Veere Di Wedding – A Review

Image result for veere di weddingShashanka Ghosh directs Kareena Kapoor Khan, Sonam Kapoor, Swara Bhaskar and Shikha Talsania in “not a chic-flick” Veere di Wedding. After the career ending critique from “The Aunty”, I was going in with abysmal expectation and maybe that or maybe the fact that I saw it with Kareena’s biggest fan in the world – I found the movie to be mildly entertaining and brimming with potential.

Kalindi played by Kareena is friends with Avni played by Sonam Kapoor, Sakshi played by Swara Bhaskar and Meera played by Shikha Talsania. Kalindi lives in Australia with her boyfriend Rishab played by Sumeet Vyaas who proposes to her and Kalindi accepts reluctantly. She returns to India and the 4 BFFs get together for their Veere’s wedding. Avni is a ball-busting family lawyer permanently harassed by her well-meaning mother played by the fantastic Neena Gupta to get married. Sakshi is a rich party girl who got married to a NRI in a rush and is now back to staying with her parents who do not really know what transpired for the marriage to break down. Meera married an American and lives in America raising her young child and probably the most “normal” of the bunch.  The four friends get back together and each of their respective storyline unravels.

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Kareena is for most parts hilarious as she goes about the Big Fat Indian (Delhi) wedding charade nervously scratching as she is made to dress up in ridiculous outfits and paraded in front of relatives who are of no consequence. Sonam Kapoor continues her trademark vapid and vacuous portrayal of any character she lays her hands on. Her dialogue delivery couldn’t be more stunted. Swara Bhaskar – as the aunty said – is playing a rich girl for the first time and it is a poor man’s idea of what a rich person does all day. Her dishevelled look with a cigarette permanently stuck in her mouth with sunglasses that serve no purpose as she peers from above is just an abhorrent performance. Nothing about her feels believable. Meera lives in America with her Caucasian husband John after having been disowned by her family for marrying “outside” the religion. She is the most believable and the most likeable. They try to give her a flaw too – excessive drinking but it feels half-baked and an after-thought. Shikha is the best thing about this movie and I cannot wait for her to headline a project all on her own where she is unencumbered by the lesser talented actresses. She has a Ugly Betty/ Jane the Virgin vibe about her that I cannot shake and I want the nouveau brave Bollywood to take a chance with her!

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The biggest problem is that director Shashanka Ghosh and writers Nidhi Mehra and Mehul Suri try to make this feature film in the vein of producer Ekta Kapoor’s multiple story arc TV-shows. There is simply too much going on and at 2 hours there is not nearly enough time to resolve even one story arc to successful completion. Take this for instance, Kalindi is reticent to get married because her parents used to fight a lot, her mother passed away and her father remarried to a socialite, she is estranged from her father, who is estranged from his gay-brother who is the only family Kalindi knows of. Then there is the whole insane plot about Kalindi’s Fiancé’s family being fraudsters. Sonam and Kareena went around town lamenting about how difficult it was to get a female-led film financed and it shows – there are awkward product placements after awkward product placements and they are not even trying to be subtle. Bikaji snacks get more screen-time than the amazing Neena Gupta and that is a crime against cinema. Also at the very end of the film some random local furniture company’s product placement literally made me lose it.

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With Sonam being the driving force behind this movie getting made it was always going to be fashion centric and for most parts the fashion is exceptional and forward looking except for that one ridiculous outfit that Kareena wears for her wedding. A 25-year old vintage Abu Jani and Sandeep Khosla outfit deserved to be better treated than that.

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The dialogues are mostly fun but when they go for crass they really go for it and the payoff is limited. The songs are mostly forgettable except Tareefan which only really plays when the credits roll.

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Lastly I am reminded of the Instagram post that Neena Gupta shared on Instagram where she simply stated “I live in Mumbai and working am a good actor looking fr good parts to play” and I couldn’t be more thrilled to finally seeing her on the big stage. She is a treasure and I do hope she gets more roles and meatier characters to play because even in the limited screen time she is allotted here she really shines through.

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It might be the Kool-aid talking but I did not hate Veere di Wedding. There was incredible potential had the writers and director taken one of the girl’s tracks and resolved that story arc and made this into an anthology the result would have been a lot more successful.

