Movie Review- Lipstick Under My Burkha


Lipstick Under My Burkha is an important movie, just like Pink from last year. Just like schools have recommended readings, this is a film which should be a recommended watch for everyone, especially India. It portrays how the peace of most Indian houses is founded upon the burial of desires of Indian women.
Most Indian women have desires which they could not fulfil when they wanted to, or usually before marriage (Because marriage in India has a lot of complications for the women, such as a wife going back to her parent’s house is “Something wrong has happened in the household.”) But then again, desires are never truly finished. They can crop up at any age and stage. Desires aren’t bound.
But above all, women are restrained, physically, emotionally and sexually, and they aren’t allowed to live their life completely. A part of them must always be secretive, scared, afraid, constantly aware and second guessing for wanting to fulfil their desires.
Desires can be simple as well as complex. Hey can be something as simple as living a life wearing jeans and modern clothing rather than a Burkha; or having a sexual relationship at the age of 55. It can be something as forbidden as having a job, or as fundamental as wanting to leave a place behind and go away from it. However, fulfilling these desires is out of bounds, and getting caught has consequences. Not those movie consequences, where everything becomes alright and people make up. There are real world implications; places from where people can never come back from, and decisions which can never be reversed.
What makes Lipstick so important is that it shows four real non-sexualised non-caricatured in the real world without sugar-coating of any sort. It shows how women have desires; how many times these desires are the cause for conflict. How these desires make the remaining qualities of a woman immaterial, and it makes them unbecoming of a woman and shameless (Because women are always supposed to have shame. Men, not so much. They can be, and are usually forgiven on account of it being okay for men to be shameless.) Even the act of buying a condom for safe sex is a shameless act for a woman.
Lipstick follows four different women but closely related women in their lives. Usha Bhuaji (Ratna Pathak Shah), a 55 year old woman who rediscovers her sexuality. Rihana Abidi (Plabita Borthakur), a Muslim college going girl who wants more than the confines of her Burkha and parents. Shireen Aslam (Konkana Sen Sharma), a saleswoman who has troubles at home. Leela (Aahana Kumar), a girl who dreams of getting away from the confines of Bhopal. All of these women live in the Hawai Mahal, of which Bhuaji is the owner and the rest are tenants. (I’m forgetting the correct name. Apologies).
All four women are organic and their stories are relatable. They aren’t the stories of some obscure origin. Most people will be able to relate to them. They are powerful and moving, but most of all, they are true.
There are so many scenes in the film which portray how austere the oppression of women is. In one scene, Rihana dancing with no care in the world is deemed blasphemous enough by her parents to lock her in her room. In her room, Rihanna has a secret life where she idolises Miley Cyrus (Now, where have I ALSO seen a double life, lol).
Lipstick is a film about women, and it shows them as humans, rather than as perfect beings who are always right and without flaws and vices. The women in Lipstick are often on the wrong side of things, do things which are condemnable and vengeful. But we are not here to judge these women. We are here to simply peer into their lives and see the kind of restrictions they fight against on a daily basis. In addition, the prices these women pay for their desires are far greater than those paid by men. So we truly, have no right to judge them. We must simply accept them to be as flawed as men.
Alankrita Shrivastava, writer and director of Lipstick does a magnificent job in capturing the things which signify how women are oppressed. There are things which even I had no idea about. There is also the thing of how women in their quest for desire are also afraid of other women ratting them out.
Lipstick Under My Burkha is one of the most powerful movies of this year. Period. Nothing anyone says or does can take this away from Lipstick. If you haven’t watched this film, do it. If you are planning to, great. If you’re not, change it. If you think this movie is a sex-fest, it’s not. If you think this is a movie about empowering women or feminism, it’s not. If you’ve watched this movie, you’ve already felt its impact. If you’ve watched this movie and think it’s stupid or senseless, change your thinking.



