Movie review : BAJRANGI BHAIJAAN

Bonding with a child can make you do strange things, their innocence and vulnerability can bring out the best in you and many a times their despair and grief can stretch you to attain the implausible. In BAJRANGI BHAIJAAN, the same bond transcends all- caste, religion and even borders and transforms a simpleton into a messiah.

Usually, a Salman khan film does not necessitate an emotional and coherent plot. Commercially speaking, his movies are never in need of anything which even vaguely resembles a decent script.
His swagger and his demeanour is all his fans ask for, his pelvic thrusts and cheezy one-liners are what they throng in for. Paisa vasool for them, end of the story.

But this film displays a different him, he minus his flamboyance and swagger. He is no larger than life hero here who thrashes the daylights out of the bad guys, does not vocal his signature one-liners and never for once rips off his shirt for the audiences.
Instead, he plays ( or underplays) a naive, honest and earnest simpleton who keeps bowing in front of every ape in gratitude owing to his Hanuman worshipping. Still then, he brings an unmissable charm and sincerety to his character which gradually grows on you.

BAJRANGI BHAIJAAN, then, is a hypersweet, over simplistic and unabashedly massy portrayal of a man reuniting a mute six year old girl to her family in Pakistan.

The show stealer in this Salman khan film is strangely, not him. She is this super cute and adorable mute girl, played by Harshaali malhotra, whose charming demeanour and expressive eyes do wonders for the film. The film succeeds largely because of her and her predicaments. Her relationship with Salman khan is of essence here and their journey, though predictable, has its heart at the right place.

The intelligence is lowbrow here, but the intent is omnipresent. The cross border conflict is addressed very simplistically and is way too contrived, but the message seems to make sense. The ideologies, religious practices and the socio norms all faintly dealt with, some work and most don't. But what for the most part works, is the fact that it projects love and peace as  strong forces. What makes the film rise over its flaws is the message it puts forth: compassion being a universal language and transcending every barrier.

The film also succeeds because of the infectious energy that Nawazuddin siddique brings to the forefront. Though he has his presence only in the second half, he is an absolute joy to watch. His timing and body language is both crackling and riveting.There are instances when the sheer talent and craft of Nawazuddin even overpowers the charm of Salman khan.

Every attempt is made in the long drawn climax to impact the tear ducts of the audiences and to the director's credit, it does work.You know the consequences,  you know what is to come and you know the result and yet you feel the lumps in your throat when it happens.

It is very tough not to like a film which makes you cry in the end. Over dramatic as it may seem, and way too loose and a tad too lengthy, but still this film is immensely watchable.

Movie review: BAHUBALI

Stunning visuals, technical splendour   and grandeur stylised execution. Add to it, the warmth of human sentiments and we have BAHUBALI : an epic, ambitious tale which stays with you long after you leave the cinema halls.

If you can't do much with the story, you better be good with the presentation. If the premise (the old good against evil) offers no novelty, make sure the execution is innovative. And this is exactly what BAHUBALI has in to offer. More so, it does better: enthralling you and captivating your senses for most part of the film's running time.

Great CGIs and VFXs alone are never instrumental in making a film work. They only complement and enhance a director's vision. And here we have, a visionary and enterprising director, who takes a routine revenge saga and transforms it into a colossal establishment. His synchrony with technology and tradition deserves special mention.

It is the sheer brilliance of the filmmaker, who, inspite of giving an over the top and a high decibel melodrama, infuses moments of genuine arousal and makes the viewer root for their protagonists. He understands his craft perfectly and knows exactly when to escalate the scene and the viewers mood.

The intermission point when Shiva holds onto the 50 feet golden statue from falling and in return the crowd responds by screaming 'Bahubali Bahubali ' in unison is absolutely riveting. It is a scene which is bound to make you stand up and applaud.

