Gulab Gang

A delicious looking dish can taste disastrous

 

                Gulab Gang is the perfect example of a film whose makers are caught in a dilemma of intentions; an intention to make a film based on reality or an intention to add spice which they think will earn them money (apparently). Although most of the film makers in India suffer from this syndrome, Gulab Gang is the epitome of their condition.

                In a world of only grey characters, a story of pure Good Vs pure Evil can only be a fiction and that is exactly what the director didn’t take into his account while he wrote the story. Pretending to make a film about certain female groups in pink attire, from rural north India, director Soumik Sen adds enough of nonsense in it which he thinks will make his film saleable. Completely unnecessary songs pop up at regular intervals into the narrative; the seldom cheesy dialogues and weirdly vulgar sequences make it an annoying ride.

 



                Rajjo played by Madhuri Dixit, the gang leader is pitched against the Sumitra Devi played by Juhi Chawla in a local election. Sumirta’s dirty politics and the consequent vulnerability of Rajjo costs Rajjo the seat. The plot unfolds after the first half; until when you keep finding and questioning yourself whether you have missed it. Sen showcases a different way of storytelling with fleeting scenes of the different characters of the film. But it doesn’t always work in his favour; just as you get to appreciate one scene, the other pops up, and you are left a bit puzzled.

                Sen does provide some reality check of such feminist groups of India, their inspirational way of dealing with their problems and particularly, their self sufficiency. The action sequences are decently choreographed. Gulab Gang is one of the very few films of India where the actress swings her weapon to see five guys fly away. Dixit is terrific in the action and makes it look real.

                What Sen does best here is, is the casting of his actors. The ladies of the gang are perfect for their parts. But it is obviously the two leads of the film that catch all the attention. Dixit’s character doesn’t always let her perform a lot, but being the actor she is, she manages to bring the expected command onscreen. Chawla gets the meatiest role of the cruelly feminist politician, and she makes the most of it.

                Gulab Gang is easily not the best you have seen. Yet, it is entertaining in parts with its dialoguebazi and some inspirational sequences.

I am going with a 2.5 out of 5 for Soumik Sen’s Gulab Gang. Watch it for its leading ladies; they are the only saving grace.

 

Highway

High on the way

               

                At one point in Imtiaz Ali’s Highway, the kidnapped Veera(Alia Bhatt) wonders about her stress-free state of mind, when all she should feel is scared. I asked myself a similar question, “Why am I interested in watching more of Highway, when all I should feel is BORED!” Imtiaiz Ali’s Highway is one of those very few films where the drowning script is saved by the occasional spurts of genuinely funny dialogues.

                Ali digresses away from his self-created genre of Imtiaz Ali romance, to show a rich brat get kidnapped by a thug and then fall in love with him. The premise gets you into a preconceived idea of what it is going to turn into, and at no point are you surprised, unlike most of Ali’s earlier films. It almost feels like Ali were interested in making a road-trip documentary and had to add some cushioning story to make it look like a film. Nonetheless, Ali’s consistent writing saves the day, and makes it a decent watch.

                Imtiaz Ali’s forever obsession with the north Indian landscapes pays him off well this time, with the landscape getting equal footage as the actors. From the evergreen punjab de khet, to the tall mountains of Himachal and silent desserts of Rajasthan, the scenery is well captured, in fact with the least complicated technicalities like extra lights etc. Editing is minimal. Ali’s brave attempt to maintain large silences succeeds largely due a no-nonsense style of camera and edit.

                Ali writes a simple, linear screenplay, and story as mentioned before doesn’t challenge the viewers’ curiosity. He tries hard to make Veera’s indulgence in her kidnapper look real, but hurries his characters to fall for each other. It is almost unconvincing to see a delhi high society girl to fall for her ruthless, rugged and abusive kidnapper within a week of her kidnapping. The story otherwise runs smoothly, with plenty of heartfelt moments, especially the one where Veera innocently speaks out her childhood mishaps to Mahavir(Randhip Hooda) or the one where Veera breaks into a western dance on a Hollywood number in the middle of the street. Imtiaz’s talent to keep the audience grooved in scenes like these gathers the crumbling pieces of the story to make it watchable. Music is almost another character in the film. Rahman gives another great album with Highway where songs easily become the soul of the film.

                Alia Bhatt is almost rediscovered in her very second film. From being victimized, vulnerable, vivacious to wildly aggressive, she gets to do it all in one film and she impresses in most of the parts. But it is Randeep Hooda in a challenging role of a dacoit/ kidnapper with a sharp Hariyanvi tongue, who gets it picture perfect and balances well with his co-star. 

 

Imitiaz Ali’s Highway is flawed; nonetheless it is something Bollywood doesn’t produce every day. I suggest you go catch this in the theatres for the brave effort, and you won’t be disappointed. I am going with a 3 out of 5.

D-Day

Attempt to mature

 

            Nikhil Advani’s attempt of re-re-inventing himself with a gangster thriller takes a mature step ahead over a volley a gangster films India has made. D-Day is taut and detailed and a genuine attempt of bringing authenticity to Indian gangster films. With thrilling action sequences and authentic performances, D-Day easily becomes one of the better films of the year.

