On The Trail With Inspector Zende!

"Inspector Zende" streaming on Netflix has been generally labelled as a comedy/thriller. The 112-minute long film features Manoj Bajpayee--a very intense actor who has played a cop many times during his remarkable career--in the titular role of inspector Madhukar Bapurao Zende of the Mumbai Police who had the rare distinction of catching the infamous serial killer, fraudster and thief Charles Sobhraj not once, but twice. Here Bajpayee appears in a lighthearted comic avatar. Jim Sarbh essays the role of Charles Sobhraj, who for some reason has been named Carl Bhojraj in the film.

The film opens with the news of Bhojraj's escape from Tihar Jail in 1986 after he treated the jail staff to kheer laced with sedative as a part of his birthday celebration. Zende had arrested him once earlier in 1971, so he gets assigned with the job of tracking Bhojraj.

As the hunt starts, visuals from Mumbai and Goa of the eighties do look delightful and refreshing. Zende, his teammates and their boss DGP Purandare (Sachin Khedekar), Zende's wife (Girija Oak), children and his mother, all of them look innocent straightforward people. It is endearing to see the policemen working without any modern security or surveillance equipment, and on a meagre budget. But the same cannot be said about Jim Sarbh's Bhojraj. He does not appear menacing enough to be an international serial killer. His long hair, moustache, and laboured accent reduce him to being a caricature, far from being the charmer that he was in real life. 

Chinmay Mandlekar, a well-known writer, director and actor mostly active in the Marathi entertainment industry has written and directed "Inspector Zende". Why he chose to make a film that focuses on the chase of a serial killer as a comedy is something beyond comprehension. The subject and its treatment do not match each other. 

While the film is mostly clean and suitable for family audiences, it is a pity to see an actor of Bajpayee's calibre being wasted in an average story and script. The jokes are weak, the direction is simplistic and the pace of the film is slow. This does not mean that Bajpayee is not suitable for comedy. It is just that a tame comedy is not enough to tap into his potential. 

To name a few instances from the film, police teams from Delhi, Goa and Mumbai clashing over claiming the capture of Bhojraj is mindless and childish. The fight sequence between Zende and Bhojraj in the middle of couples dancing in a hotel is funny, but it dilutes the importance of the moment and reduces it to a farce. Bhalchandra Kadam, a prominent comedian from Marathi industry playing one of Zende's teammates fails to make an impact. After watching the film, one is left with the impression that sometimes even when you have all the right ingredients, a tasty dish eludes you.

Once Upon A Time In Bollywood: The Story Of A Celluloid Dream!

 " A tribute to the legendary film director, K. Asif " (14th June 1922 - 9th March 1971), the handsome book opens with this dedication accompanied by a striking photograph of K. Asif standing against the backdrop of a mural depicting a war scene with spirited soldiers and a magnificent elephant. The visual sets the tone for what is to follow in the next 284 pages. Author Sunil Salgia, a renowned personality associated with several films and television shows in various capacities, has penned a scintillating account of the extra-ordinary life of K. Asif and the passion with which he made "Mughal e Azam", one of the biggest films ever made in India. Salgia chose to tell the story in the form of fiction that incorporates facts and reality generously. His efforts have resulted in a fast-paced and gripping tale of a man's perseverance --or madness-- in following his dream and emerging victorious against all odds.

Salgia has been actively involved with the making of successful television shows like Rajani, Udaan, Dekh Bhai Dekh, Indradhanush and many others as writer, director and editor. He edited the colour version of "Mughal e Azam" in 2004. During the process, he came across the enchanting story of its maker K. Asif. His fascination with the legendary filmmaker resulted in "Once Upon A Time In Bollywood", his maiden book.

The book traces the journey of K. Asif--Adil in the fictional narrative--from his humble beginnings as an assistant at his uncle's tailoring shop to the celebrated maker of an epic film. Salgia has woven a beautiful love story featuring Adil and Shama, enriching it with many political and historical details that are relevant to those times. So, while Gandhi and Jinnah are referred to in the narration of events taking place in Bombay in pre-independence times, Saadat Hasan Manto and Zulfikar Ali Bhutto appear briefly as characters in the main story. Veiled references to Lata Mangeshkar, Naushad, Bade Ghulam Ali Khan along with other personalities from the film industry make for interesting reading.

Salgia manages to engage the reader with his crisp writing and brisk pace. Short chapters keep the story moving. The filmmaker's resolve to make a grand film, his wit and subtle manipulations to achieve his goals in terms of the high benchmarks he had set for himself, the numerous obstacles that came his way, the long and treacherous road towards realising his dream, all make for compelling reading. 

The book is peppered with amusing anecdotes related with the making of "Mughal e Azam" in particular and the Hindi film industry in general. While reading the book, some incidents that I was not aware of stroked my interest and I checked them out immediately. The 1944 explosion of S S Fort Stikine at Bombay Dockyard, the interaction between Manto and Adil, the presence of Bhutto on the sets of "Mughal e Azam" ("Salim Anarkali" in the book!), the release of the film in Pakistan in 2006, the telecast of the film on Amritsar Doordarshan in 1976 being lapped up by people in Lahore are some of them. 

That the author is associated with cinema and television is evident from the way he has written several "scenes" in the book, especially the ones between Adil and Shama in the early part of the story. Thanks to his adept writing, the visual comes alive in one's mind while reading the book. Also, the mention of technical details while writing about shooting adds authenticity and weight to the narrative.

The book contains many heartwarming stories of sound and light technicians, carpenters and painters, people from the makeup and dress departments, choreographers, camerapersons and many others who work behind the camera to put together a film. An actor walking barefoot in the hot sands of a desert, an actress working hard in the last stages of her pregnancy, another actress facing the camera with heavy iron chains on her shoulders, and lightmen walking on planks that hang precariously from the ceiling are just some instances to name a few. Surely these people are driven by a passion that makes them undertake such arduous tasks. These stories underline the contribution of scores of nameless and faceless people who put in incredible efforts towards making a film.  All in all, a very enjoyable read for lovers of Hindi cinema! That would amount to a very large number given the hold cinema has over the sub-continent's psyche.

