Tag: Cinema Review

‘Dhadak 2’ Review: A Bold, Unflinching Look at Caste 

Dhadak 2 is Shazia Iqbal’s Hindi adaptation of Mari Selvaraj’s Tamil film ‘Pariyerum Perumal’. It portrays an inter-caste couple’s fight against caste prejudice. 

Neelesh (Siddhant Chaturvedi), a Dalit student of law, has a simple and straightforward goal: to study hard, become a lawyer, and lift his family out of poverty. He avoids political activism, lest it derail his long term plans. He finds an empathetic friend in Vidhi (Tripti Dimri), who helps him understand the subject. And, like what happenes in most college friendships, theirs deepens into love.

Neelesh’s subservience and timidity get him nowhere: he is constantly reminded of his place in the caste hierarchy, whether in college or at social gatherings. Neither can he claim his right as a student, nor can he escape casteist taunts. 

His struggle is reminiscent of real-life Dalit students who paid the price for speaking out. The case of Senthil, the Dalit student in the University of Hyderabad who took his own life, comes to mind instantly. And when Shekhar (Priyank Tiwari), Neelesh’s contemporary in college and a fellow Dalit, resorts to the extreme step after being suspended for protesting, one cannot miss the resemblance with Rohit Vemula.

When his face is disfigured by upper caste students in college, the lion in Neelesh awakens. Siddhanth Chaturvedi plays Neelesh’s transformation into a confident and assertive individual, who will not take injustice lying down, convincingly.

Like Siddhant Chaturvedi, Tripti Dimri does full justice to her role. She is not the hero’s usual sidekick and carves out an identity and place of her own. Bold and outspoken, she doesn’t hesitate to ask uncomfortable questions, even if that means challenging her family’s honour. 

Full marks to Shazia Iqbal for boldly engaging with a sensitive theme like caste. She highlights the humiliation Dalit students face in our universities, capturing the stigma in all its rawness. She also addresses the problematic issue of upper caste family honour with the same brutal honesty.

Dhadak 2 is powerful in its treatment of caste. The crisp narrative, sharp dialogues, and engaging story enhance its appeal. It is a must-watch that doesn’t just entertain but compels reflection. The quote at the beginning of the movie sums it up best:

“When injustice becomes law, resistance becomes duty”

A Fantastic Woman – A Review

A Fantastic Woman – A Review

While it is difficult to ascertain whether, historically, transgenders enjoyed a unique place in Indian society, the common belief is that Kings used them as henchmen and were sought after by newly-wed couples for blessings. Whatever their role, it is a fact that with the entry of the British into India, life for the community took a turn for the worse. The British were uneasy with the idea of a third gender and accused the community of perpetuating crime. While newly independent India relaxed laws against transgender people, the media became guilty of stereotyping them. Mocked for their effeminate personalities, they were, and still are, portrayed as beggars and criminals.

Indeed, community stereotyping is a universal phenomenon. Although India has a long way to go before accepting transgenders for who they are, Chile is showing the way in furthering their cause. Director Sebastian Lelio’s ‘A Fantastic Woman’, a movie about a transgender female Marina (played by Daniela Vega) and her struggle against prejudice, is a step in that direction. 

Working as a waitress and club singer in Santiago, Chile’s capital, Marina is in a relationship with an older cis man, Orlando (played by Francisco Reyes). Love is in the air as the couple celebrates Marina’s birthday over a candle-light dinner. As the two embrace and dance, the audience cannot help but soak in the romance. The two seem made for each other and are heading towards a happy future. 

A tragic twist shatters Marina’s happiness when, on the night following the birthday, Orlando dies of an aneurysm. As the grieving Marina tries to come to terms with her loss, she faces the wrath of Orlando’s family. His ex-wife wants Orlando’s car back, his nasty son asks her to vacate the house, and the family forbids her from attending Orlando’s funeral. To make matters worse, the bruises on Orlando’s body make the police suspicious. Was Marina being paid by Orlando for sex work? Maybe the two had got into a fight that ultimately killed Orlando.

Despite the weight of her problems, Marina stays dignified and graceful. She battles her ghosts like a lonely but brave warrior, swimming against the tide of societal prejudice. The scene where she tries to walk straight, resisting the heavy wind blowing against her, accurately captures her courage, dignity, and stoicism in the face of adversity.

Director Sebastian Lelio portrays a never-seen-before aspect of transgender people, which is that of grace. He succeeds in demystifying the community and subverting its association with sordidness. In Marina, the audience discovers a caring, sensitive, and strong transwoman who defies stereotypes. 

