tag:blogger.com,1999:blog-78197303597059639032024-03-06T06:07:15.057+05:30Bollywood Movie ReviewsA blog where you'll find unbiased reviews of all the latest Bollywood movies encompassing genres like comedy, thriller, horror, romance, offbeat, suspense and any other genre which together make up the world of Bollywood. Occasionally, selected Telugu and English movies will also be reviewed.
Also, some movies which I may have missed watching in the cinema hall will be reviewed here after watching them onlineSaurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-7819730359705963903.post-58574966678500300472023-07-29T18:36:00.001+05:302023-07-29T20:13:38.953+05:30ROCKY AUR RANI KI PREM KAHANI MOVIE REVIEW<p>Karan Johar’s directorial debut Kuch Kuch Hota Hain released in 1998. 25 years and 7 feature films later, not much has changed in his stories or style of filmmaking. That’s not necessarily a bad thing, though. While watching the latest film of his ‘Dharma’tic universe Rocky aur Rani (the actual name is too long), what struck me was the dichotomy of the constant feeling of ‘been there seen that’ and the ability of Johar to milk the most of this situation to craft a consistently engaging film. In that sense, familiarity is both the film’s biggest enemy as well as biggest strength. </p><p>Welcome to the world of Karan, ‘Jo-har’ film mein bahut paise kharch karta hain. One of Bollywood’s biggest ambassadors of extravagant filmmaking, he pays no heed to his detractors’ questioning and bashing of this splurging on costumes & songs, but instead revels in filling every frame of his films with affluence. Be it students showing off their Louis Vitton products in a college that looks nothing short of a palace, or a rich spoilt brat pursuing ‘Mere Baap ki Aarzoo (MBA) in London, or inserting an elaborate wedding sequence just for a short film, Johar spends more money on one song than Anurag Kashyap or Dibakar Banerjee spend on their entire film. It’s a crime to be poor in his world. In fact, Jaya Bachchan’s name in the film is ‘Dhan’lakshmi. No kidding! Now, if all of this financial freedom was used in vain, it would be unacceptable, but I have to give credit to Johar that his films are genuinely delightful to savor. He usually has a strong grip on his screenplay, which although is just recycling a similar story each time, is fun to watch for most part. </p><p>Rocky aur Rani falls in the same category. The first half is light, breezy that sails through mainly because of the electrifying chemistry between its leads. The makers do go occasionally overboard by relying so heavily on the nostalgia of old hit songs (like abhi na jaao chhod kar) that the novelty of the whole idea dries up quickly. There are, of course, the catchy songs and the grandeur at display which is captivating, but what lends the film the emotional heft in the second half is the way he sets up conflict between the main characters and sustains that tension between families and relationships. </p><p>At almost 3 hours of running time, Rocky aur Rani seldom feels boring, thanks to the perfect casting. Alia Bhatt in a saree and bindi can win hearts without even acting by just appearing on screen. It’s hard to think of anyone playing Rocky other than Ranveer Singh. Their solid performances help overlook many of the film’s inconsistencies. Except Jaya Bachchan, all the other actors complement each other and the story very well. </p><p>I am going with 3/5 for Rocky aur Rani. Amidst all the shine and glamour lies an emotional core that is unabashedly tapped into for good measure by Karan Johar. The film rarely soars like it should have, but I still recommend giving it a shot for a dose of good humor and wholesome entertainment.</p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-17411610282792916092022-08-20T12:48:00.007+05:302022-08-20T14:44:16.295+05:30LAAL SINGH CHADDHA MOVIE REVIEW<p>Our homegrown Gump knocked on the doors of the cinemas last week in India but released in theatres in the Netherlands only the day before yesterday. After listening to incessant backlash from critics and audience alike for a week, my hopes on the film should ideally have slumped. However, given Aamir Khan's previous track record as a Producer, I remained sanguine. After all, Aamir the Actor may have made some questionable decisions in the past, but Aamir the Producer has never faulted (Jaane Tu Ya Jaane Na may have been the worst of the lot, but as a standalone film that was not too bad either). Thankfully, this hypothesis was further strengthened after watching Laal Singh Chaddha; a lovingly crafted film that takes quite some getting used to its tone and atmospherics, but halfway into the film I was consumed entirely by it, struggling to hold back tears on many occassions. It's not a perfect film, but it's so extemely likeable that you are willing to forgive its shortcomings in return for giving you a good time.</p><p>Forrest Gump was a classic....at least that's what they say...I, particularly, was not very impressed by that movie for the prime reason that I could not connect with the characters and the story. That is where Laal Singh Chaddha emerges real strong: it establishes a genuine affection for the tiny little world it creates around itself. Still, it takes quite some guts and belief to recreate a movie which has been seen and talked about so many times in the past. Returning as a director after his very endearing debut Secret Superstar, Advait Chandan handsomely rises to the occasion and sticks faithfully to the original (original screenplay by Eric Roth and adapted screenplay by the talented Atul Kulkarni) by keeping things simple and light hearted. Despite having the groundwork being laid by Eric Roth, the makers of Laal Singh have done a commendable job at translating that vision to suit Indian cinema without ever diluting it. The script had an inherent sincerity which has been retained in essence, which I consider a big win for the film. </p><p>Having said that, Laal Singh also retains the flaws (or at least what I consider flaws) of the original. My patience was seriously tested in the first one hour of the film where the direction in which the film was moving appeared hazy. I agree that it is not a plot based film, but without a convincing enough story, my attention began to wear thin. Aamir Khan, too, is not instantly likeable at first. There's always that thought constantly running in your head if a younger actor should have been playing his part. But, all these concerns were put to rest in the second half where his mettle as an actor overshadowed everything else. Coupled with the soft directorial touches by Advait Chandan, Aamir outdoes himself in some crucial scenes, especially towards the end, portraying the gradual growth and maturity of his character with unmatched ease. The film may not be everyone's cup of tea, but I would recommend watching it just for him. In fact, almost every actor has been perfectly cast in their roles, including Kareena Kapoor Khan, Mona Singh, Manav Vij among others.<span> A loud shout out also to Pritam's terrific score and Amitabh Bhattacharya's profound yet entertaining lyrics. They play a big role in sustaining the mood of the film throughout. </span></p><p>I am going with 3.5/5 for Laal Singh Chaddha. The extra half star is for Aamir. Although the film is long and does not have a dense plot to boast of, I was so settled in eventually that I did not want the film to end. Your mind knows that the movie should end given that all loose ends have been tied, but your heart doesn't want it to end. This exact thought is echoed in the theme of the film "zindagi golgappe ki tarah hoti hain, pet bhale hi bhar jaave hain par mann nahi bharta". </p><p><br /></p><p><br /></p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com2tag:blogger.com,1999:blog-7819730359705963903.post-65667521779742807262022-02-13T16:28:00.002+05:302022-02-13T16:31:16.537+05:30GEHRAIYAAN MOVIE REVIEW<p>Soaked in themes of infidelity, morality and the harsh realities of modern urbanism, Gehraiyaan, directed by Shakun Batra, is a wildly engrossing and occasionally disturbing (okay, maybe more than occasional) film that is as much a victory of the writing as it is of the internalized lived-in performances. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiONHRf6HhjzPbPnu1AH0XvbRIBtCB9L7BP2Xt7u1G8dg92kjMUVtyO-CX14JfJhkcBYuJV_b7TVSm9PNNm8cP_p3duvW8Ff92Qa-OWAjnjHSR1KpillltoYt2ZYWpMN0UGDmsIxN-IseJyBLIPj6b1fRVBL9PKrDp-J8uhoMNDqqCtx0QU-cOTA4kBIQ=s750" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="750" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEiONHRf6HhjzPbPnu1AH0XvbRIBtCB9L7BP2Xt7u1G8dg92kjMUVtyO-CX14JfJhkcBYuJV_b7TVSm9PNNm8cP_p3duvW8Ff92Qa-OWAjnjHSR1KpillltoYt2ZYWpMN0UGDmsIxN-IseJyBLIPj6b1fRVBL9PKrDp-J8uhoMNDqqCtx0QU-cOTA4kBIQ=s320" width="320" /></a></div><p>Shakun Batra's directorial curve has grown more exponentially than the surge in COVID cases in Europe in the last few months. Debuting with Ek Main Aur Ek Tu, which frankly was a passable romantic comedy, he upgraded to the terrific Kapoor & Sons, a film which dented the image of the typical cutesy Indian middle class family which Hindi films have portrayed for years before. The characters were flawed, they made seriously questionable decisions and they all kept secrets of their own, all of which were strategically and elegantly let out in an extremely engaging fashion. Despite all its merits, I still felt the film could have been crisper and more focused, especially in the first half. At a running time of two and a half hours, however, Gehraiyaan rarely feels long because Batra and his co-writers painstakingly build up the plot and imbue each frame with moody atmospherics, throwing in twist after twist to sustain the tension. The film is darker and more unsettling, even by Batra's own standards.</p><p>While his direction certainly cannot be faulted, the real hero of the film remains the script. Just when we begin to think that the film is essentially one character's story, the writers turn the spotlight onto another character, making this person now the "interim protagonist". Bolstered by a radiant ensemble, each and every actor gets a chance to shine. Rajat Kapoor is suitably sly; Ananya Pandey, although still raw, is nicely cast in a role which seems like her natural self for the most part. Deepika Padukone and Siddhant Chaturvedi do most of the emotional heavy lifting and they come off as utterly convincing. They bring the required depth to every scene, something which the film aimed to explore even through its title. </p><p>My only complaint with the film is a revelation about one of the 'interim protagonist's" relation with the parents in the last bits of the film. It felt force-fed into the story for the supposed purpose of tying up loose threads but it comes off as a tad tacky. This, however, is offset by the makers' decision to keep an open ending and let us mull over the consequences of that final encounter. It's probably a manifestation of Batra's inherent cynicism where he cannot let his characters and their lives stay happy for too long. <span> </span></p><p><b>I am going with 4/5 stars for Gehraiyaan</b>. While this may not be everyone's cup of tea, I highly recommend you to give it a shot, especially because films of this supreme quality and texture rarely knock on the doors of Hindi cinema. </p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-61781504998825372832021-10-18T20:34:00.013+05:302021-10-19T09:29:35.956+05:30SARDAR UDHAM REVIEW<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">The reason for my 5-month long hiatus
from reviewing films is a concoction of 5% adjusting to new life changes, 10%
laziness and 85% declining quality of hindi films. I thought this period would
get extended by many more months after I watched Shiddat last week - an
atrocious, mind numbing film whose story was probably picked up straight out of
the trash can of a writer in the 80’s. Nevertheless, I was still sanguine about
Sardar Udham because of the rich portfolio of the makers associated with it.