Last but not the least, a big shout-out to the designer of the cover for the alluring image of a group of dancers performing for the emperor in his court while the film director is watching the proceedings. The resemblance of the lead dancer with the bewitchingly beautiful Madhubala is hard to miss!

Mee Raqsam: I Dream, I Dare, I Dance!

 "Mee Raqsam" (Persian for 'I dance') is a delightful little production--95 minutes, short for a Hindi feature film--even though it handles a sensitive subject of freeing art from religion, gender, class, and other interferences. The art form it chooses to focus on happens to be Bharatanatyam and the setting happens to be Mijwan, a tiny hamlet in Uttar Pradesh's Azamgarh district. Presented by Shabana Azmi, and directed by her cinematographer brother Baba Azmi, the film is a tribute to their father, noted poet and lyricist Kaifi Azmi, who was born in Mijwan 101 years ago. 

The story showcases the tender relationship between a modest tailor Salim, and his 15-year-old daughter Maryam who dreams of pursuing Bharatanatyam. The father goes out of his way to fulfil his daughter's dream, sensing that this was one of the ways for the young woman to cope with the loss of her mother. Hadn't the mother and daughter shared some beautiful moments dancing together on the rooftop of their humble home?

The duo has to fight their own family first and then others, when the girl starts attending a Bharatanatyam school. Why? Because a Muslim girl taking lessons in a classical dance form that is steeped in devotion to Hindu deities is unthinkable, and simply not done.

Maryam's affinity to dance spells trouble for her father, but his support for her is total and unflinching, even at the cost of facing criticism from family, being ostracized from the community, and losing his customers. Salim's predicament pains Maryam. But what keep the film upbeat are the positive vibes between the two, their bond shining through all the ensuing ups and downs. 

Shot on location in Mijwan, the film is paced gently. Danish Husain as Salim and Aditi Subedi as Maryam deliver sparkling performances. What makes Aditi's feat remarkable is that she was brought up in Mijwan and did not know any Bharatanatyam before being a part of this film. Her effort is whole-hearted and sincere. Naseeruddin Shah as the influential community elder is superb as usual, delivering menacing lines with a calculated coolness. Maryam's aunt, grandmother (wonderful Farrukh Jafar in a smallish role), dance teacher, the patron of her dance school, village elders and youngsters all fit the bill nicely. 

All in all, the film is a lovely package, with emotion, drama, music and dance thrown in. Heartening to see such stories that entertain, and deliver a good message too!

Find more about the making of this film here, where Chennai-based journalist Akhila Krishnamurthy is in conversation with Shabana Azmi, Aditi Subedi and Deepali Salil who trained Aditi in Bharatanatyam.

Mee Raqsam is streaming on Zee5.

Gulabo Sitabo: A Quirky Combo!

Gulabo Sitabo are two puppets well-known in the folklore of Uttar Pradesh, sometimes they portray a pair of warring sisters-in-law, at other times they could be the mistress and wife of someone. But in any case, they are constantly bickering with each other about this or that. Early on in the film, we get a short demonstration of the duo in action, being handled by a puppeteer on the roadside in Lucknow.

Ambles in Mirza Chunnan Nawab. a gawky old man in a filthy kurta and short pajama, his tall frame bent in a hunch, eyes hidden behind thick glasses, bulbous nose sticking out, head covered with a scarf, and sporting a flowing white beard. Mirza picks up the puppeteer's kitty from the mat spread out in front of him, and limps away nonchalantly to his haveli, a crumbling old mansion way past its days of glory.

The grand old mansion "Fatima Mahal" has been inherited by Begum Fatima, a woman in her nineties who happens to be the wife of Mirza, 17 years her junior. She lives in her own world, rarely stepping out of her quarters. Pampered by her attendant, she enjoys relative luxury upstairs, compared to Mirza who is relegated to a room somewhere downstairs. This odd couple seems to be occupying the haveli from time immemorial. They are childless, but they have families of several tenants for company, who too appear to be living there forever, paying pittance to the landlady for rent.

The tenants are a disgruntled lot, struggling to survive in the abysmal conditions in the worn haveli, their woes exacerbated by the petty actions of Mirza, who keeps discovering new ways of making life difficult for them. The most vocal among them is Baankey Rastogi, a flour mill owner who lives in a part of the haveli with his mother and three sisters.

This is the delicious set-up around which Juhi Chaturvedi weaves her story, and Shoojit Sircar calls the shots as the director. The haveli, though dilapidated, has many lusting after it including Mirza, Baankey, a government officer from the department of archaeology, and a builder. Their greed makes them play a game of trying to outwit one another in order to acquire the property. The begum, seemingly oblivious to all this, relaxes in her chamber, sleeping peacefully under a mosquito net or getting henna applied to her hair.

The film has an old-world charm. The haveli, which is the piece de resistance of the story, has been captured very lovingly on camera. Its facade and interiors look awesome even in their run down condition. The outdoor shots bring alive streets, markets, arched gates, skyline, spires and domes of Lucknow, lending it a lovely local touch.

Amitabh Bachchan looks and acts a bit too old for his 78-year-old character, but he has maintained his bearing, complete with the prosthetics and the limp very well. He has had to tone down his famous baritone to a mutter. Some might feel that he has been reduced to a caricature, but full credit to him for carrying that look with conviction.

Ayushmann Khurrana as the school dropout looks every bit the flour mill owner that he is supposed to portray, his clothes dusted with flour. His social awkwardness is a result of his underprivileged background, in addition he has to deal with a well-to-do girlfriend, and a sister who is smarter than him. He is always at the receiving end of Mirza's petty acts, struggling to hold his own. The two indulge in a cat-and-mouse game that doesn't exactly set off fireworks, but generates some amusement. He speaks with a slight lisp, perfecting the lingo of the region he is supposed to be from. With this role, he has added one more character to his repertoire.

Vijay Raaz as the "arcology" officer, Brijendra Kala as the lawyer, and Srishti Shrivastava as the spunky go-getter Guddo are all spot-on in their performances. In fact, this film is more about sparkling performances than anything else. They are what carry the film through its slow pace at times. And they are what lend gentle comic touches to it. The dialogues are effervescent, and speak the language of "Nakhlau".

Lastly, it is Farrukh Jafar who is wholesome, funny and spirited in spite of being in her mid-eighties. She plays a woman in her mid-nineties and has the last laugh!

