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Allu Arjun: The Stylish Star Of Tollywood With Unconventional Looks

From a shaky start in ‘Gangotri’ to a National Award-winning performance in ‘Pushpa’, he conquered many hearts over the years.

Starting from Gangotri in 2003, Allu Arjun has done 26 films so far. Among these is a short film titled I Am That Change (2014) directed by the star filmmaker Sukumar.

There are special appearances, too, like the one in Shankar Dada Zindabad (2007). Before Gangotri, he played a small role in Megastar Chiranjeevi’s Daddy (2001).

Gangotri was a prestigious project in more ways than one. Apart from the film being Allu Arjun’s debut as a leading man, it was also K Raghavendra Rao’s 100th movie.

Gangotri was a success at the box office, but the actor’s performance got mixed reviews.

There was a visible rawness. The film also didn’t have any of the stylish dance steps that have become a trademark of Allu Arjun now.

In short, there was no indication of the pan-India superstar he would become one day.

As Stylish Star

Post Gangotri, Allu Arjun went through a rough patch for a year or so. But he reinvented himself both as a performer and as a Stylish Star with Sukumar’s directorial debut Arya (2004).

In Arya, the actor played a free-spirited guy who falls in love with an introverted girl Geeta (Anuradha Mehta).

Geeta is already the love interest of someone else. But Arya doesn’t give up. He pursues his love.

What made the film work were the fresh treatment and the positive attitude of the protagonist. For the most part of the movie, Arya keeps asking Geeta to just feel his love. This was a new approach that struck a chord with the audience.

Through the character of Arya, Sukumar also explored the concept of one-sided love. In fact, there is also a song that celebrates one-side lovers. His performance was a far cry from his shaky start in Gangotri.

He not only proved himself as a performer, but his dancing skills also caught the attention of the moviegoers. Since Arya, there has been no looking back for the actor. He conquered many hearts across the demographic of India.

What makes Allu Arjun’s success even more special is the fact that he doesn’t have the conventional looks of a hero, unlike Prabhas or Mahesh Babu.

Before the latest Pushpa: The Rise (2021), some of his more prominent movies included Happy (2006), Vedam (2010), Son of Satyamurthy (2015), Julayi (2012), and Ala Vaikunthapurramuloo (2020).

An early movie that showed Allu Arjun’s potential as a serious actor was Vedam directed by Krish Jagarlamudi. In the film, he played the role of a cable operator who isn’t particularly likeable.

He pretends to be a big shot in order to marry a rich girl. There is a transformation that the character goes through and Allu Arjun doesn’t miss a single beat in capturing the different nuances.

As a stellar performer

In Happy, he is mostly a happy-go-lucky guy named Bunny. At the same time, there are some scenes that show his capability as a performer. A case in point is the scenes that he shares with Manoj Bajpai.

In one particular scene, Bunny cooks up a story of how he and Madhumati (Genelia) are madly in love and won’t be able to bear separation. He leaves the police station crying, which also leaves Manoj Bajpai in tears.

But the minute he comes out he becomes his normal self. The merger of grief and laughter was done seamlessly.

I am sure everyone in the theatre would have noticed and appreciated his talent in that particular bit. He also shined in an emotionally charged pre-climax.

Trivkram and Allu Arjun

Before Son of Satyamurthy, Trivikram and Allu Arjun teamed up for Julayi.

It was a stylish entertainer about an intelligent youngster who wants quick bucks and would take any risks to achieve his goal.

The film had many witty one-liners in trademark Trivikram style, which Allu Arjun delivered effortlessly.

Son of Satyamurthy was a different outing from Julayi. Here, he played the younger son who undergoes a life-changing transformation after the sudden death of his father.

The actor showed his versatility with an emotional performance, particularly in the scenes where he remembers his father. It was a welcome restraint from the actor.

Ala Vaikunthapurramulo, also directed by Trivikram, is a key milestone in the actor’s career.

Before Pushpa: The Rise happened, Ala Vaikunthapurramulo announced the arrival of the Stylish Star in the Hindi Market.

At its core, Ala Vaikunthapurramulo is a movie filled with regressive undertones. However, what made it work was the skilful treatment of Trivikram and Allu Arjun’s charisma.

