Of Raging Battles, Inside & Out | My Review Haider

Director  Vishal Bhardwaj

Starring    Shahid Kapoor, Tabu, Shraddha Kapoor, Irrfan Khan, KayKay Menon

Hamlet is one of the most melancholic and variously interpreted of Shakespeare's plays. The tragic prince, his pain, his confusion, his heartbreak and the deceits that fraught his life... it became even more wrenching as it all came from his own. The wounds on his soul were not carved by the enemy, but ones he loved. And that is the biggest tragedy of life, all of our lives when betrayed by those we trust.

This is the third of Vishal Bhardwaj's adaptation of the Bard's works. Starting with Maqbool (Macbeth) and Omkara (Othello). Betrayal, passion and forbidden love run through these as a theme, and the same continues in Haider (Hamlet).

Considering it is a tough play to adapt and mould while adding your own interpretations and twists, Vishal Bhardwaj had taken up a mammoth challenge. To make a dark, tragic tale into something even more relevant in today's time, he picked up yet another challenge, to set the film in the Kashmir of 1995, the militancy at its peak, the Army waging an intense war against terrorism, the common man, torn by both sides, coming in the crosshairs willingly or unwillingly.

Coming to the film, it has been shot mostly on locations in Kashmir. Visually it is stunning, revealing a side of Kashmir hitherto unseen. It is not the mughal gardens, the dal lake and the skiing spots. It is the everyday Kashmir, which also bore the brunt of the unrest and violence. If it is quiet and full of pathos, it is because it has been witness to tragedy. People walking without a spring in their step, pained faces and shoulders limp. VB has captured the broken spirit of the people masterfully.

The film is two parallel worlds intertwined. The journey of Haider (Shahid) and the journey of Kashmir and Kashmiris. VB excels in telling the story of Haider.

Shahid Kapoor, who despite being panned by many, I have always liked, his potential wasted in frivolous films in the past, but shining in films like JWM, Kaminey and now Haider, his best performance to date. He owns the character from the beginning, the emptiness in his eyes as he returns to Srinagar from Aligarh, after hearing about his father's disappearance. The quiet storm raging inside him as he watches his mother flirt with his uncle, the mad glint in his eyes as his whole world falls apart.  He has proven that in the hands of a fine director, he will shine. 

Kay Kay as Khurram, the conniving uncle, is back in form. He enjoys every scene, relishing each line, staying just a little longer in places, but he plays Claudius well. Shraddha Kapoor as Arshiya (Ophelia) brings in warmth and light to the dark tale, the girl has still a long way to go as a performer, but in Haider, her charm works, her wide mouthed laughter is a great foil to Haider's brooding looks. It is good to see Lalit Parimoo on the big screen, as the gray shaded father of Arshiya, who is against their love, he is adept. 

What delighted me was a cameo by Kulbhushan Kharbanda, whose track was opened and then forgotten all in a hurry. Another gem of a cameo is that of Irrfan Khan, he plays the "Ghost" inspired Roohdar, enjoying himself in this short but powerful part. The other supporting actors are extremely well cast too. Sumit Kaul and Rajat Bhagat as the Salmans are delightful, the grave-diggers are ominous yet playful, Narendra Jha as Haider's father (King Hamlet) does a decent job, though I found his presence not so powerful.

And now coming to the scene-stealer, Tabu. Her Gazala (Gertrude), Haider's mother, is breathtaking. Those eyes! they speak, smile, cry, bemoan, quiver, shine, scold, beg, love.... We have seen Tabu in Maqbool as Nimmi (Lady Macbeth)  which was her finest performance, Haider's Gazala gives it a tough competition. Her character of a woman who loves her son, to death... a wife who has not been a perfect partner, divided between multiple shades... She owns the film.  Shahid's fire to excel and Tabu's honing of her own craft, crackle the screen when they are together.

The story of a son's mission to find his missing father and dealing with life's tragic twists, Haider will move you to a realm that is dark and depressing, yet satisfying. The end is Vishal's own, which works. The co-writer on the film is the renowned Kashmiri Journalist Basharat Peer, whose real life experiences have helped create the world of Haider and the Kashmir we see in the film. The dialogues by Vishal Bhardwaj are memorable, sharp, witty and soulful, a rarity these days.

Coming to the Kashmir VB has created. The life without cheer, every day spent in fear, curfews and bullets, the paradise lost. I liked the gloom and the injustice of the situation, the futility of hatred, the sad phenomenon of "Half Widows", wives of the thousands who have disappeared... never to be found... But yes, I found the representation of "Kashmiris" almost myopic. The portrayal has conveniently forgotten the large chunk of Kashmiris  who are the Pandits, displaced from their land, their homes, their livelihood lost. A passing reference cannot be enough when you are talking of 1995, when chaos reigned supreme in every single Kashmiris life. The beauty of Kashmir also stemmed from the love and harmony of its people, which was the first casualty of terrorism. The take on Terror itself is unclear. 