The good news is that not only did the film surpass my expectations, it also
can claim to be one of the best biopics ever made in the country. While one
Kaushal brother tried to save the dignity of one film (Sunny Kaushal’s performance
was the only redeeming quality of Shiddat), the other (Vicky Kaushal) has saved
the dignity of the entire industry. Well done boys!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkwqw6KjmHIRiaXJf1lfFpnUYE1qgRJ-55svUHFSevmL9dDLjcvnmvaHs4pNbQkhAhl0Gp37g3VuQFfceytjPKb5ZP2BT0GuLiZEZgv0ecEsJhd-FM1MT3hmdkkL-GdMn9AlhU1pNQnAR-/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="168" data-original-width="320" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkwqw6KjmHIRiaXJf1lfFpnUYE1qgRJ-55svUHFSevmL9dDLjcvnmvaHs4pNbQkhAhl0Gp37g3VuQFfceytjPKb5ZP2BT0GuLiZEZgv0ecEsJhd-FM1MT3hmdkkL-GdMn9AlhU1pNQnAR-/" width="320" /></a></div>
<!--[endif]--><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Just a few minutes into Sardar Udham, it
becomes quite evident that the filmmaking on display is first rate. Director
Shoojit Sircar, who helmed some of the best films of the previous decade
(except Gulabo Sitabo, every film of his is a gem), wastes no time in feeding
us with backstories, gratuitous caricatures and/or unsolicited joingoism, all
of which have at some point or the other plagued so many other films of this
genre in the past. Here, he chooses to tell a rather complex story in an
honest, unadulterated fashion which keeps us invested in the plot and the
characters throughout even during some unconvincing bits, especially in the
middle portions of this justifiably long film. Sircar strikes real gold not
when he is following the dense plotting to assassinate the perpetrator of the
globally infamous Jallianwala Bagh massacre, but instead when he taps into the emotional
energy of the characters by giving us a tour into their heads to see what
drives them and what leads them to do what they do. As a result, the film is
more of a stripped down character study with a deliberately meditative pace
that allows us to meet Udham Singh in person. In fact, without giving away too
much, I must say that the last one hour or so of the film is so masterfully
directed and exquisitely shot that I wish you good luck in holding back your
tears. A huge shout out also co-writers Ritesh Shah and Shubhendu Bhattacharya
who weave together plenty of tense moments in a well researched but shrewd
screenplay despite minimum available information on this part of our history.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">It is a well known fact that the central
role was originally meant to be essayed by Irrfan Khan. While there is no doubt
about the additional depth he would have brought to the character, Vicky
Kaushal handsomely rises to the occassion and delivers a performance that would
be remembered for years to come. He oozes a natural charm and inherent
believability that helps establish an instant connection with his character.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">I am going with a solid 4/5 and two big
thumb up for for Sardar Udham. The British government has yet to offer an
official apology for all the deaths in the 1919 tragedy. Meanwhile, the Indian
filmmakers who resort to repetitive stories and lazy remakes also ought to
apologize for their actions and take lessons from this film. Despite his varied
filmography and story landscapes, the only repetition which Shoojit Sircar can
be accused of is melting our hearts each time with his keenly observed and
sure-footed direction. And I forgive him for that :D. Do yourself a favour and watch the film right away!</span></p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com2tag:blogger.com,1999:blog-7819730359705963903.post-19360230559906592642021-05-09T02:45:00.000+05:302021-05-09T02:45:02.665+05:30MEEL PATTHAR MOVIE REVIEW<p style="text-align: center;"><b><i>Blurring the lines between cinema and reality, Meel Patthar offers an unflinching portrayal of a marginalized section of the society</i></b> </p><p style="text-align: justify;">Every scene
of Meel Patthar is lovingly crafted. Typically, a conversation in a scene is
designed to convey a great deal of information about the world that is being
studied but at the same time to hold back enough so as to sustain a sense of equivocacy
that looms large over the film. It is this distinctive style of unobtrusive
filmmaking adopted by director Ivan Ayr which is particularly engrossing.</p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0kkEaD-ERS9MNuIXs8JfVSuKvx7d99khh0_GsVO0CBahPyi5SEjZwjrFPw61aqSVtdY0-rDWoN04DhicRMTAzMzmlwH13YQ_hJhFIY763HS0-ksXYQkC5dUJOLwBZ3PKp2eK9u73N8NK/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="163" data-original-width="310" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0kkEaD-ERS9MNuIXs8JfVSuKvx7d99khh0_GsVO0CBahPyi5SEjZwjrFPw61aqSVtdY0-rDWoN04DhicRMTAzMzmlwH13YQ_hJhFIY763HS0-ksXYQkC5dUJOLwBZ3PKp2eK9u73N8NK/" width="320" /></a></div><br /></div></div><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Ivan Ayr,
who helmed one of my favorite films of 2018 <i>Soni</i>, tries to capture the
essence of the daily life of a truck driver by populating it with flesh and
blood actors who walk and talk as if they are unaware of the presence of a
camera around them, conversations that are instantly relatable and long single
takes which allow you to soak yourself in the scene. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrZ9d5p9CpAgMaZ7g5Mj5OeW3n6K3Fzyn62RxM5qI-9avZUMiT1CTzMLNHGKKO8YaTMc-9KdXmh1aQQLA5aF_bJ8AGTZEMVcVerWfMPmeA23epbN8XqKTBbIiDabsPJ4UOFMMDd_hZU_1D/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="277" data-original-width="182" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrZ9d5p9CpAgMaZ7g5Mj5OeW3n6K3Fzyn62RxM5qI-9avZUMiT1CTzMLNHGKKO8YaTMc-9KdXmh1aQQLA5aF_bJ8AGTZEMVcVerWfMPmeA23epbN8XqKTBbIiDabsPJ4UOFMMDd_hZU_1D/" width="158" /></a></div><p></p><p class="MsoNormal" style="text-align: center;"><span lang="EN-US">(Read my
review of Soni here: </span><span lang="en-NL"><a href="https://filmistaanreviews.blogspot.com/2019/01/soni-movie-review.html"><span lang="EN-US">https://filmistaanreviews.blogspot.com/2019/01/soni-movie-review.html</span></a></span><span class="MsoHyperlink"><span lang="EN-US">)</span></span><span lang="EN-US"><o:p></o:p></span></p><div style="text-align: justify;"><span style="text-align: left;">Meel
Patthar is a well-researched film. It is quite evident in the casual exchanges
between truck drivers, the pertinent problem of agitation of workers used for
loading and unloading of material from trucks against the minimum wage, and
most importantly in the honest attempt to give the audience a tour inside the
head of an individual caught up in the hassles of the profession. Ayr explores
themes like the thankless nature of such a job, the inadvertence towards personal
health, and the risk of training a newbie only to realize that the goal of this
mentorship is to guide them enough to eventually take over from their master.
There is a running track around the sudden death of the protagonist’s wife, but
Ayr is in no mood for spoon-feeding us with a backstory and instead imbues the
script with a mysterious aura around characters whom we don’t see but are still
immensely curious about.</span></div><div style="text-align: left;">
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">Perhaps, my
only problem with the film is that it lacked an uber goal. I understand the
fact that it’s not plot-driven, but given that the film dealt with multiple relevant
societal issues, it could have further benefitted from anchoring the script in
one of these themes which ultimately could take the shape of its true identity.
Take the example of <i>Soni. </i>That film was an evocative commentary on the
state of the police ecosystem in Delhi but gender bias served as the primary
medium for Ayr to express his views on other components of the system. However,
to give the director his due, I guess in this film, his agenda was to reinforce
the irony of constantly travelling but not getting anywhere in this process. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">I am going
with <b>3.5/5</b> for Meel Patthar. You can watch it on Netflix. Just two films old, Ivan Ayr has silently made his way into the list of directors whose work I eagerly look forward to. </span>I am not sure if this
is everyone’s cup of tea but I still recommend you give it a chance. How often
can we boast of making a film that stays true to its art form and yet remain
gripping in its own charming way? </p></div><p></p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-20685078145845826262020-12-25T20:21:00.003+05:302020-12-25T20:21:48.918+05:30AK vs AK movie review<p> </p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">AK vs AK, director
Vikramaditya Motwane’s fifth feature film, belongs to the genre of meta cinema wherein
a film within a film is being shot. It is touted as an experimental film, but anyone
even remotely familiar with Motwane’s filmography will attest to the fact that
every single film of his has been experimental in many ways. After debuting with
Udaan (a film which shaped my cinematic sensibilities; some of you reading this
are already aware of my obsession with it :P) he was labelled as an Indie
filmmaker. Not a wrong assumption given that the film was bankrolled by the pioneer
of independent cinema in India (Hint: He’s one of the AK’s in the title :P).