The script relies heavily on the charisma of Allu Arjun and the actor didn’t disappoint one bit.

He excelled in portraying all the shades of Bantu. He was particularly good in his combination scenes with Murali Sharma.

He also shined in roles where the focus was not always on him. For example, in Gunashekhar’s Rudhramadevi (2015), he played a fearsome warrior called Gona Ganna Reddy.

His screen presence coupled with his dialogue delivery proved to be a much bigger attraction than Rana who had more screen time. His Telangana dialect was also an absolute delight.

Allu Arjun as Pushparaj

Now let’s come to the film that has given Allu Arjun his National Award — Pushpa: The Rise. His role in Pushpa is very different from what the actor did so far.

There is no trace of the Stylish Star even in the dance sequences. What you see is only the character and not Allu Arjun.

The role of Pushparaj is challenging in many ways starting from a particular body language to a specific dialect that the actor speaks.

He did a fantastic job of portraying a rustic and downtrodden character. On the outside, Pushpa is a tough soul, but there is also a strong vulnerable side.

Allu Arjun delivered an immersive performance that made the viewers root for him.

In these 20-odd years, Allu Arjun’s journey went from strength to strength and made him a huge pan-India Star. Here’s hoping that Pushpa 2 lives up to the massive expectations that have only increased after the national award win.

(PS: Many fans are hoping to see Allu and Aloo (Alia Bhatt) working together in a feature film. It would be a treat to watch the two National Award winners in the same frame.)

https://thesouthfirst.com/entertainment/allu-arjun-the-stylish-star-of-tollywood-with-unconventional-looks/

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Made In Heaven Season 2: A Gripping Critique On Social Issues

Despite a few editing lapses, the directors explore different topics and deliver a solid show, once again.

A worthy follow-up!
Made In Heaven Season 2 (Hindi)
  • Cast: Sobhita Dhulipala, Arjun Mathur, Vijay Raaz, Mona Singh, Shashank Arora, Mrunal Thakur, Pulkit Samrat, Radhika Apte, and Anurag Kashyap
  • Directors: Zoya Akhtar, Alankrita Srivastava, Neeraj Ghaywan, and Nitya Mehra
  • Producers: Excel Media & Entertainment and Tiger Baby
  • Music: Sagar Desai, Dub Sharma, Balkrishan Sharma, and Sherry Mathews
  • No. of episodes: 9
  • OTT platform: Amazon Prime Video

The first season of Made in Heaven created by Zoya Akhtar, Nitya Mehra, Reema Kagti, Prashant Nair, Alankrita Shrivastava, and Neeraj Ghaywan was a gripping take on the affluent society of South Delhi.

In the web series, the directors looked at the hypocrisies beneath all the glitter and glamour.

At the heart of Made in Heaven are the two wedding planners Tara Khanna (Sobhita Dhulipala) and Karan (Arjun Mathur). Tara was born into a typical middle-class family but her luck changes when she gets married into a rich South Delhi family.

Karan, on the other hand, is a gay who has unattached hookups.

Through each wedding, the directors explore different topics along with the upheavals that Tara and Karan face, both professionally and personally.

Synopsis

The second season of the web show, Made in Heaven Season 2, starts with Tara and Arjun trying to reconstruct their business which is facing financial issues.

As a result, they set up their office in an old dilapidated house with a new business partner Jauharji (Vijay Raaz) reprising his role from the first part.

In order to have tight control over the financés he brings in his wife Bulbal Jauhar (Mona Singh).

Apart from her, another new addition to the team is Meher (Trinetra Haldar).

Shashank Arora and Shivani Raghuvanshi continue their parts of Kabir and Jaspreet respectively.

Much like the first season, this time too, the creators push the envelope in exposing the double standards and hypocrisies that dwell in our society through different weddings.

For example, one of the episodes is about a successful author and Professor Pallavi Menke (Radhika Apte) who asserts her Dalit identity at every step. She insists on having a Dalit Buddhist wedding in addition to a traditional ceremony.

What is also similar is the various complexities playing out in the individual lives of Tara and Arjun.

The best part of Made in Heaven Season 2 is how the directors integrated the different social aspects of our society in an engaging manner.