I would have liked Sebastian Lelio to explore some more dimensions of Marina’s life. What were her struggles as a child growing up in Chile? While there is a brief mention of her sister and brother-in-law, the movie is silent about her parents. Unfortunately, the movie is too linear in portraying Marina’s life. A multi-dimensional portrayal of a transgender woman that goes beyond platitudes or prejudices would have been ideal. 

Despite its lack of depth, Director Sebastian Lelio’s ‘A Fantastic Woman’ has contributed immensely to the transgender community’s struggle for identity and place in society, becoming the first Chilean movie to win an Oscar. More importantly, the movie helped drive conversations on the transgender question, resulting in the fast-tracking of a gender-identity law allowing transgender individuals older than 14 years to legally change their name and gender, with no requirement for surgery or change in physical appearance. That this took place in a country as traditionally conservative as Chile is an achievement worth celebrating.

The Uri Effect, Post Pulwama

Uri, the movie about India’s surgical strikes on terror launch pads in Pakistan Occupied Kashmir resonates with (or maybe even determines) the present mood in India, post Pulwama. The movie somehow demands that everyone participate in experiencing a “Josh” or acting out on it (by beating up Kashmiris, threatening Muslims who are deemed anti-national by default). The protagonist Major Vihan Singh Shergill, played by Vicky Kaushal is an ace military strategist who is forced to return to home to care for his mother, an Alzheimers patient. During this time he loses his brother-in-law, Major Karan Kashyap (played by Mohit Raina) in the Uri attack. Thirsty for revenge, he begs his commander to let him return to the frontlines for the greater good of the motherland.
In the first half of the movie, Major Vihan plays the role of a responsible son, loving uncle and friendly brother, all at once. The camaraderie he shares with Major Karan is typical of the armed forces, but there is nothing more that endears you to him as an actor. His performance is clichéd, lacking depth or nuance. After seeing him in Sanju, one feels he has not done justice to his talent. But the war hysteria and passionate anti-Pakistan slogans are used effectively to mask the otherwise dull performances.
The second half of the movie revolves largely around the planning and execution of the surgical strikes. The discovery by Ajit Doval (played by Paresh Rawal) of a bird-shaped drone invented by a DRDO intern is the only thing that adds a spark to the movie. Unfortunately, it is not developed enough.
The manner in which the scenes are stitched up leaves a lot to be desired. Even the war scenes are just deafening gun fire and as expected, the Pakistanis are shown as no match for the Indians.
By this time Major Vihan’s family – his mother, widowed sister and niece –seem to be erased from the audience’s memory. If the movie aims to prove that the call for revenge supersedes all other responsibilities, it fails to do so again. And it is this attitude that is on display in the India of today. Unfortunately, one (fictitious) man’s call for revenge has become a personal call to the youth of the country. People have taken it upon themselves to teach Kashmiri students a lesson after the terror attack in Pulwama, despite no evidence of their involvement. Innocent Kashmiris across the country face persecution for deeds they are not guilty of.
There are other problems with the movie too. For instance, the euphoria of revenge for the Uri martyrs drowns the audience’s capacity to think critically, leaving no scope for reflection. Doesn’t one wonder why war widows dressed in white (in this case Vicky Kaushal’s sister) are left in the lurch as their husbands are on the frontlines, and only see their partners in coffins? Families of military personnel always struggle with their absence. And when soldiers die, they leave behind widows and orphaned children. Nowhere in the movie are these dilemmas addressed. Instead, war in all its madness is glorified. True, the movie is essentially about war and the sacrifices that our soldiers make. But is it not possible to shine a torch on the senselessness and madness of war too?
According to “Uri-The Surgical Strikes”, the ends justify the means. The audience is encouraged to sympathize with Major Vihan Singh Shergill’s character and some even echo ‘How’s The Josh’ on the other side of the screen. Moreover, this echo also drowns any serious critique about issues that have recently come to light (bad food for our soldiers, no leave, poor treatment of jawans, harsh weather conditions etc).
“Uri-The Surgical Strikes” leaves nothing to one’s imagination. It does little more than glorify the armed forces and whip up war hysteria. Of course, the endless scenes of violence and gore fill the audience with ‘Josh’. However, what is missing is a calm and reflective assessment on the failures of the Indian state that may have alienated Kashmiris and minorities Where is the attempt to win the hearts of young Kashmiris? The Kashmir Question is a very complicated one and needs to be dealt with at various levels, beginning with dialogue, dialogue and dialogue!images

Stree – An ode to women’s empowerment

 

Women, especialy those in rural India are the victims of a medieval mindset. Society suspects their character and hounds those daring to challenge the status quo. And when they marry against the wishes of their parents, they are killed as punishment.