            Four ISI agents from different backgrounds, join hands for a common job in Karachi, Pakistan, and soon get caught into something, the cause of which cannot be comprehended by either of them. Consequently, the merciless international politics weakens them further and dumps them to hopeless death possibilities. Advani impresses you with his detailing in terms of showcasing mission plans, use of weapons and the layers of his five main characters. The craft of the film keeps you well engaged, until the film reaches its mid second half, after which dragged emotional sequences and melodrama take centre stage. The conclusion is well staged, but is nothing that you wouldn’t expect from the film.

 

 

            Screenplay needs to be applauded for its subtle capacity of inducing emotion even for a dead Karachi main market prostitute. Editing is crisp and a fine cinematography helps recreate Karachi. Production design is detailed and genuine, and real locations are well shot. Music is unnecessary for most of the parts that it is played, although the compositions are worth appreciation.

            Rishi Kapoor as the big guy, seems a little awkward in some scenes, but the being the actor he is, he successfully hides it and delivers a convincing gangster role. Rampal as the macho ex-military agent paves his way through with ease. Huma Quereshi is functional. Irfaan Khan as the sandwiched in dilemmas ISI agent steals the show with a strong, subtle and supreme performance.

 

D-Day is the sort of film India hasn’t made till date. Although it doesn’t conclude on an ‘epic’ note, it still makes a mark on you as you move out of the theatres. It’s 3 out of 5 for the film and an extra half just for the genuine attempt.

 

Bhaag Milkha Bhaag

Fit and Fine

 

            From dialogues to screenplay and background score to the production design, Rakesh Omprakash Mehra’s Bhaag Milkha Bhaag is the closest to what they call as flawless filmmaking. With a write up of smoothly flowing story, Prasoon Joshi takes us deep into the reality and emotions of Mr. Milkha Singh’s life.

            The story’s main premise is Milkha declining to participate in a tournament based on an Indo-Pak friendly association, owing to the venue being Pakistan. The reasons why Singh is repelled by the Pakistani venue reveal themselves at proper intervals such that you don’t lose desire to know them. Often playing between many timelines, Prasoon Joshi’s screenplay helps the biopic turn itself into an interesting narrative.

 

 

 

 

            Mehra as the director grabs the opportunity of working on a brilliant script, and does a flawless job himself. Mehra uses fine techniques in showing the reality of Indian villages on the border caught in the Indo-Pak separation post Independence. For instance, the scene where Milkha’s elder sister gets sexually abused by her husband in presence of the entire family. Or the scene where Milkha finds dead bodies of his family post a domestic war. The abuse is brutal, hard hitting and genuinely portrayed by Mehra.

            Mehra smartly puts elements for quick comic relief in the otherwise hard hitting narrative. Prakash Raj surprises, and pleasantly so, in a role of a stern yet loveable military training officer. Or the parts where Milkha romances the various leading ladies are heart-warming. Some sequences with high level of melodrama could have been shortened and softened, but they hardly annoy.

            The film is very well edited by show motion action sequences and extensive use of graphics. The cinematography follows a Rang de Basanti pattern and the shades change according to the timelines. Music is good, not the best of Shankar Ehsan Loy though.

            Farhan Akhtar immerses himself into every bit of the Milkha Singh he understands. From a fabulous body build up to the turban, Akhtar gets it picture perfect and delivers his best work here. The supporting cast is perfect for their respective parts and all the performances amalgamate to create a rock solid film.

 

I am going with an out and out 4 out of 5 for Rakesh Omprakash Mehra’s Bhaag Milkha Bhaag. In your busy and fast life, spare a 3 and a half hour slot for Bhaag Milkha Bhaag, and you won’t regret it.

 

 

Ishkq in Paris

It’s all about Zinta

           

            Prem Raj’s Ishkq in Paris may not be most different of ventures in Hindi cinema, yet it makes its mark with certain onscreen zest that its actors bring with themselves.

            Ishkq in Paris, produced, co-written and acted in by Preity Zinta is a rom-com which neither pretends to be different, nor tries to. This is one of the cases where they say the routine works. You’d also be glad to know that director Prem Raj’s disastrous debut, Main aur Mrs Khanna doesn’t repeat itself in his second venture.

            Two strangers particularly repelled by commitment decide to spend a night at Paris, and the story develops in the most predictable way. Ishkq in Paris however suffers due to its weak writing. The first of half of the film does show some comic moments, but its writers fail to make it totally satisfactory. They try to be innovative but end up into not so intelligent dialogues. Perhaps, an Imtiaz Ali kind of writing is what the plot desperately needed. The second half falters with dragged scenes and overuse of melodrama to create emotions.

 

 

            What simply works in favour of the film is its wisely chosen enchanting setting of Paris. The cinematography is at its best, and Ishkq in Paris counts in the top five well shot films in Paris. The crisp daylight of the Paris winter or the snowfall or varied locations of the Eiffel Tower are brilliantly captured and make the viewing pleasant to the eye. Prem Raj and Preity Zinta write a linear screenplay and keep it simple with a sweet, European style of narration.

