.
It started with Kabir Khan’s 83 (2021). Ranveer won rave reviews for his portrayal of Kapil Dev and so did the film. And yet, it didn’t achieve its full potential. The sudden hurricane of Pushpa: The Rise(2021) definitely played a spoilsport for this Ranveer Singh-starrer.
His next release Jayeshbhai Jordaar (2022) was directed by a new director Divyang Thakur. The flick didn’t do well at the box in spite of tackling a socially relevant subject.
Much was expected from Rohit Shetty’s Cirkus (2022) but neither the director nor the actor could recreate the success of Simmba (2018).
Ranveer’s Rocky is a flamboyant Punjabi guy who wears his heart on his sleeve. He is someone who is neither politically nor culturally sophisticated.
His life undergoes a metamorphosis after falling in love with a fiercely opinionated Bengali journalist Rani Chatterjee (Alia Bhatt).
The role of Rocky gave Ranveer ample scope to display both his comic and dramatic skills.
On many occasions, Ranveer brought the house down with his broken English. A good example of this is when Rocky attempts poetry to flatter Rani who is very amused.
On the other hand, he was also equally effective while displaying the fragile side of Rocky. For example, there is a brilliant dramatic scene where he apologises to Rani’s onscreen dad (Tota Roy Chowdhury).
Rocky gives a heartfelt monologue about how he has been conditioned to think in a certain manner from childhood. He also talks about the Cancel Culture and how none of us will learn anything if we keep on cancelling each other.
Ranveer also surprised one and all with his Kathak performance on the famous number “Dhole Re Dhola.” His sizzling chemistry with Alia was an icing on the cake.
Ayushmann Khurrana in Dream Girl 2
Ayushmann Khurrana already proved his credentials as a good actor in different genres. Whether it is Sriram Raghavan’s thriller Andhadhun (2018) or Anubhav Sinha’s social drama Article 15 (2019), he gave a series of hits before the pandemic.
However, post-pandemic, Ayushmann’s brand of cinema stopped working; they were not just outright disasters, none of them took a good opening either.
As a result, the Bollywood actor took the route of a masala comedy with the film Dream Girl 2 (2023). Dream Girl 2 definitely had the sequel advantage.
Dream Girl (2019) remains Ayushmann’s highest-grosser to date. Dream Girl 2‘s critical response was mixed but Ayushmann’s performance, particularly as Pooja, did receive a good response.
Dream Girl 2 earned over ₹100 crore at the domestic box office.
John Abraham in Pathaan
In the last few years, John Abraham has been following the route of Akshay Kumar — either playing a patriotic hero or doing slapstick comedies.
The likes of Pagalpanti (2019) and Satyameva Jayate-2 (2021) were disasters both critically and commercially. But, with Pathaan, John more than made up for his previous lacklustre outings.
His role as Jim was not just about being a dashing villain, there is also an emotional back-story about why he does what he does. As viewers, you might not agree with his actions but you do understand his resentment with RAW (Research and analysis wing).
There are certain moments where John Abraham expresses the angst of his character and he did a good job.
Akshay Kumar in OMG 2
Unlike the above-mentioned actors Akshay Kumar is not the leading man of OMG 2 (2023), nor is it a major supporting role. In OMG 2, he had only an extended cameo as the messenger of Lord Shiva in Human form.
Though there was not much scope for performance, Akshay still brought the right amount of divinity to his part. It is easily his most relaxed performance in the recent past.
Akshay Kumar also pulled off a Shiv Tandav with ease. After the debacle of Samrat Prithviraj (2022) and Raksha Bandhan (2022), OMG 2 must have been a much-needed relief for him.
Unlike many top actors who did negative roles later in their careers, Shah Rukh Khan started off his film career as an anti-hero.
It is hugely liberating for any actor who is relatively comfortable in one’s career doing roles that fall outside the conventional zone. It gives the artiste a certain abandon where he or she doesn’t have to pander to a certain image.
Following is a list of some Bollywood actors and actresses who have tried their hand at grey/negative roles and found varying degrees of success.
Let us start with “Bollywood Baadshah” Shah Rukh Khan.
Shah Rukh Khan
Unlike many top actors who did these kinds of roles later in their careers, Shah Rukh Khan started off his film career with a spat of anti-hero roles.
Both Baazigar (1993) and Darr (1993) made him a household name much before Dilwale Dulhania Le Jayenge (1995).
The impact of Shah Rukh in Darr was so much that the audiences hardly remember Sunny Deol. Not surprisingly, the “Bollywood Baadshah” was the obvious choice for the remake of Amitabh Bachchan’s Don (1978).
In spite of comparisons with Amitabh Bachchan, Shah Rukh made the character of Don his own with his stylish performance in the 2006 release. The actor effortlessly played the negative shades.
Aamir Khan
Among the other Khans, Aamir Khan played a character with grey shades to great success in Deepa Mehta’s directorial 1947: Earth (1999).
Here, he played an ice candy man named Dil Navaz who falls in love with Shanta (Nandita Das), a Hindu woman.