Yes, there are times when the viewers feel the length of the episodes could have been trimmed. However, the impact doesn’t diminish.

Each episode ends with Shashank Arora’s social commentary. He raises uncomfortable yet important questions.

The Dalit episode definitely packs a bigger punch, thanks to Neeraj Ghaywan’s direction in addition to Radhika’s fiery performance.

Other episodes also make a strong impact.

A good example of this is the one centred on Kriti Malhotra and Gulshan Raina (Neelam Kothari and Samir Soni respectively).

This episode has also been directed by Neeraj Ghaywan. Kriti and Gulshan were lovers once upon a time in college. Now in their 50s, they are having an extra-martial affair behind the backs of their respective spouses.

The episode ends with Kriti taking a bold decision that doesn’t go down well with her children.

Effortless performances

Made in Heaven Season 2 also does a good job in the way it portrays a transgender character. There is certain sensitivity both in the writing and execution of the transgender person (Trinetra Haldar) who delivers a confident performance.

Special mention must also be made of Mona Singh. Her character Bulbal comes across as a tough woman in the office. But at the same time, there is also a vulnerability in the scenes with her rebellious teenage son.

Mona Singh does a fantastic job of portraying these shades.

One of my favourite characters apart from Radhika Apte is the one played by Mrunal Thakur. She plays a beauty queen struggling in an abusive relationship. The actress does a wonderful job, particularly in the emotional bits.

Sobhita and Arjun Mathur take off effortlessly from where they left in the first season.

In the second season, Sobhita as Tara has to literally restart her life after the separation from her husband Adil (Jim Sarbh).

Tara is someone who is both vulnerable and manipulative. The actress does a good job of bringing out these shades.

Arjun Mathur is in impressive form with his arresting performance.

Final Take

To sum it up, the title “Made in Heaven” actually feels like a paradox because of the way most of the marriages in this series end up. However, it’s a worthy follow-up to the first season.

(Views expressed here are personal.)

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These Bollywood heroes and heroines made our jaws drop as onscreen baddies too!

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 Selvan films (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.

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OMG 2: A Compelling Social Drama That Makes You Laugh And Think

Amit Rai’s directorial is another noteworthy addition to the list of mainstream movies that discuss taboo subjects.

A good follow-up!
OMG 2 (Hindi)
  • Cast: Akshay Kumar, Pankaj Tripathi, Yami Gautam, and Pavan Malhotra
  • Writer-Director: Amit Rai
  • Producer: Vipul D Shah, and Ashwin Varde
  • Music: Sandesh Shandilya and Vikram Montrose
  • Runtime: 2 hours 36 minutes

Director Amit Rai’s OMG 2 is not only a good follow-up to the first part but also works as a standalone film.

In OMG-Oh My God (2012), writer-director Umesh Shukla took several digs at the so-called religious men who feed upon the fears of common folk across religions. There was a sharp commentary on all types of religious hypocrisies.

OMG 2 features a different protagonist this time — a Shiv Bhakt. But what remains the same is how it touches upon an important social topic.

Nevertheless, the sequel is a step ahead in many ways.

Synopsis

Kanti Sharan Mudgal (Pankaj Tripathi) runs a pooja shop near a temple. he is a diehard devotee of Lord Shiva and enjoys respect in his area.

His life turns upside down when his son Vivek (Aarush Sharma) gets admitted to the hospital due to exhaustion caused by excessive masturbation (the word used here is a “selfie”).

Things get more problematic when Vivek’s fellow students secretly shoot a video of him doing the act in the toilet and the video gets circulated.  This results in a lot of humiliation for both Vivek and the family.

So, Kanti Sharan decides to flee with his family. It is at this point that Akshay Kumar enters as God’s messenger in human form.

Much like the first film, here too, Akshay guides his protagonist. This time, it is about fighting for his son and not running away from problems.

Kanti Sharan realises that his son has been a victim of misinformation and misguidance. He drags the school authorities and a chemist among others to the court. Here he is pitted against a high-profile lawyer Kamini (Yami Gautam).

Pavan Malhotra plays the judge.

The rest of the story is about how Kanti Sharan brings out the importance of sex education through his arguments and whether Vivek becomes his normal self again.