 

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Raazi – A Review

Image result for raazi posterMeghna Gulzar directs Alia Bhatt in Raazi. Based on a book “Calling Sehemat” by Harinder Sikka the screenplay written by Meghna Gulzar and Bhavani Iyer tells the story of a 20-something Kashmiri girl who is inducted into the covert Indian spy network that was responsible for the defeat of Pakistan in the war of 1971 at the hands of the Indian armed forces.

Alia Bhatt plays Sehemat Khan – the daughter of Hidayat Khan played by Rajit Kapoor. Hidayat is friends with the Pakistan Army Brigadier Syed. Dying of cancer, Hidayat asks his friend to get his youngest son married to his only daughter. Vicky Kaushal plays Iqbal Syed, Sehemat’s betrothed. Sehemat gets married and is embedded in potentially one of the most influential households in the Pakistani army. Once there she starts passing on crucial pieces of information through many secretive channels back to Indian Intelligence Agency, and eventually saving the Indian armed forces from a deadly blow and consequentially causing Pakistan’s defeat in the 1971 war.

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Alia Bhatt plays Sehemat with a quiet confidence, she is not a natural spy and she doesn’t play pretend either. What she is though is a brilliant student with and eidetic memory. She learns quickly and masters the spy-craft. Once beyond enemy lines, there is a palpable sense of danger lurking every moment she goes trying to gather intelligence to pass back to India. You see her afraid and remorseful. You see her be resourceful and determined as well. And through it all you see her fall in love with her husband. Vicky Kaushal plays Iqbal with absolute honesty. He never overplays his hand in any scene. There is a surprising restraint to his performance which makes the budding romance seem even more real and even tenderer. It is therefore just as shocking when the climax comes around. The supporting cast is absolutely solid. Rajit Kapoor who plays Hidayat Sehemat’s father, Shishir Sharma who plays Brigadier Syed, Amruta Khanvilkar who plays Munira Syed, Aman Vashisht who plays Nikhil Bakshi and Jaideep Ahlawat who plays Khalid Mir are all exceptional. Soni Razdan, Alia’s real life mother plays her reel life mother Teji!

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The story is based off of Harinder Sikka’s novel Calling Sehemat, a based on true events tale that Sikka came across while embedded as a journalist during the Kargil war of 1999. The story of Sehemat as recounted by Sikka is fascinating. But what makes this translation on screen such a riveting watch is Meghna Gulzar’s Screenplay and Direction. I first fell in love with Gulzar’s craft with her debut movie Filhaal. A path breaking movie for its time in Bollywood. Gulzar then disappeared until she resurfaced with Talwar a couple of years ago and with Raazi she has established herself as someone to watch out for. Her detailed and believable translation from Sikka’s book to Alia’s portrayal on screen is absolutely thrilling. The spy-thriller genre is almost unheard of in Bollywood and Gulzar faithfully recreates the period and gets the grammar of the movie right. Despite a slightly shaky start once Gulzar reigns in the narrative she doesn’t let it and the audience’s attention slip even for a moment.

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The camera work isn’t the best – it comes in too close in most scenes and you lose the atmosphere a little because of it. Cinematographer Jay I Patel however shines in the more panoramic shots. The production and set design are fantastic and the selection of vintage cars a wonderful touch.  The music is classic Shankar-Ehsaan-Loy, non-intrusive yet very effective. And Dilbaro is a brilliant song.

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A triumph in every aspect this is a movie for the ages. Alia continues to astound with the choices she makes in the roles she picks and depicts a maturity that belies her fresh looks. I cannot wait for Meghna to continue to defy expectations and chose varied subject matter and make movies that entertain and educate its audience in equal measure.

October – A Review

Related imageShoojit Sircar directs Varun Dhawan and Banita Sandhu in October. Juhi Chaturvedi, who wrote Sircar’s Vicky Donor, pens the story, screenplay and the dialogues. Vicky Donor broke new ground tackling a taboo subject but I think October might be the writer-director duo’s most ambitious project yet.

October is the story of Dan played by Varun Dhawan and his group of friends who work as the staff in a swanky hotel in Delhi as part of their hotel management course. Dan isn’t the brightest bulb in the bunch, his juniors overtake him and his nonchalant behaviour has him being relegated to the menial tasks of cleaning and laundry.  Among the juniors, who have overtaken Dan, is newcomer Banita Sandhu who plays Shiuli. A tragic accident and a casual question just prior to the accident leaves Dan wondering why Shiuli was asking about him. Dan abandons every aspect of his personal life and devotes every free minute to Shiuli who is rendered incapable of responding.