"Gulabo Sitabo" was released on Amazon Prime Video on June 12, 2020.

Panga: The Comeback!

It is hard to put the recently released film "Panga" in the frame of a particular genre. Is it a slice of life film, or a sports drama, or a family entertainer, or something else? Perhaps a bit of all of these. The story is about a person following his/her passion. That the person happens to be a woman, and the passion happens to be kabaddi is incidental.

Well, our leading lady Jaya Nigam is a happily married woman with a loving husband and a smart 7-year-old son. She has a cosy home, and her life is centred around her husband, her son, and her job as a ticket seller at the railway booking window. She had been a promising kabaddi player with trophies and national/international recognition to her credit, but she quit her game after marriage and motherhood. Sounds familiar? So many of married women can identify with her, having left some such thing behind after matrimony.

Unlike many who left their passion behind for good, Jaya decides to get back into the game. Finding her physical form, and overcoming her guilt for neglecting her household duties as a wife and a mother are her biggest obstacles. Everything else is picture perfect: a very supportive and understanding husband, an encouraging son (too mature to be 7?), a good coach who happens to be a dear friend, co-operating colleagues, helpful neighbours and what not. She could have had parents or in-laws who were ill and needed her help, she could have faced discrimination at work for being a woman, or she could have had a husband who was not so caring. But no, none of that. She is free as a bird to leave her nest and find ways to realise her dreams.

Even then, there are difficulties, ups and downs and emotional conflicts. Kangana Ranaut has played her part with sensitivity and energy. She switches between a vulnerable mother and wife, and an ambitious sportswoman with ease. The story is set in Bhopal and it is refreshing to see unexplored locales. Jassi Gill as the husband, Richa Chadda as Jaya's friend and coach, Yagya Bhasin as the son have all done very well. Richa Chadda is particularly impressive as the spunky single woman who has stayed away from marriage for her sport. Neena Gupta as Jaya's mother has nothing much to do. She manages to stay on the outlines with a character that has not been crafted well, having no chemistry with Kangana Ranaut as a mother would have with her daughter. To have someone of her calibre for this role is a complete waste.

Director Ashwiny Iyer Tiwari has tried and succeeded to a large extent in capturing the life of a young couple in present times, complete with their struggles and their challenges. Her offering has most of the ingredients to make it a wholesome dish, but perhaps somewhere along the way, a bit of tang could have helped? That would have elevated the film to a whole new level, although it is clean, honest and good now.

Watching Tanhaji: The Unsung Warrior

We have heard the story of Tanhaji (I would have spelt it as Tanaaji, but the recent film showcasing the valour of this 17th-century hero calls him Tanhaji, so I will go with that version since this is all about the film) from our mothers and grandmothers in our childhood. The story formed a part of the saga of Chhatrapati Shivaji Maharaj, the super hero who had the vision to dream of Swarajya, and who fought relentlessly throughout his life to realise it.

In Tanhaji: The Unsung Warrior (TTUW), the focus is obviously on this brave military leader, while the Chhatrapati makes a dignified appearance on the sidelines. The film opens with all kinds of disclaimers that are the norm today. The story has been dramatised, and creative liberties taken to enhance its appeal. Here's how the story goes. Tanhaji offers his services in leading the operation to reclaim Kondhana fort, which the Chhatarpati had lost to the Mughals in a peace treaty. His son's wedding can wait, aadhi lagna kondhanyache (let's get Kondhana married first); declares Tanhaji, and embarks on his mission. Scaling the heights of Kondhana is no mean feat. Especially when the fight is against the mighty and menacing Udaybhan Singh Rathore, who is defending the fort on behalf of Emperor Aurangzeb. The Mughal ruler had plans to make the strategic fort the centre of his operations in the South. After a fierce battle, Tanhaji wins the fort for his master but loses his life, eliciting the famous line from the Chhatrapati, gad aala pan sinha gela (we got the fort, but lost the lion). Eventually, Kondhana came to be known as Sinhagad.

Ajay Devgn plays the protagonist convincingly. Action is his forte and he delivers superbly. He is brawn, and brain too. His devotion to the Chhatrapati, and love for his family show his sensitive side. Kajol has a small, supporting role as Savitri, Tanhaji's wife.

Saif Ali Khan portrays the colourful and eccentric Udaybhan to the hilt. He gorges on crocodile meat roasted on a skewer, has no qualms about pushing a guard off the parapet of the fort into the depths of wilderness as a punishment for minor non-conformance, and dances like a madman anticipating a union with his childhood sweetheart Kamal.

Both of them are veteran actors, and that they did well is no surprise. The real surprise package comes in the form of Sharad Kelkar who essays the role of Chhatrapati Shivaji Maharaj. It is not easy to bring to life a legendary personality like him, but the actor has done it in a nuanced way, lending a lot of grace and character to his portrayal. It was so easy to get carried away and overdo his part, but full credit to him and to director Om Raut for not crossing the line.

I watched the film in a hall, in 3D format. While the closeup shots looked good, the long shots looked terrible, reducing the humans and animals to miniature characters. It was pathetic to see a majestic army appear as a toy army with baby elephants and pocket-sized soldiers. While the film switched the long shots and closeups effortlessly, it was a strain to get used to the changing proportions. Also, the lighting did not seem to be appropriate, making the visuals look dull in many shots. I wonder how these lapses occurred in the age of technical excellence. Although the use of computer generated graphics in this genre of films is a given these days, I felt it has taken something away from the production, lending it a bit of artificiality.

However, when the subject matter is strong, making a film which lives up to its demands is challenging for a filmmaker; and the film has done well on this count. It is inspiring, engaging and entertaining all at the same time!

Second Act With Manisha Koirala!

I was at the Hindu Lit For Life (Hindu LFL) that concluded in Chennai recently. It is a big event and there are parallel sessions running in different spaces at any given time. So it is practically not possible for anybody to attend all sessions. One chooses what one wants and plans accordingly. I had decided on attending quite a few, and a session with Manisha Koirala was one of them. Titled "Second Act", it was to feature her in conversation with Dr. Sheela Nambiar, an obstetrician and gynaecologist by training who also practises Lifestyle Medicine. and is a fitness consultant. 

