Thursday 22 February 2018
Official Trailer Blackmale Irrfan Khan Abhinay Deo 6th April 2018
Looking like a fun ride! Plus it has Irrfan in this hat-ke role. What's not to like.
Saturday 27 January 2018
Padmaavat - Not in Her Name
Director : Sanjay Leela Bhansali
Cast : Deepika Padukone, Shahid Kapoor, Ranveer Singh, Aditi Rao Hyadri, Jim Sarbh, Raza Murad.
The legend of Padmavati is widely known, at least in the
north of India. The film version is inspired from the work of Malik Mohammad
Jayasi called Padmaavat, an entirely fictional account of how Alauddin Khilji
saw the reflection of the beautiful Rani Padmavati of Chittor, and decided to
make her his own, and how the Rajputs fought the Khilji armies to stop Khilji
and his evil plan, a battle to save the honour of their beautiful queen and
save the Rajputana pride.
It is a Sanjay Leela Bhansali film, so here is what HE WANTS
US TO SEE.
Splendour and grandeur. Everything is beautiful in every
frame. The animate and the inanimate. Larger than life, lit to perfection,
detailed enough for you to see the furthest flag in the frame fluttering in
harmony with the background score.
The costumes and jewellery, stunning and rich. From the heavily embroidered and embellished clothes of Rani Padmavati, to the elaborate work on Rawal Ratan Singh’s ensembles, to the darkly draped layers that Khilji wears, even the palanquins are dressed to perfection as the white fabric flutters against the red of the ghaghras worn by the ladies.
Sets and effects. The lamp lit forts, the shimmering fairy
tale jungles of Sinhala (Padmavati is the princess of this kingdom in SLB’s
tale) the battle field with horses and elephants and giant cannon throwers draped
in yards and yards of white fabric.
A love triangle. Rajkumari Padmavati glides through the
forest much like the Hiran she is hunting when instead of the animal, the arrow
from her bow finds its way to Ratan Singh, the Rajput King of Chittor. They
fall in love, and he proposes, they marry. She becomes Rani Padmavati of
Chittor. Enter the big bad villain
Alauddin Khilji, desirer of all things priceless, Nayaab! He hears of the ethereal
beauty of Padmavati and decides he wants her.
The film has Deepika Padukone playing Padmavati. She
definitely looks the part. Her eyes do most of the talking, and when given a
chance she shines through in her lines too. Shahid Kapoor as the proud Rajput
warrior king is a strange concoction of rippled body and rigid expression. The
meat (pun intended) goes to Ranveer Singh, and he chews lustily into the role
of Alauddin Khilji. His scenes sparkle with energy, and he ends up making even unintentionally
funny situations palatable. He creates a
villain we haven’t seen in sometime. Jim Sarbh as the homosexual aide, who
would kill at Khilji’s pleasure, puts in a good act. Aditi Rao Hyadri is well
cast as the submissive wife to Khilji who eventually stands up for herself.
So this is a spectacle of SLB and we know he does the best
spectaculars in Bollywood.
NOW, HERE IS WHAT I SAW.
The story of Rani Padmavati, which even those who didn’t
know about it, do so by now, thanks to the Karni Sena. This fictional lore may
have worked in its time and age, when women had no rights or voice, their
existence defined by males, had no freedom to even form an opinion. But hell,
this is 2018 and a filmmaker chooses to tell a tale in all its splendour,
trying very hard to distract us with stunning visuals and ghoomar and ghaghras,
from the statement the film eventually makes.
A woman as something to be possessed. A man is allowed to
have multiple wives. Pride and honour are only found in a certain religion. A
certain religion is full of evil monsters who chomp on meat and lust after
women. Gays are to be made fun of and ridiculed.
Bhansali has chosen the top heroine only to relegate her the
titular role of a woman weighed down by jewels and jauhar. You see sparks of a
smart woman, but eventually it is a woman who needs her husband’s permission to
end her life. This story may justify the need to save their “Honour” i.e be
taken captive by the muslim ruler and his barbaric force, but don’t forget,
Sati in certain parts of the country, was for every woman who became a widow,
as if life stops to exist for them also the moment their husband breathes their
last.