But then he came up with the poetic beauty Lootera, which revealed his predisposition
to the captivating use of color, sound and imagery to create a film brimming
with purity. His third film, Trapped, was a survival drama about a man locked
up in own house and left without the basic needs of food and water. Unlike its
title, the film was a liberating experience that left many of his fans
struggling to give a name to his style of filmmaking. Post Trapped, Motwane was
like “I wanna make a superhero film” and Boom! Bhavesh Joshi swoops in to give
us our own Avenger. Although the film did not do well at the box office (sadly
not unlike his other films) and wasn’t as critically acclaimed either since it
was a victim of bad timing of release, it wasn’t his direction at fault because
the story itself could have been so much better. Oftentimes we hear people
saying “the film had his/her stamp all over it”….that just doesn’t apply to
Motwane. The guy changes his ink pad with every film!!!<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">Anyway, my
apologies for the long eulogy :P. Let’s talk about AK vs AK, his latest tryst
with experimental filmmaking. If you’ve seen the trailer, you already know the
basic plot: In an attempt to set a new standard of filmmaking, a critically acclaimed
director (Anurag Kashyap) kidnaps the daughter of a superstar (Anil Kapoor) and
films his search in real time. This makes for a fascinating plot and Motwane
& team (what an audacious premise by Avinash Sampath!!) handle the proceedings
deftly by positioning it as a cat and mouse chase thriller; the only difference
being that the cat and mouse both are running alongside each other. In this
intense battle between an actor and a director both Anil and Anurag dive into
this dark world no holds barred, sportingly playing exaggerated version of
their real selves. <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoO2yZYpvm_0NCgYpWqtlZO5coYDZgWK_quSZ31OTbWcUIpZRDF0_hXqKNJS6k1YFGHz-X-8A5oDXBOj_8RhY0yFa5YR4tbH7i5uLgVowzsN5snr-IZF69icAgW_2IB5dXQpZWl36vysUy/s670/24ak1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="670" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoO2yZYpvm_0NCgYpWqtlZO5coYDZgWK_quSZ31OTbWcUIpZRDF0_hXqKNJS6k1YFGHz-X-8A5oDXBOj_8RhY0yFa5YR4tbH7i5uLgVowzsN5snr-IZF69icAgW_2IB5dXQpZWl36vysUy/s320/24ak1.jpg" width="320" /></a></div><p class="MsoNormal"><br /></p>There’s a
lot of pleasure to be derived through all the inside jokes targeted at their
careers and family members and the inventiveness of filmmaking is made clear by
fact that the makers use this humor to actually build the tension and sustain
the pressure cooker urgency throughout. In the hands of a less competent
director, the film would have crushed under needless desire to assign more importance
to technicalities of camerawork and gratuitous cameos at the cost of
entertainment. Another reason why the film works is because Mumbai is weaved
into the script as an indispensable character. In one of the film’s best
scenes, Anil, wounded and helpless, has to nevertheless perform for a crowd
gathered at a procession at their request. After all, he is a fan-made superstar
and catering to his fans is his only responsibility as an actor. Pure Genius!<p></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">I am going
with 3.5/5 for AK vs AK. The minor inconsistencies in the pacing & climax aside
and the fact that it does have a limited scope to engage, the film offers an
experience you’ve never had before and will surely not in a long time to come. Don’t
miss it!<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">(Warning:
The other release this week is Coolie No. 1. If AK vs AK is a battle of an
actor and director, Coolie No.1 is the battle of David Dhawan and Logic. The
choice is yours! :P)<o:p></o:p></span></p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com1tag:blogger.com,1999:blog-7819730359705963903.post-85327542673808990322020-12-05T19:04:00.005+05:302020-12-05T19:55:34.011+05:30MY 10 FAVORITE HINDI FILMS OF THE LAST DECADE<p> </p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">It’s almost
the end of 2020. It’s almost been a year since the pandemic started. It’s
almost as if the year went by in a minute….Phewwww!!!…I wasn’t initially
planning to write this article until a friend of mine sent me a list of top 20 Telugu
movies compiled by The Hindu. I then thought it might be a good idea to take some
time out of my busy (and yet grossly unproductive) schedule, sit back and look
at some of my favorite Hindi films of the last decade (2011-2020). <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">This list
is an extremely personal one. Given the inherent subjectivity associated with
each viewer (the word favorite itself is such a subjective word), it surely is
a tough task to come up with this list of the best films. Choosing 10 films
from a particular year is easy (because there are hardly more than a handful of
good films in one year). But here we are talking about a whole decade. So
naturally the stakes are high! Which is why I’ve chosen those films which made
me feel a certain way as I walked out of the theater. They either made me
ecstatic, or were satisfyingly poignant, or simply evoked a feeling of pride of
having watched such a great film. But most importantly, these are the films
which have stayed with me for all these years and make we wish that I get a
chance to see them for the first time all over again. Anyone coming up with a
time machine soon??...Please?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">So without
wasting more time, here’s my list (in ascending order of the impact it had on
me):<o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p> </o:p></span></b></p>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">10. Delhi
Belly <o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_xv7xFcd8-WuTxBVQ9frURi66D9O8Hr_HSrXi1on7rqBzuHKM_UyV1yKcUmV4owunawxuF0KPs1XKek3iNdyz535HLMWZU6-h1D0L-zMJ3-HcDijAs57LmPtjNMul1d3kIh06okl6ojn/s600/Delhi+Belly.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_xv7xFcd8-WuTxBVQ9frURi66D9O8Hr_HSrXi1on7rqBzuHKM_UyV1yKcUmV4owunawxuF0KPs1XKek3iNdyz535HLMWZU6-h1D0L-zMJ3-HcDijAs57LmPtjNMul1d3kIh06okl6ojn/s320/Delhi+Belly.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">Irreverent,
cocky, and straight up hilarious, Delhi Belly reinforced the fact that comedy
is so much more than simply being braindead, slapstick and loud. Everything
about it was so damn fresh; the characters, their casual abusive exchanges, the
eccentric but catchy soundtrack (If I had to choose the song of the decade, it definitely
had to be Bhaag DK Bose!) and the fact that these crisp 90 odd minutes of unapologetic
humor were all being sponsored by Aamir Khan. The film was so bold that I remember
when I first watched it, I was afraid to even admit that I liked it. The film
has a song called “I hate you like I love you”…that actually echoed my reaction
to the film…I hate you, but I actually love you :p</span></p>
<p class="MsoNormal"><b><span lang="IT" style="font-size: 16pt; line-height: 107%; mso-ansi-language: IT;">9. Aankhon Dekhi<o:p></o:p></span></b></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelJVnQwFJQDSbt2eQpSLtgPa5UY7r2aupfqNc1WI9rqSSYr_T2BCKfA-474zTq0Nvt03tp1aCgeFL3eR3k2T6F-XiswXC-sAsTMgWq2UGb4j_Pd_hzwfWBeGrqMU8dZ-9tSz4ny-N6AaJ/s1080/Aankhon+Dekhi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelJVnQwFJQDSbt2eQpSLtgPa5UY7r2aupfqNc1WI9rqSSYr_T2BCKfA-474zTq0Nvt03tp1aCgeFL3eR3k2T6F-XiswXC-sAsTMgWq2UGb4j_Pd_hzwfWBeGrqMU8dZ-9tSz4ny-N6AaJ/s320/Aankhon+Dekhi.jpg" width="320" /></a></div>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">This was
another gem. It was such a relief to see Sanjay Mishra finally get a role he
truly deserved. Rajat Kapoor yet again proved that he is one the most
interesting filmmakers of our time with a unique voice in every film of his. The
film is about a man who refuses to believe anything which he hasn’t seen or
experienced himself. That, inevitably, leads to a lot of nuisance for the
people living around him since none of them is now able to see the world the
way he sees it. This makes for a thoroughly fascinating film that refuses to
bow down to the expectations set by conventional cinema. Aankhon Dekhi is made
with the utmost sincerity which makes it such an immensely likeable film. Go
treat yourself and watch it straightaway! <o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="IT" style="font-size: 16pt; line-height: 107%; mso-ansi-language: IT;">8. Zindagi Na Milegi Dobara<o:p></o:p></span></b></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_L39DUBTXbzW8Rzz3cLhJ6U8LoFoOmUauZZYQeq9HGum3Tpus5nbCtUMGUBqn415Kohvh6FvlxcdwfvwJGdoNeRwtiYo7BirjQBfdk0-ua02JigzFltDOYrKIl_dTUv-P4FCP7SEKGXc/s812/znmd.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="812" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_L39DUBTXbzW8Rzz3cLhJ6U8LoFoOmUauZZYQeq9HGum3Tpus5nbCtUMGUBqn415Kohvh6FvlxcdwfvwJGdoNeRwtiYo7BirjQBfdk0-ua02JigzFltDOYrKIl_dTUv-P4FCP7SEKGXc/s320/znmd.jpeg" width="320" /></a></div>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">After
watching Luck By Chance (which I absolutely loved – please check it out if you
haven’t), I associated Zoya with a certain sense of artistic sensibility that
was not of the most crowd pleasing kind. She was perceptive but not within the
realm of what people call “mainstream”. Which is why I was pleasantly surprised
when I watched ZNMD because it was thoroughly entertaining. This is the kind of
happy film which leaves a big smile on your face every time you just think
about it. And NO – ZNMD is not the modern Dil Chahta Hain. I have heard a lot
of people draw comparisons between the two but I have my reasons as to why they
are completely different. Anyone who wishes to take this argument forward feel
free to send me a message or drop a comment below </span><span face=""Segoe UI Emoji",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-char-type: symbol-ext; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin; mso-symbol-font-family: "Segoe UI Emoji";">😊</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> <o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">7. Tanu Weds Manu Returns<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Full Review: </span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://filmistaanreviews.blogspot.com/2015/05/tanu-weds-manu-returns.html">https://filmistaanreviews.blogspot.com/2015/05/tanu-weds-manu-returns.html</a><b><o:p></o:p></b></span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH2XgJaz9W5Vr6SgwXm4YNVBlt8CIeSATrHH4WygtdDIpUJ6W-0sGPeQlm76wHlBSV7qbjBSkYWMmDbsRED2_abV-dh5jSSjR-PFQyodzGvx531YlzUhGKyL6DfW-KIkUHRjXzeY5DsOP_/s1920/twmr.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH2XgJaz9W5Vr6SgwXm4YNVBlt8CIeSATrHH4WygtdDIpUJ6W-0sGPeQlm76wHlBSV7qbjBSkYWMmDbsRED2_abV-dh5jSSjR-PFQyodzGvx531YlzUhGKyL6DfW-KIkUHRjXzeY5DsOP_/s320/twmr.jpg" width="320" /></a></div><p class="MsoNormal">Look at
that innocent smile on Kangana’s face. Who would have thought she would now
transform into this attention-seeking poster girl for the media who holds no
bars in speaking her mind out, even when no one asks for it or cares for it…Anyway,
coming back to Tanu Weds Manu Returns…a time when her acting was restricted only
to on-screen. To be honest, I am a sucker for such rom-coms set in UP and
Bihar, chiefly for the dialect, quirky characters and some really catchy tunes.