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Devolving any more of the story would not do the story any great harm but if the trailer is the only thing you are going by, like I did, the slow reveal will have a more lasting effect. Sircar and Chaturvedi have crafted the movie in an almost Indie-film vein, not something you see prominent commercial directors and actors be a part of in Bollywood. This could have just as easily been a Sundance film festival darling.

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While the bravery of Sircar-Chaturvedi is second to none, Varun Dhawan continues to defy expectations and pulls further away from the pack of young actors. Dhawan, who first burst onto screen in Karan Johar’s frothy yet delightful high-school drama Student of the Year, has gone on to deliver incredibly nuanced performance in Badlapur and cemented his commercial appeal in Humpty Sharma ki Dulhaniya, Badrinath ki Dulhaniya and Judwaa2. In my book Dhawan hasn’t put a foot down wrong. Every time he is on screen, he lights its up with his honesty and unintentional humour. Here, too, you believe him every time he chimes in when not required and urges Shiuli’s mother to give her time to recover. You feel his pain when he finds out that before the accident Shiuli had asked about him. He is extremely easy to watch on screen and every emotion he embodies effortlessly.  Dhawan achieves something improbable in that he is at once part of the scenery and yet he stands out even without trying. His scenes with the hospital guard, the nurse and the scenes with his friends are all absolutely incredible. This does not feel like a star vehicle but like a debut of a staggeringly gifted actor.  He may have flexed his six-packs in almost every other movie but here he really gets to flex his acting muscle and when he does it it’s a thing of beauty.

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Avik Mukhopadhyay uses his lenses to capture every scene in the most unobtrusive of ways. There is a melancholy to the way he frames each scene yet there is a beauty to it as well. His close-ups of Shiuli are splendid.  The editing by Chandrashekhar Prajapati is exquisite, the pace never once slackens nor does any moment feel rushed. The fantastic script and the very competent direction would have been rendered unintelligible in the hands of a lesser editor.

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The slow burn narrative, the focus on the human interactions and the humanity of its subjects rather than the story itself, the no-rush story telling are all brilliantly tender and organic. The reason why I said that this movie feels their most ambitious is because it feels free of any commercial compulsions. Every film with a reasonably well known actor/director is only measured by one parameter these days – how quickly does it reach the 100-cr mark? This film is the furthest thing from it, but because of it, this might be the most poignant and original film of the year and dare I say almost 4 months into the year perhaps one of the best of the year.

Padman – A Review

Related imageBalki directs Akshay Kumar, Radhika Apte and Sonam Kapoor in Padman, the story based on Padma Shri awardee Arunachalam Muruganantham, the innovator of low-cost sanitary pads.

 

Balki and Swanand Kirkire base the story on the short story written by Twinkle Khanna the wife of Akshay Kumar and also the producer of the movie. Akshay Kumar plays Lakshmikant Chauhan the eponymous Padman. Lakshmi is newly married and besotted with his wife Gayatri played by Radhika Apte. When she experiences her periods for the first time at her married home, he tries to talk her out of using a dirty rag and get her to use a store bought sanitary pad. She balks at price of it and tries to talk him out of it due to the high price. Lakshmi then embarks upon a quest to prototype his low-cost sanitary pad. The journey that Lakshmi undertakes all the way from being shamed out of his village to delivering a rousing “Linglish” speech at the united nation is fascinating.

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Akshay Kumar is fantastic as Lakshmi and brings a level of earnestness that lifts every scene he is in. The opening sequence song “Aaj se Teri” sets up Akshay’s character arc where he earnestly tries alleviate every single one of her problems, building a wooden seat for her to sit on his bicycle, a monkey toy onion chopper. He might be lacking in the formal education department but he makes up for that in his inquisitiveness. Radhika Apte plays Gayatri and she couldn’t be more of a contrast to Akshay Kumar. She is one note, whiny and overplays the ever silently suffering wife. For almost every scene she is in she is either crying her eyes out or passive aggressively berating Lakshmi for trying to help her. The whole “shame is worse than disease” cudgel she keeps beating over Lakshmi and the audience’s head gets really tiresome. Sonam Kapoor who makes an entry in the second half of the movie moves breezily from one scene to another. She is entirely believable as the college student who sees potential in Lakshmi’s reinvention of the Pad making machine and immensely likable – no small fete considering her previous work. Amitabh Bachchan who is a permanent fixture in every Balki movie chews up the scenery in the 2 minutes he is on screen. His screen presence is unparalleled and his baritone a calming balm on the frayed nerves after Apte’s annoying performance.

