Ae Dil Hai Mushkil – A Review

Image result for ae dil hai mushkilKaran Johar directs Ranbir Kapoor, Anushka Sharma and Aishwarya Rai Bachchan in Ae Dil Hai Mushkil. The story of unrequited love is said to be almost autobiographical with Ranbir playing the dramatized version of Karan Johar.

 

Ranbir Kapoor plays Ayan Sanger – rich brat pursuing MBA in London while nursing a dream of being a singer. Ayan is also the narrator of the story and the entire movie is told in a flashback while Ayan is being interviewed following his success as a singer. When asked why his songs sound of unrequited love Ayan takes us back to where it all began.

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The chance meeting with Alizeh Khan played by Anushka Sharma, the blossoming friendship, the homage to many milestone movies of Bollywood including Ranbir’s tribute to his own father’s iconic Chandani. Delving any further into the story would be a disservice to the nuance that Johar has crafted into the complex relationship dynamics between Ayan and Alizeh. The first half starts off stutteringly where the intensity of Ranbir and the levity of Anushka seem to be a little bit like oil and water. Despite their best effort it isn’t easy to identify nor feel for the characters. Only once the unnecessary shenanigans of Ranbir’s girlfriend and Anushka’s fiancé are done with does the movie really pick up. The scene leading up to the intermission is gut-wrenching in its rawness. This is the Ranbir we know and love. He can play the heartbroken hero a hundred times over but he manages to imbue a sense of novelty, be it his driven Janardhan aka Jordan in Rockstar or the vagabond Bunny in Yeh Jawani hai Deewani, and be it him as the bottled up millennial Ved in Tamasha or coming of age Sid in Wake up Sid. You laugh with his antics and you feel the pain in the pit of your stomach as you see him repeatedly bang a flowerpot on his chest. It is a shame that an actor’s worth today is equated with the box office collection – ADHM may not do the hundreds of crores in business but make no mistake – Ranbir has no peers.

Ae Dil Hai Mushkil Fashion Tips

Anushka Sharma is fantastic as Alizeh, a complex character who even in her hysterical scenes seems so genuine. Anushka does a lot of the heavy lifting as the central figure of the story. It would have been better had the writer and the director given a little more thought to her story graph. The back story is dispensed with rather quickly. The reconciliation and the breakup of her relationship with Fawad is done in such a haste that it leaves you a little bewildered.

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Thankfully no such complaints with the role crafted for Aishwarya Rai as poetess Saba Naqavi who nurses Ranbir’s broken heart with a tempestuous relationship. Saba has a purpose to the story; a perfect introduction, a fantastic middle and a visceral end. Much has been said about Aishwarya’s beauty and all of it is true but here she has taken her beauty to lethal levels. As the seductive and shayarana Saba she catches you mid-breath and makes you gasp. Even an actor of the calibre of Ranbir diminishes to the background when Aishwarya is on screen. Giving Aishwarya lines which Ranbir describes as “chalti firti Ghalib” is rife with potential for disaster as she often tends to overdo the breathy sensuality but her she is wonderfully restraint and lets those gorgeous blue green eyes do all the work.

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Alia Bhatt is Johar’s new lucky mascot and makes a blink and you’ll miss it appearance. Fawad Khan is pleasing to the eye but not much more. Lisa Haydon plays the bimbo to perfection and is genuinely funny. Shah Rukh Khan is a pale shadow of his former romantic self and is difficult to look at and even more difficult to listen to.

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The absolute stand out for me has been its music. The title track has all the seriousness that you would expect from a movie about such a combustive relationships. The breakup song and Cutiepie the hallmark Johar dance numbers that are immensely hummable. Bulleya has all the intensity of unrequited love. But the absolute tearjerker is Channa mereya – the lyrics, the expression the context are phenomenal. Anil Mehta’s camera work is gorgeous, but I am sure it must not have been difficult to shoot such a beautiful cast in such spectacular locations. I honestly wish a little more time was spent grounding Alizeh and Ayan’s characters with a little bit of their history and a gradual build up to their friendship. I could easily have done away with the bit with Lisa Haydon entirely regardless of how hilarious she actually was. The dialogues in comparison to the lyrics of the song seem very second rate and do nothing to amp up the emotions. The pre-climax Friends throwback “did she get off the plane” is sublime.