Movie Review- A Death in the Gunj


A Death in the Gunj has created a lot of buzz since its release. To everyone hearing about this film now, it was actually released back in September 2016 for film festivals. It was screened at a film festival in Indian Habitat Centre (IHC) in May this year even before its release. So this film has been around for a long time, and after four months of trying (since February) to get a copy somehow, I finally saw it in the hall. And it was well worth the wait, almost!
A Death in the Gunj is by no stretch of imagination the best film of this year, but it’s still a fantastic one. It is a drama/thriller film, which in my opinion is one of the most mismatched combination of genres, along with Horror/Comedy (I don’t who even does this. I and a few friends of mine stumbled onto this on a night stay.).
A Death in the Gunj is more Drama than thriller. A Death in the Gunj has a huge cast of characters: Shutu (Vikrant Massey) as the sad, troubled (for the lack of a better word) cousin of Bonni (Tillotama Shome), who is the wife of Nandan/Nandu (Gulshan Devaiah), and their child is Tani (Arya Sharma). Then, there are O.P. Bakshi (Om Puri) and Anupama Bakshi (Tanuja) as the parents of Nandu, whose house serves as the location for the film. Then there are friends of Nandu and Bonnie: Mitali (Mimi) (Kalki Koechlin), the weird and sultry friend, VIkram (Ranvir Shorey), the asshole (as in you’ll find him to be an asshole, but most of the characters think he isn’t), and Brian (Jim Sarbh), the friend whom we never get to know. Then there are the comic helpers of the Bakshi’s, Manjiya and I forgot the name of his wife. Apparently no site mentions these characters’ full names or the actors. So they are either not given enough importance, or are not actors. Which feels wrong, because their name should have been mentioned.
The film pays a lot of attention to the characters and the interaction between the characters. It takes its start sloooooooowwwww. I think what Konkana Sensharma did was flesh out the characters by their interactions. For eg- You get to know about one side of Shutu when he is with Tani, and another side when he is with Nandu, and another when he is with Mimi. So, you never truly explicitly get to know the characters well, or what the others feel about everyone, because the relation between Bonni and Shutu isn’t very well fleshed out, and the relation between Nandu and his father only stays at the surface. Or why nobody every questions or says anything about Vikram being an asshole (God he is such an asshole, all throughout. So is Nandu as well, so I guess that’s why they never realise). While I do admire what Konkana Sensharma has done, I couldn’t help but feel that there was a lot missing from the characters. The characters, except Shutu are largely 1D, especially Brian who is 0.5D.
The acting though, by all of them was superb! I came to the acting portion of the movie only two hours after the movie. It felt strange, because I never noticed the acting, even while watching the movie; which isn’t something I do. That’s when it hit me. They were all (the cast) so natural and so lifelike, with their weird mannerisms, stupid antics and their spot on odd 1970’s hairstyles (The movie is set in 1979 BTW), that you never realise any of them is acting.
One thing I did while watching the movie was guess who would die in the film. It says a DEATH, why not have some extra fun? I actually tried to make up reasons why some character or the other would die and how. Also, all of you will get a warning about Paranormal activities at the start of the film. Let me just inform you that there is very minimal paranormal stuff going on. The disclaimer makes it look more serious than it actually is and take it with a pinch of salt. That disclaimer really distracted me, because I kept on thinking that there would be some paranormal element, which there wasn’t. Thank you Pehlaj Nehani.
Konkana Sensharma has overall done an amazing job at direction. I think this is one of the best directorial debuts I’ve seen in my life. I wouldn’t be surprised that she receives tons of nominations for her work here. The pacing of the film is a bit slow however. It takes a lot of time to set the characters up properly, and there are some scenes here and there which could have been trimmed, and shorten the movie up by five minutes or so. It doesn’t seem like much, but those five minutes could make the movie crisper. The cinematography is outstanding as well, to say the least. There were two shots of McCluskieganj which were so beautiful, like right out of a game or a Japanese movie. The trees, the terrain around them, all seen through the mist from an overview. Phenomenal. That is the most beautiful scene I have ever seen in a film.
Even if A Death in the Gunj hadn’t been a debut, it would’ve still been a phenomenal film. There isn’t much to hate on in this film, though a lot to love. It’s a natural film, like the flow of the ocean with some low tides and a high tide.