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The first half is hugely problematic with its pacing and overly regressive storyline. The whole premise of women using unhygienic rags is setup so tactlessly that it becomes impossible to feel anything for either the women who are suffering this plight or the one man who is trying his best to change the status quo. It is only when Lakshmi is left to his own devices that the movie really picks up steam in the second half. The writing is abysmal and the epiphanies that Lakshmi experiences when his boss at the garage spouts pearls of wisdoms is too on the nose. If not for Sonam Kapoor and Akshay Kumar the movie would have fallen in the same unfulfilled promise category as Balki’s previous Ki and Kaa. The music is catchy and does well to buttress the flailing script and the camera work is fantastic. Every scene is alive and vibrant. The locales of Madhya Pradesh lend a wonderful aesthetic backdrop to the rural setting lifting it out of poverty porn.

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A fascinating story, a decent second half and a strong acting turn from Akshay Kumar and Sonam makes this bearable outing. Balki ought to take directing lessons from his wife Gauri Shinde who knows how to let story translate on screen organically. Also I wish Balki took a page out of Oliver Stone’s book and got the real Padman deliver a final speech.

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.

Tiger Zinda Hai – A Review

Image result for tiger zinda haiAli Abbas Zafar directs Salman Khan and Katrina Kaif in the action thriller Tiger Zinda Hai, a sequel to the 2012’s Ek Tha Tiger. Salman Khan plays the eponymous R.A.W. agent Avinash Singh Rathore AKA Tiger and Katrina plays the ISI agent Zoya. Ek Tha Tiger in many ways the beginning of the renaissance of Salman Khan.

 

The story begins with a solid intro into what will end up being the central plot of a daring rescue mission. Syria and Iraq are being taken over by ISC a caliphate organisation modelled after ISIL. The leader Abu Usman played by a sinister Sajjad Delafrooz is hurt and is taken to a hospital and the 25 Indian and 15 Pakistani nurses are taken hostages and the hospital turned into a virtual fortress and an ISC stronghold. The Indian embassy, foreign ministry and the intelligence machinery set into motion a plan to rescue the nurses – there is only one man for such a mission. Cue Tiger, to much whistling and hollering, Salman Khan makes his entrance and fairly quickly goes about pulling together a seemingly implausible mission with a sniper, a bomb expert and a senior citizen tech wiz.

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The action sequences are adrenaline pumping and shot spectacularly. The introduction to Tiger as he fights off a pack of wolves is one of the best we’ve seen. Katrina is also not found lacking in the action department – the supermarket scene and the one in the city council merit admiration. The second half is one long action sequence of very little consequence with a fair bit of jingoism thrown into the mix to keep the audience hooked and hooting. The supporting cast is weak and an afterthought. This is a Salman Khan vehicle and each scene pays off in truckloads. The scene where he keeps “Highly Toxic Chemical Gas” at bay by simply covering his nose and mouth with his tshirt has the audience in raptures also serving quite well to allow salman to go bare chested – an act that he has perfected into art by now. Chuck Norris and Stalone’s Rambo got nothing on Tiger!

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The plot which opens solidly becomes muddled with the introduction of Baghdadi- the ISC’s number 2 and the duplicitous American angle. Delafrooz manages to wrangle it back somewhat but by the time Tiger is shooting his machine gun the audience barely cares. This is what we came for and we get it in spades. Juvenile dialogues and a hammy Paresh Rawal dampen the pace a little but the action sequence and the set design/location scouting for the destroyed cities of Iraq and Syria are top notch and make the tension in the atmosphere palpable. The background score is effective for most parts but maudlin for the more forced-patriotic moments.

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Seeing a Salman Khan movie in a theatre in Mumbai is truly an experience in itself. The crowd goes wild every time the director choses to frame the very impressive 50 year old in an action sequence that would put many youngsters to shame. Katrina barely gets a reaction and she is gorgeous in every single frame with that half open pout.

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A solid opening sequence and a series of break neck action sequences and a total commitment from Salman make Tiger Zinda Hai worth a watch. Grab your popcorn and get to the nearest screen you can find with the most raucous crowd and go bhai-crazy.

Secret Superstar – A Review

Image result for secret superstarAdvait Chandan directs Zaira Wasim, Meher Vij, Raj Arjun & Aamir Khan in Secret Superstar. The movie tells the story of Insia Mallik the 15 year old girl from Baroda who aspires to be the best singer in the world.

