Hasee Toh Phasee – A review

First timer ad-film maker Vinil Matthew directs the yashraj-blue eyed girl Parineeti Chopra and the Dharma Production’s blue eyed boy wonder Siddharth Malhotra in the quirky RomCom Hasee Toh Phasee.

The film is a story based on Meeta and Nikhil who find it difficult to fit in to their respective families and happen to cross paths when Meeta is running away from her sister’s wedding which Nikhil is attending. This chance encounter is the conventional meet-cute that any decent romantic comedy is incomplete without.  Nikhil happens to fall in love at the same wedding with Meeta’s other sister Karishma who he courts for another 7 years through EMI-like monthly breakups yet he stays faithful to the whims and fancies of the wannabe TV star. Meeta reappears as the wedding preparations of Karishma and Nikhil are kicking off and she kicks off a storm in her wake as she mysteriously converses in Chinese with someone on the phone and over video chat, curiously and thankfully the subtitles are left out during the Chinese conversations which add to the mystery that surrounds Meeta. Also a masterful touch is the undiagnosed condition which Meeta obviously suffers from or the fact that she could easily be termed a highly functional autistic person or someone with Asperger’s syndrome but it is left for the audience to diagnose looking at her quirks. What unfolds is a pretty harmless and mostly hilarious fare with a well etched supporting cast with a former policeman father, a grandmother with a twin, an Indian Idol-aspiring cousin from Kanpur, a boastful Guajarati uncle and a Gujarati uncle who has nothing to talk about but wants to make small talk.

The Karan Johar touches are evident with the shot of the empty trains, a foot-over bridge and the early dawn shot overlooking the city below – these are the same visuals that made Johar’s segment on Bombay talkies so memorable. Also the Punjabi wedding song is reminiscent of the Radha song from Student of the Year. The fact is that Johar specializes in making harmless, glitzy, feel-good movies that are a welcome inclusion to the Indian movie scene. Vinil Matthew’s distinctive style may take a while to develop but he does well to remind the audience of the Johar trademarks.

Parineeti is wonderful in this role which could easily have become a slapstick and an over the top portrayal of a mental illness. She treads a fine balance and manages to generate the most guffaws from the audience. She reminds me of the plump Punjabi Dimpy Chaddha that I fell in love with from Ladies Vs Ricky Behl from the minute she said LOL. Siddharth Malhotra looks smashing in every frame and it is no wonder why girls everywhere are going crazy over him – he is like the perfect mix of the shahid Kapoor chocolate boy looks with the physique of a Hrithik Roshan and the boy can act decently as well.  He isn’t given too much of a challenge with the script here but he does well to come off as earnest and honest. Adah Sharma as Karishma the sister Malhotra is going to get married to did not impress me too much. She was mostly there for the glam quotient with her 2 sizes too small saree blouses and the Post-makeover Jassi (Mona Singh) look.

The music by Vishal and Shekhar isn’t as good as Johar’s last and Malhotra’s first- Student of the year with only two songs with any recall-value “Drama Queen” and “Punjabi Wedding Song”. The cinematography by Sanu John Varughese is fresh and in keeping with the Johar Memo of keeping the lighting soft and the colors pastel-ly.

The side plot involving the mysterious reason why Meeta ran off and why she came back and who she is conversing with in Chinese is also fairly intelligent and not a complete throw away.

Watch this movie because Parineeti and Malhotra share a fantastic chemistry and the humor is effortless for most part. Watch it because it is inoffensive light hearted entertainment that is mostly missing from all the slapstick comedies out there. Watch it for Chopra and Malhotra chemistry.

2013 – A Review

Pop that bubbly and kiss 2013 good bye and bring out those notepads to make the resolutions for 2014! I am not the sorts to make resolution and even unlikely to keep one all through the year. But 2013 must be an exception to that rule and what I am hoping is a turning point for me. Back in jan 2013 I made a resolution to write about every movie I saw and as a result I started my blog. Since its inception the blog has generated 4600+ hits and given me many a joy as a result.

There were many highlights like when Ashok Banker posted my review of his 8-part Ramayana series on his facebook page! That was the push I needed to convince myself that I was onto something good. But even before that the blog’s very first post was a fresh and refreshing movie which has continued to be the benchmark against which all other movies I saw this year were compared to – Kai Po Che.

In a year of 100 crore plus blockbusters which required as many aspirins to overcome the headaches they caused there were little indie gems ( can’t believe I am using the word Indie in the indian cinematic context!) which made the year a lot more bearable.

Summarized below are my top 10 picks , my bottom 5 and the 3 biggest disappointments. This is not the whole catalogue of movies released in 2013 – just the ones I made an effort to go watch, there are still Oscar heavy hitters like 12 years a slave, August Osage County , The Wolf of Wall Street  which I am yet to watch and review.