I remember Manisha as a beautiful and competent actress, having seen her performances in "1942: A Love Story" (1994), "Agni Sakshi" (1996),  Khamoshi: The Musical (1996) and some other films. Reports of her being struck by ovarian cancer emerged some time in 2012-2013. She put up a brave fight and emerged victorious after surgery and treatment in the USA. Her book "Healed: How Cancer Gave Me A New Life", published by Penguin India in 2018 tells the story of her battle with the dreaded disease. She was at the Hindu LFL to talk about this difficult chapter in her life.

She came on the stage dressed in a dark blue and white ensemble-- a mix of blouse/top and salwar/dhoti, her hair pulled back and tied in a severe bun. She smiled a lot and established an instant rapport not only with Dr. Nambiar, but also with the audience. She looked calm and at peace with herself in spite of the ravages of time and cancer on her lovely face.

She talked of her reckless lifestyle when she was at the peak of her career, and the resultant neglect of health. How she went into a denial mode after she learnt of her cancer, thinking all the time that perhaps the doctors had made a mistake, maybe the reports were wrong. Then the painful treatment and its aftermath. How her family, her mother in particular, provided solid support to her during those testing times. How thinking positively helped her overcome her disease. How important it is to be strong and optimistic even while going through unbearable pain. How this phase has taught her to take care of her body, to make the most of what life has to offer, to live.

Dr. Nambiar was understanding and supportive all along, allowing Manisha to be in her comfort zone. Manisha, on the other hand was frank and quite open. She said it was important to keep negativity and resentment at bay, and move on with one's life. She has understood the importance of giving, not just money; but time, love and care to others. She has emerged out of her ordeal as a better person, more compassionate, more loving, more giving. 

She has resumed work after recovery. She appeared in "Dear Maya" in 2017, then in a Netflix anthology "Lust Stories", and essayed the role of Nargis in Sanjay Dutt's biopic "Sanju" in 2018. She will continue working, but currently she is training for a trek to the Everest base camp that she plans to undertake with her friends.

The audience cheered her throughout the interaction. Reacting to a question she disclosed that the doctors had still not said that she was completely cured--I have told myself that I am cured now. When somebody asked if she thought of committing suicide at any point of time, she laughed and said, I had cancer already, why would I think of suicide. The 50-minute interaction was full of warmth, honesty and smiles. 

I am happy I sat in, it gave me a chance to see the person behind the larger-than-life image of a film actress. Somebody from the audience summed it up well when he got up and said to Manisha, "We heard all the other talks with our mind, but your talk has touched our hearts ma'am!" 

An Evening With "Haathi Mere Saathi"!

I stumbled upon a hit film of yesteryears "Haathi Mere Saathi" (1971) on the telly last night. I have vague memories of having seen it in my childhood. I remember it to be a popular entertainer that most parents took their children to. It was an attractive combo of a circus and a movie rolled into one. Good music, superstar Rajesh Khanna (this is one of his 17 hit films between 1969 and 1971) and the lovely Tanuja added to its appeal.

I watched the film with today's eye that is used to generous doses of technical gimmickry and virtual reality. None of that here. This must have been an ambitious project to undertake at that time because of the extensive use of animals during its making. It is amazing how the numerous scenes have been shot in real time with the four elephants dominating the frames (pun intended!).  In fact, in some scenes you wonder if they were emoting! They walk, run, dance, push and pull a car, cry, perform Ganesha pooja, summon a doctor, engage in amusing tricks and stunts during road shows with their master, and above all; try to save his marriage! Earlier, at the time of his wedding, the feast for the animals was a treat to watch and had me wondering how long it must have taken them to shoot that scene. The elephants, the big cats and others come, take their seats on neatly arranged chairs and enjoy the food served lovingly by their master and his new bride. How cool is that!

I like noticing the actors' makeup, hair and clothes while watching old films. Tanuja with her tight pants and short tops doesn't look outdated at all. In fact, her wardrobe fits well with the current trends. Her hair is another story though. Her makeup could have been better too. Rajesh Khanna wears his trademark guru kurta in some scenes, while in others he wears shirts with a round collar, two rows of buttons and long sleeves without cuffs. Sometimes the shirts are matched with the trousers in bright feminine colours. In one scene he sports a black guru kurta with pink trousers! One can only cringe in horror looking at his wardrobe. In some shots, his shirts are unable to hide his paunch and give away its clear outline showing behind them, a distinct difference from today's actors with well-toned bodies and six-pack abs. The crinkling of the eyes, the bending of the head to one side and shaking it are all very much there. The pimples are unmistakeable (remember the old joke Mummy Dimple, Baby Twinkle, Papa Pimple?) and together with the mannerisms and the wardrobe, make the persona of the much adored superstar.

The film is laced with the usual fare of those days. There is a wicked Munimji, an evil villain, an upright hero with his unusual four-legged friends, a doting dad, and a darling daughter who addresses her father affectionately as "daddy" and asks the hero angrily to "shut up" in their first meeting. The story by producer Sandow M M A Chinnappa Thevar is very predictable, at times jumpy and having loopholes in places. But watching the film more than four decades later, I realize that I didn't notice any of this when I first saw it in a huge cinema hall. I guess, the lure of the big screen, the life-like images of the stars, the dialogue, the music and the ambience of the place was too overwhelming to notice such small details. Also, generally you saw a film only once, so there was no chance of looking at such things later.

The celebrated pair of Salim Javed wrote the screenplay (their first collaboration) but the spark in their talent was yet to appear. Inder Raj Anand's work as dialogue writer is pretty ordinary. Wonder if Salim Javed could have done a better job had they written the dialogue. Laxmikant Pyarelal's music is a winner. All the three duets are sweet and with a lilting tune. For Sun ja aa thandi hawa, they put the lead pair in two hammocks for the entire duration of the song. A novel idea saving them the trouble and the monotony of running around trees. Solos are good too, two happy and a sad one, the evergreen Chal chal chal mere haathi being kids' favourite.

A story has it that Rajesh Khanna used the signing amount that he received for this film to complete the transaction of buying his bungalow "Ashirwad". He did set up his pyaar ki duniya (world of love, also happens to be the name of his zoo in the film) with his family in that bungalow. All those are things of the past now. What remain are such moments that have the power to transport you back to those days!