Shanta works as a nanny for a wealthy Parsi Family. However, she loves a Muslim man named Hassan (Rahul Khanna).
This is something that Aamir’s character cannot digest. Partition and the ensuing family tragedy change him completely.
As a person who gets swayed by the hate around him, Aamir delivered a brilliant performance. He did a wonderful job of bringing out the many nuances of his character.
Saif Ali Khan
Saif Ali Khan also made a huge impression with his negative roles in Omkara (2006), Tanhaji: The Unsung Warrior (2020), and Adipurush (2023).
With Omkara, the actor successfully broke his urban image under the skilful direction of Vishal Bhardwaj.
Even in Adipurush, the actor brought certain energy whenever he appeared on the screen.
Interestingly, Salman Khan is the only Khan who did not play a negative role yet.
John Abraham
Before Pathaan (2023), John did several roles mainly consisting of chest-thumping patriotism and slapstick comedies. Nevertheless, most of these films didn’t click.
But the actor made a strong comeback in Siddharth Anand’s globetrotting entertainer Pathaan.
In Pathaan John’s Jim was not the regular clichéd villain. He is someone who is always a step ahead of Shah Rukh Khan’s Pathaan, which adds to the victory of the protagonist at the end.
The action scenes choreographed between Shah Rukh and John had a lot of grit.
Jim also had a solid back story explaining why he does what he does.
After a series of sub-par outings, John Abraham was finally in form. The best part of his performance was how he expressed his angst in the more dramatic bits.
Tabu
In Bhool Bhulaiyaa 2 (2022), Tabu played a double role — one of a dutiful daughter-in-law Anjulika and the other of her twin sister Manjulika who wreaks havoc in Anjulika’s life.
As Manjulika, Tabu let her hair down with a delightfully devilish performance. It was clear that the actress was having a blast.
Apart from Kartik Aryan’s comic timing, Tabu’s double act was another major reason why the film worked.
In Andhadhun (2018), the actress played the wife of a yesteryear movie star. Her character had many layers. She was erratic, vulnerable and deceitful all at the same time. She was simply brilliant in portraying these shades.
Tabu also made a huge impact with Maqbool (2003) and Haider (2014). Both these were adaptations of William Shakespeare’s “Hamlet” and “Macbeth” respectively.
Ranveer Singh
There is no denying that Ranveer Singh’s Alauddin Khilji was more of a caricature meant to glorify the Rajputs in Padmaavat (2018). But at the same time, his Khilji was easily the biggest backbone of the film.
Ranveer gave an electrifying performance which easily overshadowed both Shahid Kapoor and Deepika Padukone. As viewers, we wanted to see more of him on the screen.
Ranveer’s scenes with Jim Sarbh as Malik Kafur were way more enjoyable than the poetic romance of Shahid and Deepika.
Priyanka Chopra
In Aitraaz (2004), Priyanka Chopra played an ambitious woman for whom fame and glamour are more important than anything else. In this quest, Priyanka’s Sonia marries a much older man (late Amrish Puri). Her desire for fame and success is fulfilled, but she doesn’t get sexual satisfaction from her husband.
In order to fulfil her desires, she tries to seduce her ex-boyfriend Raj Malhotra (Akshay Kumar). However, Raj rejects her advances as he is a happily married man. Sonia gets upset by his rejection and falsely accuses Raj of sexually harassing her.
Priyanka played this role very early on in her career. It was a bold move that could have easily backfired, but Priyanka made a huge impact. In fact, she shined more than Kareena Kapoor, who was playing the conventional heroine.
Alia Bhatt
Alia Bhatt‘s Hollywood debut is not exactly a smashing one, particularly for those who have seen her work in Hindi films. But the actress needs to be credited for taking up a grey character in her very first Hollywood venture — Heart of Stone (2023).
She tries to procure it for the villain without knowing his actual purpose. In the process, she is pitted against Gal Godot, the main protagonist.
In the initial portions, we see Alia’s harsh demeanour towards Gal. There is a visible arrogance in the way she speaks to her.
However, there comes a point when Keya goes through an existential crisis. All this was well portrayed by Alia. There is also a tough fight scene between them in mid-air.
Ajay Devgn
In Khakee (2004), Ajay Devgn played a formidable opponent who creates havoc for the police officers, played by Amitabh Bachchan and Akshay Kumar among others.
The actor brought a lot of quirks to his character. The subtle humour that he brought with his dialogues won the hearts of audiences.
His confrontation scenes with Amitabh Bachchan were easily one of the best parts of Khakee. With Khakee, Ajay Devgn showed that he can do a variety of roles.
Amitabh Bachchan
Amjad Khan’s Gabbar Singh in Sholay (1975) is easily one of the most iconic villains that Indian cinema has seen. It is not an easy task to recreate that villainy given how firmly the character has been etched in the minds of the Indian viewers.
But Amitabh managed to play the new-age Gabbar Singh in his trademark style in Ram Gopal Varma Ki Aag (2007). If we keep the comparisons aside, the veteran actor was also quite menacing as a villain.