Movie To Watch-Silver Linings Playbook


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Every once in a while, you come across a movie, with such a positive and optimistic story, a happy ending, it leaves you with a huge grin in your face. The characters have resolved their issues and accepted what they couldn’t resolve. They appreciate all that they have, where they are and love the people who are with them here, and were with them the entire journey. They don’t need anything else. They are happy.
Silver Linings Playbook is that sort of a movie. It’s a sweet, terrific, almost a classical film. It’s simple, beautiful and unpretentious. Years from now, this is one of the movies people will remember fondly, with a smile on their face and warmness in their hearts. People will also take inspiration from this film: You have to try hard and stay positive, and then you have a chance at a silver lining; a happy ending. This movie teaches you how to live your life. It inspires you to try and be better.
Not many movies can have such an impact on people. I talked to many people who have seen this film and they all share similar feelings. Everybody loved the film and took something from it: Happiness, optimism, respect for life, love and acceptance.
The direction and cinematography of Silver Linings Playbook is amazing. The selection of scenes and the angles at which they are shot are amazing. They capture the characters in the frames perfectly. It’s not something which is something you can say is missing in a movie. It just stands out and makes the movie better when it is present. Plus the whole dance sequence. Oh good god how did they shoot that! How in the world? Did Bradley Cooper and Jennifer Lawrence dance with the camera? Or were there multiple cameras? The camera gave Bradley Cooper’s and Jennifer Lawrence’s Pat and Tiffany different auras. They had two distinct auras which set them apart. And that was entirely the magic of the camera, nothing else.
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On top of that, the direction is phenomenal. David O. Russell knows all he must do in a scene with the characters and there is no hesitation with it. The execution is flawless.
Obviously, a movie so good cannot be so good without a great script. A bad script can never be made into a great movie, everyone always remember that.
A lot of people already know that the lead characters in the film suffer from psychosomatic disorders. Pat Solitano (Bradley Cooper) suffers from Bipolar Disease. Tiffany (Jennifer Lawrence) has an unmentioned mental illness. Then Pat’s friend Danny (Chris Tucker) has anger issues.
Also, there are a lot of characters in the film who don’t have a psychosomatic disorders, but feel extreme emotions or have mild illnesses as well. Pat’s father, Pat Sr. (Robert De Niro) is speculated to have mild OCD. Ronnie (John Ortiz) confesses that he often finds himself full of rage and breaks things in his garage. This is why I love this movie, because it shows that even normal people, all of us, are not always normal.
I love this aspect. I love how it portrays people. It doesn’t preach that people with psychosomatic disorders are completely different or require pity. At the same time, it also shows how normal people too have bad tendencies, and that is not a bad thing (at least what I feel, though it always helps in letting it out, either all of it at once, or little by little). All people are the same, and only our judgement and labels separate them. If someone is trying to get better, make their life better, no matter who they are, we should root for them, instead of berating the or putting them down or making them feel bad.
Don’t get my words wrong. This is only what I’ve felt after watching the movie, what I’ve interpreted. Psychosomatic disorders are a theme in the film, but the film doesn’t revolve around them. It revolves around people. Family, love, compassion, acceptance, bridging gaps, and happiness.
I’ve often, time and again compared Silver Linings Playbook to a fairy-tale because that is what most acutely describes it. It’s a story where the characters grapple with situations thrown at them; again and again. And they vary each and every time and not every time can they be solved; but it’s essential to learn from them. But at the end, it all works out into a happy ending. My simplistic typing oversimplifies it, but in all honesty, it is much more fleshed out than this. Its characters are simple, unpretentious and not multi-layered.
I’ve been actually planning to post this Movie to Watch for the previous nine months, but I couldn’t hit the right note till six months ago. Then it took me three months to type it all down. I finally posted, I’m sorry it took so long for me to post this. (You’ll get this after you’ve seen the movie). Watch this movie. It’s terrific. It’s a movie you will always remember, and will fall in love with.

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Happy Endings !