18th-century Bajirao Mastani on 21st-century screen!

If a film is based on a historic novel, how much of creative liberty can the filmmaker take? Is he/she free from any responsibility once a huge disclaimer is displayed in the beginning of the movie? Is it then okay to let one's imagination run riot and present the story any which way one wishes to?

I wondered as the saga of Bajirao Mastani was unfolding before me on a huge screen in a multiplex. Bajirao, the brave 18th-century prime minister of the Maratha ruler had fought and won many wars for his kingdom. And he deserved to be portrayed in exactly that light. But when he broke into a dance with his buddies, shaking his well-groomed tuft and mouthing 21st-century Mumbai slang "vaat laawli" I was taken aback. Ah...so this was a fun-loving, dancing Bajirao who also fought wars as a hobby!

We would have loved to see how the warrior planned his battles, how he made his strategies, how he dealt with his fellow warriors and adversaries. Instead we were treated to this dancing spectacle. Not even for a moment did I think I was looking at Bajirao, all I saw was Ranveer Singh. Ranveer Singh playing the hero who was reduced to a lovelorn romantic once the beauteous Mastani entered his life. On that front too, it would have been in order to see what went through Bajirao's mind, and maybe a bit of turmoil as he embraced Mastani defying his mother and wife. After all, he is shown to be a loyal husband and a dutiful son to his wife and mother respectively. But why get into those nitty-gritties when you can impress your audiences with spectacular sets and rich costumes?

Deepika Padukone as Mastani gets to wear the loveliest of outfits. Her flowing garments in mostly muted shades are simply awesome. But somehow she fails to portray the woman of substance she was supposed to play, looking too demure and stylish to be someone who is adept at warfare. And Priyanka Chopra plays the lonely wife sporting low-waist nauvaaris (9-yard sarees) and skimpy blouses. Never knew high class Brahmin wives in 18th-century Pune were seen in such midriff-revealing attire. And that they could perform a perfectly choreographed dance with their souten in co-ordinated sarees. 

Sure, they have thrown in Marathi phrases and words for effect, but overall the lines mouthed by actors hardly leave any mark. Wish films with historical content were made with more care and sensitivity. Taking the ingredients and putting them in the mould of a big-budget commercial film is not enough! 

Bajrangi Bhaijaan: Brotherhood On The Border

According to the box office figures, "Bajrangi Bhaijaan" (BB) has been a very successful film, a blockbuster. Loved by audiences in India and Pakistan alike, this film has managed to walk the tightrope of winning viewers over on both sides of the border. Full of cliches, stereotypes and naivete, how does BB manage to do that? Easy. By pulling on the viewers' heartstrings at the correct places. Often, when addressing people's emotions, one runs the risk of being overly sentimental and weepy. BB's magic lies in the fact that it serves the potpourri in the right proportion. So, what you get is a delicious mix of emotion, humour, drama and patriotism; all rolled into a very palatable dish, ready to be savoured by one and all.

Another feather in BB's cap is that it does not claim to be arty or intellectual. It is a mainstream film with all the baggage that comes with a commercial motion picture. So, it does not shy away from a long and at times rambling first half, having a leading lady when none is required and the ubiquitous song and dance. But this masala goes hand in hand with the tale of the speech-impaired little girl Shahida/Munni from Pakistan who is separated from her parents, and her magnanimous saviour: the affable Pawan Kumar Chaturvedi aka Bajrangi (Salman Khan in a softer role, a clear departure from his image).

This Hanuman devotee is polite, truthful, honest and belongs to the category of people who listen to their heart, not mind. Our little visitor from across the border is fortunate to be in his company. She is in the safest of safe hands. In spite of not knowing how to go about it, and not having any resources; he takes it upon himself to reunite the child with her parents across the border.

From then on, it is a sequence of several situations that the mind may question, but the heart gives a thumping go-ahead to. We meet many lovable characters along the way: the blunt and practical Boo Ali who knows the border inside out (pun intended!), the affectionate Maulana (Om Puri in a special appearance) who is an important link in the whole operation, the bumbling TV news reporter Chand Nawab (Nawazuddin Siddiqui in another memorable role) who joins Bajrangi's cause, and many others representing the army and the police in Pakistan. 

I particularly enjoyed some lines that came out of the blue, said little, but meant a lot. For instance Chand Nawab says, "nafrat bechna aasaan hai par mohabbat..." when TV channels refuse to air his story on Bajrangi, the person playing Kareena's dad says, " doosron ki madad karne se pahle apna mask theek se pehno" when Bajrangi brings home the lost Shahida, and the Maulana says, "Kashmir...thodasa hamaare paas bhi hai" when Bajrangi thinks he has to go back to India in order to visit Kashmir.

The climax at the border, though a bit long-drawn, has been shot quite well. You kind of "know" that such a situation involving so many people on either side of the border is not possible in real life, but you "wish" it happened! At that point in the story, it does not matter which side of the border you are standing on. You become a part of the collective euphoria and exult in the happenings unfolding on the screen in front of you. Certainly a "winning" moment for the director and his team!

The Kashmir landscape has been captured beautifully. Equally stunning are the desert views. Purani Dilli is colourful, chaotic and charming. The shots of the Samjhauta Express that runs between Delhi and Lahore are magnificent. Cricket, the favourite game in both the neighbouring countries has been woven meaningfully in the story. And Harshaali Malhotra as little Shahida is a great find. She emotes with her lovely face and large eyes, without saying a word. Kareena Kapoor Khan has nothing much to do, other than dancing to a mediocre "chicken" song, looking pretty in exquisite stoles and huge earrings, and handing a mosquito repellent coil to Bajrangi saying "yahan machchhar bahut hain". Wonder if she was plugging any particular brand!

This is the first Kabir Khan film I saw, his earlier ones being "Kabul Express" (2006), "New York" (2009) and "Ek Tha Tiger" (2012). Will be looking forward to seeing more of his work.

"Jal" Does Not Hold Water!

Alert:This write-up contains some spoilers.

