Movie Review- Lipstick Under My Burkha

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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

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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.

Rating-3/4

Movie Review- Meri Pyaari Bindu

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It’s been a week since I saw the movie, and I can’t get through the title without a huge smile creeping on my face. I remember the scenes, the ending especially, and the cute faces of Ayushman Khurana and Parineeti Chopra’s characters and looking at them happy, I feel happy. The ending ingrained in my mind is such an amazing source of never ending smiles.
Meri Pyaari Bindu (Loosely translated to My Lovely Bindu) is a combination of (500) Days of Summer, Forrest Gump and Paper Towns. Sort of. For the initiated, the people who have seen these three films, will notice a lot of plot similarities with them. Those who haven’t, you’ll have it in reverse. The one central narrative element which all four movies share, is that the story is focused on the male lead; his character, journey and emotions. The female lead is explored only as much as she impacts the male lead. We don’t delve into her thought process or the nuances of her thinking.
In our story, the male lead is Abhimanyu “Bubla” Roy, who is deeply and madly in love with Bindu Shankarnarayanan, his neighbour since 1983, when he was four.
Meri Pyaari Bindu is a fantastic film. It nails every aspect of film-making, direction, characterization, acting, songs, plot lines and dialogues! Damn.
It is so immensely engrossing. I have particular habit. In the movie hall, if somebody is speaking, or a phone seven rows in front of me turns on with a white scree, I get distracted and spend 10-20 second on the distraction. Fifteen minutes in, I was so into the film, I could care less what anybody was doing or speaking or thinking. I was laughing almost half the time. It became tough not to laugh at almost every scene. At one point, my mom had to tell me to laugh quietly. I remember hitting my knees on two occasions. The comedy is subtle and has you out of your wits.
At the same time, it has a great mix of emotional, which reveals the characters beyond their comedy.
Honestly, if any one of you came up to me and asked me to tell you a scene by scene synopsis of the movie, I would fail. There is just no chance. I was so hooked onto the movie, so engrossed in the scenes, I forgot to watch them; I was experiencing them. Like I said, you get so lost in the movie, you go from scene to scene, remembering the essence but forgetting what it was about. You can barely sequence the. That was about 70% of the first half and 50% of the second half for me.
Meri Pyaari Bindu is insanely artistic. I don’t think I can put it in terms which everyone will agree to; so I’ll put them in terms I relate to. It has so many elements which go beyond the surface. The scenes use nostalgia, often
accompanied by music to familiarise us with the characters. It uses metaphors to speak to us in scenes. The scenes have a deep magic embedded in them, which makes them feel they are scenes which happen only in movies, when they just as easily do in real life. The dialogues often have meaning beyond the surface, which can only be caught by those who pay attention to the film.
This is another reason why I love the film, because all these little little things add so much layer and depth to the film and make it a rewarding experience.
The movie honestly stands on its writing. The movie tackles a concept so well-trodden (the best inarguably by (500) Days of Summer), it’s impossible to set a foundation there because it’s been so overused, the building might crumble under its own weight. Every scene of the movie risks the foundation. Even if one scene were to miss its mark, it would ruin the remaining movie and nullify whatever has been done.
Plus, Ayushman Khurana and Parineeti Chopra had their characters down to the dot. Ayushman Khurana looked damn cute (and innocent and charming) in his portrayal of the silent, straight, supportive, intense, filled with nostalgia Abhimanyu “Bubla” Roy. Parineeti Chopra’s Bindu Shankarnarayanan is random, volatile and smart. Her character is as crazy and unpredictable as is Ayushman Khurana’s stable and silent. And Parineeti Chopra’s character does it all: be crazy, happy, cry silently and loudly, be sad, be depressed, be edgy and happy (the one where you’re satisfied with life and all it has to offer).
There is one particular complaint I have with the film. Everyone who still hasn’t watched the movie might want to skip it and get to the next paragraph. Early on in the film, the concept of a tape is introduced; wherein Abhimanyu and Bindu save 10 songs each on side of a cassette. These are the ten songs which are the most important in their life. We are only ever introduced to one song, the remaining 19 are never seen. I would have loved had all the songs been used, or at least a few more or the concept been revised to fewer songs so they could have been used.
Like I said, Meri Pyaari Bindu is a fantastic movie, one which deserves multiple re watches. Though beware, its comedy, artistic scenes and unconventional style don’t make it everyone’s cup of tea. It is certainly not a bad film by any stretch, but requires some acceptance of unconventional styles for getting into.
Rating-3.5/4

Movie Review- La La Land

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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

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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

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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-Madaari

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Madaari is a Hindi word which means juggler, magician, puppet master or in the crudest of senses, a street performer. Somebody who controls the act and what will happen next. In this movie, Irrfan Khan as Nirmal Kumar is the Madaari. He kidnaps Rohan (Vishesh Bansal), the son of the Home Minister of India, Prashant Goswami (Tushar Dalvi) and makes the world, the minister, his wife and a CBI Team act on his whim. He is the string master who holds the nerves of all these people.

