Simran – A Review

Image result for simran posterHansal Mehta directs Kangana Ranaut in Simran, a story inspired by the real-life bombshell bandit Sandeep Kaur. While Sandeep was a well-educated and financially independent nurse, Praful Patel played by Kangana is a young divorcee working in a menial, dead end job trying to clobber together enough money to put in a deposit for a house of her own so that she can escape the daily barbs of her father.

 

If the story sounds sad and depressing, let me assure you it is anything but that. Kangana is a one woman tour de force. Right from the first time we are introduced to her, on her lunch break she deftly evades the overtures of her ex-boyfriend and present-boss, she lights up the screen with her self-assured yet unassuming presence. On a bachelorette trip to Las Vegas, Praful is introduced to the temptations of gambling and this is where things from good to scary really quickly. To right the wrong Praful goes down a dangerous path. Kangana Ranaut is fantastic in every single frame, you feel joy in her giddy goofy behaviour and she makes you feel her anguish when her father is lobbing insults at her and everything she has worked for seems to slip away from her grasps. But there is an inherent lightness to her being that no matter how dire the situation she breathes levity into it and you know that things will be ok. This is her best following the success of Queen where she turned the acting game on its head and claimed the mantle.

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The supporting cast leaves a lot to be desired. The goons Bugs and Mr. Hipster Beard are neither terrifying nor believable. The love interest played by Sohum Shah sucks the life out of the scene each time he is on. He is laden with the most absurd lines and insists on speaking in chaste hindi in spite of him being from Rajkot, Gujarat. His character is so poorly written that if you subtract him from the story it wouldn’t change one bit – and that is perhaps what the director should have done. Praful’s Father is very one dimensional. He is given fantastic dialogue, but with nothing to take the edge off of his shouting, and insults he is rendered unlikeable towards the end there is one scene where is fussing over Praful and making her eat in one moment and the next moment he is at her throat – this kind of balance would have really made the story stronger. The actress who play Praful’s mother is a small saving grace to the entire ensemble cast. As is Timothy Ryan Hickernell – the bartender in Las Vegas, who even in a tiny role leaves a lasting impression. Seeing how he has been picked to play the slain journalist Danielle Pearl in his forthcoming Omertta, Hansal Mehta seems to agree.

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The music by Sachin-Jigar is fantastic and stays with you long after. Pinjara and Single Rehne de are instantly hummable and Lagdi hai Thai is appropriately festive. the camera work by Anuj Dhawan is spectacular – especially in the Las Vegas scenes. To me this is a movie about nuances, the small dialect peculiarities, the very modest living of the Patel family, the realism of it all. The editing seems choppy in places, especially where you dont see Bugs hitting Praful but she seems to have fallen on the floor and is later shown with scrapped knees.  The revenge plot towards the end seems unnecessary and almost an after thought. However that is quickly corrected when Praful is eventually led away. The final scene where she comes up with another hare-brained idea of investing in stock and getting rich because “Sue” told her is a brilliant touch.

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Hansal Mehta’s direction and his innate Gujarati sensibilities come to the fore as he crafts and entirely believable narrative involving a Gujarati NRI family. Kangana’s diction is perfect and not a caricature as most portrayals of Gujaratis in Bollywood tend to be. The story by Apurva Asrani is a compelling one but his screenplay needs tightening up. Every scene with Sohum Shah was a disservice to the movie – fortunately there were only a few. The dialogues with the exception of the ones for Sohum Shah are mostly fantastic.  From the cheesy pickup to the tongue in cheek to veiled self-deprecating insults lobbed at herself when her parents are watching the story of the Lipstick Bandit unfold on television, Kangana delivers them with aplomb.

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In the end it is Kangana who carries the entire movie to a satisfying end. The way she immerses herself in this character and her sincerity make you overlook a weak screenplay and a supporting cast that leaves a lot to be desired. Ignore the noise around the controversy as she doesn’t need that to sell her movies – her name alone should now be sufficient enough.

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Watch this for an almost unbelievable but true story. Watch it for Kangana is in top form. Watch it because Kangana renders the Male lead role obsolete when she takes centre stage.

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Shubh Mangal Saavadhan – A Review

Image result for shubh mangal saavdhan posterS. Prasanna directs Ayushmann Khurrana and Bhumi Pednekar in Shubh Mangal Saavdhan. For a first time director R. S. Prasanna sure is ambitious to take on a subject like Erectile Dysfunction. Read on to find out if Prasanna manages to deliver a “hard” hitting and entertaining caper or turns in a “limp” biscuit of a movie.

 

Mudit played by Ayushmann Khurrana has been besotted by Sugandha played by Bhumi Pednekar. Unable to muster courage to ask her out he sends her an online marriage proposal. Sugandha who has been dreaming of the romanticised notion of a Bollywood love story reluctantly agrees to allow Mudit to court her. The first time they get frisky while Sugandha’s parents are out of town, Mudit ends up having performance anxiety and shares his “problem” with Sugandha and forever ruins biscuits for everyone everywhere.

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Bhumi Pedneker who I have been mightily impressed in her previous two outings is surprisingly one note here. I blame it on the writing and direction more than her abilities. Because in the one scene where she tries to entice Mudit by reciting cheesy lines from a porno is testament to her talent. She is hilarious and vulnerable at the same time. Ayushmann who first burst onto the screen in Vicky Donor a movie based on similarly taboo subject (although diametrically opposite in terms of the subject itself) delivers a very confused performance. It isn’t clear if he is a shy romantic type or the Casanova who didn’t have this “problem” with his ex.

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The supporting cast is what really brings the whole enterprise to a crashing halt. Both fathers are contemptible, Sughanda’s uncle a leftover from the 80’s doordarshan era acting, the mothers simpering messes. Seema Pahwa still manages to shine despite the laborious proceedings. The friends of Mudit unwatchable in the extreme. The movie seems to want to be many things at the same time.

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One moment it is a budding romance movie, the next it is trying to take on a taboo subject, the very next it turns into a priyadarshan farce and the next it is a dysfunctional family dynamics dramedy The first half plods along with some carefully placed puns which elicit genuine laughs but the second half was just pure cringe fest. There seems to be no sense of continuity or any attempt at coherence. Take for instance the scene where Mudit – the groom ends up cooking the food for the wedding party, another scene is where Mudit’s father tells him if he pursues sughandha he cannot come back home or expect any money from him – Mudit all proud and indignant throws his wallet at his father and the final scene is of Mudit and Sugandha performing puja at his father’s house which they live in. the scene when Mudit and Sugandha are getting “busy” while the entire wedding contingent is waiting outside the bedroom and taking bets made me want to walk out of the theatre. The dialogues especially with a subject as sensitive as ED can quickly devolve into school yard heckling in the hands of incompetent writers and they range from juvenile to abhorrent.

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Also seriously lacking is the female perspective towards sexuality. Sugandha never once seems to take into consideration her “needs”. sobbing she declares “Sex hi sab kuch nahi hota hai na” in a crowded market of all places and Mudit sends her packing in an Autorickshaw. At under 2 hours this movie isnt long by any stretch of imagination so there was sufficient reel time available to flesh out Sugandha’s character to something a little more than just a doormat.

Unresolved direction and underwhelming performances cannot save the movie from the grave its story and screenplay writers have dug for it. Stay far away from this and rewatch Vicky Donor instead.