Movie Review- La La Land


La La Land. Possibly the most anticipated movie of 2016. Written and directed by Damien Chazelle. Honestly, to say La La Land is a magical movie film is an understatement. If Whiplash is Damien Chazelle’s love letter to jazz music, La La Land is Damien Chazelle is his love letter to Jazz Music and acting.
La La Land is the tale of every artist to have existed on the planet. It shows all the various phases artists go through. Having an audition disturbed. Putting years of your life into your passion and leaving the rest of your life behind. Getting ripped off. Finding nobody who understands your love for your art. Fluctuating self-respect, ranging from downright low and giving up to being self-obsessed. Setting for something less than your passion for stability. Losing heart after what you thought would be your lucky break doesn’t turn out to be. And eventually the good times as well. Getting motivated by the people around you. Working hard again after you get that break once after years.
La La Land centers around two people, but it tells us the story of each and every artist, be it a singer, writer, dancer, actor.
La La Land revolves around two people struggling in LA. Mia Dolan (Emma Stone), a struggling actor who works part time as a barista in between auditions. She loves singing and dancing and finds good music worthy of appreciation and mesmerising.
The other person we have is Sebastian Wilder, a jazz music aficionado who too has a plan, which I Won’t be revealing. It’s very different from the archetypes we have had in the past and his story is unique. It’s the sort of twist we all had in Whiplash.
Emma Stone, Emma Stone! She is absolutely lovely as Mia. She is the perfect Oscar contender for Best Actress. She gets every emotion right, every note right, every dance move right. She is flawless in her portrayal of Mia and there is no second in the movie where you can fault her. She is, amazing.
Ryan Gosling. It’s been a damn long time since I’ve seen him do a good lead role. The last one was Half Nelson, in 2006, where he received an Oscar nomination. Gosling was amazing as well, though there were a few missed steps. In the dance sequences, between the big steps, Gosling fell a bit silent and seemed to be lost. This was the only hitch in an otherwise perfect performance. Plus, I’m absolutely positive Gosling learned how to play the piano for this role. Wow!
Both of these actors were marvellous and amazing.
The choreography of this film is W-O-W. The dance steps used and the way they were executed as well. Spectacular. There is a huge large scale dance that takes place on a bridge. It isn’t easy co-ordinating that, nor choreographing. But it was done, flawlessly, without a single error.
Emma Stone and Ryan Gosling! They were so amazing with their dance! They were perfect!
The movie could not have been as amazing without the right camera angles. No movie can be. And La La Land has the finest cinematography in a long time. The scenes were perfect. Shots of LA all lit up in Stars; Ryan Gosling and Emma Stone in a building to the left and the world on the right. No movie can ask for better cinematography than this.
Before I move on with more praises about La La Land, there are two problems I found in it. First off, I felt a lack of intensity in the scenes at times in La La Land. I cannot be absolutely certain. The people in the theatre were constantly talking and texting and I was getting distracted a lot. Second, at the beginning, the chemistry between Emma Stone and Ryan Gosling felt forced. It smoothed itself out eventually, but it still pinches me.
Now, let’s get to the most essential and tiresome job which makes La La Land possible. The director. This year, there is no better directed movie this year in Hollywood, possibly even world cinema. To get the magic out from the script and the director’s mind and put it on display on the big screen is always a tough task. To make people fall in love with your movie and it’s world.
La La Land has the grandest, most magnificent and elaborate dance sequences. Then one of the most visually aesthetic and beautiful pieces. And then a beautiful and moving climatic piece, reminiscent of Miles Teller’s drumming at the climax of Whiplash.
Plus the effects Damien Chazelle uses. Then extracting such intense and intricate work from Emma Stone and Ryan Gosling. Merging all the aspects, acting, choreography, cinematography, dialogues all into one cohesive whole. Then keeping the audience in awe of it and its magic.
Take a bow Damien Chazelle, Take a bow sir. You have directed one of the best Hollywood movies of maybe the past five years (Maybe even better than Inception) and the most magical movie easily. You’re a magician, as I’ve said all along, this movie is your magic. Directing it, your greatest trick. Don’t tell the trick to anyone, then we lose respect (Movie reference. Wink Wink).
La La Land is the perfect send-off to 2016, which has had some of the most amazing movies released in a single year. Udta Punjab, Pink, Finding Dory, Deadpool, Neerja, Civil War, Arrival, Nit Battey Sanata, Doctor Strange, Manchester By The Sea( Yet to watch this, but it has gotten amazing reviews) and Kapoor and Sons.
There is no better send off to all the movie awesomeness we’ve had this year.
La La Land is original, unique and serious. Directors don’t make movies like these anymore. If they do, they’re rarely musicals or imbued with so much magic. I loved this movie a lot. I don’t know how else best to put it.
Magic. Love. Music. Acting. Dance. La La Land.