Top 10 : (in alphabetical order) top 10

Bombay Talkies : a first of sorts where 4 mainstream big-name directors came together to present 4 short stories which celebrated the 100 years of Indian Cinema. Each story holding its own and neither director trying to one-up the other  but rather trying to tell an earnest story. Incidentally this is also one my most shared reviews and some people commented that they didn’t immediately see the connect I made between the four stories but did definitely agree afterwards.

Fukrey : A serious rib-tickler thanks to the antics of Choocha and Bholi Punjaban. And featuring the song of the year “Ambarsariya” this one was the most surprising as we went in expecting very little and came out clutching our sides which hurt from laughing out loud. A comedy that did not depend on physical gags and potty humor – my pick for the best comedy of the year!

Gravity : the opening 12-minute sequence is an experience that cannot be compared to any that we have had in theaters ever. A trip to space that we had only imagined so far but was brought life in glorious IMAX by the visionary Alonso Cuarón. Sandra Bullock should trade in her Oscar for best actress for blind side and ask for a new one for this one.  The magic of cinema as it was meant to be.

Go Goa Gone : A zombie movie made in india? You have got to be kidding me! And no Ramsay-fication of the same? Get out of here! This was a close second to the comedy of the year pick. Again went in with very little expectation came out with goosebumps from the gross zombies and a hurting jaw from all the laughing.

Kai Po Che :  I hate Chetan Bhagat and his brand of Indian-English Lit. but to take his story “3 mistakes of my life” and to make it into a sensitive, humorous and realistic tale of friendship, politics and redemption is not mean task.  This introduced us to 3 promising actors and redeemed a director after his overrated RockOn debut.  My personal favorite of the year, and a movie that will only get better with time.

Madras Café : this almost made it to the most disappointing because of the over simplification and the lack of cloak and daggers that I wanted from a smartly crafted and a beautifully shot political thriller. But I cannot take away from the fact that sujoy ghosh made a smart movie with believable performances from 2 of the worst actors.

Prisoners  : comparisons to Zodiac and Se7en are always going to bode well for any movie in my book and this dark and violent thriller about a man on rampage after his little girl goes missing is something that still gives me the chills when I recall the look of abject hatred on Hugh Jackman’s beautiful face. My pick for the best ensemble acting of the year, Jackman, Melissa leo, Paulo dano, viola davis, maria bello all bloody brilliant and I don’t hate Jake Gyllenhall anymore!

RamLeela :  This one is a controversial pick I know. Many people have written off Sanjay Leela Bhansali as a director more consumed with erecting humungous set pieces and working in monochromatic mode than concentrating on the story and character development. I disagree, and strongly at that. RamLeela , a Shakespearean adaptation of Romeo and Juliet set in rural Gujarat between warring clans of Rajadi and Saneda and a opulent multi-hued visual spectacle is the best Bhansali has done in years. This is devdas and HDDCS good. Most definitely the best soundtrack of the year with every single song a win in my book. Give it a watch without preconceived notions against Bhansali and you will be happier for it.

Rush :  Nothing – the answer to the question what can Ron Howard not do? To a person who detests Formula one this was definitely one of the best sporting movies ever made. The rivalry between Niki Lauda and James Hunt captured beautifully without playing the sympathy card for either of the protagonists. Daneil Bruhl turning in one of the best supporting acting all year. Beautifully shot, exquisitely scored – this was a highlight of the year without a doubt.

Ship Of Theseus :  The redemption of Bollywood in its 100 years of existence which has been marred by either blatantly plagiarized Hollywood fluff or story-less superstar billed histrionic orgy. Ship of theseus took a Grecian paradox ( had people googling what the hell a paradox is ) and turned it into poignant moving cinema which proved to the masses that you don’t need a small country’s GDP-equivalent budget or big-name stars to make a beautiful and technically adept movie. You need a brilliant director, a strong script and absolute dedication to your craft. Karan Johar rightly said – this movie makes every other filmmaker feel inferior. This should have been India’s entry to the Oscars’ foreign language category.

 

Bottom 5 ( In alphabetical order)

bottom 5

B.A. Pass : what promised to be a sensual Noir film ended up being a one-note repetitive mess which went no were and failed because the director was more consumed by trying to make a stylized movie which tried to touch upon every cliché possible rather than to make a simple story told in layers.

Bhag Milkha Bhag : the trailer set the pulse racing with a buffed up Farhan Akhtar running with a tyre tied to his waist against the stark ladhak landscapes. What was promised as a sporting bio-pic ended up being a boring meaningless mess. I had  such high hopes and I was left clutching at straws trying to find any redeeming factors about this movie.