 

Zaira Wasim plays Insia Mallik the eponymous Secret Superstar. Buoyed by her mother Najma, played by Meher Vij, Insia tries to escape an overbearing and violent tempered father through her music. Meher Vij is spectacular in the light hearted scenes with Insia, she is especially brilliant when playing the long suffering wife of Farook. Raj Arjun as Farook Mallik is one of the vilest characters I can recall and Arjun plays it to perfection. There is no redeeming factors to him and Raj Arjun brings to life the character of a wife-beating, chauvinistic, evil pig. Props to him for not holding back.

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Najma is the one who bought Insia the guitar when she was six, Najma clobbers together money to buy Insia the laptop and internet connection and the reason she gives Insia really warms the cockles of my cold dead heart. There are many wonderful moments which lift the movie above the emotionally manipulative one. Several of those are also courtesy Insia’s puppy love Chintan Patel played by Tirth Sharma. Insia becomes an overnight youtube sensation when she uploads her first video dressed in a burqa. Insia’s brother Guddu played by Kabir Sheikh also adds a much needed innocence to the proceeding.

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Aamir Khan plays Shakti Kumar a disgraced Bollywood music director who has been boycotted by all the established singers. Aamir pushes the ham envelope with such abandon that the comparisons to Andaz Apna Apna are for once justified. Mr Perfectionist who has such a huge influence into every aspect of the movie making however is also its downfall in the most unfortunate of ways. In an effort at justifying more screen time for someone of Khan’s repute he gives away the biggest aha moment when he interprets his sleazy song as a romantic one as it was intended to be for Insia and then when she sings it just as she was instructed he lights up. It’s a moment that could have been such a departure for the sleazebag Shakti Kumar but it is squandered away by either incompetent writing or poor direction in trying to massage a superstar ego. The tangent about how his life and that of Insia have parallels is left unexplained. The whole shindig about his wife’s lawyer helping Insia is also unresolved.

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Zaira Wasim who first burst onto screens with Khan’s Dangal is worthy of the praise she is garnering. She is a competent child actor. But there are range problems for me. There is almost a constant woe-is-me feel about her – there is no levity to her. There is a child-like wonder that is missing. Perhaps it is not her fault and it is the writing which stymies her into a one-dimensional character.

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For a movie so heavily musically influenced the songs themselves are wonderfully childish. Meri Ammi is how a child would describe his or her own mother and feels wonderfully warm and enveloping – that Meher Vij is so great helps validate the song as well. Mein Kaun Hun is appropriately operatic. The direction by first timer Chandan feels very organic. The stictching up of the pinafore to hike up the neckline is so modestly middleclass it is almost a blink and miss, the use of aamir’s son’s name as the airline, and Guddu’s re-construction of the QWERTY keyboard as ABCD one is one of the most nuanced moments of the movie for me

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The climax seems too obvious – the only thing missing was Shakti Kumar storming the stage ala Kanye West. There are many moments that feel like emotional manipulation and some dialogues feel too basic. The constant one character repeating what the other has said in the past also begins to grate and feel disingenuous. In spite of these short comings the movie is entertaining for most parts and Raj Arjun really livens it up for me. Not a bad 2.5 hours spent at the theatre.

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.

Bareily Ki Barfi – A Review

Image result for bareilly ki barfi posterAshwiny Iyer Tiwari directs Ayushmann Khurrana, Kriti Sanon and Rajkummar Rao in Bareily Ki Barfi. Set in the small town of Bareily in northern India this is the story of Bitti played by Kriti who isn’t like other domesticated Indian girls. As the narrator says “She’s her mother’s daughter and her father’s son”.

 

Seema Pahwa plays Bitti’s mother Shushila Mishra and is woe-begotten with worry about getting Bitti married. Pankaj Tripathi plays Narottam Mishra Bitti’s father who is torn between his desire to let his daughter live her life by her standards and the society’s expectations of what constitutes a good girl. If that sounds dreary and drab – don’t let that fool you – this movie is a hoot and a half! When Bitti tries to run away from home she picks up a novel about a free-spirited girl from Bareily and she is convinced this is her story. She wants to meet the writer. Enter Chirag Dubey played by Ayushmann Khurana who owns the printing press where the book was published. Bitti convinces Chirag to get her to meet with Pritam Vidrohi played by Rajkummar Rao who wrote the book, and thus hilarity ensues. This much is clear from the trailer – and saying anymore would be a great disservice to the movie.