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I had a more complex plot going on in my head and in comparison the story is pretty straightforward and conventional. One-night stands and friends with benefits aren’t ground breaking territories anymore and Karan Johar really needs to continue to push the boundaries even more.

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Minor complaints aside this is a fantastic movie for so many reasons. Ranbir is transcendental. Anushka relatable and Aishwarya ethereal. Karan Johar surely knows how to tell a love story and I’d rather watch him direct aspirational escapist love story than the ones he ends up producing. Watch it for Ranbir. I’ll re-watch for Aishwarya!

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Finding Fanny – A Review

Homi Adajania directs Deepika Padukone, Arjun Kapoor, Naseeruddin Shah and Pankaj Kapur in the the dark comedy Finding Fanny. In a clear departure from his last outing as director where Homi directed Deepika in cocktail, he goes back to territory he first explored with his directorial debut Being Cyrus.

Finding Fanny is the story of Ferdie played immaculately by Naseeruddin who is the oldest choir boy and post-master of a small goan village. Ferdie discovers a letter he wrote to the love of his life Stephanie, the eponymous Fanny, was never delivered to her.   Lamenting a unrequited love Ferdie confides in his best friend Angie played by the lissome Deepika Padukone. Together with her larger than life mother-in-law Rosie played by the ever-enchanting Dimple Kapadia, childhood friend Savio played by the brooding Arjun Kapoor and the lecherous Don Pedro an artist of international acclaim played to perfection by Pankaj Kapur, Angie and Ferdie set out to find Fanny.

This road trip takes us along the beautiful and scenic vistas of Goa reminding us once again that Goa is not only about beaches and booze. Other than Ferdie who is searching for the love of his life, every character is on a personal quest of sorts and they each manage to find it in a strange sort of way.

Don Pedro and his Ruben-esque love for the voluptuous Rosie is definitely the most guffaw inducing with his hammed-up, lecherous antics. There were two scenes which had me baffled and wondering if the director needed more time to resolve the outbursts. The first one involved Pedro finally finishing his portrait of Madame Rosaline and thus dubbing her vapid and empty – I think it should have been more about her insecurities and the lies she had bundled up to maintain appearances. The second was Rosie berating Savio about how he should have died instead of her own son Gabo, it seemed to be too abrupt with no real preamble or conclusion.

Deepika Padukone seems to be going from strength to strength with each movie and for her own good I hope she manages to strike a balance between box office blockbusters like Chennai Express and pseudo-indie movie like Finding Fanny because they help her grow as an actress. Here she lights up every scene she is in just by the slightest of knowing smiles as she adoringly indulges the lovable Fredie. There is an inner strength and conviction in her own craft that is clearly visible in her poise and composure throughout the movie. For me Deepika Padukone has well and truly arrived as the Queen Bee of Bollywood. Arjun Kapoor is surprisingly good as the brooding and pouty Savio and gets the job done. With Deepika around, Kapoor ends up being a supporting actor than a lead.  The trifecta of veterans Shah, Kapadia and Kapur are what lifts the movie from being a comedy of errors to a dark and brilliant comedy. Their craft is so nuanced that it leaves me baffled that they are not doing more movies.

Anil Mehta’s work behind the camera is brilliant as he takes on a journey through the leafy bylanes of rural goa and frames the perfect sunsets beautifully. The production on the movie is also top notch with kitschy and retro props that help transport the audience to rustic goa where the time literally stands still as no one is in a rush to do anything, Susegad as they say.

Finding Fanny feels more like a taut short story than an elaborate movie but is thoroughly entertaining. Deepika Padukone is reason enough to shell out your hard earned cash to catch this on the big screen. Dimple Kapadia, Pankaj Kapur and Naseerudding Shah are added bonus. Watch this movie because brave movies like these need the audience love and support to encourage directors like Homi Adajania to keep on this path and not steer off-course to cocktail land.