 Chashme Baddoor : how can you take a Farooq Sheikh and Deepti Naval classic and butcher it so that it bears no resemblance to the original movie from which it was adapted from.  Chashme Baddoor is how.  

Dhoom : 3 : I knew this was going to be bad – but so bad that I had to take notes for my review! Every single thing about this movie was an absolute stinking turd. The only saving grace? The world now is in on the secret I knew for years! Aamir Khan is a conman who in guise of perfectionism is a hack who has only gotten lucky with a few good films and is essentially a worthless actor.

Satyagraha : Amitabh is good the rest is bad and Prakash Jha is  quickly become a tiresome director to sit through and when the new channels rehash the same political conundrum the nation is going through better than a national award winning director there is something definitely wrong with the movie.

Biggest Disappointments:

disappointment

 Lunchbox :  the end product failed to live up to all the hype surrounding the release of the movie and the hue and cry that followed afterwards when this movie was not selected as India’s official entry to the oscars. sure it is a cute little story but it did not live up to the potential that it held and ultimately the biggest disappointment for me for the year.

Man Of Steel : Snyder sullied the name of Nolan by making this mess of a movie. The perfect choice for superman Henry Cavill was not given enough to do in the movie which was more Snyder & Goyer  and less Nolan (chris and jonathan both) . a BIG disappointment all around.

 Nautanki Saala! :  the rising star of the last year Aayushman Khurana fails to entertain and the movie overall is just a giant mess. Less than catchy tunes and a story that had the potential but fails to deliver is the reason why this movie makes it to my list of big disappointments.

 

So there you have it – I wish I had seen more movies this year than I did and that is a resolution I am certain to make for 2014 and as a result more reviews to write and read. I will try to add more variety than just movie reviews and there is an exciting prospect under development which when accomplished I will be very very very happy to share with all!  Here is wishing all you readers of my blog a very happy new year and good luck with those resolutions! Make a resolution because it feels great at the end of the year when you sit down to look at what you have accomplished!

 

 

RamLeela – A Review

Sanjay Leela Bhansali directs Ranveer Singh and Deepika Padukone in the “goliyon ki Rasleela – Ram Leela” an adaptation of Shakespeare’s Romeo and Juliet. And after the directorial misstep that was Guzarish and the producing abomination that was Rowdy Rathore Bhansali retreads the familiar paths he etched with “Hum Dil De Chuke Sanam” and “Devdas” and the result is a richly layered and textured visual masterpiece that manages to strike a balance in catering to the masses and appealing to the classes as well.

Ram as played by a mustard-oil drenched Ranveer Singh and Leela as played by the statuesque Deepika Padukone play the Romeo and Juliet belonging to the opposing clans of a village in Gujarat whose rivalry goes back 500 years. The ill-fated lovers lay eyes upon each other on holi-day and what unfolds is a tragic romance that has found innumerable adaptations and countless influences when it comes to love stories.

The story by Siddharth and Garima and also the screenplay steers clear of the clichéd and predictable tropes for most parts and manages to even surprise once or twice with you holding your breath as what unravels was so far away from the expected that the result is spectacular. I wish they had worked on giving the opening sequence a bit more dynamism than a person relaying the backstory and context to someone else via a telephone call. Also the second half really needed to be cut short to drive home the impact even more effectively but these are minor grievances.

Bhansali and Ravi Varman capture stunning visuals that are nobody’s business. There is no better visual auteur in India today who understands how to frame a beautiful shot than Sanjay Leela Bhansali. Every shot is a painting that can be hung up on a wall. Every scene is visual poetry. The dance sequences are framed and shot with such throbbing vibrancy that you cannot help but take a sharp intake of breath as the set pieces unveil and the scenery is laid bare before you to soak in.  No one does water reflection shots like Bhansali does – from the glittering havelis of the tavayafs of chitpur from devdas to that one tracking shot in Hum Dil De Chuke Sanam from the song “Dholi Taro” and here to Udaipur become Jantara and the lights of the city palace reflect like precious jewels in Lake Pichola. STUNNING! Another spectacular shot is that of Kesar running away from her pursuers and the rolling of the pot along with her – like I said visual poetry.