Excellent cinematography is surely an asset for a feature film, but it cannot be the film's unique selling point. The makers of "Jal" seem to think otherwise. Their offering is a visual extravaganza, capturing the Rann of Kutch in all its arid glory, while faltering in many other crucial departments. It is hard to put this film in any genre. It gives the impression of being an arty, experimental film. It is anything but that! In spite of having been woven around a fresh, untapped idea, it has ended up being a potpourri of several elements. Greed, deceit, enmity, selfishness, despair, violence, love, lust, humour, music, dance...you name it, and you will find it in the story. The cause of the migratory flamingos is thrown in for good measure too.

The village where most of the action takes place is a mere patch of few ramshackle huts in the middle of nowhere. The inhabitants (all men in dusty off-white and all women covered from head to toe in black cloaks) seem to be doing nothing for a living. They are always outdoors, in groups, practising community living. Where do they do their morning ablutions, where do they get their food from in this barren, uninhabited land are questions best not asked. Instead, see how beautiful the women are in their exquisite ethnic jewellery with designer tattoos on their face, neck and arms. Men too look dashing in their co-ordinated Kutchi outfits. Wait, there is more eye candy. The gori ornithologist (Saidah Jules), saviour of the dying flamingos. She roams around the desert in sleeveless tops and shorts, providing the much needed colour and glamour in the monotonous landscape.

In this setting lives Bakka, our hero whose claim to fame is his extra-ordinary ability to locate water in the sandy expanse around him. The moment he finds a spot, he starts digging. Why fellow villagers don't help him is a mystery. Then there is a comparatively more prosperous dushman gaon, a love triangle involving Bakka, Kesar and Kajri, some good guys, some bad guys, flamingos, drilling machines, camels and water. You get the drift, don't you?

Talking about the actors, Tannishtha Chatterji as Kajri, the spurned lover is very impressive. Wish she had more to do. Kirti Kulhari as Kesar, the belle from the dushman gaon is attractive and adequate. Purab Kohli as Bakka is so swathed under a large turban or long, curly locks of hair that it is difficult to read his expression most of the time. And then there are the accents. It is obvious that not enough work was done on them. Else how does one explain Mukul Dev as Puniya speaking with a Haryanvi accent?

With a taut screenplay and better editing, the story would have been more effective. At times, the plot seems to lose focus and go haywire. What captivates you are the stunning landscapes and the strains of Shubha Mudgal's magical voice in the background. The skies, the clouds, the sun, the sands and the scattered salt glistening like snow look breathtaking.

Singer Sonu Nigam and percussionist Bickram Ghosh have tried their hand at composing for the first time here. They have come up with an interesting mix of Indian and international sounds with a stress on the use of percussion.

This also happens to be director Girish Malik's debut venture. He has shown the courage to come up with an unusual subject. If we take some of the stumbling blocks in this film as teething trouble, maybe we can hope for a better fare from him the next time. 

Queens Of The Silver Screen

It is very easy to see that both "English Vinglish" (my take on it here) and "Queen", released about 17 months apart, are stories of an individual's coming-of-age. Both the films not only did well, but they also managed to strike a chord with the viewers. The fact that protagonists in them happen to be charming, lovable, family-oriented women adds to their appeal.

One is set in Pune, the other in Rajouri Garden, Delhi. One features a docile, duty-bound homemaker who is a loving wife, doting mother of two and a caring daughter-in-law. The other portrays an obedient young woman living a sheltered life with her over-protective family. When circumstances throw them out of their insulated existence (to foreign shores, in both cases), they discover a side of themselves that they didn't know existed. They become new, improved versions of their old selves.

One marked the comeback of yesteryear star Sridevi with a big bang, while the other catapulted young Kangana Ranaut to new heights. Both films are obviously women-centric where men are made to take a back seat. If Shashi in "English Vinglish" rediscovers herself during a trip to the USA, Rani in "Queen" learns to believe in herself while she is finding her feet in Paris and Amsterdam.

Both the stories have been told well and so one can connect with them easily. Interestingly, food makes a delightful appearance in the two films. Shashi is not only a good cook, but she also supplies high quality sweets and snacks at weddings. Rani is the daughter of a prosperous sweet shop owner, loves cooking and takes lessons in the culinary art in Home Science classes in her college.  Elaborate shots of food --both Indian and Continental--make for lovely visuals in both the films.

With so many similarities, what made "Queen" click with the audiences that had appreciated "English Vinglish" earlier? Perhaps the dissimilarities between them worked in its favour? The age of the protagonist, her marital status, circumstances and the kind of things she is exposed to during her journey are markedly different in both the films. While the older leading lady stays within the comfortable environs of her sister's house and comes across mostly "feel good" situations, her younger counterpart faces the rough and tumble of life in an alien atmosphere almost single-handedly. Perhaps the difference in settings and their treatment is the key!

Maybe there is room for a third story where the metamorphosis takes place in India itself! It sure will be interesting to see that. But before that, it is time to stop this rambling!

The Lunchbox: A Feast Sans Dessert !

Warning: Contains spoilers.

These days, a film's life is very short. By that measure, "The Lunchbox" has already been around for some time (more than a week), and a lot has been written and discussed about it by now. I saw the film, relished most of it, but there were some things that left a slightly sour taste.

No doubt, it is a sweet, simple story told very well. Mumbai comes alive on the screen just as it is: crowded, always on the move, and busy. In spite of being chock-a-block with people, each and every resident of this metropolis is an island within herself or himself...lonely, secluded, caught in the rhythmic cycle of life in a big city.

When a wrongly delivered lunchbox becomes the link between two strangers, it allows both of them to share their feelings, their memories, their insecurities and their fears in an uninhibited manner. They look forward to reading the handwritten notes in it with hope, anticipation and longing. The multi-tiered container becomes a symbol of friendship that brightens up their otherwise drab lives. In the course of this friendship, they get a chance to introspect, find courage and discover the other side of their persona that they didn't know existed.

Irrfan Khan's portrayal of Saajan (wonder if anyone has that for a first name!) Fernandes, an irritable, unfriendly and dour widower is brilliant. His life revolves around the heaps of files on his office desk, his daily commute in overflowing trains, and his smoking break in the balcony every evening while looking yearningly at a neighbour's dining room full of people.