Highlights sex education

The best part about OMG 2 is how Amit Rai normalises the importance of sex education without making it come across as awkward.

For example, there are scenes where Tripathi shows how the body parts of males and females should be taught in school. He uses the words penis and vagina as normal words. All this comes across as natural.

The film also does a good job of normalising discussions about physical intimacy. There is a progressive outlook that can be felt throughout.

Further, it smartly integrates ancient Indian texts which have references to homosexuality.

There is also a reference to the Kamasutra which Kanti Sharan uses at an important juncture to remind us how progressive the Hindu religion was in the past.

However, the bashing of Macaulay towards the end could have been avoided. It comes as too simplistic.

Commendable performances

What also works for the film are the scenes between Akshay Kumar and Pankaj Tripathi.

The scenes where Akshay imparts wisdom to Pankaj Tripathi bring a smile to your face.

Akshay Kumar plays his part with the right amount of divinity. He also does a Shiv Tandav with admirable ease.

Pankaj Tripathi as Kanti Sharan does complete justice to the arc of the protagonist. His character has several shades from a distraught father to becoming a revolutionary and the actor pulls it off with the finesse that you expect from him.

Yami Gautam as the menacing opponent is also in fine form. She brings in the required aggressiveness and holds her ground.

Pavan Malhotra as the judge has his moments, particularly in his reaction shots.

Verdict

In all, OMG 2 is another noteworthy addition to the list of mainstream movies that discuss taboo subjects.

(Views expressed here are personal.)

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Rocky Aur Rani Ki Prem Kahaani: Inclusivity In Karan Johar Style

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.

(Views expressed here are personal.)

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The Trial: A Gripping Drama That Goes Much Beyond The Courtroom

The real-life references that director Supan Verma brings in make Kajol’s web series debut interesting to watch.

A worthy remake!
The Trial (Hindi)
  • Cast: Kajol, Jisshu Sengupta, Sheeba Chaddha, Gaurav Pandey, Alyy Khan, and Kubbra Sait
  • Director: Supan Verma
  • Producers: Ajay Devgan and Rajesh Chadha
  • Music: Sangeet-Siddharth
  • No. of episodes: 8
  • OTT platform: Disney+ Hotstar

Director Supan Verma’s The Trial is centred on a woman named Nayonika Sengupta (Kajol).

It is a remake of The Good Wife (English, 2009) and deals with many relevant topics like corruption, politics, media trials, and fake news. It also marks the web series debut of Kajol.

What happens that brings Nayonika back to work is what The Trial is about.

Synopsis

One day, Nayonika’s husband Rajiv Sengupta (Jisshu Sengupta) is arrested by the police for seeking sexual favours. This incident results in her coming out of her retirement.

With the help of Vishal Chaubey (Alyy Khan), she manages to get a job at a law firm co-founded by him. Vishal and Nayonika have a past which didn’t end happily.

At the law firm, Nayonika faces the brunt of both gossip and the sexual scandal of her husband before she proves herself as a competent lawyer.

In a nutshell, the series focuses on the different cases that Nayonika takes up along with how she bravely takes on the challenges that arise in both her professional and personal life.

Makes references to real-life incidents

One of the things that makes The Trial interesting is the real-life references that director Supan Verma brings in.

For example, one of the cases is about a cricketer who commits suicide and his girlfriend is hounded by the media. A negative campaign is run against her.

This reminds you of the Bollywood actor Sushant Singh Rajput’s case.

Here, the director makes some valid points about how these media trials have a severe effect on the person who is already battered.

The Trial also has some satirical commentary on the legal system which lands perfectly.

Realistic portrayal of relationships

Supan Verma does a good job of exploring the dynamics between a mother and her two young daughters. It has been treated in a realistic manner.

The two daughters face a lot of humiliation in school because of the father’s sex scandal. In fact, they are forced to mature before age.

Another track that deserves a mention is the one involving Vishal and Nayonika.

Vishal never lets their bad past come in the way of supporting Nayonika. On more than one occasion, we feel that Nayonika should have ended up with Vishal and not Rajiv.

Further, the back story of how Nayonika and Rajiv ended up together could have been explained better. But still, the scenes between Kajol and Jisshu Sengupta do pack a punch.