As the name suggests and the movie confirms, ‘Stree’ is an ode to women’s empowerment. However, in trying to be so, it mixes up many issues resulting in a hotch-potch of ideas. It is set in the village of Chanderi, the residents of which believe in a female ghost that appears during the annual 4-day festival. This ghost, named ‘stree’ by the occupants is believed to kidnap men every night of the 4 day festival,leaving only his clothes behind. While this may sound absurd, legend has it that the ghost is actually the restless soul of a newly wed bride, killed before she could consumate her marriage with her lover. Naturally, the innocent village folk, especially the men, are terrified. The only way the village protects its men is by writing “O Stree Kal Aana” in Hindi, which means “Stree, come tomorrow”, on the walls of every home. This, the villagers claim, is bound to shoo the ghost away and protect the men folk.

Vicky (Raj Kumar Rao) is the son of a tailor in the village with modern, rational beliefs. He rubbishes any talk of the ghost ‘Stree’. However, he is forced to change his stance when he loses one of his friends to the dreadful ghost. And as the village comes to terms with the loss of some of its men to ‘Stree’, Shraddha Kapoor(Stree) mysteriously arrives on the scene, fuelling suspicion. As she gets friendly with Vicky, the latter’s friends come to believe that she might indeed be the human incarnation of the dreaded ghost. Their anti-Shraddha comments are also laced with jealousy towards Vicky.

After Vicky’s friends realise they were wrong, they, along with Shraddha Kapoor & Rajkumar Rao embark on a mission to rid Chanderi of this annual menace. Vicky is entrusted with the job of leading the hunt for Stree. Although initially reluctant, he comes around and goes all guns blazing.
Pankaj Tripathi, who plays the role of a fraud scholar must be lauded for his comic timing. The star cast, led by Raj Kumar Rao & Shraddha Kapoor also elevate the cinematic experience with their funny dialogues. They engage the audience with witty one-liners.For example, when ‘Stree’ goes about abducting men, Vicky and his friends joke that she chooses her victims based on their Aadhar cards!

The film is not just funny but also a commentary on current political issues, within the larger canvas of feminism. For instance, when Vicky is told that he was born to a prostitute, he, although shocked initially comes to accept his parentage. After all, prostitutes are human beings too and are so out of compulsion, not choice. ‘Stree’ also condemns honour killings and how inter-caste marriages cost young couples their lives, merely for defying their elders.Strangely, menare shown as weak and vulnerable, a first of sorts in Bollywood. However sloppy the movie might be, it does succeed in making a powerful statement on women’s rights. Its underlying theme is not so much the Ghost ‘Stree’ as the terrible conditions that women face in India.

Why I Liked “Andhadhun”

 

‘Andhadhun’, by Director Sriram Raghavan is a quirky story about a blind piano player Akash (Ayushman Khurana) who is training himself for a competition in London. He befriends Sofie (Radhika Apte) who runs a restaurant and becomes her resident musician. As Amit Trivedi songs fill the air, Akash and Sophie allow their feelings to expand. His melodious pieces impress Pramod Sinha (Anil Dhawan), a 70’s star of Bollywood, who invites him home to surprise his wife Simi (Tabu) on their wedding anniversary. But when Akash turns up at his home, things are not what they seem to be. It is now that the story takes a dramatic turn.

The sequence of events that unfold after Akash’s first visit to Simi’s home are well crafted and neatly presented. The background score is reminiscent of 70’s music in Bollywood. Anil Dhawan is an actor-turned real estate trader who is very fond of his wife. He is generous and naive and willing to go to great lengths to please her. He is the personification of a self-obsessed movie star, with floppy hair and an uncorrupted view of the world.

The tone of Andhadhun is freakish and mean and the pace as feverish as that of a late train trying to make up lost time. The characters are unprincipled in a businesslike way as they lay claim to money that doesn’t belong to them. Crimes for money, lust and power take you through corridors of organ extraction rackets, sleaze, and unexpected twists and turns carried out with impunity, at a breathless pace. After the interval, you feel like you are in a race with no end in sight. There is nothing smooth or effortless about the crimes. The end always seems to justify the means.

Raghavan succeeds in holding the audience’s attention with a strong plot. Good performances by Khurana and  Tabu also help. There are funny moments in the cinema too. One cannot help but feel sorry for Akash as he tries to wriggle out of tough situations that are not entirely his doing. For the most part, the movie is crisp and does not bore you.