In the current scenario, the choice of the subject is
questionable when we all know where it ends. Now what one was waiting for was
what will be the stance SLB will take. There are films made every year about
the Nazi Regime, the World War, Rape, Human Trafficking, Drugs, Cartels. And here
lies the difference. They are made with a clear motive of NOT glorifying the
sordid past or the abominable acts, or the illegal, criminal practices. They
are a lesson in what we do NOT need to repeat from history, or applaud in the
present. I was hoping for a positive, subversive spin on this tale.
If in Ramleela and Bajirao Mastani, his leanings were
veiled, here they out in the open, thumping the message home.
He takes a stand and makes the most regressive magnum opus I
have ever seen. A film that has consumed
crores to present us with misogyny and bigotry in the times we live in. Times
when the politics of the country is so skewed, women are being subjected to rampant
rapes and mutilation, the caste divide is widening and crimes are being
committed in the name of religion, where your dietary preferences can get you
your personal lynch mob… where the LGBT community is treated the worst for the
film that takes umpteen digs at gays… I question the existence of the film, the
way it is.
It is all presented in such an easy to consume style,
gorgeously mounted, with superb acting by Ranveer, Deepika looking mesmerising,
her face air brushed to bring peaches and creams to her skin, well… She had to
be that beautiful I guess for two rulers to throw logic aside. There are twists
and turns, betrayals and deceit, dances and dalliances… That one can almost,
almost forget what is being served.
As the climax approached… the dread took over. It began as a
sermon on what it means to be a Rajput, as if the film had already not drilled
it in our heads with “ye Rajput wo Rajput” and then what it means to be the
pristine Rajput woman. As Padmavati prepares herself with all the other women to
jump into the burning pyre I was squirming in my seat.
Let’s face it, the climax is not a surprise. Everyone knows
where the film is headed, but without actually seeing it, I didn’t know whether
Jauhar will be glorified, or shown as something from the regressive past of
this country, something that should be regretted today, shunned and shamed.
But no, Padmaavat glorifies it to the skies. It is the best
shot sequence, from framing to choreography to sound design and costumes. And
as the film maker chooses to show a pregnant woman and a girl child walk
towards the fire… my fists clenched in anger. Is this the price we continue to
pay for being women?
Friday 4 August 2017
My Review Jab Harry Met Sejal | Ye Ishq haaye...
Director : Imtiaz Ali
Starring : Shah Rukh Khan, Anushka Sharma
Starring : Shah Rukh Khan, Anushka Sharma
I love journeys. I am a diehard romantic. I am a believer in
magic. I am a sucker for happy endings. I can swallow implausibility when you
make me feel for the characters on screen. That is why Dilwale Dulhaniya Le
Jayeinge remains one of my all time favorites.
One hero who has made looking passionately into a woman’s
eyes, till her ovaries explode, his superpower. Shahrukh Khan. A director who
has won me over with his understanding of the free spirit, of love that comes
to lie down with the strangest bedfellows… who puts a sufi touch to his tales,
of characters travelling inside and out, their paths revealing their own
internal crossroads and potholes… So on paper, JHMS had a lot going for it.
The story is of a Gujrati girl Sejal
Zaveri, losing her engagement ring on a Euro trip, who decides to stay back and
find it, but finds love and longing in Harry, the Punjabi Euro guide.
So, instead of a missed train in DDLJ, which I found contrived then,
seems way more convincing than how this plays out in the film.
Love hath no logic, sure, but then you need passion,
chemistry, a quickening of the heart… nothing happens sadly … barring one
moment in a chase sequence, when Harry is hit by his feelings for Sejal.
Anushka as a lost, confused Gujju gal didn’t convince me, specially
with the jarringly off and forced accent. Shahrukh's attempts at being a jaded, foul mouthed Punjabi work only in bits and pieces. JHMS is lackluster and only so much SRK love can sustain you through this poorly scripted film.
The biggest problem is the characterization or the
lack of it.