The aloofness of Nayonika and her hesitancy to trust Rajiv again has been wonderfully portrayed.

Performances

As Nayonika, Kajol delivers a formidable performance and is successful in bringing alive the different layers. She brings in the right amount of grit, vulnerability, and despair.

Jisshu Sengupta is solid on his part as a guilty husband.

Sheeba Chadda as Vishal’s law firm partner brings in the required authority.

The rest of the actors also deliver good performances.

Final take

Watch The Trial for a realistic portrayal of Nayonika’s professional and personal life.

(Views expressed here are personal.)

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Neeyat: A Concoction Of Agatha Christie And Sherlock Holmes That Produces More Groans Than Thrills

Director Anu Menon creates the right atmosphere, thanks to the art direction and cinematography, but flounders when it comes to storytelling.

Flat direction!
Neeyat (Hindi)
  • Cast: Vidya Balan, Ram Kapoor, Shahana Goswami, Shashank Arora, Amrita Puri, and Shefali Shah (special appearance)
  • Writer-Director: Anu Menon
  • Producer: Vikram Malhotra
  • Music: Mickey McCleary
  • Runtime: 2 hours and 10 minutes

Director Anu Menon’s Neeyat (Motive) is a solid example of how making a mystery film is not everyone’s cup of tea. Apart from the Agatha Christie and Sherlock Holmes hangover, the film also reminds you of Daniel Craig’s Knives Out (2019).

Neeyat also has a minuscule semblance to the pilot episode of Vishal Bharadwaj’s web series Charlie Chopra & The Mystery of Solang Valley (2023).

Well, there is nothing wrong with getting influenced by the works of others provided you make a compelling film. But Anu Menon’s Neeyat provides very few thrills. In fact, the thrills can be counted on your fingertips.

Synopsis

The film’s plot revolves around a fugitive billionaire Ashish Kapoor (Ram Kapoor).

It is easy to guess that he is modelled by several businessmen who have committed financial fraud and escaped from the country. His over-ambitious behaviour causes many innocent employees in his company to commit suicide.

Ashish Kapoor has a beautiful mansion by the seaside in Scotland. He decides to celebrate his birthday there with close family members and friends. They all have their inner demons.

Present at this party is also the supposed CBI officer Meera Rao (Vidya Balan).

Things take a drastic turn when Ashish Kapoor is found dead under the sea. What follows is a whodunnit where each member is a suspect.

Ram Kapoor & Rahul Bose stand out

There are only a few actors who stand out in this ensemble cast.  Chief among them is Ram Kapoor and Rahul Bose.

Ram Kapoor plays the power-hungry billionaire with panache. He does a swell job of capturing the eccentrics of Ashish.

Rahul Bose also has his moments playing Ashish Kapoor’s brother-in-law Jimmy. His character is a caricature but Rahul Bose makes it land with his enthusiasm.

Last but not least, Shefali Shah, in a special appearance, packs a far bigger punch than Vidya in the entire film.

There are a couple of twists that do take you by surprise — one of them is Ram Kapoor’s character and the other is Vidya Balan’s. But these twists come so late that the audiences are exhausted by that time.

Dragged narrative

As mentioned earlier, Anu Menon does create the right atmosphere. This is majorly thanks to Lydia Moss’s art direction and the cinematography by Andreas Neo.

They both are successful in creating a tension-filled atmosphere. This atmosphere adds more depth to the story than the direction.

Ashish Kapoor’s mansion is also a character in itself.

However, a big issue with Neeyat is the dragged narration of Anu Menon. The film takes a long time to get to the point. The pacing is slow and some layers have been unnecessarily added.

Neeyat also tries to make social commentary on how the employees are left in a lurch because of these power-hungry billionaires, driving them to suicide. But these portions don’t make any impact because of the flat direction.

Another major problem with Neeyat is how Vidya Balan goes about her role as Meera Rao. The energy needed for a female Sherlock Holmes is absolutely missing. Vidya plays her character with unenthusiasm.

Verdict

In all, Anu Menon’s Neeyat produces more groans than thrills.

(Views expressed here are personal.)