Apart from the above-mentioned actors and actresses, others too did roles that fell outside the convention of hero and heroine.
For example, Aishwarya Rai Bachchan played a character with a lot of vengeance on her mind in both the Ponniyin Selvanfilms (2022, 2023).
Akshay Khanna in Race 1 (2008) was superb in his role as a scheming younger brother.
In Race 3 (2018), Anil Kapoor played an illegal arms dealer named Shamsher Singh. Of late, he has been doing more negative/grey roles, and the actor seems to be enjoying them also.
The director subverts some of his own themes from his previous films; a case in point being how fear is looked upon as respect in our culture.
Karan Johar’s Rocky Aur Rani Ki Prem Kahaani is everything that you expect from the filmmaker. There are larger-than-life sets and exquisite costumes among other things.
At the same time, the director subverts some of his own themes from his previous films; a case in point being how fear is looked upon as respect in our culture.
The film also makes a strong case for inclusivity through Tota Roy Chowdhury’s character who loves Kathak which is looked upon as a female dance form. It also makes a strong case for inclusivity between two vastly different cultures — Punjabi and Bengali.
Synopsis
Rocky Aur Rani ki Prem Kahaani begins with the introduction of Rocky and Rani (Ranveer Singh and Alia Bhatt respectively).
Rocky is introduced through a dance number where he is surrounded by many women, including Janhvi Kapoor, Sara Ali Khan, and Ananya Pandey (in special appearances).
He is dancing his heart out; but as soon as his grandmother Dhanalakshmi (Jaya Bachchan) appears, he scampers away because he is afraid of her and also his father.
Dhanalakshmi is the owner of a sweet shop — Dhanalakshmi Group. Rocky is the future heir to this business venture.
After the introduction of Ranveer, we move to Alia Bhatt’s Rani Chatterjee. She is introduced as this firebrand journalist who isn’t afraid to take on the Jugular.
The viewers see her grilling a minister about the rising rape cases by uttering a powerful dialogue: “Nazare Kharab Aapki Parde Kare Hum” (You ever tease us and we have to hide behind the curtains).
This sets the base for the drama to follow.
Rocky’s grandfather Kanwal (Dharmendra) is bedridden most of the time because of paralysis. He suffers from memory loss, too.
He has half picture of a woman in one of his books and Rocky believes that this woman might be the key to his grandfather regaining his memory.
The woman turns out to be Rani Chatterjee’s grandmother Jamini Chatterjee (Shabana Azmi). She is a cultural icon known among her intellectual gatherings.
Rocky arranges a meeting between his grandfather and Jamini through Rani.
Real kahaani
Rani initially treats him in a patronising way. But after some flirtation and through some old Hindi songs, they both fall for each other.
Rani isn’t sure about getting into a relationship with Rocky, given the many differences. But she eventually gives in.
However, things are far from easy as both families are contrastingly different from each other.
While the Chatterjees are woke, the Randhawas are as rigid as you get.
Taking the Telugu film Bommarillu (2006) route, the couple decides to go for a swap. Rani starts living with the Randhawas and Rocky with the Chatterjees.
Rani initially treats him in a patronising way. But after some flirtation and through some old Hindi songs, they both fall for each other.
Rani isn’t sure about getting into a relationship with Rocky, given the many differences. But she eventually gives in.
However, things are far from easy as both families are contrastingly different from each other.
While the Chatterjees are woke, the Randhawas are as rigid as you get.
Taking the Telugu film Bommarillu (2006) route, the couple decides to go for a swap. Rani starts living with the Randhawas and Rocky with the Chatterjees.
Rani faces severe opposition from Dhanalakshmi as she doesn’t like her firebrand nature. on the other hand, Rocky faces cultural issues. In a hilarious scene, he thinks that Rabindranath Tagore is Rani’s grandfather because of his long beard.
Whiff of nostalgia
The best part of Rocky Aur Rani Ki Prem Kahaani is how the director uses old Hindi songs at important junctures.
For example, Dharmendra sings “Abhi Na Jao Chod Ke” for the first time when his character regains his memory.
Some of the other songs include “Yeh Shaam Mastani“, “O Saathi Chal“, and “Do Dil Mil Rahe Hai“. These old songs are a character in itself.
However, the best usage has to be “Dola Re Dola” from Sanjay Leela Bhansali’s Devdas (2002). The song starts off with Tota Roy Chowdhury performing in Durga Puja.
Ranveer’s Rocky joins him much to the delight of Alia Bhatt’s Rani and to the horror of Jaya Bachchan. Here the director is clearly subverting gender stereotypes.
Alia and Ranveer hold the fort
What also works for Rocky Aur Rani Ki Prem Kahaani is how Ranveer and Alia play off each other’s energies. Their contrasting personalities work for the film.
Ranveer Singh as Rocky brings the house down with his faulty English and uninhibited performance. The actor equally shines in the scenes showcasing Rocky’s fragile side.
The best example is the emotional moment that he shares with Alia’s father Chandon Chatterjee (Tota Roy Chowdary).