Ayushman Khurana gets under the skin of Akash’s character and gives you little reason to doubt his ability as an actor. If playing a visually challenged artist were not tough enough, the drama also revolves around his blindness. Tabu is outstanding too. Cold, calculative and surgical, she is even willing to kill to hide her misdeeds. Radhika Apte has improved considerably from her past performances such as those in “Parched” and “Badlapur”. As in his previous films like  Ek Hasina Thi and Johnny Gaddaar, Raghavan employs minor characters to spring major surprises with ease. Chhaya Kadam as a wannabe criminal way out of her league is too funny for words. Zakir Hussain, a regular actor in Raghavan’s films, makes sure you sympathize with his character, no matter how wrongful his deeds. Ashwini Kalsekar, another Raghavan regular, is terrific as the wife of the burly police officer Manohar (Manav Vij).

Andhadhun is easily the first real Pune noir, proving that pusillanimous behavior can exist comfortably  among the city’s older houses and newer complexes. Raghavan’s talent for recasting ordinary people into criminals who know their job and his use of locations and sharply sculpted characters to advance his plot is put to great use in Andhadhun.

At a current run time of 139 minutes, Andhadhun slides into place as smoothly as one of Akash’s piano pieces.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

My thoughts on Mulk

Mulk, Anubhav Sinha’s directorial debut makes you think of Islamophobia post 9-11. As countries across the world grapple with the menace of terrorism, ordinary Muslims are referred to in the same breath as terrorists. India is no exception.

The movie takes a hard look at religious prejudice in the context of Islamic fundamentalism. Set in Varanasi, it studies a Muslim family that loses a son to a terrorist attack. Shahid (Prateik Babbar) is a misguided youngster who helps organize one. He is shot dead by anti-terror squad officer Danish(Rajat Kapoor). But worse things await the family.

Shahid’s father Bilal (Manoj Pahwa) is accused of aiding his son. The needle of suspicion points to him on the basis of hard evidence. Bilal’s older brother Murad (Rishi Kapoor) and Murad’s daughter-in-law Aarti (Tapsee Pannu), both lawyers, swing into action.

Varanasi is a melting pot of different religious groups. The city represents everything that modern India stands for – secularism, tolerance and democracy. However, Shahid’s death destroys this notion.

The courtroom drama is an extension of the divided neighbourhood. The public prosecutor Santosh (Ashutosh Rana) is convinced that the whole of Bilal’s family has terrorist links. His courtroom arguments betray a disdain for Muslims and their faith. He tries to establish a link between polygamy ( a common practice among Muslims) and Jehad. The screenplay has some moments of rhetorical flourishes. Many scenes, however, are very to-the point.

The movie boldly questions the stigmatization of Muslims, even if it does so without elegance. Anubhav Sinha’s heart is in the right place, although not his head. His enthusiasm for the theme seems to get the better of him. While trying to simplify a complex theme for the sake of creating a thought provoking and entertaining viewing experience, Anubhav Sinha enters tricky territory. In trying to differentiate the Good Muslim from the Bad, the Director dilutes the larger argument that prejudice, in itself, is cringe worthy. Murad falls into the trap of proving his nationalism despite emphatically stating that he does not need to.

Mulk is also on shaky ground when probing the religious roots of terrorism. The larger political context responsible for the marginalization of Muslims is condensed in a single sentence : if you want to understand the roots of religious divide, scan the calendar for the upcoming election schedule, the judge declares.

Despite its simplified understanding of a complex theme, Mulk is praiseworthy for breaking stereotypes. An average terrorism thriller would have shown bearded, gun wielding Muslim men.  However, Mulk manages to avoid that to highlight the real problem of scaremongering that is playing out beyond the screen and in far more monstrous proportions at the national stage.

                          

Full marks for relevance and the sincere performances. Apart from strong turns by Tapsee Pannu, Ashutosh Rana & Rajat Kapoor, the film has a good cameo performance by Kumud Mishra as the judge who keeps combative lawyers in check. Mulk restores the faith in the judiciary to set things right, and Mishra’s nuanced performance allows the fallacy to float.

It is obvious from Mulk that Rishi Kapoor has given his best. He succeeds in reflecting his character’s bewilderment, anger and eventual resolve. He turns in a dignified performance amidst strong ones by the remaining cast. Movie buffs will recall his slimmer self in ‘Amar, Akbar, Anthony (1977). That movie stood for communal harmony and peaceful co-existence. 41 years later, Mulk does too!