Director Anand L Rai and Himanshu Sharma ticked all these boxes and so much
more. Making a meal out of the task assigned to her, Kangana made us root for
both her characters….something which not every actor is capable of so effortlessly
doing.</p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 14pt; line-height: 107%; mso-ansi-language: EN-US;">6. Soni<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Full Review</span></b><span lang="EN-US" style="mso-ansi-language: EN-US;">: <a href="https://filmistaanreviews.blogspot.com/2019/01/soni-movie-review.html">https://filmistaanreviews.blogspot.com/2019/01/soni-movie-review.html</a><o:p></o:p></span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_wmjAZrno_SXDPb0HqR56AF_LJ66QCRxvRh205QVAXZngLW9DbMHEeepN3y4vCFBzYEH2ZibCdNNcHMr59PBa7MkQ1EeKan6wlL9EABqc9LqKWMUcGAsZ3oUyXE31p9YLoiNqBH21z3ub/s1920/soni.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_wmjAZrno_SXDPb0HqR56AF_LJ66QCRxvRh205QVAXZngLW9DbMHEeepN3y4vCFBzYEH2ZibCdNNcHMr59PBa7MkQ1EeKan6wlL9EABqc9LqKWMUcGAsZ3oUyXE31p9YLoiNqBH21z3ub/s320/soni.jpg" width="320" /></a></div><span lang="EN-US" style="mso-ansi-language: EN-US;"><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></p>I know most
of you must be wondering what this movie is about. I am pretty sure not many might
have even heard of it. It released only on Netflix in 2018 and mostly went
unnoticed for understandable reasons. When I watched the film the first time I didn’t
love it. I thought it was a well-made film which probably lacked the punch.
But, a few days passed and I found myself constantly thinking about the film,
its characters and the message it tries to convey. Only when I re-watched it did
I truly appreciate its subtlety and nuances that made it such a wonderful film.
This too talks about the gender discrimination in the police sector, but this
is cut off a completely different fabric as compared to Article 15. The director
gives us a lived-in feel of the scenes with long single take-shots and that,
although demanding patience, is a rewarding experience. I urge you to drop everything
else and watch Soni right away. Thank me later </span><span face=""Segoe UI Emoji",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Segoe UI Emoji";">😉</span><p></p><p class="MsoNormal"><!--[if gte vml 1]><v:shape id="Picture_x0020_5" o:spid="_x0000_s1031"
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</v:shape><![endif]--><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">5. Masaan<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lyeh6B3OLfahXqmbUQzwvM9Ic_7pgkR0h_MbvoVgC3uMzpGfDBZJRynvVJpT_8k_-cOCDVmMHlsHPw1uCx-S4yKWYmsadv_lszD5mh9UG6scxvZQ3GMIE8Dyok1SHfP4uHMaV31pH1Gr/s600/masaan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lyeh6B3OLfahXqmbUQzwvM9Ic_7pgkR0h_MbvoVgC3uMzpGfDBZJRynvVJpT_8k_-cOCDVmMHlsHPw1uCx-S4yKWYmsadv_lszD5mh9UG6scxvZQ3GMIE8Dyok1SHfP4uHMaV31pH1Gr/s320/masaan.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">I regret
not watching this movie in the cinema hall. Seldom has a film that
predominantly talks about loss of a loved one, guilt and death felt so
emotionally satisfying. The passionate soundtrack strongly evocative of the
ghats of present day Varanasi, UP, still gives me the goosebumps (my favorite
being “Mann Kasturi”). Masaan is a victorious amalgamation of strong casting
(it brought the supremely talented Vicky Kaushal into the limelight) and heartfelt
writing which make this bittersweet tale a compelling watch.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">4. Lootera<o:p></o:p></span></b></p>
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</v:shape><![endif]--><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP6Qe7HKiDD_QjIaNKH2AiqJJoAUiQVJlVUqaesUvkGyQ66Q8yTL2fozoBmPHyA-fxi7aAnywsVvuGOrHfxoQ5dRTo_8B3L6HdxqUl3PnTrCZwrU6ftMViKsf-imLuqhdXRdljIwkWeEvp/s1520/Lootera_b7wxxz.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="1520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP6Qe7HKiDD_QjIaNKH2AiqJJoAUiQVJlVUqaesUvkGyQ66Q8yTL2fozoBmPHyA-fxi7aAnywsVvuGOrHfxoQ5dRTo_8B3L6HdxqUl3PnTrCZwrU6ftMViKsf-imLuqhdXRdljIwkWeEvp/s320/Lootera_b7wxxz.png" width="320" /></a></div><p class="MsoNormal">Okay I know
I might get into trouble for ranking this film so high. I’ve heard polarizing
reactions to it when it released but I can’t seem to understand why. Lootera,
for me, is as close as a film can get to perfection! Yes, the second half could
have been better and by the director’s own admission, he would have preferred to
tell the story in the second half from the point of view of Ranveer’s character….But
again, these are just minor complaints in a film that has accomplished a great
deal. Who could have imagined Vikramaditya Motwane to make a love story as a
follow up to Udaan? (And before you accuse me of bias, No! I don’t have a soft
corner for Lootera just because he made Udaan)….Who could have thought that he
could make Sonakshi Sinha act?....I mean, mazaak nahi hain boss :p…But jokes
aside, I seriously think everything ranging from Motwane’s direction to the
production design of the 50’s and 60’s and Amit Trivedi’s soulful soundtrack
have an immortal quality to it…And that’s why this will always remain a very
special film to me!</p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">3. Piku</span></b><b><span lang="EN-US" style="mso-ansi-language: EN-US;"> <o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Full Review: </span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://filmistaanreviews.blogspot.com/2015/05/piku-movie-review.html">https://filmistaanreviews.blogspot.com/2015/05/piku-movie-review.html</a><o:p></o:p></span></p>
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</v:shape><![endif]--><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVfb4ndON7rENF1uQA9t421pTiB758kMEUg0wJ0VAfvjHkPmXX7zVTpBq1S2Ta8YqmU5ijaX1N80Ixx_lFOq7WMg1jS2-tjlqWcgxvVjrzcDi4BUsUDueyhtaFdRB7vG477zUtAEd2V_wB/s759/piku-review.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="759" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVfb4ndON7rENF1uQA9t421pTiB758kMEUg0wJ0VAfvjHkPmXX7zVTpBq1S2Ta8YqmU5ijaX1N80Ixx_lFOq7WMg1jS2-tjlqWcgxvVjrzcDi4BUsUDueyhtaFdRB7vG477zUtAEd2V_wB/s320/piku-review.jpg" width="320" /></a></div><p class="MsoNormal">I think it’s
safe to say that best writer-director duo in the Hindi film industry is Juhi
Chaturvedi and Shoojit Sircar respectively. With Piku, what they have achieved
is nothing short of genius. If I were ever to make a film, I couldn’t even dream
of making a character-driven film. Just imagine the amount of effort which must
go into writing a film that is not taken forward by the story but instead by
its characters and still be engaging. Some filmmakers take themselves too seriously
and let their film slip into the mundane territory where a 2 minute long still
shot of traffic where practically nothing is happening is considered to be a
sign of a great filmmaker. Sorry, I disagree…that’s just plain boring. But, in
Piku that’s not the case. These are real flesh and blood people, the dialogues
they mouth, their idiosyncrasies, the clothes they wear….everything is pitch
perfect and instantly relatable. Piku’s character, especially, is possibly the
most complete and rounded female character that has ever been written for the
screen.</p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">2. October<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Full Review:</span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"> <a href="https://filmistaanreviews.blogspot.com/2018/04/october-movie-review.html">https://filmistaanreviews.blogspot.com/2018/04/october-movie-review.html</a><o:p></o:p></span></p>
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</v:shape><![endif]--><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGxRq64Zp9kJ5TaZv6q8PsF441ChCCgfphYKCxR44DnlM-sTySpUgZWo4bdemDwVdwkQtNhoAiq5CHps24L8CsznGoA_6dMKnpJw74hvQmgfCIzejvmwLZP55pFwO5cYNfrt7Nd3dooV5/s1280/october-movie-poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGxRq64Zp9kJ5TaZv6q8PsF441ChCCgfphYKCxR44DnlM-sTySpUgZWo4bdemDwVdwkQtNhoAiq5CHps24L8CsznGoA_6dMKnpJw74hvQmgfCIzejvmwLZP55pFwO5cYNfrt7Nd3dooV5/s320/october-movie-poster.jpg" width="320" /></a></div><p class="MsoNormal">This one,
again, is a very personal choice. I was confused between Piku and October for
this second spot. Both are the product of the same writer-director duo but yet
so distinct in its treatment. Just a while ago you heard me extol their skills
of making an engaging film without much of a plot. In October, they take that
to the next level. At least in Piku the action shifts from Delhi to Kolkata and
there is an entire road trip in between. October, on the other hand, is
confined to the closed spaces of a hospital. Okay, I know I might not be
helping the cause of getting more people to watch this film, but the truth is,
till date I don’t know what is it about the film that has had such a profound
effect on me. All I know is that I was in a complete mess as I left the
theater, miserably trying to fight back my tears even long after the film
ended. I shouldn’t even try to explain what the film is about…it can only be
experienced…and I sincerely request you to give it a shot if you haven’t so
far.</p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US;">1.Andhadhun<o:p></o:p></span></b></p>
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</v:shape><![endif]--><b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;">Full Review: </span></b><span lang="EN-US" style="font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://filmistaanreviews.blogspot.com/2018/10/andhadhun-movie-review.html">https://filmistaanreviews.blogspot.com/2018/10/andhadhun-movie-review.html</a><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysrN_rWZKvvDFcNcIMgGx4qvN2VVOJJhZQx3Je5e6XwgPrivERw4XFAJc_YfH2EMOj5htG_IljCmSTR-D8KcuXVlJGBirUVZcp3Jkqajx898NpLxLojlKImFH_dajdF9dMhCmMtIz8VjJ/s770/andhadhun.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="770" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysrN_rWZKvvDFcNcIMgGx4qvN2VVOJJhZQx3Je5e6XwgPrivERw4XFAJc_YfH2EMOj5htG_IljCmSTR-D8KcuXVlJGBirUVZcp3Jkqajx898NpLxLojlKImFH_dajdF9dMhCmMtIz8VjJ/s320/andhadhun.jpeg" width="320" /></a></div><p class="MsoNormal">The above
image and the entire scene revolving around it continue to haunt me. I didn’t have
an iota of doubt while thinking about which film should top this list. It’s a
film which made me feel proud as a cinemagoer. I always knew Sriram Raghavan
was an excellent filmmaker. Ek Hasina Thi, Johnny Gaddar and Badlapur….that’s a
very handsome filmography man. But, Andhadhun belongs to a different league altogether.