            The editing is again very good, and the film is cut short to run time of only an hour and half. Sajid Wajid do a decent job with the music and background score without ever getting spectacular. It’s all about tonight and Jaane bhi de are outstanding tracks while the others are very forgettable. Salman Khan makes a charming cameo but is wasted due to a forgettable number he dances on. Surily Goel deserves a mention for designing fantastic clothes in fashion capital of the world.

            Isabella Adjani is wasted with a small screen time and least dialogues and looks unconvincing for her role.  Rehan Maleik makes a strong debut with a subtle yet remarkable performance. But it’s obviously Ms Zinta all the way through, who carries the movie on her shoulders with her high energy and brilliant screen presence.

Preity Zinta is THE reason you could watch the movie.

 

I am going with a 2.5 out of 5 for Prem Raj’s Ishkq in Paris. Watch it if rom-com is your thing, or watch it for Zinta!

Iron Man 3

And it gets bigger and better

 Latest instalment of the Iron Man series overtakes its predecessors in almost all respects. Director Shane Black, new to the IM series transforms the series into his own world keeping in touch with the IM legacy.

            The film kicks off with a brief footage of Tony Stark’s past event where a one night stand results into much more than just the girl hating him. He is soon shown in the present having sleepless nights in his 5 star workshop with an uncontrollable anxiety of something he cannot comprehend. Unlike the previous flicks, IM 3 gets deep into the emotions of Tony Stark the husband. The scenes where he reveals his fears of losing his beloved wife, Pepper played by Gwyneth Paltrow are touching and set out a new thread for the Iron Man’s character. The Villain is obviously the fierce Mandarin, taken from the Iron Man comics, but given an internationally political vibe, say an Osama Bin Laden of a super hero film.        

 

            Iron Man 3 is certainly not as intelligent as a Dark Knight, but it still makes the experience super satisfying with sheer style, technology and fantastic lead actors. Robert Downy, Jr. makes Iron man so charming and effortless that you wouldn’t mind sitting for another two hours to simply enjoy his crack ups in the film. Paltrow gets a larger footage time this around and she shines through her part. Ben Kingsley as the Mandarin is exceptional, and you would know why only after having watched the second half.

            Technology has taken a bigger leap from the previous instalments. Scenes where parts of the Iron Man suit fly out and bombard Stark’s body one by one to fit in are amazingly edited. The fierce attack at Malibu, or the bomb blasts or the finale sequence could give any super hero flick a run for their money. Watch the scene where the suit grabs Pepper to save her from the falling ceiling but soon leaves her to reach its true master, and you’d realise how well the suit had been engineered before the shooting began.

            The 3D however is ordinary with no particular scene where it totally blows you off. This makes it a decent 2D view, and you wouldn’t want to wait to buy tickets for a 3D show. Iron Man 3 hints at being the last one of the series, but doesn’t confirm it. If you haven’t watched the previous flicks, Iron Man 3 can get self explanatory.   

           

I am going with a 4 out of 5 for Shane Black’s Iron Man 3. Watch it if you are into action movies, if not, watch it anyway!

 

Nautanki Saala

A delight

 

            Rohan Sippy’s Nautanki Saala inspired from a French film Apres Vous seems to be a film Sippy had been waiting to make since ages. He makes an intelligent comedy film with a simple yet sensible storyline and excels thoroughly.

                RP (Ayushman Khurana) encounters a confused man with a dilemma, Mandar(Kunal Roy Kapur); then friendships, ladies and comedy of errors in very unconventional ways is what NS talks about. In Hindi movies, the director’s craft is often hidden under the star power of its leads and the the male lead actor easily looks like the captain of the ship. Sippy however is the true hero of the film who writes vivid, unconventional scenes with some fabulous comic situations and keeps the audience engaged in a story which could have got really annoying. He writes a linear screenplay and keeps his story telling very simple yet very intelligent. He cut shorts through many scenes, keeping the run time just over two hours.

 



                Sippy however fails create a totally convincing relationship between his two male leads. The question of why would RP go out of his way to help Mandar who he just recently befriended, getting himself into trouble and having to face financial losses, especially when RP doesn’t seem to be a too liberal person after all, remains unanswered.

                Cinematography is particularly good, and locales of South Mumbai are used brilliantly. The sets and theatres are well shot too. The costumes are young and casual and particularly interesting during the Ramayan play. Music is catchy and compliments the story well.

                Ayushman Khurana yet again shines through the film in an author backed role. It is however Kunal Roy Kapur who creates almost all the laughter of the film and gets the Marathi accent so right. The three girls have little to do, but they never disappoint.

Nautanki Saala is a perfect answer to many commercial 100 crore comedy films with big stars which do nothing but thrive on stupid clichés and often objectify women.

 

       I am going with 3.5 out of 5 for Rohan Sippy’s Nautanki Saala. Don’t miss it!