Her – A Review

Extra Large Movie Poster Image for HerSpike Jonze directs Joaquin Phoenix, Amy Adams, Rooney Mara and a disembodied Scarlett Johansson in the near-futuristic love story Her.

Her is the story of a talented and sensitive Theodore played by Joaquin Phoenix set in the near futuristic LA where he works for a company that specializes in delivering hand written letters. Theodore is very talented at what he does, writing personalized letters from couples to each other on their 50th anniversary, from a boyfriend on a business trip who sent in a request for his girlfriend to let her know he misses her. The intimacy with which Theodore writes each letter leaves the audience with a warm and fuzzy feeling inside and as Chris Pratt (the receptionist) says in one scene “you are part woman, I would be so happy to receive a letter like this from a girl but written by a sensitive dude like you” you cannot help but smile because that is exactly what you are thinking.

A man as sensitive and as talented as him would have no trouble maintaining a loving relationship with his wife – but Theo is separated from his wife and is still reluctant to sign the divorce papers as he “likes being married”. On his daily commute he comes across an advert for a new virtual reality artificial intelligence Operating System which can provide companionship to its users. Theo gives it a try and from the first moment Samantha says “Hi” the love story kicks off.

Samantha is voiced by the beautiful Scarlett Johansson who does an exceptional job bringing to life a character that is basically a computer generated voice simulation.  The affectations in her voice, the laughter, the doubts in her voice when she is unsure of certain things, the softness and the cooing of her voice when she is talking intimately with Theo make you believe that there has got to be a person on the other side and that it cannot just be a computer and a piece of software.  As Samantha “grows” you keep suspecting even more and this dichotomy is essential to the conflict that you feel as you are happy for Theo as he has found a loving relationship but still cannot wrap your head around the fact that it is not another person.

Spike Jonze has done an incredible job with the story and the direction, with so many plausible options of how to take each moment in the story forward the director makes the most unusual of choices which still feel the most natural in the course of the love story. The setting of the LA in future is such that it is infinitely believable because there only a few telling signs of technological advance, the clothing is almost normal if slightly retro (I remember a term Retro-Futuristic that came from a designer once describing how she was influenced by blade runner) the houses look normal the modes of commute look slightly advanced. But there are still tell-tale signs that we are in the future with the pieces of technology, the computers, the wearable computer devices, the virtual reality games  and also most of all by the subtle hints that a service like written letters is available to people for a price. There are many brilliant instances of storytelling where Jonze lets Samantha grow as a person where she at one point mentions “you have made me discover my ability to want” this is what is essential to the human nature – the ability to want, to want to get better, to want to know more, to want to love and be loved. Samantha is a living breathing incarnation with her own needs and wants and desires and this leads  to a few awkward conflicts between Theo and Samantha which are beautifully handled as well, however the masterstroke of storytelling for me was when Theo and Samantha take a vacation and Samantha has a surprise for Theo – that scene is goose-bump inducing and brought a tear to my eye with the sheer joy that Joaquin feels and how in love they really are. The climax is gut wrenching for the exact same reason – Jonze takes an almost unimaginable chance with the story and the effect is both believable and heart-breaking. I don’t remember feeling this melancholic about a movie since Michel Gondry’s brilliant but equally heart breaking “Eternal Sunshine of the spotless mind”. With the individually nuanced characters Jonze has written this is a movie that will keep getting more intimate with repeat viewings.

The music by Arcade Fire is stunning and in my opinion one of the best sound tracks this year – it is distinctive and also the way it is used, the piano pieces to describe what it feels like to be Theo and Samantha on the beach, the music that plays when Theo takes Samantha out on an adventure, the Oscar nominated “Moon song” Theo and Sam compose together – it is pure joy.  Hoyte Van Hoytema’s Cinematography is the perfect companion to Jonze’s sensitive story telling – Hoytema uses sunlight in ways that is so beautiful and the effect so personal that it is like looking back on the memories of someone like how you would remember a sun-kissed afternoon spent with your lover. I was in love with Hoytema’s work on Tinker Tailor Soldier Spy with how much of a moody atmosphere he created with his camera work and here too he creates a moody melancholic atmosphere that is in complete contrast to Tinker but just as effective and as essential to the story being told.