Rating – 3.5/4

And ending the Three Days, Three Posts frenzy, one of the finest, magical and amazing movies made in this year as well as in a long time. This movie is beautiful, completely original and unique. No one else has made a movie like La La Land, and scavenge all Hollywood movies, you won’t find anything like it. All those who are yet to watch it, or are planing not to or in two minds, watch it. Do yourself a favor and watch it. Close this window, throw this review away and run to the nearest cinema hall and watch this movie.
The perfect movie to end my Three Days, Three Posts. It was something entirely new I did out of a sheer creative impulse to write more. It helped me not only write these three amazing reviews, but also two more short stories and some parts of my novel.

Also, I reached 1000 blog views in a single year as well in these three days as well. Thank you everybody who has supported my blog by coming here and reading what i write and for all the love showered on the blog. Thank you. Here’s to keeping the blog in tip top shape till I write.
Happy Reading!

Movie Review- Rogue One: A Star Wars Story


Rogue One is the first standalone Star Wars movie and without any lead character who has a lightsabre. There are still high octane action sequences and chases, but no swashbuckling or stylistic lightsabre duels. So the question is, how well does the first Star Wars without lightsabers hold up?
The answer is, not very well. In taking away lightsabers, Disney took away all the elements which make Star Wars Star Wars.
Rogue One has most of the Star Wars staples. Grand music, all sorts of aliens, beautiful and diverse aliens and above everything else, the Force.
Even then Rogue One is a let-down. The aim of this is to teach Disney that you can’t just make any story, set it in space, replace random characters with aliens, put the Star Wars label on it and call it a Star Wars film. It doesn’t work like that.
Star Wars movies, the original six were fearless. Even though Episodes 1 and 2 were terrible, they took risks. The original six always broke new ground in term of storytelling, bringing in new plot lines, characters we instantly fell in love with. Leia’s headstrong attitude, the fall of Anakin Skywalker (I loved Episode 3 and Christopher Haydenen’s acting, no matter what anyone say), the wise Obi-Wan preceding the one we say all through the original trilogy.
Then they always tried to innovate the action sequences and elements. Sometimes a battle in space, some times in a space ship, once the weirdest battle with Gungans and Droids (Didn’t like it as much, but it still was different), another time a battle in Jabba’s place.
Force Awakens and Rogue One don’t introduce any new elements and instead feel like mash ups of the original six. Seriously, what is it with droids and outer space battles in every movie? Give it a rest and get something new. I’ve seen more space fighters in Force Awakens and Rogue One combined than in the original six. The over reliance of the new Star Wars movies on the elements of the original six and playing it safe will be their greatest downfall.
My above statements should make clear my emotions for Rogue One. It was slow, disappointing and was comparable to episodes 1 and 2 in terms of badness. This is the first movie everywhere I felt like moving out of the theatre. Then came the climax. I became positive it was as bad or maybe even worse.
All the new characters felt rehashed or clichéd or boring to too familiar. From a mile away, you could tell that Director Kremmic (Ben Mendelsohn) was a clichéd English James Bond villain. I mean come on, think of something new. And then there was K-2SO, a reprogramed Imperial Droid being used by the republic. What is it with keeping a droid in every movie? What’s this obsession? It was blatantly obvious K-2SO was made similar to C-3PO, acting as comic relief with his sass, which is best left to C-3PO. Though K-2SO, when he didn’t come off as a replica, had his moment. That line for a dog, “I cry more every time a dog dies”, I could apply to K-2SO.
The only stand out for me was Bodhi (Riz Ahmed) as an Imperial Pilot. His character was one of the finest parts of Rogue One.
There are many returning characters. Many people of the Rebel Alliance, all stupid and less gutsy returned.
Darth Vader is in a cameo. Vader’s new mannerisms were cool and reminiscent of the classic Vader in Episode 4, but it wasn’t perfect. It didn’t feel natural.
Then there is General Tarkin, played by Guy Henry. Oh how I’ve missed his cocky, cool, confident and pompous ass. I love this guy. The made Episode 4 a treat and Rogue One too.
Besides the amazing music and beautiful, there was another thing which made this movie amazing.
Up until now, we’ve only seen the force as a tool by Jedi’s and used by people to wish luck. Rogue One expands the Force. It shows how the normal people believe in the force; treat it as a religion. They pray to the force and put their trust in it. The force is what guides them. “The Force is with me. And I am one with the force”.
These words portray the faith of the people in the force.
Rogue One is among the worst Star Wars has to offer and there is nowhere is go but up. You can’t make a Star Wars movie like this. The only salvaging factors of mess Rogue One are the planets and locations (which felt more like placeholders and compensating for a terrible script), Tarkin and The Force.
Seriously Disney, if this is the level of Star Wars you’re making, stop it. We can do without you senselessly milking the franchise with insane mediocrity.