So about the Kashmir of the film I have questions, which were not answered . Yes it is a fictional recreation and liberties can be taken, but then why even put a slate in the end applauding the efforts of the Army in the recent flood rescue and rehabilitation? When in the film the Army is actually shown in less than  complimentary light.

Having said that, Haider is an important film, on many levels. The unflinching storytelling, raising the difficult questions our cinema today shies away from, bringing Kashmir to the forefront and above all, giving us a film that stays with you long after you have watched it, in the times of popcorn cinema, which leaves you empty, just like the popcorn tub after you are done.

The subtle exploring of the Oedipus complex, with Tabu just killing it with her trembling hands and brimming eyes... aah, that itself was worth my ticket price.  

The music by Bhardwaj and poetry by Gulzar adds a lilting layer. I do wish the length had been a bit less, but well, that indulgence I shall allow. The production design of the film is another trump card, from the shawls, namdas, pottery to the locations, it is perfect. 

Kudos to Vishal Bhardwaj and his entire team. 

Go watch.

My Verdict  3.5/5 (An extra .5 for the Cinematography by Pankaj Kumar)

Bang Bang New Trailer with Dialogues

After a disastrous Anjaana Anjaani, Director Siddharth Anand returns with Bang Bang, touted an official remake of the Tom Cruise, Cameron Diaz starrer Knight And Day the film does seem to have a great scale, stunts and a sizzling pair of Hrithik and Katrina going for it.

Here is the latest trailer. Enjoy!

Film releases October 2nd 2014.

Na sugar Na Spice My Review Daawat E Ishq

Director  Habib Faisal

Written by  Habib Faisal, Jyoti Kapoor

Starring   Parineeti Chopra, Aditya Roy Kapur, Anupam Kher

I attended a wedding some years back. The invite was jazzy, with dry fruits and chocolates. How wrong can you go with the chocolates! It was going to be held in one of the heritage properties turned into a boutique hotel. Now one big reason for me to attend it was the food, an array looking so interesting from renowned caterers, I almost forgot to wish the bride and groom. And then as if as a punishment for my gluttony, when I served myself those shami kebabs, the rogan josh and the yakhni pulao, it didn't taste great and the worst part, it turned out to be lukewarm, almost cold! My foodie world came crashing down.

And now I come to Daawat E Ishq. Helmed by Habib Faisal, who has given some satisfying fare in the past. Do Dooni Chaar, Ishaqzaade as a director and some fresh flavors in Band Baaja Baaraat and Ladies Vs Ricky Bahl. So yes the Invite was interesting.

The ladka ladki, Parineeti Chopra and Aditya Roy Kapoor seemed to be aptly ready to get into this arrangement. Add to it Anupam Kher, who still packs in a punch if he decides to. So to be fair, I decided to spend the fare and go to this Daawat E Ishq.

The story of Gulrez Qadir (Parineeti) is of most middle class girls in India, where Dahej, zahej, dowry is the biggest bane even today. The girl's father starts saving money for her dowry from the day she is born. The boy market rate, yes, they are sold in marriage, is decided by their education (Irony died right here), their future prospects and if they are total losers themselves, then they count the flaws in the girls and strike a profitable bargain. How she decides to rebel against this, con these dowry seekers, give them a taste of their own medicine is the plot here, in which she enrols her sweet Booji (abbu) played by Anupam Kher, and sets off to find her marks, starting in Lucknow. As they pass themselves off as the Habibullahs of Dubai and set up a sting operation to ensare dowry demanders, meet Tariq Haider (Aditya Roy Kapur), the master chef at his own family run Haiders, known for its delectable Lucknawi delicacies. Will this meeting turn into a successful con as planned, or the kuch kuch hota hai will lead to firni sweet surrender is what unfolds in the film.

What could have been a genuinely different take involving a serious issue, dealt with a tongue in cheek attitude, including the crafty usage of the (oft repeated) Section 498 A of the IPC which has landed many a dowry seeking monsters behind bars, turns out to be a lazily written script, sparkless dialogues and a predictable unfolding of the third act.

Parineeti does a believable Gulrez till a certain point, then the writing pushes her to do things which are not only predictable, but lack panache, that leave you unimpressed. To see her play a spunky, outspoken motor mouth is turning into a yawn.

Aditya Roy Kapur tries his best to fit into the character of a kohl eyed, heart of gold Lucknow launda, again let down by the storytelling. The memorable moments belong to Anupam Kher, who despite a character changing stance every now and then, does evoke empathy and some laughs.

The Hyderabadi accent, the Lucknawi flavor, all adds up to nothing ultimately. The music, totally uninspiring. So there is nothing left then to lift up the proceedings.

Ultimately it turns out to be a daawat that doesn't live up to its promise. The recipe gone wrong, the food ho-hum.

My Verdict 2/5

Kill Dil Official Trailer Ranveer Singh Parineeti Chopra Govinda Yash Raj Films

After lying low for 7 years, Director Shaad Ali is back with what looks like a crazy, campy, heist film.