See this movie about an unusual love story told in the most unusual yet almost conventional way, see it for Joaquin Phoenix who pissed me off with his mockumentary but turns in one of most sensitive portrayals I have ever seen, see if for Scarlett Johansson who while not visible on screen creates an entirely realistic and perfect version of herself that is just as desirable as the star’s physical appearance itself. See it for Spike Jonze’s beautifully written, perfectly cast and superbly acted directorial triumph of a movie. This is bound to be in my top 3 at the end of the year – it is that good and it will only get better with repeat viewing.

One last note – there is some sort of a controversy brewing following a newsnight interview with Emily Maitlis who called the movie a “Sad Male Fetish Fantasy” – please trust me that is as far from the truth as possible – this description couldn’t be more wrong – infact in the one sequence where Samantha brings in a sex surrogate it is Theo who feels uncomfortable. As did I. It is not about a disembodied female voice doing his bidding it is a loving thriving relationship between Theo and Samantha.

 

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)

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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:

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 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

Yeh Jawaani Hai Deewani – A Review

Yeh Jawaani Hai Deewani(YJHD) is Ayan Mukherjee’s sophomore attempt at telling a new millennia coming of age story with Ranbir Kapoor, Deepika Padukone, Aditya Roy Kapur and Kalki Koechlin. Ayan Mukherjee grabbed all the right headlines with his rooted in reality Wake Up Sid(WuS) which also acted as the first real Ranbir Kapoor launchpad.

Unlike WuS, YJHD suffers from what I’d assume is the Johar effect of fake accents, loud Manish Malhotra couture and outlandish wedding celebrations. I want to get the bad parts out of the way first so that I can then talk of the movie’s redeeming factor. Considering that UTV is the production house under whose banner this movie is distributed the roy-kapur nepotism threatens to derail the story with a drunk Aditya Roy-Kapur ( once again) and a bumbling buffoon Kunal Roy-Kapur ( once again). The introduction of the Evelyn Sharma to the movie serves no purpose and is about as subtle as nails on a chalkboard.

 With that out of the way I want to dedicate the rest of the review to the biggest revelation of the movie – Deepika Padukone’s Naina who goes from geek to chic with such casual ease and confident demeanor that it is a breath of fresh air. Not once did I find anything to fault her for. She essentially carries the entire movie on her shoulders and once again it goes to show that no matter how much Ayan Mukherjee says he wrote the movie with Ranbir in mind it is quite clear that Ayan Mukherjee writes her leading ladies as strong level headed rooted in reality. She is essentially the heart of the movie and she melts yours with her dimpled reluctant smiles. Even in her limited role Kalki Koechlin is effective and again proves why she leaves a lasting impression in the itsy bitsy roles.

Ranbir who is charisma personified struggles with Kabir and is not as natural with the role as he was with Sid. In order to portray the carefree, adrenaline-chasing thrill-seeking travel enthusiast he often comes off as rather cocky and at times insensitive. He does manage to reel in the cocky arrogance and exudes that legendary Kapoor charm and manages to salvage the movie in the second half.

The other saving grace of the movie is the combination of what is arguably the best music album of year courtesy Pritam and some of the most breathtaking visuals captured through the lenses of Manikandan, the sweeping panoramas of Himalayas, the dazzling lights of Paris and the scenic sunsets of Udaipur has not been better served on the Indian screens.