I don’t know whether Akash is ultimately blind or not in the film…but during
the film, the mastermind puppeteer Sriram Raghavan has surely played a game of
blind man’s bluff with the audience by constantly tricking us into believing
whatever he wants us to….and the fun part is we so loved getting fooled by him
at every step :D</p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">So that was the list of my favorite films of the last decade. There were plenty of others which
didn’t make the cut but nevertheless I loved watching. Films like Bala, Secret
Superstar, Article 15, Shubh Mangal Savdhan, Shahid, Dangal, Sky is Pink, Sir (the
most recent film which blew my mind) and many more go into a category which I’d
like to call <i>“Respect in Retrospect”.</i> <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">I would
love to hear what you thought of this and what would have been your top 10
lists as well. Feel free to drop a comment below and let’s get this thing
rolling!<o:p></o:p></span></p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com2tag:blogger.com,1999:blog-7819730359705963903.post-74066961819996447612020-10-26T03:13:00.002+05:302020-10-28T01:55:25.221+05:30MIRZAPUR SEASON 2 REVIEW<p>I know it's an unpopular opinion, but I wasn't a big fan of the first season. It did have splendid dialogues and an authentic UP look and feel in literally every frame, but the plotting was predictable and clumsy at times which never let it soar like it should have. Still, flashes of brilliance were evident in the strong casting, audacious use of the dialect and the live wire characters who left more than a lasting impression. </p><p>The stakes in the new season are much higher. Sucking you straightaway into its dark murky world, it starts with a roaring dream sequence (which frankly seemed quite believable) and sets the tone for the gripping and meaty crime drama that ensues. New characters are thrown in for good measure, the nexus between political parties, mafia and inter gang rivalries has become a complex cobweb of sorts, the episodes are intercut with different cities of UP and Bihar where key characters are plotting their next move and so much more. </p><p>Synthesizing the synergies of these spread out epicentres of action with a juicy eclectic ensemble of bonafide actors and cheer inciting dialogues, creator Puneet Krishna and directors Gurmmeet Singh and Mihir Desai make magic on screen with the material at hand. Aided by a pulsating background score, especially the one which marks the beginning and end of an episode, they give each of the characters an arc that is at once believable and at the same time wildly unpredictable. </p><p>Barring a few characters who stick out like a sore thumb (I don't understand why Kulbhushan Kharbanda is given so much screen time), the actors mostly sparkle. Of the old cast, Rasika Duggal, Divyendu Sharma (aka Munna) and Pankaj Tripathi sizzle with their performances and the way they play off each other. From the new entrants, Vijay Verma (whose character frankly deserved a more fitting presence in the story) and Priyanshu Painyuli leave a solid mark.</p><p>And just when you think the show cannot get any better somewhere in the 7th episode, it begins to roll downhill from there, ultimately snowballing into a cop out and underwhelming climax which leaves you frustrated and disappointed as you witness it take all the wrong turns at crucial junctions of the story. The makers themselves get caught up in the cobweb created by them, as a result of which the screenplay goes all over the place. What could have ended in 7 or 8 episodes has dragged on for two painful long hours constantly punctured by gratuitous subplots and stretched emotional scenes that seem out of place. </p><p>I'm still going with 3.5/5 for Mirzapur season 2. A major chunk of the show provides wholesome entertainment as it goes all guns blazing, until the makers decide to eat way more than they can digest. Like they say, the show must go on...for that we'll have to wait for season 3..but until then, "yeh bhi theek hain"...</p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com1tag:blogger.com,1999:blog-7819730359705963903.post-13448681972971052902020-08-13T03:20:00.001+05:302020-08-14T03:43:47.068+05:30GUNJAN SAXENA MOVIE REVIEW<p>Over the years one thing has become painfully clear; Indian filmmakers struggle to successfully pull off biopics. Take the most recent case, Shakuntala Devi, for example. It felt more like an episodic portrayal of Shakuntala's life rather than getting a sense of the flesh and blood human behind the superhero status bestowed upon her by the filmmakers. Either this or the writers adopt a loud, melodramatic tone to convey the backstory of living legends like Milkha Singh in Bhaag Milkha Bhaag. I know I well may have caused many eyebrows to raise by this opinion, but I honestly feel that's a highly overrated film. Of course, there are exceptions to this list. Irrfan Khan's rendition of an athlete turned dacoit in Paan Singh Tomar is probably one of his most memorable performances on-screen.</p><p>Anyway, coming back to Gunjan Saxena - The Kargil Girl. Fortunately, it doesn't fall into the usual traps of the genre because it's an extremely self-aware film. It doesn't try to push any boundaries in terms of the filmmaking craft but instead tries to make the most of what it is best at doing; wrap a shrewdly manipulative story around an emotional core that is the relationship between a daughter and her father who never once questions her ability to fulfill her dreams even when she herself wonders if she has chosen the right path or not.</p><p>I use the word shrewd because writers Nikhil Mehrotra and Sharan Sharma (also the director) create an engaging story out of something very mediocre and familiar by pressing all the right buttons at the right time. Weirdly, for the most part you feel happy being emotionally manipulated by the simplicity of the characters and their worlds throughout the roughly two-hour duration. After all, once you've got the heart in the right place, all it takes is a little conviction, some solid performances and inspiring music to woo your audiences. </p><p>Which brings me to the three pillars of the film. As the main protagonist, Jahnvi Kapoor is in superb form. Frankly, I had my reservations against her acting abilities following Dhadak, but her assured glamour-free performance as the stubborn pilot refusing to conform to conventional societal norms took me by complete surprise. Next is Pankaj Tripathi. Here's an actor who conveys volumes of emotions with minimal fuss or effort. His scenes with Jahnvi lend some of the best bits in the film that may leave you fighting back your tears. Finally, the film strongly benefits from Amit Trivedi's rousing soundtrack that perfectly complements the inherently optimistic script.</p><p>I am going with 3/5 for Gunjan Saxena. It doesn't claim to be an excessively jingoistic war film but instead is content with telling the inspiring story of an aspiring pilot who makes it big despite the deep rooted sexism in her profession. "Streaming on Netflix" may well be changed to "Soaring on Netflix".</p>Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-74072987431623556542020-05-01T19:44:00.000+05:302020-05-01T19:45:10.600+05:30THAPPAD MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Cut from the same cloth of his previous two films Mulk and Article 15, director Anubhav Sinha conducts yet another postmortem examination of the Indian society and its archaic, misguided & repressive value-system. In Thappad he takes a seemingly trivial issue and designs a thought-provoking drama around it that will leave you constantly battling your conscience arising out of your inability to take sides of its insightful characters and their decisions. Is she overreacting by escalating the matter to court just because of a slap? Can her husband be categorically blamed for the incident given it happened in the heat of the moment? The truth is that as much as your heart believes that Taapsee is right, these are questions which cannot be easily brushed under the carpet. If you have gone through this turmoil while watching the film, I guess Sinha's intentions have borne fruitful results.<br />
<br />
The film is populated with flesh and blood characters, each played utterly convincingly by the actors who inhabit their space. Of the ensemble, Pavail Gulati as the husband is the surprise package as he turns his Vikram into a very believable everyman of sorts. He conveys his frustration of not being able to comprehend the reason for Taapsee reacting to the incident the way she does with such sincerity that I found myself sympathizing even with him on a few occasions. Needless to say, other established actors like Taapsee Pannu, Ratna Pathak Shah, Kumud Mishra (an Anubhav Sinha favorite), Tanvi Azmi hit all the right notes and make a meal of their parts. Even actors in smaller roles like Dia Mirza and Geetika Vidya Ohlyan (of Soni fame) leave a lasting impression.<br />
<br />
Not everything comes together seamlessly though. It's interesting how the makers use the incident as a backdrop to draw attention to deeper rooted problems of gender inequality in other households, but some of these subplots receive more screen time than required which ultimately dampen the pace of the film occasionally. Also, towards the end, it appears as though Sinha and his writers ran out of important stuff to say as a result of which the film feels bloated by at least half an hour.<br />
<br />
I'm still going with 4/5 stars. It may not be a perfect film, but it is brimming with originality and made with unmistakable conviction. At a time when a major chunk of filmmakers are pre-occupied with the westernization of Bollywood, Anubhav Sinha holds a mirror to the Indian society urging us to take a moment and introspect. In that sense, Thappad is a slap on the face of all those perpetrators who commit these crimes, knowingly or unknowingly.<br />