With the above mentioned brief synopsis, the actors in the film, especially Irrfan Khan and Jimmy Shergill as Nachiket Verma (the CBI investigator for the kidnapping), the movie seems to have it all. It feels incredulous to even believe that a movie with these two in the leads will be anything but a massive and roaring commercial and critical success and Madaari being one of the top movies of this year, alongside Nil Battey Sanata, Neerja, Civil War, Finding Dory and the rest. But that’s the thing about belief. It’s like an investment. It can be ill placed or miscalculated.

Madaari is a movie that promises a lot but fails to deliver. Madaari’s hamartia, its fatal flaw is its script. Madaari tries to tell a story from so many angles at one, it becomes too dragged, too slow and too convoluting. What with so many perspectives to take care of. With Nirmal Kumar’s, with the CBI Team, the Home Minister himself, his wife and so on and so forth. The characters then again feel stupid. Madaari is a socio-political thriller, as said in its description but rarely feels like one. It doesn’t feel tense, or fast or thrilling. It plays out more like a drama movie, but one that tries to be a thriller. Instead of focusing on the characters, their motivations, and their travails, I honestly don’t know what it focused on. Jimmy Shergill is wasted away with such a one dimensional character. Tushar Dalvi is the archetypical politician. The mother (I regret I didn’t catch the actress’ name and it’s not available anywhere on the net) has only small scenes where she fights with her husband for the return of her son. Nitesh Pandey as well is given awkward lines and forgetful jokes and awful parodies in his role as a TV Reporter.

It feels as though Irrfan Khan is the only one who was given any material that was performace worthy and three dimensional.

Madaari picks up pace in the second half. Because of the cutting of so many angles and many super side characters (who only blabbered on and on about opposition, the emdia and stupid bullshit that was tiring) being done away with. The movie then begins to build up to the gritty third act of the film which hits some of the right chords in people but fails to hit all the chords to make it feel powerful or grand or even worthy of a good climax. Irrfan Khan’s intensity and Tushar Dalvi’s awkward acting (which I don’t know was on purpose or that’s how he was supposed to do it) in the third act were the only two salvaging factors of the climax. Even though I saw Madaari last Sunday, i.e. 24th of July, we were joking about how it’s been almost two weeks since we entered the hall, because the movie itself took a week to finish.

There are so many missed opportunities that could’ve been taken with the words, the characters, the situations to strike a chord with the people and hit the beat. But Madaari’s writers miss every one for the build up to the finale. They could have done so much, if they cut out on the nonsensical political chit chat (which did serve a purpose, but in a movie deemed a thriller have no place. They just slow the movie down), the parts of the CBI Team talking to each other and some scenes involving the police. Honestly, the writers really needed to get their shit together regarding the main parties in the movie. Everyone, from Irrfan Khan to the CBI Team to the Home Minister to the crappy politicians felt like a main character. And like they say, if everyone is a main character, nobody is the main character. This isn’t FRIENDS guys, come on. We can only have one or two main characters, not six!

Though the movie does hit a few emotional chords with Irrfan Khan’s tragedy and pulling the strings and the angst he has against the system. The issues the movie tackles, one of the premier being that when the child of a normal man is lost, nobody is catalysed into action, because it is just another kid. But when the son of the Home Minister if kidnapped, everyone goes crazy, because it’s the Home Minister’s kid, and the Home Minister is a god, not a human. And then the Home Minster must feel the pain he and his party have caused to so many people. Had the writers taken this as the central theme with branching sub plots, the movie would have worked perfectly as a thriller. But with the vision the writers had, a thriller was too fast a style and a drama would have served the purpose.

Rating-1.5/4


Do you find the review and rating on point or is it way off? All the people who have seen the movie, how did you like the movie and what are your feelings about it? DO sound off in the comments below!