To be honest though, the film surely suffers from minor glitches.Not everything works and not everything sinks in too.The first half feels weighed down by its length and the silly love track hamper the proceedings further. The love story never picks up, looks contrived and even foolish. But then, there is much to savour even in scenes which are silly and inconsequential. Full marks to the director for having the intent and for trying.

There are glimpses and impressions of a handful of Hollywood flicks, but they are intelligently inculcated and sprinkled with original makeovers.

The final half an hour, depicting the battle is nothing short of astounding. Never redundant or repetitive, it throws in some of the best camera shots and makes in for a compelling watch.

Very few films warrant a sequel, and even few, deserves them. This one surely does.
Do not miss it.

Movie review: Dil Dhakadne Do

If it is a Zoya Akhtar film, it surely spawns great expectations. Her art of depicting and conveying human sentiments have always been unique and appealing.
Her outlook and perspective of the emotional turmoil, her staying away from the melodrama and her breezy and subtle presentation on celluloid has attracted and allured many, including me.
So, anything coming from her and not matching upto her credentials is a disappointment. More so, when it is her very own territory and when the ensemble cast is in prime form.

Dil Dhakadne Do, staged on a cruise takes off briskly but takes way too long to get to its desired objective. It has some brilliant moments along the way, but for most part it drags way too much for our convenience.

The Ultra-rich guild, with all their flair, flamboyance and charisma are plagued by a sense of self-obsession. Their demeanour is often peripheral and on occasions self-detrimental.
Preserving wealth at the cost of loosing family, Showcasing vanity with no obligation to modesty and caging all sorts of materialism at the cost of liberation.

But, inherently human emotions are the same everywhere.There is no demarcation between the affluents and the not so affluents when it comes to the matters of the heart.The feelings are on the same frequency, the susceptibilities too on the same forefront.

The film revolves around these very sensitivities and sensibilities of the human psyche.The narrative via an animal's perspective is perfectly apt and well thought of.
The conflicts are a plenty here: Self-made Billionaire struggling with his business and family, his subdued daughter in a scuffle with her marriage, a son in a dilemma to find a purpose, and many more.

But as they say, too many cooks spoil the broth.Each segment is dealt with superficially and lacks any actual depth and penetration.The entire perception to disputes and squabbles is devoid of novelty and the freshness one associates with Zoya Akhtar.
Hypocrisy, shallowness, self realisation all tagged with the 'been there and seen it all' attitude.

Sure, there are glimpses of Zoya's genius and a few moments of absolute brilliance making the film rise above its leisurely pace.
The scene where Priyanka is being confronted by everyone in the family on her decision of asking for a divorce is splendid and terrific.
The scene in which the entire Mehra family confronts each other in a medical room is hysterical and masterly done.

In the end, the film feels longer than its running time and a silly climax strikes a bad note too. If you are willing to condone the film's sluggish pace, you just might savour some bits out of it.

Movie review: Tanu weds manu returns

Small works when it stays simple, natural and doesn't try and act big. It becomes endearing when it is unpretentious and stays rooted.
TANU WEDS MANU RETURNS is one such sweet, ribtickling and harmless romantic comedy offering laughs consistently and orderly.

Sequels all over the world have a bad history. They somehow tend to be unimaginative and quite often seem redundant and repetitive. But this sequel does better. Infact much better than its predecessor. It brings freshness to a predictable story and stays funny and entertaining till the very end.

Small town love stories have their own intrigue and have a bizarre way of modus operandi. They seem to lack the basic sensibilities and understanding of a relationship. They appear chaotic, illogical and fogged by insanity. And  Anand Rai (director) understands the exact sentiment and skillfully masters the art of showcasing it on celluloid.

This film makes you laugh and laugh out loud. Weird characters, nonsensical situations and stupendous performances  makes for some great viewing.
The film succeeds largely because of its brilliant dialogues, great humor and magnificent acting. The dialogues are pure gems and bring the house down on several occasions. The humor, often in the most unexpected scenarios gets you the best laughs.The small town ambience, the natural flair and the desi flavour add warmth and charm to the ongoing proceedings.