All this visual artistry would be wasted if it wasn’t for the solid acting chops on display. Ranveer who always makes me cringe with his off-screen presence (interviews et al) still manages to strike a balance between playing a playboy and transforming to the titular Ram (yes of the mythic Ramayana). Deepika just takes your breath away every time she is on screen with her beauty but she has grown in the acting department and how! This is perhaps the best she has ever been and she manages to carry most of the movie on her shoulder while Ranveer is focusing more on thrusting his pelvis every chance he gets.  Richa Chaddha and Barkha Bhisht who play the daughters- in – law of the Saneda and Rajadi clans respectively are brilliant in their respective roles. Supriya Pathak Kapur who plays Dhankor the clan-mother of the Saneda clan is power personified. She plays the lioness like Dhankor with such aplomb that I was going into giddy fits every time she appeared on screen. I would pay top dollar to watch Supriya Pathak’s Dhankor vs Shabana Azmi’s Santok Jadeja the fight of the godmothers would make Brando blush.

Another very important element of the movie is the music and the songs. Every song with the exception of Ishqiyaon Dhishkiyaon is perfectly suited to the movie and given that the lyrics were written by Siddharth and Garima who share story credits as well every song helps in furthering the story. The background score by Monty and the actual music by Bhansali himself infuse Gujarati Folk songs into every note that the movie pulsates with a rhythmic frenzy that can only be witnessed during the final notes of a Garba dance. The costumes deserve a special mention because utmost care is taken to champion the traditional handloom techniques of the different regions of Gujarat, from the Kutchi-threadwork to block prints, Patola-weaving to many other exquisite techniques that only act to enhance Deepika’s beauty.

While this is not a perfect movie and the opening sequence and the second half needed more care from Bhansali and the character of Ram didn’t need those many pelvic thrusts, this is a movie that must not be missed. Watch it for Bhansali who makes a triumphant return to directing epic love stories like only he can. Watch it for Deepika Padukone. Watch it for the visual artistry that does not rely on exotic foreign locales; watch it for set pieces that are unparalleled in Bollywood today. Watch it for this is a beautiful adaptation of Shakespeare’s Romeo and Juliet

Burlesque

You absolutely cannot go wrong when you have the legendary Cher (the woman doesn’t even need a second name), the pocket sized power house Christina Aguilera, The amazing Stanley Tucci, Eric “Dr. McSteamy” Dane and “dancing with the stars” Julianne Hough. With a combination like that plot, point and production values do not matter any longer. Burlesque is unashamedly, un-bashfully and unapologetically aware of that.

Burlesque is the story of the small town Iowa girl Alice “Ali” with big dreams and a voice to match. She leaves her drab life in Iowa and buys a one way ticket to Las Vegas. She lands up at a 1920s inspired burlesque club run by the tempestuous diva Tess played by the legend herself Cher! Through some unimportant situations Ali lands a job first waitressing and then as a dancer on the burlesque stage. After butting heads with the current star Nikki who through her poor choices looses favour with Tess Ali gets her big break on the stage as the leading lady. Nikki sabotages her performance by cutting off the vocal track and it falls upon the Ali to belt out a note that could stop a raging rhino in his tracks ( poor analogy I know) . From there onwards its just one big giant rhinestone covered performance after another as Ali the girls from the little town with a big voice and an equally big heart charms her way into her room mate Jack played by Cam Gigandet , to the successful business man and a gentleman Markus whose intentions aren’t clear from the beginning.

Burlesque is an art form, its cheeky its sexy it fun. Very popular in the 20s and the 40s it is again seeing a stead revival with Hollywood a-listers like Dita Von Tesse making a name for herself through this form of performance art. Even popular TV series like gossip girl’s lead characters Chuck and Blair have shown a penchant for indulging in burlesque. Fun fact: Kristen bell who plays Nikki is also the voice of Gossip Girl XOXO. Recent singers like Katy Perry who shows a little and hide a lot enticing the audience have seen their popularity hit the stratosphere.

Like I said story and direction aren’t something to write home about and neither is the production value as the movie seems to be in a time warp from the 1920s club interiors to the 1940s inspired sports car that Markus drives to the 1980 “use my phone for calling whoever, you know long distance or anything” to the 2000s girlfriends calling the cell phone to pick a fight. But what is amazing is the chemistry between the Diva Christina and the doyen Cher. Each musical number makes you (or me atleast) grin ear to ear with the sheer joy that these two bring to the screen. Two ballads one by Cher “you haven’t seen the last of me” and “bound to you” by Christina are reasons enough to see this movie. And I would pray to god that Cher meant it and that we really haven’t seen the last of her.

I love musicals and I thought that John Travolta in drag in hairspray was great ( for which a lot of my friends haven’t forgiven me ) so you shouldn’t necessarily take my advice seriously. But I mean come on this is Cher and Christina we are talking about! A GREAT movie to forget whatever crap is going on in your life and escape to the world of burlesque! I also own the Original soundtrack of the movie which makes for a very fun 3 hour drive to work on Mondays!