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Written by the writing team behind Dangal, Nitish Tiwari and Shreyas Jain this movie exceeds the 1500-crore earner by a clear mile when it comes to pure writing. Given the realtively smaller stars the movie is un-encumbered with trying to satiate star-egos and as a result the audience is the real winner. I honestly cannot remember the last time I heard the audience guffaw so loudly and at times that warranted laughter. Of the actors Kriti Sanon is a revelation – I have not seen any of her previous work and really wasn’t too keen on her either – but I am a convert now. Ayushmann is solid as ever. But the real hero of the film is Rajkummar Rao – his transitions between the two Pritam Vidrohis is so seamless it’s a real treat to watch. The supporting cast is brilliant as well. Seema Pahwa, Pankaj Tripathi, Swati Semwal as Bitti’s friend Rama and Rohit Chaudhary as Chirag’s Man-Friday Munna are all brilliantly nuanced in the small but crucial roles.

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The music doesn’t let you down, Sweety tera drama and Twist Kamariya will have you tapping your feet to its beat and Nazm Nazm will stay with you long after the screen credits as well. The screenplay is precise and very cleverly written, the editing very sharp and together they don’t let the pace slacken even slightly.

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Very cleverly written, ably acted and genuinely funny this one has definitely repeat watchability in the vein of Band Baaja Baraat. There really is absolutely nothing I can fault this movie for. Go watch it for Kriti who is not only easy on the eyes but has acting chops to back as well. Watch it for Ayushmann who really should be doing more movies than he is already. But more than anything else watch it for Rajkummar Rao – this guy is a national treasure!

 

Badrinath Ki Dulhaniya – A Review

Image result for badrinath ki dulhaniya posterShashank Khaitan teams up with Varun Dhawan and Alia Bhatt in Badrinath ki Dulhaniya, the follow up to Humpty Sharma ki Dulhaniya. After successfully parodying and at the same time paying homage to DDLJ, Khaitan Dhawan and Bhatt take on the runaway bride trope.

 

Tackling the social evils of dowry, gender discrimination and overbearing patriarchy the movie never once feels heavy or preachy. The movie hits every right note from the word go. We are introduced to Varun Dhawan as Badrinath Bansal, the second son of Ambarnath Bansal. Badri works as the loan collector for his money lender father. He runs into Vaidehi, played by Alia Bhatt at a wedding where he has gone to collect the money from one of his father’s debtors. What ensues is Badri’s earnest attempt at wooing Vaidehi who playfully and then forcefully rebuffs his advances.

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Alia Bhatt is fantastic and lights up the screen every time she is on the screen. She exhibits the full range of emotion from the playful and taunting to vulnerable and emotional, from the stubborn to acquiescent. With every movie she grows more assured and keeps surprising with the effortlessness with which she essays each role. To me the reign of Deepika Padukone is over and it is now the era of Alia and long may she reign!

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As much as I love Alia in everything she does this movie belongs to Varun Dhawan. It’s his energy which lifts this from being a run of the mill romance. His Badri is a perfect buffoon but with a heart of gold. Torn between an unrequited romance and an overbearing father Varun excels in every scene he is in. It is his innate sense of childlike innocence that makes the funny scenes funnier and the emotional ones more heart-breaking. Varun is ably supported by Sahil Vaid as Somdev his best friend. TV actor Shweta Prasad is superbly cast as Urmila Bansal the wife of Badri’s elder brother Alok Bansal also wonderfully played by Yash Sinha. Swandan Kirkire the lyricist plays Vaidehi’s hapless father and Rituraj Singh plays Badri’s father with suitable rage.

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The traditional Bollywood tropes which were mostly cheesily executed when Karan Johar was directing are now masterfully deployed with him in the producer capacity and Shashank Khaitan as the director. And surprisingly they even make a remixed Tamma Tamma work without losing the 90’s charm and updating it with the mannequin challenge for the millennials. The only trick they missed was having Madhuri Dixit make a cameo in the song itself. That would have made this old Madhuri fan jump up with joy.

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This is a fun movie that is immensely entertaining to watch. It has a serious message at its heart but it never once gets sermonise-y, it does not take itself seriously and yet manages to make the point it never set out to make. Fast paced, beautifully shot and exquisitely acted this one is not to be missed. Cannot wait for the next outing of Varun and his Dulhaniya in a new avatar.