The Casanova meets the ditzy virgin, super premise, but for me to be invested in their fate and
frolics, I needed more, and apart from a chuckle here and a smile there, I wasn’t
moved by their travels or travails.
The ramblings of Sejal about how Harry doesn’t find her hot,
Harry’s phulkari flashbacks, their frantic hops from one beautiful location to
another, felt as pointless as a quickly put together budget Euro Darshan where
you never enjoy a single destination…
I kept waiting that Harry and Sejal will have that one big moment, where it will all come together, I would let out a sigh, feel a tear form in the corner of my eye, my heart bursting with emotions, wanting life to work out in the favor of the star crossed lovers... even as the "palat" moment played... it didn't happen.
I have always enjoyed an Imtiaz Ali film. Geet to me is iconic, the dialogues of JWM were a breath of fresh air, setting a trend which many tried to follow. Highway moved me with its rawness, Tamasha with its madness and dark detours inside Ved's heart and mind left me wanting more... JHMS leaves so much to be desired, specially in the second half.
On the plus side is the music, Safar, Hawaayen and the
Nooran sisters powerful Jee Ve Soneya are my favourites. Ali gets Kamil and
Pritam to give a stellar soundtrack. I wish the same could be said of the film.
This one is for the die hard SRKians (isn't that what the fans are calling themselves these days!)
My Verdict 2/5
Thursday 26 January 2017
That 70's Show. My Review. Raees
Starring : Shahrukh Khan, Nawazuddin Siddiqui, Mohd. Zeeshan Ayyub, Mahira Khan, Atul Kulkarni
Director
: Rahul Dholakia
From Gaurav (Fan)
to Dr. Jehangir Khan (Dear Zindagi) to Raees Alam, let’s say SRK is having a
good streak compared to the highly forgettable Happy New Year and banal Dilwale.
Playing three absolutely distinct characters with aplomb, one would like to
believe as he keeps quoting “some films for mann (heart) and some for Dhan
(Money)” he would do more for mann. Raees is of course an attempt to marry mann
and dhan.
Rahul Dholakia
who directed the national award winning gut-wrencher Parzania among others, and
SRK coming together for a film was interesting news to say the least. The
subject was Dholakia’s turf, Gujarat in the times of upheaval, add to it the
era of bootleggers and underworld, smuggling and scotch, and though he claims
it is not, the life and times of Abdul Lateef.
But as the
trailers started hitting the screens one could see less of Dholakia and more of
masala. The Gujarat prohibition backdrop, a larger than life anti-hero with a heart
of gold, an incorruptible cop whose sole mission is to destroy the protagonist,
a web of politician-crime nexus… Well, Raees has all the trappings of
Salim-Javedesque 70’s blockbusters. There is even a doff to their Amitabh
Bachchan starrer Kaala Patthar as it plays in the background of a crucial
scene. But Raees also gets trapped in its
own vehicle carrying a superstar.
Where Raees
scores :
Shahrukh
makes a great good hearted bad guy. He brings in his classic charm and charisma
to the film, even as he guns his enemies down. Shahrukh gets his goods together,
shining in many moments. His Raees is made believable by his getting
comfortable and settled in the character, and he is clearly enjoying going all
out with many hard core action sequences. He pulls off the romance alongside the
unflinching killer when required with same conviction. He is endearing when
cooking for his wife, flying a kite and is menacing when he decides to take
revenge. His and Nawaz’s chemistry crackles.
Nawazuddin
Siddiqui. He is brilliant in the film. He gives his Inspector/SP Majmudar teeth
and tongue in cheek deliveries. A delight to watch a properly fleshed character
in a superstar film, that too of a cop, which are mostly seen mouthing same old
lines. I loved him in Raees. Every scene that has Nawaz in it, is made better
by his nuances. The writers have made him quirky and even when there are no
dialogues, Nawaz gets in a “see what I did there” moment.
Supporting
cast : The film has a very good cast all around, from small blink and miss
roles to meatier ones, Raees gets it right mostly. I have two grudges, but that
is for later.