Alia Bhatt plays the firebrand journalist with the finesse that you expect from her. She more than holds her own opposite the veteran actors. She is first-rate in the dramatic bits like the showdown that happens between her and Rocky post the “Dhindora” song.
Veterans steal the show
Another thing that works for the film is the bonding between Dharmendra and Shabana Azmi. Their scenes bring a smile to the viewer’s face.
Dharmendra doesn’t have many dialogues, but the actor is still quite good. Shabana Azmi is a picture of grace and poise. Some of her dialogues are truly wonderful.
For instance, there is a scene where Jamini opens up about why she fell in love with Kanwal and how she doesn’t regret it.
Jamini also adds that she got more love from Kanwal in just seven days than she got from her husband in their entire marriage. Further, she talks about how her grandfather wasn’t as polished as Rani thinks him to be.
Tota Roy Chowdhury is in a wonderful form as the man who loves Kathak and takes pride in being a dancer. There is a heart-touching scene where he talks about how he was the only male student in his dance class.
Jaya Bachchan as Dhanalakshmi is more or less a personification of all patriarchal characters, including her husband. She seems to have taken revenge on behalf of all the women characters who have been subjugated by them — Sweet Vengence.
Technical crafts
Pritam’s music isn’t exactly a blockbuster but still, it works on the big screen. “Dhindora Baje Re” and “Ve Kamleya” are easily the best of the lot.
“Dhindora Baje Re” is further enhanced by the intense scene which precedes the song.
“What Jhumka” makes for a perfect Sangeet number. Alia’s dance moves in sarees particularly stand out.
The cinematography by Manush Nandan is appropriately glossy. He captures the wide canvas of the film well through his lens. Having said that, for some, the canvas may come across as too glossy.
Final take
Rocky Aur Rani Ki Prem Kahaani does remind you of 2 States (2014) and Bommarillu. However, this cultural and family clash is hugely enjoyable if you buy into Karan Johar’s world.
Music: Devi Sri Prasad, Badshah, and Lijo George-DJ Chetas
Runtime: 2 hours and 18 minutes
William Shakespeare’s Comedy of Errors is a play that naturally lends itself to a delicious comedy. The play has seen several movie adaptions in different languages.
For example, in 1982, Gulzar made Angoor with Sanjeev Kumar and Devan Verma. It was much appreciated for its subtlety and clever humour. The performances, led by Sanjeev Kumar, were the icing on the cake.
There is also the Kannada film Ulta Palta which was remade in Telugu by the same name.
Cirkus, directed by Rohit Shetty, is the latest addition to the movies inspired by Comedy of Errors. But the sensibilities of Rohit are vastly different from that of a filmmaker like Gulzar.
Rohit primarily specialises in two kinds of films: First is the Golmaal franchise which runs on slapstick comedy, and the other is the macho cops seen in Singham and Simbaa, among others.
Although slapstick in nature, the Golmaal films were fun to watch because there was a method to the madness. However, Rohit Shetty’s Cirkus comes across as a hurried project where the director took the audience for granted.
Here, Rohit Shetty tries to incorporate a social message: How a person’s nurturing is more important than his bloodline. It is a noble idea. However, it is something which comes across as more of an afterthought.
An experiment with twins
The film begins with the introduction of Dr Roy (Murali Sharma) who is hell-bent on proving that nurture always trumps nature.
To prove that he is right, Dr Roy separates two sets of identical twins who have been set up for adoption. The first pair of boys are adopted by a circus owner and are named Roy and Joy. Strangely, the other couple also names the twins with the same names!
The first Roy (Ranveer Singh) and Joy (Varun Sharma) run the circus of their late father. Roy’s wife Mala (Pooja Hedge) writes thrillers under a mysterious pen name.
The second Roy (Ranveer Singh) and Joy (Varun Sharma) are raised in Bangalore by a rich businessman. The second Roy has a girlfriend Bindu (Jacqueline Fernandez) whose father Rai Sahab (Sanjay Mishra) and his secretary Prem (Anil Charanjeet) are always spying on them.
There is a unique connection that both the Roys share. The first Roy, who lives in Ooty, can handle live electricity without getting harmed. Whenever current flows through him, the other Roy who lives in Bangalore, feels the shock.
Murali Sharma acts as a doctor-cum-narrator who monitors both sets of twins while not letting the secret out.
Things take a comic turn when the second Roy and Joy have to go to Ooty. From here on, we move to mistaken identities and deliberately over-the-top situations.
The rest of the story is about how all the mess is cleared up and what happens at the end.
The positives
Before getting into the negatives, it is necessary to get done with the few positives.
Cirkus is majorly set in the 1960s and, to give credit where it is due, the retro music has been smartly integrated.
Particular mention has to be made of the situations where the characters mimic signature steps of that era while they are under electric shock. It becomes repetitive after a point. But still, it brings in some laughs.
The movie has a huge ensemble but the actor who stands out is Sanjay Mishra.
The senior actor embraces the overtop tone and somehow manages to make his lines funny. His interactions with both the Ranveers are fun to watch.