Watch this movie because despite its pitfalls this is a beautifully told story of friendship, love, powered by one hell of a soundtrack Watch it because even if Ranbir is slightly off his game he is still better than all his peers and seniors by a clear mile. Watch it for an acting turn by Deepika that is an even bigger delight than the return to the big screen of the dancing diva Madhuri Dixit

The Great Gatsby – A Review

Baz Luhrmann returns to familiar territory of star-crossed lovers and this time the landscape shifts to 1920s New York. Reuniting with his Romeo Leonardo as The Great Gatsby Baz Luhrmann tries to breathe fresh life into this great american novel which I unfortunately have never read. The movie stars Carey Mulligan as Daisy, Tobey Maguire as Nick, Joel Edgerton as Tom, Elizabeth Debicki as Jordan Baker and an almost unrecognizable Isla Fisher as Myrtle.
Not being familiar with F Scott Fitzgerald’s novel I went in knowing only that it was set in the 1920s era of debauchery, that it was about two star crossed lovers and that it was in the voice of Nick Caraway and in this case Tobey Maguire (and that thought made me squeamish because I am not the biggest Maguire fan). But I happen to love Leonardo DiCaprio’s choice in movies and Carey Mulligan in my opinion is one of the best underrated actresses working today.
There are a lot of era-specific references with the Wall Street boom, the end of the prohibition, loose morals, the plight of the working class and the excesses of the rich. Fitzgerald’s story seems to have influenced many writers and stories to have come afterwards and since this was the first time I was seeing Gatsby I immediately thought of Don Draper when Gatsby’s roots are revealed.
Luhrmann is known for his over-the-top style when it comes to set decorations, choice of music and even the camera angles he chooses, these choices render some of the story elements coming across as jerky and incoherent. The first party which Tom whisks Nick away to is a fine example of the Luhrmann excess. Garish red interiors to a saxophone player on the fire escape to signature zooming in of the camera. The point of the scene was lost on me until the point when Maguire starts’ mouthing what I assume is the prose from the novel verbatim. While I marveled at the beauty of the prose and am compelled to pick up the novel for a read I have to dock a point from Luhrmann as it is a clear sign of weakness that he has to rely on the exact prose to convey the story.
The movie takes off after the second party with the introduction to Gatsby, with the fireworks in the background and a grand symphony to herald the on-screen reveal of DiCaprio as Gatsby. DiCaprio is an actor who doesn’t cease to surprise, he could just as easily have caved into what is Luhrmann’s over the top style and played Gatsby as the self-assured suave nouveau riche gentleman but what DiCaprio does is infuse a sense of earnestness and honesty to the character that is absolutely endearing. You see the cracks beneath the veneer and you see Gatsby second guessing and enquiring in the most earnest way if the party is to everyone’s liking but then again you are left second guessing yourself if this is a man who is so sure in his ways that this candor and modesty is an act to make the guest feel welcome. DiCaprio’s performance is enough to convey the eternal hopefulness that he lives by dreaming that Daisy will be his , it is not required for Maguire to tell us that “he is the most hopeful man I’ve ever come across”. I could sit here and extoll what a wonderful job DiCaprio does here and how he is reason enough to see the movie but then that would take up a lot more words than I intend to write for the review. Just take my word for it- he is the warmth of Jack (titanic), the paranoia of Howard(aviator) and the slightly unhinged Teddy (Shutter Island) all rolled into one fine package and he looks better than ever in a finely cut suit. And that scene at Nick’s place where Gatsby comes over for tea with Daisy is so awkward and charismatic that you are instantly on team-gatsby and willing for him to win daisy over.


Of the other cast Carey Mulligan is sufficiently coquettish and breathes life into the character of daisy which could have just as easily become a despicable character given her ambiguous overtures towards Gatsby and the eventual fateful climax. Tobey Maguire is annoying but not for all the usualy reasons I find him annoying – he is annoying because of Luhmann’s incompetencies he makes Tobey the medium through which major passages from the novel are spoon fed to the audience. Outside of that he is alright. Joel Edgerton has a caricature of a character to portray and he does so well but isn’t given a lot of room to grow. Elizabeth Debicki surprised me the most in the short amount of time she is allowed on screen as Jordan baker. Not only is she a statuesque beauty who commands screen presence like the leading ladies of the yesteryears but her almost wry confidence is very intriguing and she was the one character I wanted to know more about . Amitabh Bachchan makes a Hollywood debut that should have happened sooner considering his talent, here as the oily creepy jewish mobster Meyer Wolfsheim is effective in the very brief screen time, but sufficient to prove that he has a better accent than his daughter in law. I wish he gets a meatier role courtesy of The Great Gatsby.