Dialogues
are another high point of the film, especially the repartee between Nawaz and
Shahrukh. From the already popular “Baniye ka Dimaag, Miyaan bhai kee daring”
to “ Bete ka baap bana hai, Gujarat ka nahi”, there is good old fashioned
dialoguebaazi, and unlike some other underworld based franchises actually pack
a punch and not make you laugh at their absurdity.
Action : The
film has some well choreographed action sequences, and I don’t remember the
last time I saw Shahrukh do that.
Rahul
Dholakia’s understanding of Gujarat, his research on that era, the character,
the detailing add to Raees. The first half is excellent.
Where Raees
fails :
The
stretched second half. The film loses steam, too many songs slow the
proceedings.
Predictability.
Like many anti-hero films in Hindi cinema, one can predict how the film is
going to unravel and end. Some of the portions in the second half seem forced
and further bring down the story telling.
The self-censoring
of the controversial layers. I was expecting Dholakia to be braver, but alas,
the riots, the blasts, all were treated in a hurried, shoddy manner, without
ever scratching the surface. The film obviously wanted to stay as far away from
controversy as possible.
Mahira Khan
: She doesn’t add anything to the film, neither is her character given it’s due
nor has she made it stand out, despite a few scenes where a better actress
would have made an impression. Another casting fail for me was if you have a
fabulous performer like Mohd. Zeeshan Ayyub, don’t waste him so mercilessly.
Music. With
so many songs, appearing at whim at the most unrequired places, cutting into
the film’s pace, it would have helped if they were better compositions. Even
Laila fails to impress, and sadly same goes for La Leone.
Raees could
have been a hard hitting commentary on the times it is set in, but it chooses
to be more of a commercial carrier. Nothing bad in that, only it sometimes
pretends to be what it is clearly not.
Having said
that, I enjoyed most of it. Shahrukh and Nawaz, both made it worth the ticket
price.
I would say
watch it.
My verdict :
2.5/5
Tuesday 1 November 2016
What is love? | My Review | Ae Dil Hai Mushkil
Director : Karan Johar
Starring : Ranbir Kapoor, Anushka Sharma, Aishwarya Rai, Fawad Khan
This Review contains spoilers.
रंजिश ही सही दिल ही दुखाने के लिए आ
आ फिर से मुझे छोड़ के जाने के लिये आ
This Ahmad Faraz ghazal
is one of my favorites… it speaks of unrequited love, love that is forgiving,
angry, pleading, crying, aggressive, submissive… all at the same time… hopeless
while waiting with hope… unfulfilled love is the most haunting…
Karan Johar weaves a
tale of love, but unlike his other love stories, this one feels the most real…
So a big fresh surprise from him, and one that I like.
Ayan (Ranbir Kapoor) is
a poor little rich boy, who can summon a private jet, but has deep abandonment
issues with his mom having left him when he was two, Alizeh (Anushka Sharma) is
sassy, confident and seems sorted, but as you get to know her, she has a
scarred heart too, one that yearns for pain, pain that loving someone who
destroys you brings… The two meet in a night-club and instantly hit it off… The
first half deals with their growing friendship…. Till the point Ayan has fallen
totally and completely in love with her… But she loves Ali (Fawad Khan). Of
course she loves the one who hurt her…. And despite Ayan’s pleas, she drops
everything and follows her heart… because, Dil toh paagal hai… a heart wants
what it wants.
We have seen love
triangles aplenty, Kjo himself has made them relevant again for the genX, but
here he breaks his own mould. Ek tarafa pyaar gets a punch I had seen before in
Raanjhanaa. But unlike Raanjhanaa, Ayan and Alizehh are best friends first. One
can even think of Anjali and Rahul in a newer, hipper avatar as far as camaraderie
goes, but if KKHH talks of friendship being love… our hero here puts a new spin
to it. To him, as he spouts many of the Bollywood quotable dialogues… Ladka
Ladki kabhi dost nahi ho sakte.
But infusing freshness
in to love aaj kal as we know it, the girl just doesn’t love her best friend.
She is not Anjali after all.