Anil Charanjeet as the secretary is also pitch-perfect in his portrayal.
Ranveer gives it his all to the double role. He is more effective than the first Roy. It is refreshing to see the actor playing a family man. There is also some physical comedy which Ranveer pulls off convincingly.
Out of the two heroines, Pooja Hedge fares better, although her being a writer could have been better explored.
The negatives
The biggest issue with Rohit Shetty’s Cirkus is the lack of connective tissue. Many of the jokes feel recycled from the Golmaal films and this becomes bothersome pretty fast.
Also, the angle of nature versus nurture gets buried under the slapstick humour. It resurfaces towards the end but it is too late by then.
Rohit Shetty handled multiple characters with success in the past. But here, the characterisations are mostly sketchy.
The sketchiness becomes even more glaring with how Varun Sharma has been portrayed. The actor becomes more of a sidekick. As a result, neither of the Joys leaves an impact.
Further, the much-needed comic camaraderie between Ranveer and Varun Sharma is sorely missing.
In keeping with Rohit Shetty’s previous films, Cirkus is also colourful to look at. However, the colours feel too statured after a point.
The music composed by Devi Sri Prasad, Badshah and Lijo-George DJ Chetas is pleasant to hear.
“Sun Zara” sung by Shreya Ghosal and Papon is soothing. On the other hand, “Current Laga Re” has an energetic beat. Ranveer’s dance with his real-life partner adds some masti.
Verdict
Cirkus is a massive letdown from a director who has been successful in entertaining the masses. It is time for Rohit Shetty to rethink his strategy!
Taking off from the previous post on Telugu Biopics, this one is on the flourishing trend of biopics on persons of significance in Hindi. Unlike the Telugu Film Industry many more biopics are made in Hindi on people from different backgrounds. The same cannot be said about mythological and maybe historical biopics. But I will come to that later.
On Women
Let us start with women biopics for a change. Bandit Queen (1994) and Godmother (1999) are two films that come to mind immediately. Surprisingly both are based on women who lived on the wrong side of law and later became politicians. While Phoolan Devi is the Bandit Queen played by Seema Biswas, Godmother is based on the life of Santokben Jadeja who is a mafia leader from Gujarat played by Shabana Azmi. The first one directed by Shekhar kapoor was internationally acclaimed. There is also an old film called Bhumika (1997) directed by Shyam Benegal starring late Smitha Patil. Bhumilka was based on a well known Marathi stage and screen actress Hansa Wadkar.
New millennium saw many more movies made on women like Vidya Balan’s Dirty Picture (2011), Sonam Kapoor’s Neerja (2016), Kangana Ranaut’s Thalaivi (2021) etc.
Dirty Picture was inspired by the life of Silk Smitha, a south Indian actress who was popular for her erotic roles. The film was a huge game changer for both Vidya Balan who played the lead role and also to Milan Luthria who directed the film. Neerja was about an air hostess who saved the lives of the passengers by giving up her life. It is Sonam Kapoor’s best performance to date. Kangana’s Thalaivi was a biopic on late actress/politician Jayalalitha. The film’s subject was powerful but the execution needed to be better.
Hindi cinema has also seen women biopics inspired by books. For example Meghana Gulzar made a film out of the book ‘Calling Sehmat’. It is Raazi (2018). This book was written by a former army man Harinder Sikha. Similarly Sanjay Leela Bhansali took a chapter from a book written by S Hussain Zaidi and made a strong film. It is Gangubai Kathiawadi (2022). Both the films have Alia Bhatt playing the lead role and both have become huge success at the box office.
On Sports
On the sports front there seems to be a galore of biopics. Chak De India (2007), Bhaag Milkha Bhaag (2013), Mary Kom (2014), M.S Dhoni (2016), Dangal (2016), ‘83 (2021) etc.
The lesser known ones include Azhar (2016), Saina (2021) and Kaun Pravin Tambe (2022). While all these are success stories there is one film directed by Tighmanshu Dhulia about a soldier who wins a gold medal at the Indian National Games but is eventually forced to become a notorious bandit. It is Paan Singh Tomar (2010) played by Irrfan Khan.
On Commoners
Biopics on commoners include Sarbjit, Manjhi, Shahid and Padman. Sarbjit was about an innocent villager who ends up in a Pakistan jail. Manjhi was about a laborer called Dashrath Manjhi. He is famous for carving out a road through a mountain. Shahid was about a rebel turned human rights activist lawyer. Padman is about a social entrepreneur Arunachalam Muruganantham. Arunachalam is famous for making sanitary pads available at lesser cost.
Hrithik Roshan’s Super 30 (2019) is based on a real life mathematics teacher called Anand Kumar. He became famous for starting an educational program for students aspiring for IIT study called Super 30. In this genre you have also got Madhavan’s labour of love Rocketry. It is about a scientist called Nambi Narayan. He was accused of selling his country which is not true. This film brings back the glory he deserves.