<br /></div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-4908115112030828962020-02-03T22:38:00.002+05:302020-02-03T23:03:29.260+05:30PARASITE MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Given my restricted appetite for Oscar favorite films, when I heard rave reviews of the South Korean film Parasite, I was a tad hesitant to give it a chance. Eventually having watched it in the cinema hall today, I must admit I was handsomely rewarded.<br />
<br />
It appears that many of the critics' reviews out there are casually giving away the basic plot of the film. The real joy, though, lies in slowly unraveling the veneers of this deliciously layered narrative yourself and anyone depriving you of that pleasure is committing nothing short of a sin.<br />
<br />
Keeping that aside, the beauty of Parasite is that it takes on the garb of many genres at once. On the face of it, it appears to be a black comedy. As the story progresses, you slowly start moving towards the edge of your seat as it shifts gears into thriller mode with an impending sense of danger looming large. Then, it acts as a smart socio-political commentary on the economic divide and class rage between the rich and the poor. There are also elements of horror running through its veins, though not the "paranormal" kind but just due to the misactions of its painfully "normal" people. Ultimately, how I see it, the film is crafted with the sole intention to shock the hell out of you and blow your mind out of proportion. And boy does it succeed so well! In fact, the writing in this blazingly original piece of work is so sharp that there are moments where you judge yourself on moral grounds as you giggle at the exceedingly vicious actions of its twisted characters.<br />
<br />
I'm going with 4.5/5 for Parasite. It feeds on your imagination, fear and insecurities unlike anything you've seen of late. This is a parasite you wouldn't mind hosting.</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-32021341264773336502019-06-29T10:37:00.000+05:302019-06-29T10:37:24.088+05:30ARTICLE 15 MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
The events that take place in Article 15 are shocking and unsettling. Equally astonishing is the metamorphosis of director Anubhav Sinha from the maker of mindless action films like Cash, Ra One and soulless love stories of the Tum Bin series (Yes, apparently there are two of them) to a bold storyteller unafraid of exposing the flaws of our legal system (as he did quite commendably in Mulk) and now taking a jab at the regressive caste system in the superbly made Article 15.<br />
<br />
Article 15 is essentially a police procedural to track down the murderer of 2 girls and find the other missing one. Taking up his first posting in the hinterland of Laalgaon, IPS officer Ayan Ranjan, played by Ayushman Khurana, has his task cut out. On the face of it, he is made to believe it is a case of honor killing. However, stung by the bee of conscience, he digs deeper into the case only to discover the dirty political nexus involving disturbing casteism at play which is so rampant in northern India. Sinha and co-writer Gaurav Solanki create characters that feel one hundred percent authentic and they all seamlessly fit in this dark world colluding to maintain the balance of the system.<br />
<br />
Barring a few inconsistencies involving Ayushman's constant texting with his girlfriend or the involvement of CBI towards the latter half of the film, the filmmaking on display is pretty solid. The background score underscores an atmosphere of impending doom which ensures film even works as a tense thriller and not merely a preachy commentary on the social fabric of the country.<br />
<br />
Expectedly, Sinha has the backing of a terrific cast. Ayushman Khurana is at the top of his game. Even with a limited stock of expressions, he manages to essay every role very convincingly. Given the film choices he makes, there's no taking away from the fact that Ayushman is a remarkably instinctive actor. The rest of the cast as well, including the gifted Manoj Pahwa, Kumud Mishra, Zeeshan Ayub (who deserves a spin off film of own) and others, put their best foot forward and deliver memorable performances.<br />
<br />
I'm going with 4/5 for Article 15. In the end, the film doesn't offer easy answers except for the fact that after 17 years of churning crappy films, Anubhav Sinha has finally recognized his true filmmaking prowess. Better late than never!</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-82127907016498009652019-03-02T00:34:00.000+05:302019-03-02T10:34:38.208+05:30SONCHIRIYA MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Sonchiriya opens with the buzzing sounds of flies hovering around a dead snake. Having encountered a dead snake in their path, a bunch of dacoits suggest taking another path since it is considered a bad omen. But their leader urges them to continue walking claiming that changing their direction will not help wash away their sins of the past.<br />
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Director Abhishek Chaubey wastes no time in setting up his riveting premise and makes it conspicuous from this very first frame that we are in for an unsettling ride. He, along with co-writer Sudip Sharma (writer of NH-10 and Udta Punjab), whip up a tense thriller of dacoits in Chambal who seek to escape not only the system but also their inner conscience and guilt.<br />
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Fashioned as a minefield of emotional outbursts, traumatic visuals of the ghosts of the past, gang rivalry, internal feuds, dark humor and much more, the script offers a fresh spin on the regular dacoit-drama by throwing in twist after twist to sustain an atmosphere of impending doom throughout its running time.<br />
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Amidst all the gory and brilliantly staged shootout sequences, at the core of Sonchiriya is the tender bond that develops between a young girl and the dacoits, who consider her as their last chance to seek redemption. This track is what sets apart Sonchiriya from other films of the same genre.<br />
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Be warned though, the film isn't an easy watch. There are portions in the second half where your patience may begin to wear thin most likely because many scenes are shot with minimal lighting and the language spoken is bundelkhandi (constantly having to look at the subtitles might distract you a little). This is a minor price the makers were willing to pay to retain the authenticity of the film.<br />
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The film, ultimately, is brought alive by its assorted bunch of talented actors, whose conviction to get under the skin of each character is thoroughly satisfying and praiseworthy.<br />
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So that's 4/5 for Sonchiriya. Abhishek Chaubey yet again cements his position as one of India's most interesting filmmakers. Watch it because it has the pluck to be uncompromising and yet remain well within the boundaries of mainstream cinema.<br />
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Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-27236817612679933252019-01-26T22:11:00.000+05:302019-01-26T22:50:00.385+05:30SONI MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
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This is my first review of a Netflix original film. I watched Soni 2 days ago and still can’t seem to get it out of my head for many reasons.
The fact that it stayed with me for so long after watching merits a detailed
review.<o:p></o:p><br />
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Putting aside the superior craft of storytelling, Soni is an
important and personal film. It holds a mirror to the society we live in, its
patriarchal and orthodox beliefs, the biases enjoyed by the more privileged,
the helpless police department which we generally take so much pride in and
unmistakable misogyny that runs deep in the veins of our system. Sure, all of
the above have been discussed at length innumerable times in Bollywood but we are
always given a more dramatized version of the incidents. In Soni, however, debutante
director Ivan Ayr very well understands that the inherent nature of the system
is so exaggerated that all he needs to do is present Delhi in its raw,
vulnerable form. The film has a beautiful understated tone that doesn’t require
any showy dialogues or reactions to underline the gravity of the moment in a
scene. It has no plot to speak of as such, but is more of a stripped
down character study that was reminiscent of Asghar Farhadi’s (who I think is
one of the best filmmakers in the world) films except that the characters here
aren’t as grey as the ones in his films. <o:p></o:p><br />
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Ivan skillfully taps into the energy of silence and the
pauses in a scene to transport the viewer right in the middle of the action.
Rarely does a film invite its audience to enter the head space of its characters
and witness who they actually are and what their thought process is. Also,
technically speaking, every scene is shot in a single take which enhances the
viewing experience manifold. Since I’m a sucker for long, single takes, I just
admired the efforts gone into conceiving each scene so seamlessly, even if
there is pretty much nothing significant happening in it. The film remains
grounded for most part thanks to the actors who inhabit this space. Here, you’ll
find <span style="mso-spacerun: yes;"> </span>acting of the highest order even by
characters who literally appear in just one scene.<o:p></o:p><br />
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In the end, Soni is an unflinching and an ultimately
disturbing film which doesn’t offer any easy answers but sure makes an effort
to change the way we perceive the rampant corruption and chauvinism around us.