Rating – 2.5/4

The second post of the Three Days, Three Posts!  Rogue One: A Star Wars Story.

Hope you guys love the review, and to all fans, no matter how terrible it is, it is our duty as Star Wars fans to stick to the franchise even when it goes bad!

Stay tuned for tomorrow everybody, the La La Land review to end the Three Day, Three Posts frenzy!! Happy Reading!

Movie Review- Kahaani 2


Kahaani 2, also Kahaani 2: Durga Rani Singh. The follow up to the delightful Kahaani, released in 2013.
Kahaani 2 is a good movie. It doesn’t top Kahaani, nor does it reach Kahaani’s standards, but that’s okay. Kahaani 2 is a very different movie from the original Kahaani. The original Kahaani was a thriller, in every sense of the word. It didn’t delve into the stories of the characters and there wasn’t a lot of time especially dedicated to back stories. All we got to know about the characters was when the movie was moving forward. Kahaani was fast paced, exciting, and had one of the most amazing resolutions to a story. Just in case you haven’t seen Kahaani, do. It’s one hell of a movie, one of the best movies Bollywood has offered in the previous years in the thriller genre.
Kahaani 2 on the other hand, has elements of thriller mixed in with drama. It takes its time to explain the characters and the premise, what’s going on and tackles a major issue (I’ll be delving into that at the end of the post). It gives fewer thrills and fast paced moments than the original. It sets up the tale of a mother and daughter and a whole web of lies and mysteries which surrounds them. Kahaani 2 doesn’t want to rehash the original formula. It takes the risk of adding more story elements, more backstories and more connections in the formula. They don’t mesh together as well as the elements of the original, they keep the movie fresh but also make it sluggish for a thriller.
Kahaani 2 has its ups and downs and thrills in the dialogues, not the action sequences in the original (This is because Kahaani 2 has clichés here and there). The story is tense, the stakes are high since the start. There is no break to rest for the characters, and they tread on and on and on tirelessly, till we reach the resolution of the film, which might be one of the most beautiful and twisty twist ends in a film. That moment alone makes you say “WOW”, at the sheer ingenuity of it, though, it can come off as a less thrilling or twisty to the seasoned movie goer.
Kahaani 2 too again puts Vidya Balan in the lead role as Vidya Sinha, the mother of Minnie (Tunisha Sharma), who is paralyzed from the waist down. Arjun Rampal plays sub-inspector Inderjeet Singh who has been recently transferred to Chandar Nagar, a small town, where Vidya and Minnie live.
Acting wise, I don’t think there is much to say for Vidya Balan or Arjun Rampal. They do very well given the limited space given to their characters; clichéd and familiar, very little variation to differentiate them from various characters we have already seen in previous movies. The resolute mother and the hardened police officer.
Jugal Hansraj has a role in this movie. His acting in his character is superb. He deserved more screen time, and his character deserved more depth. At the same time however, there was no reason for the story to keep his characters as more than one dimensional. His acting was superb enough to make you want more of his character.
Tunisha Sharma plays the present Minnie and Naisha Khanna plays the younger Minnie. Tunisha Sharma didn’t get a lot of screen time. Naisha Khanna as the younger Minnie was amazing. The way she portrayed a little child with a lot of troubles and her quirks and feeble smile from amidst what she couldn’t understand, amazing.
As for the major issue, anyone who doesn’t want any spoilers, please stop reading and skip ahead to the last paragraph. Anyone interested may continue.
The major issue, which is major because of its implications, not because of the time dedicated to it in the story is of Child Abuse. Minnie, as a child was abused by her uncle. The movie raises points about the ignorance we have towards this. People think a family member, who loves the child could never possibly do such a thing. The police and external people don’t believe such a thing could happen because the family is so complete and respectable. The family members can justify it out of blinding love for the perpetrator. The perpetrators don’t realise that at such a young age, the children will mistake abuse for love and live with this misconception for the rest of their lives. Also, in the event the story of abuse gets out, the child, being young and feeble and easily manipulated is forced to believe it is their mistake, that for their abuse, they were suitably compensated with gifts and dresses. As put rightly in the movie(I don’t remember the exact words), “Child abuser koi alag nahi hote. Humare jaise hi hote hai (Child abusers aren’t different. They are just like us)”
This is the last paragraph. This is where you must skip to, all those who skipped the issue. Kahaani 2, while being a less thrilling movie, delivers a powerful message. The message makes up in bits for the places where the story falters, because no matter how good or bad the movie, the message felt as an important theme which was uncompromisingly put forward for the world. In a country like India, where many things are ignored, such as women safety, psychosomatic diseases, such a message it powerful and much needed. Kahaani 2 is a vastly different film from the original, but should be seen at least once for its message and what it tries to tell us.