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The Night Manager Part 2: High On Both Thrills And Human Drama

Part 2 of this espionage drama gives a deep insight into global politics through the character of Shelly played by Anil Kapoor.

Stands out for its performances!
The Night Manager Part 2 (Hindi)
  • Cast: Anil Kapoor, Aditya Roy Kapur, Sobhita Dhulipala, Tillotama Shome, and Saswata Chatterjee
  • Direction: Sandeep Modi, Priyanka Ghose, and Rukh Nabeel
  • Producers: Deepak Dhar, Rishi Negi, and Rajesh Chadha
  • Music: Sam CS
  • No. of episodes: 3
  • OTT platform: Disney+ Hotstar

The first part of The Night Manager followed the journey of an ex-Navy guy-turned-night manager Shaan Sengupta (Aditya Roy Kapur). His life takes a drastic turn when a tormented teenager seeks help from him.

The husband of this teen is a criminal and much older than her. He is also an associate of a businessman named Shelly (Anil Kapoor).

On the surface, Shelly is supposed to be a philanthropist. But in reality, he is a businessman who deals in illegal arms.

Shaan takes the help of a woman called Lipika Saikia Rao (Tillotama Shome) who works for the Indian intelligence.

In spite of his best efforts, Shaan isn’t able to save the teenager. And this leaves him absolutely shattered.

The crux of The Night Manager Part 1 was primarily about how Shaan manages to impress Shelly and gets access to his inner circle.

Season 2 synopsis

The Night Manager Part 2 begins with the illegal arms dealer Shailendra Rungta aka Shelly.

He is still not aware of Shaan’s real identity. His trust in Shaan is so firm that he even makes him a business partner.

On the other hand, Lipika is continuing to trace Shelly at the cost of facing heat from the system.

There is also a secret love story developing between Shaan and Shailendra’s girlfriend Kaveri K Dixit (Sobhita Dhulipala).

However, Shelly’s friend Brijpal (Saswata Chatterjee) isn’t still convinced about Shaan’s reliability. Adding to Brijpal’s woes, he loses Shelly’s trust.

Like most espionage dramas, this web series is also about a man who rises against all odds to save the country. At the same time, The Night Manager Part 2 gives a deep insight into global politics through the character of Shelly.

Sobhita gets a strong role

A big area of improvement in comparison to The Night Manager Part 1 is how the makers designed the character of Sobhita Dhulipala’s Kaveri.

In the first season, she was more of a glam doll. But now, the character has been explored much more.

The romantic moments between Shaan and Kaveri are subtle yet effective. However, as viewers you do wish that Kaveri shouldn’t have been reduced to a damsel in distress towards the end.

Sobhita Dhulipala is quite good and does hold her own opposite the terrific Anil Kapoor.

A peek into world politics

Coming to Anil Kapoor, he does a fantastic job of portraying the evilness of Shelly. The monster side of Shelly comes out much more in The Night Manager Part 2.

For example, there is a scene where he butchers a former associate to death with what looks like a Reynolds ballpoint pen.

One of my favourite moments in the show is when he chews on the cigar and talks about bombs in a poetic way. It is so good to see Anil Kapoor reinventing himself constantly.

As earlier mentioned, the theme of global politics is explored through the character of Shelly.

He may look like the villain, but in reality, he is someone who is very much needed by the Indian government. Because people like him are hired to do the dirty work which the government doesn’t want to lay its hands on.

At one point, Shelly is compared to Osama Bin Laden whom America thought it could control, at least at one point in time.

These moments make the show a cut above the usual espionage drama.

Other characters

Aditya Roy Kapur shows once again why he is perfect for the role of Shaan. He lends the required mystery as Shaan doesn’t express a lot. His good looks also come in handy since Shaan is meant to be a seducer as well.

Another character from The Night Manager Part 2 that stays with the viewers is Saswata Chatterjee’s Brijpal. He effortlessly conveys the turmoil of a man who is losing the trust of his friend.

Tillotama Shome as the heavily pregnant intelligence officer continues her impressive form.

She is in equal parts resilient and vulnerable. She also gets her share of masala moments and the actress knocks them out of the park.

The cinematography by Benjamin Jasper and Anik Ram Verma is of the highest order. The desert shots, in particular, deserve mention.