On Freedom Fighters
Hindi cinema has had its share of biopics on freedom fighters as well. For example three films on Bhagat Singh came in just one year 2002. Out of the three Rajkumar Santhoshi’s film was the best. Ajay Devgan won a national award for his portrayal of the patriot. Before that Sardar based on Sardar vallabhai Patel came in 1994 played by Paresh Rawal.
In 2004 a film on Netaji Subhas Chandra Bose directed by Shyam Benegal was made with the same name. In 2005 a film based on Mangal Pandey, the man who ignited the Sepoy mutiny was released. The film starred Aamir Khan in the lead role and was made by the acclaimed director Ketan Mehta. In 2021 Shoojit Sarcar made a film on Sardar Uddam Singh. Uddam Singh was a contemporary of Bhagat Singh. Late Irrfan Khan was supposed to play the lead role, but due to his sudden death Vicky Kaushal stepped in.
There are also political and army based biopics. In the political category you have ‘The Accidental Prime Minister’, ‘PM Narendra Modi’ (2019) etc. Both the above mentioned fims came with a political agenda. While ‘PM Narendra Modi’ was an unabashed glorification of Modi, ‘The Accidental Prime Minister’ was intentionally caricaturing the former Prime Minister Manmohan Singh. The army biopics include Shershah and Gunjan Saxena.
Now I will expand a little on some of the more popular biopics.
1. Dirty Picture (2011) – Milan Luthria’s Dirty Picture is a landmark film in the mainstream women centric films. Silk Smitha was a south Indian actress known for her exposing roles. She was mostly playing what was then called vamp roles. The biggest triumph of Dirty Picture lies in how the director humanises the actress. The word dirty here is about the film industry and not Smitha.
As Silk Smitha Vidya completely let go of her inhibitions and came out with a towering performance, it was not just about her physical appearance, it went way beyond that. Naseeruddin Shah was also a hoot as the ageing superstar. Director Milan Luthria took several potshots at different aspects of the then southern film industry.
2.Paan Singh Tomar (2012) – Tighmanshu Dulia brilliantly captured the life of an athlete who turns into a feared dacoit. The film uses the technique of Paan Singh narrating his story in a flashback. The director did a fabulous job in capturing the rustic terrain and the significant events in the life of Paan Singh Tomar. The transition never feels Jerky. Late Irrfan Khan delivered a rousing performance which aided beautifully to the narrative. The anguish of Paan Singh was effortlessly captured by the actor.
3. Bhaag Milkha Bhaag (2013) – Bhaag Milkha Bhaag directed by Rakesh Omprakash Mehra was a competent biopic on the flying Sikh Milkha Singh. Milkha Singh is a sprinter who needs no particular introduction.
Bhaag Milkha had its share of melodrama but still it is a very watchable film. Apart from Rakesh Mehra’s direction
Farhan Akhtar also did a splendid job in bringing alive the real life icon. The partition portions gave the film its strong emotional core. Farhan not only scored with his physical transformation, he also delivered a knockout punch in the emotional scenes.
4. Mary Kom (2014) – Omung Kumar’s Mary Kom had its share of criticism for Priyanka Chopra playing the lead character. There were people who questioned on why a north east person wasn’t cast. However Priyanka proved her skeptics wrong with an emotionally moving act.
Mary Kom remains the best film that Omung Kumar has directed till date. Post Mary Kom the director has delivered some embarrassing films like Sarbjit and PM Narendra Modi. The boxing scenes were a major highlight of this film. You could see the effort that Priyanka Chopra had put in. It didn’t appear fake in any way.
5. Sanju (2018) – This Rajkumar Hirani directorial was both popular and controversial. The director was accused of trying to whitewash Sanjay Dutt’s image. It was seen by a section of people as the director’s defense of the many transgressions of the actor.
Keeping aside the controversies there is no denying that Sanju was an emotional-roller coaster. Rajkumar Hirani used his trademark approach of making it both moving and humorous. Fortunately this balance worked in favour of the film.
As Sanjay Dutt Ranbir disappeared into the character completely, he nailed the different shades of the real life man. Ranbir was also aided by the terrific costume department. And of course Vicky Kaushal and Paresh Rawal made their presence amply felt.
6. 83 (2021) – The film 83 isn’t strictly a biopic as the movie is not about Kapil Dev alone but still 83 does fall in this category as Kapil Dev was the captain of the world cup winning team. Kapil had a significant role in making the team believe that they could win the world cup.
Kabir Khan made a rousing drama with ample moments to cherish. The film presses all the right buttons. You know what is going to happen at the end but that doesn’t stop you from clapping when the moment arrives. The footage of real life scenes added more heft to this heartwarming film.
As Kapil Dev Ranveer delivered an award winning performance, the best thing about Ranveer’s performance was how he captured the spirit of Kapil Dev. The film wasn’t a box office success but it is one of those films which has immense repeat value.
7. Gangubai Kathiawadi (2022) – Sanjay Leela Bhansali went into a different terrain with his latest Gangubai Kathiawadi. He based his film on a chapter from the book Mafia Queens of Mumbai. Gangubai film has the typical Bhansali aesthetics in how he stages the red light area of Kamatipura. There is a heartfelt soul to the film. This comes from the director’s real life observations of that area.