Nimrat Kaur as Ila, the middle class homemaker is very natural when she moves around her cramped place cooking, cleaning and tending to her daughter. She dishes out sumptuous delicacies day after day hoping to win her indifferent husband's attention. What gives her a break in between these repetitive chores is her interaction through the window with her unseen neighbour, a spunky Bharati Achrekar as Deshpande Aunty, who manages to leave a mark only with her distinctive voice.

But who takes the cake among the three lead actors is the affable Shaikh, played by Nawazuddin Siddiqui. He brings a smile to your lips with his street smartness, his never say die attitude and his exuberant optimism. He is funny without adopting any unnatural mannerisms, without any exaggerated gestures and without any loudness. In fact, he is as close to the Mumbaikar in spirit as one can get.

Lillete Dubey has a small role, but her character looks over the top considering the subtle tone of the whole film. The suggestion that Ila's husband might be having an affair is so subtle that you doubt its veracity. And the end? Well, I think after watching a film through its entire length, one deserves to see the story being brought to a proper end. An ambiguous end could be taken as the writer/director's inability to bring his/her tale to a conclusion. To me, the film seemed like a feast served without dessert.

Yeh Kahaani Hai Begaani!

The following is not a review of the recently released film "Yeh Jawaani Hai Deewani". They are some thoughts I had while watching the film. They stayed with me even after the film got over, resulting in this post. Watch out, there are some spoilers!

If the bunch of lead characters in "Yeh Jawaani Hai Deewani" represent the youth of India in any way, it is something to worry about. I sat through the entire 139 minutes, trying to find something...anything that would help me make a connect between the characters and the young people of contemporary India, to no avail.

I know that mainstream Hindi cinema is usually a work of exaggeration, where a largely deprived audience gets to fulfill their fantasies of wearing designer clothes, travelling to exotic locations, shaking a leg with glamorous beauties and skiing down the slopes at some expensive resort. In short, experiencing a lifestyle that is out of their reach. I have no problem with that. If people enjoy living in a world of their dreams for three hours, it is alright.

I know that today's youth are sometimes a confused lot, in search of purpose and direction. They are stressed out, ambitious and willing to pay a high price to achieve their goals. But they are also smart, open and articulate.

What I was aghast at was the portrayal of the young brigade as insensitive, self-centered and arrogant beings who do not take any cognizance of their parents, let alone respect them.  Okay, I realize that we have moved away from the era of the eternally sorrowful mother who stitched clothes for a living, and who had an obedient son falling at her feet crying "maa" every now and then...thank God for that! If this was unpalatable, the other extreme is even more so. For, it is conveying a message that this generation can get away with anything, absolutely anything.

Take Ranbir Kapoor's rude and rough behaviour towards his parents--especially his stepmother--who are waiting for him to return home late at night. Or Deepika Padukone's outburst at her overbearing mother at the dinner table. The poor father doesn't even get to say a single word! And that was the last the mother was seen! Later, as our girl goes through many ups and downs on the emotional roller coaster of her love life, she does not ever need her mother's support to help her cope with the turmoil in her life.

The case of Kalki is no different. She delivers a power-packed performance as an adventurous bohemian young woman, but her parents or guardians are nowhere in the picture. Same is the story with Aditya Roy Kapoor...no parents. All of them go through their lives as individuals with no family, no siblings, no support system, no responsibilities. They are not answerable to anybody; drinking, dancing and making merry with friends to their hearts' content. And following their passion (globetrotting in Ranbir's case) with an alarming single-mindedness.

Whether it was the weak storyline, poorly etched out characters and rambling script lacking focus at times; or the absence of a more well-rounded depiction of the protagonists that got to me more, I'd say it was the latter. We can debate on the matter of films being inspired by society or society being influenced by films. Either way, the warning bells that I heard while watching this film recently were not only loud and clear, but scary too!

As Sweet As Laddoo Vaddoo!

Warning: This review contains spoilers!

"When a man cooks, it is art; but when a woman cooks, it is her daily work, her duty", Shashi expresses her pain through these simple words. The pain of years of being taken for granted by her family, the pain of being an object of ridicule by her adolescent daughter, the pain of being labelled "born to make laddoos" by her husband and the pain of being excluded from the father-daughter bonhomie on account of not being proficient in English. When Gauri Shinde conceived this character for her debut feature film "English Vinglish", she must have known that she had a winner at hand; for not only can so many women relate with it, but they can also identify themselves with the character because they have been at the receiving end of a similar treatment for long.

Shashi is a homemaker who is completely devoted to her family, setting a cup of tea for her husband first thing in the morning, packing lunch boxes for the kids before sending them off to school, and in general being there for everybody including her mother-in-law. She supplies snacks and sweets for weddings and other special occasions. She does it because she likes doing it, and not out of any necessity. Her husband is a good provider. In fact, he even asks her to "stop making laddoos". But it is something she excels in and so continue she does. Her customers' admiration of her craft keeps her going. Otherwise, she suffers silently, being the butt of jokes of her insensitive family, yet performing her chores around the house flawlessly. She is saddened by her daughter's discomfort in introducing her to others at her school, but bears with it quietly. In spite of being a good wife, a good mother and a good cook, she fails to command any respect from her family.

Life would have gone on this way had it not been for an invitation from her sister to visit her in New York City. There is a wedding in the family and Shashi's help is requisitioned. She is packed off to the US ahead of the rest of the family much against her wishes. She is not comfortable leaving her family behind. Moreover, she does not like the idea of travelling alone, given her handicap in English. But she does not have a choice. Once there, her unsuccessful attempt to order food for herself at an eatery and the resulting humiliation lead her to enroll in a class that promises to teach conversational English in four weeks.

The rest of the story is all about Shashi's discovery of herself. Learning English is just a metaphor. She sees a whole new world that looks at her for being herself, and not as somebody's wife or mother. She gains confidence with each new step that she takes. At the end of the four weeks, along with learning English, she has learnt to feel good about herself too. And that is more important.

Shashi's story over, time now to talk about Sridevi. In spite of a sterling performance, you cannot help but notice the tightness in her face. The eyes are still lovely, but the area around her nose and cheeks looks strained resulting in a loss of expression to some extent. It bothers you in the beginning, but as the story progresses and the affable Shashi grows on you, you accept her as she is, notwithstanding the ravages caused by cosmetic intervention in her charming countenance.