With Gatsby Lurhmann’s tried to recreate the 1920s via the production design and the costumes and most of it checks all the boxes. Catherine martin is sure to be one of the names at the top of the list come award season for her work on both the costumes and production design. With Shawn Carter a.k.a. Jay Z acting as producer and also musical contributor introduces one hell of an OST that will also feature a few contenders. In my opinion the top three songs are Lana Del Ray’s “Young and beautiful”, Jack White’s “Love is blindness” and Florence Welsh’s “Over the love” . I could and have listened to LDR’s young and beautiful on a loop.


While not perfect The Great Gatsby is perfectly satisfying because of the hopeful earnestness of Leonardo DiCaprio. He is the hero you cheer for till the very end , when he looks up from the swimming pool as the phone rings hoping that it is daisy calling. Watch this great american novel come to life courtsey one of the greatest working actor today watch The Great Gatsby for Leonardo DiCaprio.

Pyaar ka Punchnama

Pyar ka punchnama – a film by first time director Luv Ranjan has been garnering a lot praise and word of mouth recommendation from the yuppie crowd, the IT folks and other stereotypical target groups that the movie is aimed at. The story is that of 3 guys Vikrant, Nishant and Raja urf Rajjo Rani and their “Man-Handling” at the hands of their love interests. If Bard were alive I am sure he would rechristen this “Loves Labor Lost”.

I was told by countless IT friends that this movie so typically embodies their lives – the same “kutta” like existence and it came to me hugely recommended. Now the last movie that I came across with such strong word of mouth turned out to be refreshingly delightful Band Baaja Barat so I decided to give this one a go and see for myself if I had indeed been missing out on a generational movie.

Luckily for me I didn’t have to scour out a movie theatre and had the comfort of my bed from where to watch this on a lazy Sunday morning. Because had I gone into a theatre I am sure I would have to woken up by the cleaning staff. This is not to say that the movie didn’t have some entertainment value – but rather that this is a reallllllllllllllllllly long movie that seems to keep going back to same plot devices which begin to grate on your nerves after a while – that of the scheming manipulating uses-sex-as-a-weapon depiction of the fairer sex.

So the story begins harmlessly enough with 3 guys who are living together and seem to having a good time hanging out in their boxers and less, chugging beers and basically being boys. Then walk in 3 lovely (and I do mean 2 out of 3 are indeed very lovely) lasses and all hell breaks loose. What ensues is fairly predictable but I am not sure how accurate.
You have the hapless romantic Nishant who is hung up on a girl who is in a relationship with someone else but gives nishant enough rope to keep hanging himself over and over and still there is enough left for her to tug him back to her. Then there is Rajjo Rani who has a clingy needy and a shrill girl friend who he moves in with and is basically neutered ( well that’s what happens to dogs anyways right?) . then there is the angst ridden guitarist Vikrant who is in a twisted relationship with a girl who still heaves hot and cold for her ex. All very typical and mostly forgettable.

The movie feels amateurish with its staccato dialogue and repetition of the same story angles. However there are a few good things about the movie. There is some gorgeous cinematography especially in some of the song sequences and also some of the desi rock songs are quite good and would make for an interesting listen on a long drive on a rainy day! My favorite part about the movie was the agitated outburst of Rajat ( who will always be rajjo raani for me) who vents out about “Aurat Jaat” which is demeaning but still fun and the part where Vikrant says “ ye ungli vaala mere saath bhi hua hai “ .

All in all this is a mildly amusing and remotely entertaining fluff with no cohesive story or character development (besides the occupation of the IT guy I have no clue what anyone does!) which begins to get tiresome very quickly. This movie would have gained supremely from a 20 minute cut in its run time.