The highlights are many and ROFL moments are plenty. The opening scene, though over the top, is extremely funny. The conversations between Madhavan and his father while his mother keeps uttering semi-audible vocals is hysterical.
Almost every second dialogue mouthed by Deepak dobriyal ( Madhavan's friend ) is side-splitting.
The confrontation between the two Kanganas is clapworthy and calls for a thundering applause. The end credits too are craftly done.

The film works largely because it doesn't take itself seriously and stays far away from self-indulgence. Minor contrivances and clichés weigh down the film somewhat, but in all the film manages to stay afloat maintaining the swift and breezy approach, never overstaying its welcome.

A last word for Kangana ranaut. She is exceptional and brings a terrific charm to both her characters. At times, she overshadows everything and in most cases, becomes bigger than the scene itself.

Go watch the film. Absolute paisa vasool

Movie review: Mad Max fury of road

A distant future, Desolated and deserted.
Barren, lifeless and hopeless. A bizarre state of ravaging people in command. Insanity all around. Any form of sanity only sticking out like a sore thumb.

MAD MAX gives you a gripping action adventure amidst a magical setting which is ridiculously entertaining and for most part,gets you sucked into it.

The world is all dust and dirt. But there is no alien invasion or extra-terrestrial force looming large and sucking life out of the people. No virus pandemic either and thankfully, no zombies.
Rather, a self afflicted and self-devastating ramifications bringing the world to a wasteland.

The plot- plain, linear and lucid. The protagonists on the run from a ferocious gang led by a man named Joe who happens to control the oil and water in the region.

But what makes it all roll, is the breathtaking and relentless action which is on display. Big and bombastic it is, absolutely original and raw. There are plenty of crashes, blasts, flames, men on poles swinging between vehicles, vehicles shaped like porcupines and more. There is hardly a breather in between as sand swirls around and storms engulf the area.
So much of mayhem, but perfectly orchestrated.

There is no sophistication and technical mumbo-jumbo on view, only hyperkinetic mechanical and brilliantly crafted chase sequences. All done with precision.

There is genuine urgency in the proceedings, minimal dialogues and no self indulgence whatsoever.

You seem to care for the protagonists, you want them to get away and surely, you want the wild and savage leader to be decimated.

Also, certain validations dealt with, though very faintly and vaguely. Firstly, The powerful and resourceful manipulating the commoners, more so in times of despair. Secondly, the elemental needs transcending all human emotions. Who has time for love or sympathy, when the entire essence is on survival.
Hope is to stay on, no matter how unfortunate the world seem.

In the end, it is a film not meant for everyone. Strictly for ardent action lovers and for people looking for unorthodox and inventive viewing.

PIKU: Movie review

And we assumed that an intelligent script and good writing in bollywood got lost in the woods. Thankfully, Piku reinstates the value of credible cinema and restores our faith in this promising enterprise.

The story of a cranky, cribbing widowed bengali father and his able, independent daughter;  Piku is an original, refreshing, endearing and straight from the heart tale which wins you hands down and never lets the smile fade away from your face.

The movie revolves around the eccentric relationship the father-daughter duo share, owing mostly to the abnormal bowel the father suffers from. The discussion is mostly regarding the cause and effect of the faeces, going to the extent of its texture and form. Gross and stinky it may seem, but far from it, the writing makes it charming and appealing. It is the sheer brilliance of the writing and the narrative which infuses so much wit and humor in the proceedings, never making the drama look repetitive, boring or even mildly annoying.

The first half is breezy and has many genuine laugh out loud moments. One or two are absolutely hilarious. A handful of dialogues are pure gems, the rest pretty relevant.

The second half, too has its moments of spark. The chemistry between Irfan and Deepika is a joy to watch, their romance intentionally staying away from the stereotypic clichés. All the characters written in pure flesh and blood, and magnificently enacted.