Gangubai was a powerful feminist tale with lot of moments to savor, case in point being the Azad Maidan speech in the second half. There were some noteworthy masala moments too in terms of how the character of Gangubai is introduced. The lighter bits also made you chuckle.
Alia Bhatt reinvented herself as an actress with this one. It is a performance which is going to be remembered for a very long time. She proved her skeptics wrong with a towering performance.
On mythological and historic persons
There aren’t many mythological biopics in Hindi. But movies on kings and queens are of course there. Some of the earlier examples of this type are the 1960 historical Mughal-e-Azam and 1983’s Razia Sultan. Out of the modern directors Ashutosh Gowarikar and Sanjay Leela Bhansali have had their share of films on kings and queens.
Ashutosh Gowarikar has made Jodha Akbar and Panipat.
Panipat was based on the war between the Maratha warrior Sadhashiv Bauv and Ahmad Shah Abdali. Sanjay Leela Bhansali made Bajirao Mastani and Padmavat. Both the directors have certainly taken ‘creative liberties’ with their films. The story of Padmavat is actually based on a poem. No historic proof exists about Padmini’s life. In the case of Jodha Akbar the romance between the two was exaggerated. In fact the Alex Rutherford book on Akbar contains zero romance.
The latest is Samrat Prithviraj starring Akshay Kumar, the film has been panned by both critics and audiences.
Just like Telugu biopics this list is not complete in anyway. I have just picked up those biopics which I am familiar with.
Divyang Thakkar’s Jayeshbhai Jordaar is what you get if you grind Ayushmann Khurrana’s formula of social films and also some Akshay Kumar ones like Toilet Ek Prem Katha.
The director takes up the issues of female infanticide and superstitions among others, he narrates it through the lens of entertainment. Even when the film moves into a dark zone the narrative style doesn’t lose its core.
Jayeshbhai Jordaar is definitely a breadth of fresh air among the spate of biggies like RRR and KGF 2. However you just wish that the director had paid more focus on the development of some characters, case in point being Shalini Pandey’s Mudra. It looks like the actress had hopped from the sets of Arjun Reddy to this one. Shalini tries very hard but the mostly one- dimensional character coupled with the forced Gujarati accent makes it hard to sympathize with her.
Ranveer Singh and Shalini Pandey play a young couple living under the thumb of the overbearing elders. They have to bow down to whatever the elders say, and this includes a sex determination test too. Jayeshbai’s father is sarpanch Ram Lal (Boman Irani). His character is very reminiscent of those politicians who think that woman wearing short clothes leads to rape. There is a bizarre scene where Ram Lal bans soap to protect the ladies. Siddhi (Jia Vaidhya) is the daughter of Jayesh and Mudra. Ratna Patak Shah plays Boman Irani’s wife. Both Ram Lal and his wife want Mudra to deliver a boy who will carry forward the lineage. There is also a subplot involving a village in Haryana. The people in that village want help as it is an all- men’s village. The sex-ratio is terribly skewed. The rest of the story plays out like a road movie with Jayeshbhai desperately trying to save his wife. The daughter Siddhi is Jayeshbhai’s biggest support.
https://www.youtube.com/embed/fppJtxJ7RWY?feature=oembed The best part of Jayeshbhai Jordaaar is how the director maintains the character of Jayesh. Jayesh is a timid person who cannot oppose his father publicly, but he still stands up for his wife on many occasions making sure that she doesn’t get hurt. There is a scene early on when Jayesh is asked to beat his wife by Ram Lal. The reason being Jayesh’s sister is being abused in her martial home. Mudra’s brother is the husband of Jayesh’s sister. Jayesh closes the door and creates a charade that makes Ram Lal and his wife think that he is beating Mudra severely.
Jayeshbhai is someone who relies on his brains and not fists. At no point Ranveer turns into a Salman Khan of the Tiger series.
Ranveer’s scenes with Jia Vaidhya are the soul of Jayeshbhai Jordaar. Ranveer shares a far better chemistry with Jia than he does with Shalini Pandey. There are occasions where Siddhi behaves more like an adult but it still works. Jia Vaidhya is a definite a fire cracker in her role.
The sub plot involving the Haryana village is also smartly integrated into the narrative. The comic scenes are also quite good. A particular mention must be made of the scene involving the black cat. It is hilarious.
Ranveer Singh has always been one of those actors who brings something new to the table.
As Jayeshbhai the actor delivers another terrific act. His role here is a far cry from the flamboyant Ram that he played in Ram Leela, that was the last time that Ranveer had played a Gujarati.
One big minus of Jayeshbhai is that a majority of the supporting actors are mere gap fillers. Even someone like Ratna Pathak Shah doesn’t get much to do. There is a transformation which happens toward the end, however it is too sketchily written for you to buy it.
Boman Irani is appropriately menacing but the one note characterization gets tiring after a point. His character also gets a makeover eventually, but again it is difficult to buy it. The hangover of films like Toilet Ek Prem Katha and others are very visible. As a result there is a sense of déjà vu that creeps in.