The background music by Sam CS elevates the drama in several places.

Final take

The Night Manager Part 2 is an espionage drama that manages to stand out with its understanding of world politics and stellar performances.

(Views expressed here are personal.)

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Lust Stories 2: An Engrossing Anthology About Love, Sex, And Desire

Much like its predecessor ‘Lust Stories’ (released in 2018), ‘Lust Stories 2’ also offers a fresh perspective on female desires.

Lust Stories (2018) — directed by Zoya Akhtar, Dibakar Banerjee, Anurag Kashyap, and Karan Johar — was a well-made anthology about female desire.

The protagonists in these segments belong to different generations, socio-economic statuses, and upbringings. But the common aspect that bound them was sex and lust.

The standout story in Lust Stories was the short directed by Zoya Akhtar. Her story was about a domestic worker and her boss. Zoya expertly tackled the issue of a class divide through the lens of lust.

Now, after a gap of five years, you have Lust Stories 2. Much like its predecessor, this also offers a fresh perspective on female desire.

Made For Each Other

Lust Stories 2 begins with R Balki short Made For Each Other. This short primarily looks at checking sexual compatibility before marriage. It opens with Veda (Mrunal Thakur) and Arjun (Angad Bedi).

You have both families discussing when their marriage should take place. At that exact moment, Veda’s  daadi (grandmother, played by Neena Gupta) asks Veda whether she and Arjun had pre-marital sex.

As expected, this leads to a complete silence in the room. Daadi also adds that checking sexual compatibility before marriage is as important as doing a test drive before buying a car.

In the hands of a lesser actor, daadi’s dialogue may have sounded awkward. However, Neena Gupta makes the cool daadi work with her natural performance. Her scenes with Mrunal in particular are very good to watch.

Mrunal Thakur and Angad Bedi don’t have a lot to work with. Nevertheless, they make for a good lovey-dovey couple.

The Mirror

The Mirror, directed by Konkana Sen Sharma, is more intense than Balki’s short.

Isheeta (Tillotama Shome) is an individual leading a mundane life. She has repressed sexual desires.

But one day, things take a significant turn when she accidentally sees her domestic help (Amruta Subhash) engaging in a sexual act with her husband in her house (Isheeta’s).

Instead of confronting the domestic help, Isheeta gets drawn to the scene. She gets a lot of pleasure from watching them.

This segment primarily looks at the inner desires of Isheeta and the complexities that arise from her voyeurism. This short also shows that lust knows no caste, colour or gender.

Both Tillotama and Amruta Subhash are in wonderful form with their uninhibited performances. Though it reminds you of Zoya Akhtar’s short in Lust Stories, Konkana adds many more layers.

Sex With Ex

Sujoy Ghosh’s Sex With Ex is a thriller in typical Sujoy Ghosh’s style. This segment of Lust Stories 2 doesn’t completely draw you in, but it isn’t a complete waste either.

David Chauhan (Vijay Varma) is involved in an accident on the outskirts of a town. While searching for a mechanic he visits a hamlet where he runs into his ex-wife Shanti (Tamannaah Bhatia).

Shanti was assumed to be dead for a long time. Expectedly, this reunion brings a flood of memories.

The best part of this segment is the real-life sensuality that Tamannaah and Vijay Varma bring to the table. The twist at the end also takes you by surprise.

Tilchatta

The last chapter of Lust Stories 2 is Tilchatta (Cockroach) directed by Amit Ravindernath Sharma.

It deals with two issues mainly — firstly, it is about an upper-caste man who still feels that he is living in the age of kings; secondly, it is about a woman trying to find her agency in an abusive marriage.

The patriarch here is Kumud Mishra and the married woman is Kajol.

Tilchatta takes place in a sprawling haveli. Amit Ravindernath Sharma does a wonderful job of bringing out the toxicity and suffocation that Chanda (Kajol) and her son are going through in that large space.

There is an affecting subplot concerning sex workers since Chanda was a sex worker before getting into this haveli. This subplot adds more heft to the drama.

Both Kajol and Kumud Mishra bring their A-game. Kumud Mishra shows once again why he is considered a brilliant actor. He is absolutely terrific as the torchbearer of patriarchy. The way he unabashedly gazes at the bodies of women with so much lust makes the viewers hate him.