Interesting for me is the Govinda factor. He is finally doing substantial role, and I am looking forward to him sharing screen space with young 'uns.

Ranveer and Parineeti are back together, and Ali Zafar stars in this YRF film.

The lyrics are by Gulzar, another thing to look forward to, music by Shankar, Ehsaan, Loy. The same team that gave a good album in JBJ, Shaad's last film.

Enjoy!

A bum-py Ride : My Review Finding Fanny (English)

Director  Homi Adajania

Starring   Naseeruddin Shah, Pankaj Kapur, Dimple Kapadia, Deepika Padukone, Arjun Kapoor

Written by  Homi Adajania, Kersi Khambatta

Ferdie (Naseeruddin Shah) holds a love letter he had sent to Fanny Fernandes, returned undelivered to him after 46 years. His scream of anguish at this poor joke played on him by fate wakes up the entire sleepy little Goan village of Pocolim. You smile, the premise is set, you know you are in for a whimsical ride.

Angie (Deepika), Rosie (Dimple), Don Pedro and Savio (Arjun) are introduced to you as your partners on this journey to find Fanny, so that Ferdie can finally know what Fanny would have said if she had read his letter of proposal decades ago.

The characters are etched in detail, but that doesn't make them perfect. A sweet angelic young widow, a sharp tongued, extra curvaceous mother in law who rules over her village roost, a famous painter who uses his lingering gaze to see through the clothes of his amply endowed female muses, a disillusioned loser with a broken heart and the bumbling, innocent choir head looking for his lost love.

The film should have been in Konkani, which of course is my pipedream, but at least a more "goan" language would have worked better, such is the ambience, the susegad, captured so well. But alas, it is in English, and a smattering of local dialect. Now English mind you, is not a problem for the cast, but Goan English, oh, that is a different bird which they haven't been able to catch. An occasional "mins what" doesn't suffice. The biggest sufferer is of course Mr. Pankaj Kapoor whose Punjabi accent made me wait for "Pencho Pencho" to happen any moment. What I love in other movies of this phenomenal actor, when pitched as Don Pedro, becomes a bit of a sore point.

The story is not what drives this film, it is the journey. The film uses various philosophies and metaphors as the characters are unravelled, layer by layer, their minds laid bare, their secrets revealed.

Homi has managed to infuse a kind of freshness, a bonhomie, a camaraderie, frenemity between his five characters, which is a big plus. It is such a pleasure to watch Naseer and Pankaj vie to outdo each other. Naseer wins, as he puts his body language, eyes, smile and that hesitation in speech to create a memorable Ferdie. Pankaj has some really tongue in cheek lines, and he enjoys playing the lusty painter to the hilt. "God should have left me with the task to create women" he says , with a twinkle in his eyes.

Deepika is a mellow breeze in the film, making acting look effortless, playing the virgin widow with a heart of gold yet a yearning in her heart well.

Arjun Kapoor is still patchy in his deliveries, shining in some moments, lacklustre in others. His Savio is quite likeable though.

Coming to Madame Kapadia, not a brilliant actress, even a ham at places, made up for it here with her enthusiasm and hunger to do a good job. With a fake xxxl fanny, she is spirited, free with her act, creating a character on screen you end up having a love-hate relationship with. Only she could have carried the line "Spread my legs" with such coolth. At a crucial point in the film when Don Pedro speaks to her after finally painting her portrait, I wanted to hug her.

So with these characters different from each other, yet not so different, Homi touches upon a lot of themes, loneliness, love, desire, fate and fulfilment. What is the end to our efforts, and do efforts lead to an end we thought we deserve...

Finding Fanny attempts at the quirkiness of films like Amelie, the interpersonal relationships and unfolding of emotions and secrets of Les Petits Mouchoirs (Little White Lies), Homi seems to be heavily influenced by the irreverent European comedies. But the biggest is the doff to Wes Anderson.

The film has its moments, taking you through the hitherto unseen side of Goa, which is not beaches, rave parties or an old bearded priest, which are staples of many a films shot there. It is a road trip replete with hilarious going ons, including a dead cat nestling in Dimple's bosom. Here I must mention that the Cinematography by Anil Mehta works magic.

But there is a feeling of emptiness at the end of it all. That is the problem beleaguering this film. I am not left with a sense of fulfilment, a part of the journey, I am left craving for more. The writing, inspired in some places and totally flat in others is the main culprit here, specially in the second hour of the film.

To me, Finding Fanny is like the first batch of a new wine, the best grapes have gone in, it has been worked with passion, the aroma as the bottle opens is promising, the color lovely, but slowly as you sip, twirl it in your mouth and gulp, you feel it doesn't do anything more, it doesn't quite hit the sweet spot, and while you may continue to enjoy the flavor, you know you will not be satisfied. This wine could have been better.

Watch it for its quirkiness and some fine acting by Naseer and Pankaj.  And Homi, you are getting there.

My Verdict : 2.5/5