Golmaal Again Review - Saving Grace For The Golmaal Franchise!

Director: Rohit Shetty

Cast: Ajay Devgn, Parineeti Chopra, Tabu, Arshad Warsi, Tusshar Kapoor, Shreyas Talpade, Kunal Khemmu, Prakash Raj and Neil Nitin Mukesh

Plot: An adventure of five friends who are on a quest to save the orphanage they grew up in, from a high profiled goon. Things go haywire when an eerie supernatural presence lurks in the background.

Direction and Screenplay -

When you witness a group of actors posing alongside or on super expensive sports cars on graffitied sets, where the sky is filled with colorful confetti and there are 100s of people dancing in the background, you know who the executor of this carnival is. Yes! Rohit Shetty who is known for making larger than life movies with an extravagant cast did the same this time around but a notch better than what he did with his last 2 installments of the Golmaal franchise.

Props to him for reviving the Horror-Comedy genre which was lost and almost extinguished after the disasters like Great Grand Masti and  Kya Super Cool Hai Hum.

The Direction by Shetty fares well and it's lovely how most of the sequences are shot covering a scene in its entirety in one continuous sweep without involving editing of any sort. On the other hand, the loosely based shots and establishing long shots are a problem as it makes the objects too sharp to seem real.

Yunus Sajawal (screenplay) and Farhad Sajid (dialogues) are actually good for the most part of the movie with the slapstick comic lines and showcasing character attribute to their best. But few slices are repetitive - Like the one where the ghost gives a "demo" of its existence followed by some over explanation by the cast.

Still, the movie has its moments. Like genuine moments that play out well-generating giggles and squeals at the cinema hall with some even rolling with laughter.

Editing and Cinematography:-

At 150 mins, Golmaal Again is wayy too long for some audiences to sit through, without yawning. But the camaraderie between the actors and their USP saves this ship from sinking.

Talking about the cinematography, the opening aerial sequence over Ooty and the song Neend Churayi Meri were garishly color corrected and unbearably loud. While the rest of the movie was quite according to the mood and setting of the plot with quirky, warm and vibrant colors.

Music:- 

Pritam Chakraborty who is known to be quite inspired by golden hits, failed to strike a chord with his rehash remixes of
"Neend churayi meri."

The Highs -

Being a follow-up, this one traces back the relationship of the fab five right to their childhood in order to explore and showcase the genesis of the characters. Also, there are a lot of references right from "chinese billi" to "lagana dikhana."

This movie has an endearing mix of wordplay and buffoonery involving a bunch of grown men acting like nincompoops. And to add to this, the background music of more than one fun sequence is straight out of Tom and Jerry. 

The previous parts had Rimi Sen and Kareena Kapoor as mere eye candies. But thankfully in this part, the women and actually given a substantial and strong role. Tabu and Parineeti literally and figuratively, drive as well as fly the film's narrative.

The film even throws in a couple of social messages, like anti-superstition statements and a half-baked girl education line.

The real laughter generators of the movie is the not-so-subtle placements of products. It’s a laugh riot to watch how lazily with little to none thought the products are placed unapologetically floating around in the screen. I mean... We see you, Ching’s Secret, Finolex, Kwality Walls and others. We see you loud and clear!

At one point in the film, when Prakash Raj’s Vasu Reddy gets almost electrocuted while touching a stage mic, Lever’s Pappi Bhai does an exaggerated version of the same thing. Takes a pause. Turns around to say, “I was kidding. I’m experienced at this." We see what you did there, Johnny Boy. 

There are some scenes that are just so silly that you can't help laugh at the silliness. No seriously, I'll let that pass because hey, who doesn't fancy a good laugh.

The Lows -

The addition of subplot drags the movie. Prakash Shetty murmurs in one scene - “Mujhe sirf ek achche plot se matlab hai (My only concern is a good plot)”. We know right? Same.  Same.

The background score is deafening (except for the paranormal scenes) and could pierce through your eardrums. So please carry earplugs or cotton along.

Sometimes jokes are stretched too far, ceasing the smile that had just begun to erupt. And dude, why the well would you think of using Ku Klux Klan costumes for the ghosts? I mean the idea is completely lost on me. We are tolerating Trump already, can't bear the sight of the KKK getting back in action. 

Also, the hideous father-daughter hooking-up jokes don't help at all.

Gopal falls for her and it’s almost pedophilia, considering they all refer to her as ‘bachchi‘ (child), with her trotting around in dungarees and talking like a child. It gets more questionable when, in his mind, the two of them are dancing to a rendition of the song Neendh Churayi Meri, a song that came out when Parineeti was eight years old. And Devgn, who was in the original song, was a well-established hero back then, paired with his now-wife, Kajol. Even for the sake of pop-culture, it’s unsettling enough.

Performances:-

Tabu, as a level-headed librarian Anna with superhuman ability to see ghosts, tries to lend some subtlety to her role and actually maintains the stability.

It would be a while until Parineeti Chopra grows out of her manic pixie dream girl-like characters. It's getting way too much now.

Ajay Devgn as Gopal, the angry youn... ahem man shows his vulnerable side by being petrified of ghosts and therefore, hates nightfall.  But when it comes to fighting off goons, he turns his Singham mode on with a menacing stare, swift punches and kicks and a body language as cool as a watermelon. Sometimes he gets too much into the Singham character, that it feels as if he will now break out into the famous, "aata maajhi satakli" but thankfully he uses "main yeda hain" instead.

Arshad Warsi is effortless as Madhav, the ultimate prankster who never lets Gopal rest easy with his devious tactics.