Gauri deserves a lot of credit for visualizing and writing Shashi's character so convincingly. She has got all the other actors to deliver beautifully too. Debonair Mehdi Nebbou as the gentle Frenchman Laurent who works as a cook, and svelte Priya Anand as Shashi's spunky niece Radha stand out particularly because of their superb execution. The classroom scenes are peppered with amusing humour. Sridevi's sarees are elegant. And the sights and sounds of Manhattan have been captured wonderfully well. Music is mostly in the background, and it is very much in keeping with the general trend in today's film music. I liked Shashi's outbursts in Hindi and Laurent's responses in fluent French. They do not speak each other's language, but a lot is said and a lot is understood. Beyond a certain point, one sure doesn't need a language to communicate.

It is a heartwarming tale, told simply and tastefully. Well-rounded and sweet, just like Shashi's laddoos!

The Not-So-Perfect Picture

'The Dirty Picture' (TDP) displays the usual disclaimer in the beginning about it being a work of fiction and any similarity between a character and a person living or dead being coincidental. But everybody knows that it is not just inspired by, but based largely on the life of Silk Smitha who dominated the South Indian film industry with her overt sensuality and uninhibited performances in the eighties and part of nineties. Vidya Balan brings alive the magic of the voluptuous Silk on the screen with a lot of substance--literally and metaphorically--she even put on some weight for this role.

Reshma, who is a poor village girl renamed as Silk in the industry, is bent on making it big in films, her plain looks and lack of polish notwithstanding. Similarly, Vidya the actress has left no stone unturned in her portrayal of the somewhat complex Silk, who likes to shock people with her outrageous costumes and unconventional behaviour; but is uncouth (crude language, frequent winking) and childlike when it comes to her longing for being accepted by her estranged mother. We first see her as an unattractive young woman in a half-saree and ill-fitting blouses, sporting hair that has been oiled, combed and tied tightly. Then she metamorphoses into a glamorous film star. Vidya carries all this with elan, looking comfortable in the gaudy costumes and cheap jewellery, dancing with abandon on the garish sets surrounded by unusual props.

If there is anything that does not go well with all this, it is her dancing co-star Suryakant, played by a mousy Naseeruddin Shah. Though ageing, Suryakant is supposed to be a flamboyant superstar...and Naseer hardly looks like one. An actor of his calibre has been wasted in this role. He is not only a misfit, but has been reduced to a mere caricature, throwing tantrums around the sets and having his way by terrorising everybody. In contrast, a subdued Emraan Hashmi is quite convincing in his role of a serious director who does not want to give in to popular tricks to make his film a hit. Tusshar Kapoor is tolerable, to say the least. But who impressed me the most among the men is Rajesh Sharma who plays the street smart producer Selva Ganesh. His rule book is fairly flexible and he is there to make money. And he has no qualms about it. His character has nice shades of grey that he conveys very well.

A film like this that has such a sensitive substance at its core has an additional responsibility of rising above it lest it be accused of using the subject matter to its advantage...exposure in this case. And I am not sure if the film gets a clean chit on that. Also, as a film that tells the story of a star who was famous for her item numbers, it ought to have had great music. Vishal-Shekhar's compositions do not make a mark. They are simply forgettable. Nyla, played by Anju Mahendroo as the sole representative of media is irritating. A more mature handling of her character could have helped. Silk's diatribe against the hypocrisy and double standards of society at an awards function is jarring. Even if what she had to say was true, the manner in which it was said, did not quite strike a chord. Over all, a lot more work was needed in painting the characters of most of the major players.

The bottom line is that TDP will be remembered as a Vidya Balan film because she has breathed life in the character of Silk with her exuberant performance. The rest, sadly is not-so-perfect.

Life, Zindagi And More

Call it male bonding, love and relationships in modern times, friendship or romance, Zoya Akhtar's latest offering 'Zindagi Na Milegi Dobara' (ZNMD) is a film that has all this and more. It is a mainstream film made for the masses, but it manages to strike a chord with the viewers in its own sweet and refreshing way. These days, when the lifespan of a film is very short, it is hard to catch the attention of viewers, let alone make an impression on them. We seem to have forgotten that a normal, commercial film can be meaningful, what with the bevy of inane movies being released every week. ZNMD differs from them in many ways. It is not rollickingly funny, but it has its funny moments. It does not portray stark reality in an unflattering way, but it mirrors contemporary urban Indians very plausibly. It is not preachy, but it gets its message across in a light-hearted manner. In short, Zoya Akhtar has achieved a fine balance. Her film holds you with a firm grip and takes you along on a trip literally and metaphorically. While the literal bit takes place through scenic locales of Spain, the metaphorical journey takes you through the emotional worlds of its characters.

And what an array of wonderful characters brought to life on screen by the talented cast! 'Restraint' seems to be the keyword in making this film. Nothing is larger than life here. The situations and the characters are picked from the upper class urban reality around us. There is no crime, no abusive language, no melodrama, no cheap thrills and no vulgarity. ZNMD has shown that it is possible to make an entertaining film without these staples that usually go into the making of a masala movie. Even Katrina Kaif's appeal is used with a lot of economy, elevating her to the status of an actress than that of a mere glamour doll.

It is Katrina who gets to dispense the premier message of the film: live for the moment, live today as if there is no tomorrow. And she does it not through hollow words, but with her acts. She lives her message while portraying the persona of a free-spirited young woman. And that is why it is so easy for Hrithik Roshan to not only accept it, but to adapt himself to live according to her philosophy. But it is not Hrithik's story alone. The stories of Abhay Deol and Farhan Akhtar are interwoven nicely, making it a homogeneous, free-flowing narrative.

ZNMD has reduced the gulf between small budget, arty, serious cinema and big budget, commercial cinema considerably. Kudos to the Akhtar siblings for presenting a neat package to discerning audiences. A well-written script, good storytelling, superior performances and technical mastery have gone hand in hand to make the film a success. Of course there are some flaws, but they are not major and can be ignored. Moreover, this is not meant to be a review of the film. Umpteen reviews have appeared in the newspapers, magazines and on the net. These are just my impressions of the movie and what I liked about it.