Kajol, as the woman trying to find her agency, conveys a lot with just her body language. As viewers, you want her to take the bold step which she eventually does, although things don’t go exactly according to the plan.

Verdict

Much like Lust Stories, Lust Stories 2 also makes a bold attempt at bringing taboo topics to the forefront through the digital space.

(Views expressed here are personal.)

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Satyaprem Ki Katha: A Heartwarming Story that Makes You Want A Real-Life Partner Like Kartik Aaryan’s Sattu

An important aspect of Sameer Vidwans’s ‘Satyaprem Ki Katha’ is how it looks at the issue of consent in relationships.

Addresses pertinent social issues.
Satyaprem Ki Katha (Hindi)
  • Cast: Kartik Aaryan, Kiara Advani, Gajraj Rao, Supriya Pathak, Rajpal Yadav, and Shikha Talsania
  • Direction: Sameer Vidwans
  • Producers: Sajid Nadiadwala, Shareen Mantri Kedia, and Kishan Arora
  • Music: Meet Bros, Tanishk Bagchi, and Payal Dev
  • Runtime: 2 hours 26 minutes

There is a famous quote in English which says that “Don’t judge a book by its cover”. This goes perfectly well with the film Satyaprem Ki Katha.

The trailer promised a breezy romantic film, but it is more than just a rom-com. Director Sameer Vidwans addresses some pertinent social issues through the lens of a romantic drama.

Synopsis

Satyaprem aka Sattu (Kartik Aaryan) is an underdog who falls in love with Katha (Kiara Advani). Katha belongs to different strata of society which is out of Sattu’s league.

However, circumstances not only bring them together but also get them married. Nevertheless, the marriage doesn’t take off.

Katha comes with a haunting past. Initially, the viewers think it is a case of a bad break-up with her ex-boyfriend. However, it turns out to be more sinister.

The crux of Satyaprem ki Katha is about two things primarily — one is how Sattu wins Katha over; secondly, it is about Katha letting go of her trauma and finding the courage to face the truth.

Picks up pace in second half

The movie does take time to get going. The boy-meets-girl moments don’t have a lot of meat. The director takes time to get to the real meat of the story.

But its picks up after the marriage of Sattu and Katha. The interval point further raises the expectations of the audience and the second half drama is one of the film’s biggest selling points.

Sameer Vidwans does a wonderful job of showing how the relationship evolves between Sattu and Katha. The evolution is not only about their relationship but also about their individual characters.

Societal issues

An important aspect of Satyaprem Ki Katha is how it looks at the issue of consent in relationships.

The film also briefly reminds you of the famous Amitabh Bachchan dialogue “A No is a No”.

Kiara’s Katha is a victim of date rape. Her ex-boyfriend penetrates her badly, even when she resists. Katha’s father has no idea about this.

Kartik Aaryan’s Sattu does come across as too idealistic with his patient behaviour. But as viewers, you don’t mind because Sattu is not presented as some social reformer.

Sattu, of course, has his moments of frustration and the change in his character happens gradually.

The film has also got some entertaining family moments. The best examples are the ones featuring Kartik Aaryan and his on-screen dad Gajraj Rao. There is visible warmth between them in both the comic and emotional bits.

Director Sameer Vidwans presents an authentic middle-class milieu.

Cinematographer Ayananka Bose does a good job of capturing the locality of Ahmedabad.

Performances

The songs composed by multiple composers are mostly melodious. The best of the lot is “Naseeb Se and Aaj Ke Baad“. “Gujju Pataka“, on the other hand, isn’t high on lyrics but Kartik’s dancing along with the peppy tune makes it an energetic track.

Out of the two leads, Kartik Aaryan scores more with his act. He is not only good in the goofy bits but shines equally in intense scenes.

Kiara Advani takes some time to settle down. The reason behind her character’s aloofness doesn’t have the required emotional heft in the beginning. But both Kiara and her character get better as the film progresses. Overall, she delivers a competent performance.

Final verdict

In Satyaprem Ki Katha, Katha is fortunate to have a happy ending which many women can’t hope to have. Many more Sattus are the need of the hour!

(Views expressed here are personal.)