Don’t miss it!<o:p></o:p></div>
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Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-72135089710886993632018-10-05T12:26:00.000+05:302018-10-05T12:26:12.383+05:30ANDHADHUN MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Welcome to the world of Sriram Raghavan. It's a dark, cynical world where everything appears normal on the surface, but when the layers begin to unravel you realise this is a place where none of the characters can be taken for granted or you can be rest assured each of them is holding ulterior motives. One minute you are fed with a certain kind of information only to receive a shocker the next minute. This, my friend, is all you need to know before you walk in to watch this delicious crime drama which reinforces the fact that there's nothing more enjoyable in the world than watching an intelligent, well executed thriller.<br />
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The exceptional quality of Sriram Raghavan's films are that in order to build the suspense they do not rely as much on the whodunit aspect of the murder as they do on the whydunit or howdunit aspects and all the mayhem that ensues. Johnny Gaddar or Ek Hasina Thi may<br />
help prove my point. But Andhadhun takes this to the next level altogether, literally playing with the minds of the audience with its twisted screenplay.<br />
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It's really hard to get into the details of the plot without revealing too much. So let's just say the makers set up a fantastic premise which takes a while to reach there, but once the main plot kicks in Raghavan, the flamboyant deceiver, milks enough thrill, shock value and wry humor out of it to keep you on the edge of your seat almost throughout the film. If I had to draw an analogy, the film is like a ticking time bomb or a race where Raghavan, aided by Amit Trivedi's original score that intensifies the sense of urgency, is always one step ahead of the audience.<br />
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It also helps that each of the actors are in terrific form. Stepping out of his comfort zone, Ayushmaan delivers a mature performance that's both vulnerable and suspenseful at the same time. Continuing the trend of outperforming herself, Tabu is pitch perfect as the sly and manipulative woman, a character I would never want to meet in person.<br />
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I'm going with 4/5 for Andhadhun, another gem added to Raghavan's handsome repertoire of films. Watch it because rarely do you come across a Bollywood film that doesn't insult your intelligence. The sound of a piano playing in the background has never been more intriguing!</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-62620143624283805412018-09-16T21:28:00.002+05:302018-09-17T11:38:17.055+05:30MANMARZIYAN MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Love stories are not completely alien to Anurag Kashyap. Whether it was the period romance of Ranbir and Anushka in Bombay Velvet (regardless of the debacle it turned out to be) or the small town but big heart romance between a boxer and a mute lady at the center of his boxing drama Mukkabaaz, Kashyap has betrayed a smattering of penchant for conventional love told in an unconventional style. It is then unfair that Manmarziyan, his latest affair with unorthodox filmmaking, is being projected as a first of its kind for Kashyap. The truth is, Manmarziyan is like any other Anurag Kashyap film minus the violence and beheading; it is a series of misadventures just without any bloodshed.<br />
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The first half of the film is zany. Enormously benefiting from writer Kanika Dhillon's razor sharp dialogue & quirky characters, Amit Trivedi's music (more on this in the next paragraph) and consistently terrific performances, the film races across till intermission only to culminate in a rather underwhelming second half. Kashyap lends his trademark directorial touches that separate the film from your average romance flick. For instance, take the two sisters who show up in the background in every song sequence symbolic of the dichotomy the characters face in the film. The characters in the film are impulsive, irresponsible and messy and Kashyap treats it with the right amount of wackiness that keeps the film itself from turning messy. In the second half, however, there is a sudden dip in pace and energy. The makers, from here on, don't quite seem to know how to take the story forward, so they end it in the most unconvincing way possible.<br />
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But the real hero of the film, you guessed it right, is music magician Amit Trivedi. His intoxicating soundtrack is the driving force of the film, enlivening even the most dull portions. The album is a winning combination of brazenly original sound arrangements and simple but unforgettable tunes that may be venerated for years to come.<br />
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I'm going with 3/5 for Manmarziyan. It's a pity that the film is come undone by its daunting length and a disappointing end, but I still recommend a watch because it seamlessly blends the different departments of cinema to good effect. </div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-37169225851924676902018-06-29T21:27:00.000+05:302018-06-29T21:50:16.799+05:30SANJU MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Sanjay Dutt's life has been a string of inspiring but mostly traumatic events that influenced not just him but almost everyone associated with him. Right from the phase of drug addiction to the charges of terrorism and his eventual imprisonment, it is conspicuous why Hirani and co-writer Abhijat Joshi found his story worthy of a cinematic translation, notwithstanding the fact that Dutt was, hitherto, a part of every film of Hirani (except 3 idiots). It surely isn't an easy story to tell and the makers do a fine job of not ultimately portraying the character as a victim of circumstances, but instead very categorically delving into the controversial aspects of his life like his drug addiction and the possession of arms just to name a few.<br />
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But make no mistake, the film has the Hirani stamp all over it. Opting for a more light hearted tone, the focus is on reinforcing the importance of human relationships and values over anything else. Starting on a rather uneven note, the film finds its ground at around half an hour into it and it is these portions where Hirani reveals his magical skills in getting the audience deeply involved in his screenplay as we see Sanju's life fall apart like a pack of cards. In fact, I was so emotionally charged at this point that I wished the film didn't have an intermission break.<br />
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Alas, like most of his previous films, the break doesn't bode well for the second half. From here on, despite interesting ideas about superficial journalism and revealing insights into his life post charges of terrorism, I was never fully invested in the screenplay and its formulaic approach. The characterization becomes sketchy, conflicts are too conveniently resolved and the climax is a bit of let down.<br />
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Despite the shortcomings, the film is balanced by a career-best performance by Ranbir Kapoor, who not merely imitates but lives the life of Sanjay Dutt through his empathetic portrayal. Never appearing caricaturish or seeming to go off track, his catches the pulse of the character with perfection. Also, Vicky Kaushal deserves special mention for making his presence felt throughout the film with a pretty solid performance.<br />
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Much like Dutt's life, the film has many highs and lows, but it deserves a watch for the terrific first half and the gifted Ranbir Kapoor.</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com1tag:blogger.com,1999:blog-7819730359705963903.post-87660468174968184242018-04-14T14:14:00.000+05:302018-04-14T14:26:37.358+05:30OCTOBER MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Adding yet another feather to their extraordinary cap of films, Shoojit Sircar and Juhi Chaturvedhi deliver yet another winner in October, a slow burning and piercing drama (slow being the operative word) that will leave you questioning your understanding of love, faith and suffering.<br />
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October is unlike any film Bollywood has churned out in recent times. It doesn't rely on loud histrionics and background music to drive home it's point, but instead weaves together the complexities associated with human relationships when put through testing situations with the simplicity of the everydayness in a common man's life. Despite its leisurely pace and melancholic tone, the film never feels like a slog thanks to the intuitive and keenly observed writing and sharp, focused direction. Never spoon feeding the audience with easy answers, Juhi and Shoojit develop characters with ambiguous qualities, reminiscent of the Asghar Farhadi school of films. They also extract terrific performances from each of the actors, especially Varun Dhawan, Banita Sandhu and Gitanjali Rao.<br />
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I'm going with 4/5 for October. Some may complain about the slow pacing, abrupt ending and the lack of plot. But they all are a part of the calculated move by the writer-director duo to create a rich cinematic experience. Drop everything else you're doing this weekend and go in with dollops of patience to watch October. This is minimalistic filmmaking at its best.</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-45154176930801638982018-04-06T23:21:00.000+05:302018-04-06T23:21:40.351+05:30BLACKMAIL MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Blackmail is exactly the kind of fun film you'd like to watch on a lazy weekend with nothing much else to do. It has all the elements of the quirky oddball comedy; idiosyncratic characters put through outrageous situations, large helpings of laugh out loud humor and solid performances; but despite an original screenplay and a distinctively unconventional treatment, the film suffers from serious pacing issues. And that's never a good thing for films of this genre!<br />
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I won't get into the details of the cobweb of the script smartly written by Parvez Sheikh and Pradhyuman Singh Mall (a lot of which, sadly, is given away by the trailer), but the first half of the film has moments that are a serious test of patience. It takes a while before the actual plot kicks in and even once the unending series of blackmail calls begins, it's not always consistent until intermission. Post-intermission however, the chaos is intensified which results in humor that could leave you in splits, the major chunk of which is delivered by Arunodhay Singh, Divya Dutta and the witty dialogue.<br />
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Talking about performances, Irrfan Khan is in good form, though here he appears a little uninspired and holds himself back from giving us another winning performance and rising above the films shortcomings. The other supporting cast comprising Kirti Kulhari, Pradhyuman Singh, newcomer Anuja Sathe get some moments to shine and showcase their active participation in this land of absurdity. The real star of Blackmail, hands down, is Arunodhay Singh. Skillfully combining physical humor with a colorful palette of expressions, Singh makes the most of the meaty part that never lets predictability completely take over the film.<br />
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I'm going with 3/5 for Blackmail. Director Abhinay Deo falls short of delivering another Delhi Belly. The film has many strengths, but consistency is definitely not one of them. Still worth a watch!</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-69783500710308520412018-01-27T20:44:00.000+05:302018-01-27T20:44:42.419+05:30PADMAAVAT MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
While the rave reviews extolling Ranveer Singh's extraordinary performance are categorically justified, the other less-talked about but significant aspect of Padmaavat is that director Sanjay Leela Bhansali is in solid form. And by solid I mean this is possibly his least indulgent and most accessible film in a decade.<br />
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Pick up any of his recent films, say Ram Leela, Guzaarish, Saawariya, and you'll notice that all of them suffered from a misplaced sense of self-adulation and vanity that took away much of the sheen from all the grandeur at display. Even his penultimate film Bajirao Mastani, which I agree was marginally better than the ones I mentioned so far, could not completely absolve him of succumbing to "style over substance", a crime plenty of Indian filmmakers are frequent accused of committing.<br />
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This does not go to say that Padmaavat possesses a flavor or aura anything markedly different from his previous films, but amidst all the lavish set pieces and ostentatious costumes, the story-telling remains sure-footed. He stages impressive war sequences, the dialogues pack a punch and the script throws in enough twists to keep you engaged for most part of the film. It is only the last 30 minutes or so where things take a predictable turn and the already thin plot is stretched to the point of turning the film into a slog.<br />
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Shahid Kapoor and Deepika Padukone's sincere and commendable renditions are likely to go largely unnoticed with Ranveer Singh practically stealing every scene he is in. In his third successive film with Ranveer, Bhansali skillfully directs all of Ranveer's innate eccentricity to create a character that is deliciously menacing & repugnant and the actor sinks his teeth completely into the role to deliver a performance that is riveting, to say the least.<br />
