Padmaavat – A Review

Image resultSanjay Leela Bhansali directs Deepika Padukone, Ranveer Singh & Shahid Kapoor in Padmaavat, the cinematic adaptation of the opera that Bhansali was invited to direct in 2008 which is based on a 1540 poem by poet Malik Muhammad Jayasi. The epic poem tells the story of the beauty and valor of Princess Padmavati of the kingdom of Singhal who later becomes the queen of Mewar, the pride of Rajput king Raja Ratan Singh and the lust of Allaudin Khilji.

 

Deepika plays Rani Padmavati, Shahid plays Raja Ratan Singh and Ranveer plays Allaudin Khilji. The movie has courted enormous controversy and walking out of the theatre I couldn’t understand why. If anything this is a movie that ought to be cherished by the very people who are protesting in the streets. It glorifies the Rajputs of ancient India who never gave into the Mughals. Those who threatened bodily harm to Deepika for what they deemed mischaracterisation of the queen goddess owe her an unconditional apology. Her portrayal as the proud Rajput queen would make any Rajput walk two feet taller.

Ranveer Singh plays Allauddin Khilji in Padmavati.

Ranveer Singh brings a barbaric, manic and frenetic interpretation to Allaudin Khilji. There is an animalistic madness in his eyes and he tends to push it a little too far with that misplaced dance number but overall at no point do you sympathise with this lustful power crazed barbarian who thinks he owns the world. Ranveer is competent as ever and it is indeed hard to imagine any other actor being able to pull off a character so over the top.

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Shahid Kapoor is stoic and regal as the king of Mewar. Even when he is besotted with his beloved Padmavati he does not put on school boy airs. He carries himself with such grace and dignity and presents a polar opposite to Khilji. His words are measured and his intense gaze does most of the talking.

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Deepika Padukone is fantastic and back to top form. After a brief Hollywood stint the queen is back to rule Bollywood. To be laden with such opulent costumes and jewellery that probably weighs more than her she still manages to shine through from under all that Bhansali extravagance. The doe-eyed beauty transforms into goddess-incarnate filled with raging pride when she delivers the final sermon. Her walk to the jauhar pyre will give everyone the chills.

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The story while loosely based on an epic poem does not shy away from topics that most other directors would either have swept under the rug or made a caricature out of. Take for instance Khilji’s penchant for effeminate boy-slaves. Jim Sarbh plays Mallik Kafur who seems infatuated by Khilji. Aditi Rao Haidari plays Khilji’s cousin who he marries and mistreats. Anupriya Goenka who plays Nagmati, Ratan Singh’s first wife leaves a lot to be desired. A strong seasoned actress would have elevated the one scene where she is supposed to be have shined.

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Sanjay Leela Bhansali is a visual maestro – every frame of his is visual poetry. Every detail is meticulously crafted. The oil-lamp lit vistas of the Ghoomar song are jaw-dropping. Small nuances like the small pool right outside the private chambers, the carvings of hands outside the temple – these are details that anyone who has visited Rajasthan can attest to as being authentic.  However the controversy surrounding the movie which began from the very first shoot must have weighed heavily on the director’s mind. The screenplay seems flabby at the start. The pacing is off. The scenes between Khilji and Ratan Singh too long and too repetitive. He manages to rouse the passions towards the second half and pulls it all together visually and narratively towards the end. The sea of red saree clad women making the final walk through the different niches of the temple is unrivalled for it absolute beauty.

Image result for padmavatiThis might not be Bhansali’s best story telling but visually it is peerless. Shahid and Ranveer turn in fantastic performances but it is Deepika Padukone whose fire burns the brightest. The beauty, grace, dignity and pride with which she portrays the famed Queen Padmavati is one for the annals of cinematic history.

Wazir – A Review

Bejoy Nambiar directs Farhan Akhtar, Amitabh Bachchan and Aditi Rao Haidari in chess inspired revenge thriller Wazir in a story written by Vidhu Vinod Chopra.

 

The story starts with an introduction into Farhan’s idyllic family life where he plays Daanish Ali a Delhi Cop, has a kathak dancer wife Ruhana played by the beautiful Aditi Rao Haidari and an adorable toothless daughter noorie. Disaster strikes when defying all logic he chases down a known terrorist with his daughter in the backseat as his wife is getting her ghunghroo repaired. And this is not the most absurd plot line in the movie.

Farhan amped up on sleeping pills goes on a rampage and kills the said terrorist while the Police are running a parallel operation trying to nab the terrorist alive to get information on the politician-terrorist nexus. Spiralling out of control Farhan tries to kill himself at his daughter’s grave and is stopped from doing that by Amitabh Bachchan. Amitabh Bachchan teaches Farhan Chess and helps him get his life on track and enlists him in his fight to nail the perpetrators behind his daughter’s death.

There is John Abraham playing a Kashmir Cop and Neil Nitin Mukesh playing the eponymous Wazir and while these actors are not exactly brimming with talent, their limited talents are also wasted with a half-baked  plot lines.For what is a short movie it feels overlong and poorly paced. The editing or the lack thereof is really what sinks the ship. For what could have been an intelligent thriller is rendered boring and insipid with its watered down plot and dumbed down narrative. The problem with Bollywood is that it has never owned a Wren and Martin or never attended figures of speech class. While going for Metaphors it ends up doing Simile. While trying to make the narrative complex and interesting using Chess moves as metaphors for calculated moves Daanish must make to help nail the culprits Amitabh ends up speaking out loud everything just in case Farhan doesn’t get it. And the final climax which you can see coming from a mile away is made even more obvious when a Child is asked to lay out the plot in sobbing bursts of storytelling while Farhan holds a gun over the head of a fearsome terrorist. Coincidence is a mark of lazy storytelling and it is on glorious display here.

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While watching a director’s round table with a popular film critic one director made a very important point of how the Indian movies are made with the interval in mind and how that breaks the flow of the story – while that director was speaking of it in defence of intervals and how it helps with long stories here it couldn’t be more unnecessary. For a movie with a total running length of 80 minutes the interval is entirely unnecessary and it manages to deflate whatever little energy the movie manages to build leading up to the said interval. And the other Achilles heel of Bollywood? Pointless songs! The whole movie can be broken down into 2 parts – the one part where nothing really happens in normal speed and with no background score and the other where nothing happens in slow motion with one monotonous song playing in the background regardless of the situation at hand. I almost gasped when at the end they had a song sung by Amitabh playing as the credits rolled and not the overused “Tu Mere Pass”

What could have been slick almost psychological thriller is watered down and made so bland I can’t believe how excited I was when the trailer first released months ago. Amitabh is good as is Farhan but the story is overly simplistic and the non-existent editing and over direction is what kills this story. Want a well written, competently directed and marvellously edited thriller? You’d be better served by rewatching Kahani instead and not waste your time with this tepid mess.