Musically there is not even one song that you would remember which is sad given that banners like YRF and Dharma are known to deliver popular soundtracks irrespective of the quality of the films. Jayeshbhai Jordaar has an important story to tell but a sense of familiarity plays the spoilsport here.
Directed by Kabir Khan, starring Ranveer Singh as Kapil Dev, it is bound to be talked about for a long long time. Other prominent cast includes Saqib Saleem as Mohinder Amarnath, Tahir Raj Bhasin as Sunil Gavaskar, Jatin Sarna as the late Yashapal Sharma, Tamil actor Jiva as Krishnamachari Srikanth and Pankaj Tripati as tour manger Man Singh among others. There is also Deepika Padukone who shows up as Kapil Dev’s wife Romi. The victory of 83 was not just about winning the world cup, it wasmuch more than that. It was about respect and being taken seriously by the cricketing world. There is a dialogue in the film where Pankaj Tripati’s character says that India has won freedom but is still far from gaining respect. 83 world cup win did exactly that. Except for Kapil Dev no one thought that India would go the distance that it did. There were constant humiliations and many obstacles but one man’s desire transformed the entire team.
Not an easy film to make
It is not an easy film to make as a director for two reasons. One, you should be able to transport the audiences back to that era and two, you need to make sure that today’s generation connects with the journey of the then cricket team. Kabir Khan more than lives up to the expectations, he makes a rousing drama with the right dose of lightness and also some moving emotional scenes. The biggest success of Kabir Khan lies in the fact that he never reduces it to a one man show. Yes, Ranveer Singh is the heart of the film but all the cast members have their moments at different junctures of the film. A good example of that is the scene featuring Jiva. He delivers a moving monologue where he praises his captain in front of a British journalist much to the surprise of Kapil himself. It is something that you don’t see coming. Like this there are many scenes at different points in the film. Much like Bajirangi Bhaijaan here also Kabir Khan explores the idea of love triumphing over hate. Here the medium is cricket. This can be seen in the scene where all villagers along with police watch the final match together in an atmosphere of communal tension.
Recreation of action-packed event
The story of 83 is basically a recreation of what transpired between 1st march and June 25th. Director Kabir Khan along with writers Sumit Arora and Vasan Bala take us through the highs and the lows of this incredible real life story. We see India starting off with a bang as they beat West Indies and Zimbabwe but they start faltering in the next couple of games. A point comes where they are completely down and out. At this stage you have the famous innings of Kapil Dev. His score of 175 gave a huge boost to the team, it gave them the self-confidence that they can go far in the world cup. From that point a new Indian cricket team emerges.
Aseem Mishra, one of the strong points
One of the big strengths of 83 is the cinematography of Aseem Mishra. Through his camera lens Aseem Mishra successfully captures the tension of the matches. His cinematography particularly shines in the scenes involving the aggressive bowling of West Indies. The slow motion camera shots are wonderfully done.
Another striking aspect of 83 is the way Kabir Khan maintains the tempo of the film. He makes sure that you are constantly involved till the last minute. As viewers we know that India has won the 83 world cup but that doesn’t stop you from cheering out loud when that moment comes. A major reason for that is Kabir Khan’s direction.
Emotional moments
83 has plenty of moments that are both humorous and also highly emotional. There are lot of fun moments involving the characters of Yashpal Sharma, Krishnamachari Srikanth, Balwinder Sandhu and Man Singh. At the same time the emotional scenes also pack a solid punch. Apart from Jiva’s monologue my other favorite emotional scene is the one involving real Lala Amarnath and his on screen son Mohinder Amarnath. There is a telephonic conversation where Lala Amarnath says to his on screen son that he has made him younger by ten years. What follows will create a lump in your throat. Additionally there is also the footage of the real life players which is smartly used by Kabir Khan.
The music by Pritam is more functional but it still works in the context of the film. The song Lehra Do in particular gives goosebumps.
Cast made the difference
The cast put together by Kabir Khan takes the film to another level. Over the years, Ranveer has shown that he can transform into any character. With his performance as Kapil Dev he shows that he has reached another level. He manages to capture the attitude of Kapil Dev perfectly along with the physical aspect. There is a scene in the press conference where Kapil Dev says that we are here to win, the way Ranveer says it is a perfect example of how he has imbibed the spirit of Kapil Dev. His acting in the emotional scenes also deserves full marks. In short, he deserves all the best actor awards for next year. Pankaj Tripati is also hugely impressive in his role of Man Singh. He and Ranveer share some of the best moments in the film. Among the rest my favorites are Saqib Saleem, Jiva, Jatin Sarna and Tahir Raj Bhasin.
Deepika Padukone has a small role but she is efficient in what she does. It is also a case of clever casting as you already have a shared camaraderie off screen.
In the final tally 83 is a roll coaster of emotions. Yes, it is manipulative but you don’t complain as Kabir Khan gives you plenty of moments to savor. It is the perfect big ticket entertainer to end the year.
