I am extremely sorry for not posting for the past six months. A whole change in syllabus as well as working on a play took their toll on me and i was unable to write any story or review any of the huge number of movies i saw.
I won’t promise anything, but i will try my best to keep the blog updated as well as work on my e-book which i would very much like to release by next year! So, here goes the Review for Sulemaani Keeda!
“Dilli ka hai, lekin rape nahi karega”-The one line that struck me as carrying the heart of the film. Brutual realism and satire.
Sulemaani Keeda, roughly translated to “Insect in the Ass”, is an urban comedy about two slackers/writers in Bombay, Dulan and Maikan.
Dulan, the recently broken up, heartbroken poet who immortalizes the women who broke his heart (his ex-girlfriends) by selling the memories he has with them on the market through the medium of writing.
Maikan, the more confident and morally ambiguous of the two, with a bad (according to the characters) sense of humor and apparent “Erectile Dysfunction”. Also, a keen “I want to sleep with women attitude” normally found in the males of India.
Both of them are “Fifty-Fifty” idea givers for their script. “Sulemaani Keeda”. An intellectual, philosophical out of the box script not usually preferred in Bollywood due to non-substantial financial gains. For which they relentlessly try to find a team, eventually settling on the son of a B-Grade movie makes, Sweety Kapoor’s son, the cat and art-house film lover and cocaine snorter, Ganesh Kapoor, aka Gonzo. Though only after being rejected by Yash Raj Films, Mahesh Bhatt, the security guard at Yash Raj Films and Amrita Rao(Been a while since I saw her in a movie!).
Being an Out-of-the-Box script set in the real world of Bombay, the inevitable does happen. “Sulemaani Keeda” is dropped for a more action oriented masala movie that would possibly rake in a few crores. Which depicts all we need to know about the rather sad state of filmmakers and watchers in India.
Lurking around a poetry slam one night, Dulan and Maikan bump into Ruma, who is to leave for USA in three days and who shares a comical “Erectile Dysfunctional” incident with Maikan (That scene is pure gold, and the most I have laughed in a film in quite a while, given its dialogue delivery and comic timing and a cruel play by fate/destiny/overconfidence).
Ruma, a corporate lawyer, leaving to pursue Photography in the US, acts as an embodiment of change and morality to Dulal but most of all heartbreak and a stark realization of his goals which adhere to his morals.
The movie follows the norm which several non-mainstream Bollywood movies have adopted, i.e. making up for the coarseness in direction and editing by using slick one liners to have the audience either rolling in the seat or grabbing their knees to control themselves, north of which lead to mishearing the next three four lines.
Not bashing the emerging norm, but not entirely supportive of it. I would like to see the four characters talking in the background rather than a flower in the foreground.
The movie though, stays relentless in its pursuit of being ever so realistic. It is not a “This is a movie” movie but more of a “Let’s put a camera to capture the lives of these average duded and see what comes up” movie. This tactic leads to border lining on being a documentary as well as a full blown out satire about the condition of the youth and film industry of India.
For the same reason, the ending really makes me cringe. It seems like a stark shift away from the cynical and harsh setting to a warmer and friendly place, which, a part of me cannot agree to. Primarily due to feeling that the ending is not grounded, but rather a more “everything works out well” ending.
The sad part about this movie is even though it has only been out six days, there aren’t a lot of shows in halls. SO if you’re lucky enough to find a time slot to your liking, don’t miss it. You just might get a glimpse of what the world has in store for you.