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I'm going with 3.5/5 for Padmaavat. It's hard to comprehend the drama surrounding the release of the film, which incidentally seems more than the drama in the entire film itself, but be prepared to get Ranveer's Khilji ingrained in your memory.</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com4tag:blogger.com,1999:blog-7819730359705963903.post-34244912706347240092017-10-20T10:36:00.000+05:302017-10-20T13:16:36.074+05:30SECRET SUPERSTAR MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
In the latest product of Aamir Khan, there are two scenes which stand out for touching the pinnacle of storytelling and cinematic viewing. One is a moment in the first half where a despotic husband/father becomes aware of a secret he shouldn't have known and slowly asks his children to go inside the room as he prepares to unleash his wrath on the helpless woman of the house. It's a scene so chilling that it makes you budge uncomfortably in your seat, as if transported right into the middle of the action. In the other best-directed scene when the protagonist, played by the gifted Zaira Wasim, visits a music studio and performs a song that takes everybody by surprise as they witness her abundant singing prowess, the feeling is euphoric. (A special word for Amit Trivedi's winning score).<br />
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A handful of moments like these is what makes Secret Superstar rise way above the ordinary despite a half-convincing story and overt theatrics in the climax, which wouldn't have been quite a quibble in a Rajkumar Hirani (a master of shamelessly yet successfully manipulating emotions) film. At the same time, what cannot be faulted is the strong case the film makes for the familiar but instantly relatable sentiments like steadfast pursuit of passion, breaking away from the shackles of an orthodox Muslim family, teenage love and many others which debutant director Advait Chandan captures quite impressively for most part.<br />
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If there's one reason why you're willing to guiltily submit yourself to the simplistic and frankly 'too good to be true' plot is the pitch perfect ensemble. Aamir Khan shines in a small but laugh-out-loud funny role of a failed, obnoxious music composer named Shakti Kumaar. Never shying away from taking the backseat and letting the women drive the film, he's an actor/producer who can be counted on anytime. Raj Arjun is aptly cast as the tyrannical father while Meher Vij plays her part with remarkable restraint and in the process becomes the second best thing about the film, after Zaira Wasim. Displaying capabilities way beyond her years, Zaira with her terrific screen presence delivers a mature and deeply affecting performance that is bound to stay with you long after you've left the cinemas.<br />
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I'm going with 3.5/5 for Secret Superstar. It's not a perfect film but it has all the ingredients for an ideal Diwali outing with family. Watch it for Zaira Wasim, the teen with umpteen talent.<br />
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Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-14982048185710640942017-09-01T10:37:00.000+05:302017-09-01T10:55:34.762+05:30SHUBH MANGAL SAAVDHAN MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
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Much like Aamir Khan, Shoojit Sircar and Phantom Productions, just to name a few, producer Anand L Rai has, over the years, earned the healthy reputation of backing crowd pleasing yet content-driven films whose intentions go beyond raking in the box office moolah. And even while his latest outing Shubh Mangal Saavdhan doesn't beg to be taken seriously, it's by far the most enjoyable film of <a href="tel:2017">2017</a>.</div>
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If you've seen the trailers, you'll know what the film is about and though the topic might be a tricky and sensitive one, never once do the makers resort to vulgarity to deliver cheap laughs, relying instead on mining laughs from the most unexpected of situations. Sure there are double meaning jokes alluding to the 'gents' problem but it's wrapped in such side-splitting dialogue and executed in such good humor, you can't help giggling away to glory.</div>
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Ayushmaan and Bhumi share an unmistakable chemistry and they're sincere enough to create relatable characters. A major chunk of the comic heft is carried by the rest of the cast. It's a madcap family without even the slightest hint or semblance of levelheadedness and the actors practically inhabit these roles with their sharp comic timing. It is this eccentricity which debutant director R.S. Prasanna (who's remade his own debut Tamil film by the name Kalyana Samayal Saadham) taps into so effortlessly, nicely fending off mawkishness by keeping it crisp and lighthearted, leaving you with precious little time to harp on about the absurdity of the whole premise.</div>
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The star of the movie, hands down, is writer Hitesh Kewalya. His quick-witted dialogue left me rolling in the aisles almost throughout the film. The biggest achievement is that he's created so much out of so less.</div>
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If I had to nitpick, there is a gratuitous cameo for the very talented Jimmy Shergill, the climax is a bit of a let down and the story itself doesn't have much steam to survive even the merciful duration of less than two hours.<br />
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I'm still going with 4/5 for Shubh Mangal Saavdhan. It's insane, zany and charming, but most importantly has its heart (if not anything else :p) in the right place. It's as if the phrase 'laugh riot' was invented to describe this film.</div>
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Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-27801282315962554372017-08-18T17:23:00.000+05:302017-08-18T18:51:33.670+05:30BAREILLY KI BARFI MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
I must admit I'm a sucker for films set in the heart of small towns in North India portraying the day to day lifestyle of the orthodox middle class. They carry a distinct flavor with them and when peppered with witty dialogue it makes for a cracking combination. Tanu weds Manu returns (which I feel is the best rom-com made of late), Dum Laga Ke Haisha, Aankhon Dekhi are a few examples that might prove my point. The fact is that such films aren't as much driven by plot as they are fuelled by character dynamics and quirky humor.<br />
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Okay, so now let's talk about Bareilly Ki Barfi. Given my penchant for such films and a promising trailer I was quite eager to indulge my sweet tooth. For most part it does tick all the right boxes. The Tiwari's (director Ashwini Iyer Tiwari and writer husband Nitesh Tiwari who helmed last year's Dangal) succeed in creating real flesh and blood characters whose playful banter evoke plenty of laugh out loud moments. The first half coasts along smoothly brimming with originality and smart one liners which keep you invested in the film, not bothering about where the story is leading to. For example, how can you not be amused by the way Seema Pahwa's character welcomes every male guest in the house with two essential questions of life ; Beta saadi (read shaadi) ho gayi tumhari? and Beta sarbath (read sharbath) peeyoge?. It's also equally hard not to be delighted by Rajkumar's prep for the role of a rough and tough bully with a swag and his comical exchanges with Ayushman.<br />
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Post intermission, however, things take a turn and the story loses much of its quirkiness when cornball moments take over from sharp humor, effectively stripping the film of its charming appeal.<br />
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The biggest strength of the film, though, lies in its casting. Kriti Sanon, who frankly talks and looks more urbane than small town, still manages to win hearts on account of her honest performance. Ayushman is expectedly in good form while Rajkumar, who clearly seems to be having a ball with his film choices, gets another opportunity to showcase his versatility. The actors who stand out among others are Seema Pahwa and Pankaj Tripathi, whose abundance of talent make you wonder why we don't get to see more of them in films.<br />
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I'm going with 3/5 for Bareilly Ki Barfi. Tiwari nicely ties up the loose ends in the climax, but blame it on the rocky screenplay or what the film falls short of the comic genius it so had the potential to be. Definitely worth a bite!!</div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-50136898041106499172017-07-28T20:32:00.000+05:302017-07-28T20:53:44.881+05:30DUNKIRK MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Having watched Dunkirk, it's hard to describe the feat Nolan has achieved with this film. All I can say is that it is a riveting piece of cinema that is best enjoyed on an Imax screen.<br />
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Dunkirk can safely be termed as Nolan's most accessible film in recent times. Frankly, this is no path-breaking war film that pushes boundaries or envelopes of any sorts. But there are two master strokes which he employs that elevate Dunkirk to a higher pedestal. One, Hans Zimmer's captivating background score is not just considered a separate entity but is intrinsically woven into the screenplay to the extent that it becomes the driving force of the film. Two, Nolan very well understands that opting for a linear screenplay in such a scenario could have potentially turned the film into a slog, which is why he adopts a narrative where all three scenes of action (land, air and water) are intercut with each other to build a sense of urgency the film relies on.<br />
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Constantly and consciously avoiding cinematic trappings like backstories for the soldiers or gory images of bloodshed and violence, Nolan makes his intentions crystal clear from the very first frame; to create an atmosphere of impending fear and danger of uncertainty looming large that hooks you to the edge of your seats almost throughout the film. I was lucky enough to watch the film in a 4D cinema hall which multiplied the already heightened sense of tension.<br />
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However, the film doesn't come without its share of flaws. For me, particularly, decoding the British accent without subtitles was one hell of a task, as a result of which half the dialogues went over my head and I couldn't grasp those aspects of the story.<br />
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Nevertheless, I'm going with 4/5 for Dunkirk. At a crisp running time of 2 hours, this is an overwhelming film you can't afford to miss. </div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0tag:blogger.com,1999:blog-7819730359705963903.post-55993867584318890342017-07-14T22:48:00.000+05:302017-07-15T16:16:28.052+05:30JAGGA JASOOS MOVIE REVIEW<div dir="ltr" style="text-align: left;" trbidi="on">
Bottom line : In their second collaboration after the highly successful Barfi, Anurag Basu and Ranbir Kapoor conduct yet another experiment with quirky characters and situations, much like a Utopian musical. The end result is that Jagga Jasoos is possibly the most polarizing film in recent times which may work for some but not for many. For most part, though, it worked for me.<br />
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Review : Before I start reviewing the film, here's a sneak-peek into the world Basu has so affectionately created : Firstly, the characters mostly converse in songs (Because guess what, the lovable eponymous hero stammers while talking and hence prefers singing out loud). Secondly, logic seems to be the last thing on Basu and his writers' minds (which is accentuated in scenes like when the two leads effortlessly pilot a plane just by reading the operating manual, or where Katrina falls off great heights only to suffer minor injuries). Lastly, the story line is frankly farcical. It is important you re-align your expectations with the above facts before venturing in to this madcap journey. I had a friend sitting next to me who was constantly cringing at the buffoonery on display. That's precisely why I used the word "polarizing" to describe the film.<br />
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Having said that, I was thoroughly amused by this relatively unprecedented style of film-making, especially for Bollywood. Basu, clearly is in strong control of his craft, and he does an endearing job of giving us plenty of joyous and teary-eyed moments that's better experienced than described. There's a lot of guilty pleasure to be had in the series of misadventures the story and its characters take us through. All this quirkiness (a big shout out to Pritam for rendering some of his best tunes) works like magic in the first half but the makers can't seem to sustain this effervescent energy in the last half an hour or so of the film. It is at this juncture that randomness and repetition seep in and the muddled up screenplay populated with too many subplots further causes partial derailment of the euphoric bandwagon the film hitherto was. It doesn't pause as much as even to try making sense of all the proceedings unfolding on screen.<br />
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But the real binding force in the film is, undoubtedly, Ranbir Kapoor. I haven't come across another actor who whips up such an infectious energy each time he takes command. Here's an actor who, despite having a checkered career, doesn't shy away from confronting challenging roles and always puts his best foot forward.<br />
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I'm going with 3/5 for Jagga Jasoos. Despite its hiccups, it's an honest film that stays faithful to what it set out to achieve. More than anything else, watch it for Ranbir who's mere presence on screen makes up for many of the film's inconsistencies. </div>
Saurabh Varanasihttp://www.blogger.com/profile/10565147774450783102noreply@blogger.com0