Rating – 3/4

The first review of the three days review! Kahaani 2!
Hope everyone enjoys it!
Happy Reading!

Movie Review-Pink


When people question me about the best year for gaming, I proudly say 2009. Uncharted 2(This game alone is enough to make any year the best. Just saying), Infamous, Assassins Creed 2, Killzone 2, Modern Warfare 2, Borderlands, Batman: Arkham Asylum, Dragon Age: Origins, Red Faction: Guerrilla to name just a few. Now if people were to ask me the best year for Bollywood, I can without hesitance say 2016. Starting the year off with Neerja and Airlift, then giving some smooth ides in with Nil Battey Sanata, Rustam, Kapoor and Sons, Happy Bhaag Jaayegi and the incredibly energetic and moving(and my favourite movie of the year) Udta Punjab and now starting off the end of the year with Pink. In between, we’ve had noble attempts at different styles of films, such as Madaari and Waiting. Bollywooooood!!! You have outdone yourself this year.
Pink starts off with dialogues over the starting credits about a normal dinner/drinks party somewhere, between a group of boys and girls. The girls insist that they must go and one of the guy says, “How about one last drink for the road?” The first scene of the movie shows the three girls in the cab going home. Looking at them, you can figure out something traumatic has happened to them. The very next image is of a guy being taken to a hospital, with one man profusely bleeding from right above the left eye, obviously hit by something. Now we know something terrible happened here.
For anybody who has even had a whiff of this movie, knows what the story is. I’ll let it out just a little. The three girls, were out with three guys. The guys decided that since the girls were with them in a hotel in Surajkund (A location in Haryana), they decided they would inappropriately touch them and have sex with them. The girls resisted, with one of the girls, Meenal (Taapsee Pannu), ramming a glass bottle into the forehead (right above the left eye) of Ranveer (Angad Bedi), the son of a powerful Delhi politician. The girls, traumatised, two of the three having been molested, return home, have an awkward day and then try to forget about it.
Anybody who knows the swine that lives in Delhi in the houses of politicians knows this was not the end. The three girls, Meenal, Falak (Kirti Kulhari) and Andrea (Andrea Tariang) are then proceeded to be threatened over phone calls by the goons. Their landlord is threatened, over calls and in person to evict the girls. Eventually, they call the police on their house and have the whole neighbourhood turn against them. They have Meenal arrested for a myriad of offenses, and have the three girls blamed for being prostitutes, who went with the boys to extort money; with Meenal hitting Ranveer in the head because he refused to give them money.
Eventually comes in Deepak Sehgal (Amitabh Bachchan), a manic depressed lawyer who fights Meenal case in court.
Pink is a powerfully acted out movie. All the performances, from the greatest( oh come on he is the best) Amitabh Bachchan to the three girls, Taapsee Pannu, Kriti Kulhari and Andrea Tariang, and even the boys, Angad Bedi et al are memorable. You smile at Amitabh Bachchan’s fucking over all the liars and assholes of the society. The girls whom you feel sympathy for and want them to get justice. And the boys whom you so desperately want to not only see behind bars, but also done something much worse for their offense.