One of biggest achievement of this film is Karan
Johar’s. He has taken a risk, no holds barred and retold a love story which
though has all his trademarks, yet is nothing like he has done before. His Ayan
is under-confident, a hero who is told in the first few minutes after meeting
the heroine that he is a bad kisser… he cries rolling on the pavement after finding
his girlfriend twining tongues with Alizeh’s boyfriend… And she is hero-like
offering shelter and shoulder to him… In a way similar to Rockstar, Alizeh
tells Ayan, who is an aspiring singer hating his MBA course… that a voice void
of real pain is never going to touch anyone… the day his heart really suffers
being crushed in pieces… will his voice come alive…
Predictably enough his
heart is shattered by Alizeh’s marriage to DJ Ali… but his dard is not enough
to get the girl… For Alizeh, her love is not her best friend… First left by his
mother and now by the girl who owns his heart… Ayan lashes out, angry,
petulant, entitled, and finally the futility hits him as he leaves Alizeh.
Rejection is an emotion
hardest to accept… dare I say, specially by men… The fact that a girl can spurn
them, as if the only reason for a girl to love them back is because they have professed
their feelings is tough for them to handle. As if heart-break trumps all claims
of the girl that she doesn’t love them… Ayan can not fathom Alizeh’s rejection,
how can she not love him? HOW?
But he is no
acid-thrower, home destroyer… the hero walks away and out of her life. But not
before (one of my favorite scenes in the film) cursing Ali and her, wishing a
painful death upon them, his pain at being turned down lashing out sharp and
hard.
So with a broken heart,
as his voice finds power, he finds an alluring, older woman, a Shairaa
(Poetess) Saba (Aishwarya Rai Bachchan)… Our bad kisser has come a long way as
he shares passionate embraces, lingering love-making… and another triangle is
born… Love and longing keeps making connections and separations… as we are
introduced to her ex husband (Shahrukh) who still loves her…and it all seems
unfair…. But then who said love is a safe bet, when actually in love all bets
are off. The ek tarafa pyaar seems to be an ailment all are suffering from in
ADHM…
Ranbir has unlearned
everything as if taking his clothes off and bares himself like you have not
seen before. Right in the opening minutes of the film, he sits quietly, letting
his eyes, his quivering lips, his vulnerable demeanour do the talking and
clutches your heartstrings… and the last few seconds… is where he strums them
like an expert player… I can watch this film again just to see his Ayan. Yes we
have seen this turn in Rockstar but you would see the difference, a honing and
going even deeper in ADMH. The boy seems to have grown up…
Anushka Sharma, assured
like never before, lives Alizeh vibrantly. She is a perfect foil to Ayan.
Together with Ranbir, she brings every scene to life, making you forget it is a
make-believe world, because they actually make you believe everything that goes
on. This performance is pitch perfect.
Aishwarya is stunning,
and shares a smouldering chemistry with Ranbir. Their scenes together crackle,
even though she doesn’t impress me as the Shaira, her urdu, heavy “dialogues”
not ringing true. But does she wow, oh yes!! More please, thank you.
Fawad Khan is there for a minuscule portion, wonder if his role was chopped off thanks to all the controversy. But he of course looks delicious!
Lisa Haydon is adorable
as the ditzy, cotton candy for a brain girlfriend of Ayan. She has made the most of the cameo.
Oh and SRK!! In just a one scene special appearance he has made me go all weak kneed and ogly eyed. Still has it, my Shahrukh.
SPOILERS Ahead
So problem kidhar hai?
You must be wondering… This film is let down by the weird and banal twist in
the second half, where a stage four cancer stricken Alizeh barring the shaved
head, looks as fresh as a Daisy. This twist takes the film plunging down with
it, as if to remove a person from the equation, permanently is the only
solution. this spells sudden death for a movie that was extremely engaging thus
far. What is even more banal than the twist, is the treatment of it all, the
glamorization, the Kjofication left me disappointed.
Go watch it, because
despite the problems, this film is definitely worth a watch, and offers a lot
to love.
My Verdict : 3/5
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