Though meant to be a swift harmless comedy, the film for me, on a personal level seemed layered with different strata:

Firstly, The character of Amitabh's Bhaskor Banerjee, with all of its obsession, reflects the ageing phenomenon as a sort of Deja vu: The declining years being just like the juvenile phase. Growing old to be a child again.
His selfish, stubborn, demanding and unapologetic demeanour is everything one associates with a child. A 70 year old being childish, getting older and longing for attention.
The film makes a very strong point on the ageing and ailing Parents, who long for the same affection and care they once showered on their children. Life, for them comes a full circle.They are not to be judged, just to be looked after and loved, not to be left alone, but tugged in close.

Secondly, There is a strong undertone of women empowerment in the manner Piku gets all her priorities straight. 'Financially independent, sexually active', Amitabh describes her, but she is so much more.
She knows her way in a man's world, is intelligent, understands her responsibilities and strikes a balance perfectly. The concern towards her father is one of the highlights. Never forced or melodramatic, the tenderness and care for her father is a pleasure to watch.

In the end, there is so much to love, and so much to enjoy. Nothing cosmetic, nothing flamboyant and nothing heroic. Just a warm and emotionally enriching experience.

Forget the constipation, this is pure roughage to your bowels
A must watch

Movie review : Gabbar is back

Corruption, so it seems, ain't dying anytime soon. Up until then, it only seems plausible that we take joy in watching it die on screen, time and again, subtly or forcefully. 

The movie Gabbar is back, is one such offering. Though it doesn't offer any insights or solutions we don't know of, nor it makes us stand up and take notice, and also does not make an everlasting impression on our minds, it still has its moments.
It feels rhetoric and clichéd too but most importantly, it works because it is
entertaining and unabashedly massy.

Gabbar entertains because it tries to stay honest, because the scenarios seem so relevant and because the mood it projects, is so easily relatable.
It works, because the protagonist preaches less, and executes more. And executes in a manner we want. It does so,  occasionly sprinkled with hard hitting dialogues and some flair.

'He is Gabbar not Gandhi' remarks a Policeman, at one point responding to the threat, and you can't help but chuckle in your seats. You know this, the feared fears the same fate, they fear the taste of their own medicine. The viewer loves when the untouchables get their egoes dented, when the affluents are taken down and even so when the dishonest and deceitful have every reason to panic and feel jittery. It is for the very reason, the movie scores above average points.

We all, inherently are fed up with our own existence and the prevalent disreputable system. So we seem to rejoice every time  the unholy system takes a beating. The film too banks the same emotion.
In one scene, the villain mouths, " humare tak logon ki arziyan pahunchti hai, awaaz nahi". Exactly, what we witness, exactly, what hurts us. Exactly what one feels sorry for and wishes to fight against.

The first half is breezy and has a handful of impressive pieces. The entire hospital episode where Gabbar deceives and tricks in the doctors to keep operating on a dead body is a delight to watch. Also there is much fun to be had, especially in a scene where the amoral government officials admit to their corrupt behaviour in order to avail police protection.

That is to not to say, there are no flaws in the proceedings, infact they are plenty. Not everything is exciting and not everything works.The characters are badly underwritten, the intelligence is lowbrow and the ramifications very poor. The dialogues, barring a few, are corny and makes you cringe. The constant screaming and imbecile behaviour of the police, a filthy item number pre-climax and a forced back story of the protagonist weigh the film down.
The entire second half is sluggish, predictable and stagnant. What should have escalated, both the mood and the consequences, is reduced again to the old 'One man army' form. The only answer our filmakers can come up with is the same old One man bashing, thrashing and punching his way out through the system. Can only a grief stricken man take on the system? Utter nonsense. Wit's end only this far?

What needed a mass movement and a  stimulating statement, instead falls flat and looks hurried and contrived.
Sadly, Gabbar stays only a filmy hero, never transforming into anything symbolic. In the end, this only makes for an average one time watch.

The film stays entertaining, but falls way short of greatness.