Pink has so many beautiful themes it tackles about women. Such as how “NO” means there is no need for “BUT”. How people always think girls living alone in a house who bring home friends are prostitutes. One of the more central themes, how “NO” means “NO”. How “NO” in itself is a complete sentence and once a woman says “NO”, be it any woman, a wife, a mother, a daughter, a girlfriend, a sex worker, “NO” means “NO”. Not “GO ON, I FUCKING LOVE IT AND IN A GIRL’S NO IS A YES HIDDEN SOMEWHERE THAT WILL COME OUT WHEN YOU RAPE HER ENOUGH”. How “NO” means fucking “NO”, and if you don’t adhere to that, you are a rapist and a sexual predator. PERIOD.
Another theme this movie tackles, which was the one to hit me the most personally, is the society. The society very easily says the girls deserved it, how they are prostitutes and everybody knew three girls living together had to be. How just because they were modern or drank or wore small clothes or hung out with boys, they were prostitutes.
Even worse, after details of the case go out, about the three women molested, the society still says, “No no. The woman were prostitutes and they are lying.” Nobody wants to believe that girls are right. Then insensitively telling the girls that it’s okay, it will be over soon. As though rape is a disease that will go away with a wash out or two in some time. Like, “Rape is bad viral. Have a few medicines, take a few baths and Voila! It’ll be gone off your body.” Do people even realise how brutal rape is?
And people just as easily leave the sides of these girls. Their friends, family, lovers break all connection with them because they don’t want their children impacted negatively or because people will judge them for having such daughters. What hurts me most is the insensitiveness of women to the plight of other women. A woman SHO, a bastardising woman, whom you feel happy has been humiliated in open court, files an incorrect complaint against Meenal on the pressure of politicians. And then she blatantly goes along with it, never for once thinking the plight of the women. I could be entirely wrong with my point here, but I would like to say one thing, even though it may seem highly controversial.
When men do something wrong, all men stand with them in an effort to conceal it. But if it is women who are molested, and it was aided or triggered by other women, what chance do they fucking have?
And I’m not just talking about here, but the number of rapes and molestations and beat ups that take place on insistence of the mothers of the boys over dowry in cities or improper behaviour or the honor killings various women orchestrate.
Talking about this always makes me a bit crazy. Simple because, it is harmful and hurtful and disgusting, whatever goes on. The blatant disregard for humanity, the lopsided feudal moral system, the manipulation of the judicial system, and most of all the harassment of the molested girls by the lawyers against them.
If you haven’t seen Pink, do yourself a favour and watch it ASAP

My two cents on Pink. One of movies with a universal message about consent and the impact rape has on the women affected, such as being isolated, constantly harassed in court in front of everyone and the blatant acquisitions over their character. Pink is a movie which will leave you with a strong emotion in your gut, especially after the end credits narrative by Amitabh Bachchan himself!