Kunal Khemmu as Laxman Sharma is the best in the gang and with a timing as accurate as a discuss shooter, he is skilled enough to lift the sagging spirits of the audience.

Lucky's (Shreyas Talpade) lisping is fun to listen to because of the properly placed dialogues.

Tushar Kapoor gets a complete voice changeover by a veteran actor. Naming him could spoil all the fun for you so I'll leave it at that.

Also, watch out for a supercool cameo by one and only... Bola na I won't spoil it. Sshh!

The supporting cast is better than the primary cast in many scenes.

Sanjay Mishra elicits many laughs as a Shatrughan Sinha imitator with an attitude of an old hipster. Backed with terrific delivery and a style of his own, he is sure to tickle your funny bone. B. O. R. N, Bone! 

Johnny Lever proves that he is still in form, not with the jokes, but with his all-time famous execution.

Watch o Not?

Trying to reinvent a horror comedy genre in Bollywood, Golmaal Again has its moments and should please those that seek it out. Not so good as far as the script is concerned, but its the performers and their timing and knack for generating laughs that keep you glued. The way the writers and the cast demand that you stay invested in paper-thin characters is commendable. This film is meant for all those who don’t bury their heads into the serious. If you don’t go there so much as a purist but rather as someone who enjoys a good jolt and moderate comedy, this is well worth catching. And just in case you missed it in the trailer, the movie sends at least three reminder pleas asking you to remember it is not about logic when it is magic. Yeah, we get that!

Verdict :

Nevertheless, Golmaal Again makes for a decent watch if you are cool with a long first half and a dark and confusing second half. It’s a film that would appeal to many just because it belongs to the “oh-so-funny” Golmaal franchise and if you are looking to kick back and relax. If not for the gang of five, watch it for the supporting cast, the real heroes of this mish-mash.

Ratings -  2.9/5 

Tubelight Review - Slight Flicker, More Shine.

Tubelight, the Bollywood adaptation of an American movie Little Boy (2015), is Khan's fourth straight Eid release and his seventh since 2010.

As far as the Indian audiences are concerned, Salman Khan is metonymous with Eid and for distributors, Eid is metonymous with Salman Khan. 

Genre :- Family Drama 

Run-time :- 2 hrs 51 mins.

Cast :- Salman Khan, Matin Rey Tangu, Sohail Khan, Zhu Zhu, Om Puri, Yashpal Sharma, Mohammed Zeeshan Ayyub,

Director :- 

Plot –Tubelight, a drama set during the 1962 India-China war is about Laxman doing​ everything in his power to bring his brother Bharat back from the war zone, in one-piece. 

Direction and Screenplay :-

From the actor-director duo who gave us blockbuster's like Ek Tha Tiger and Bajrangi Bhaijaan, this is yet another installment which if not anything will surely leave you teary eyed with the perfect concoction of emotions, drama, music and some first rate performances.

The movie would've definitely fared better had the screenplay and narrative been tight enough to hit home.

Regardless, Tubelight splinters the boundaries of conventional Bollywood male machismo and presents a vulnerable but brave protagonist who lets his heart lead him through the complexities of the world around him.

Cinematography :-

Cinematographer Aseem Mishra has given a well-shot cinematic ode to the topography of a small town in Kashmir. A wonderful job capturing the gorgeous locales, stark beauty, even that of the war.  

Music :-

Pritam, a frequent collaborator with Kabir Khan, has struck gold with the compositions for this album.

‘Tinka Tinka’ bags a place in my favorites list for its emotionally potential lyrics and soulful voice of Rahat Fateh Ali Khan.

‘Naach Meri Jaan’ takes you to a gleeful headspace and is more like an invitation to celebrate the forthcoming festival, Eid.

'Radio' is just another crowd pulling song, aimed at getting stuck in your ears.

'Main Agar' could've been better with regards to the lyrics.

In one word: Addictive. 💕

The Highs -

▶ To be honest, acting has not always been a strong point of this mainstream actor. But in recent years, we have been seeing a sea change in his attitude, persona and adroitness in acting. And this one surely falls under the list of sufficiently good acting by Salman Khan. 

▶ The background music is garden-fresh and sets an ebullient mood right from the title sequence to the end credits​.

▶ This one's a tear jerker. Except one or two places, all the other scenes have a perfect blend of emotions and drama.

▶ Kabir never disappoints with his direction. Perfectly shot scenes coupled with above average special effects will make sure your eyes are glued to the celluloid.

▶ The chemistry between Matin-Salman  and the real life siblings Sohail-Salman is one of the high points in this movie.

The Lows -

▶ The weakest thing about Tubelight is the pace. It is slow enough that it almost hit my snooze button. Well there are saving graces, but not enough to save this ship from sinking. 

▶ The screenplay is very dry for it to strike the exact chord with the audience. Had there been a little more spice in this dish, it would've been more palatable.

▶ Salman has definitely worked hard in order to portray the character of an uncorruptible simpleton and it is evident in his performance. But there is a thin line between being 'just right' and going 'over the top' and Salman somehow breached it by tossing it over to the "now that's completely unnecessary" zone.

▶ The movie had all the right ingredients to formulate a gripping narrative.

1) An opportunity to plant a sweet slap on racism.

2) Preaching the power of good intentions and belief.

3) A dekko at the lives of the menage of the army men.

Sadly, the film manages to do full justice to the last one and a moderately good representation of the second one.

Performances :-

▶ The role of Laxman is a step up from Salman's 'Bajrangi.' Here, he takes off his Superstar cape, gets hit multiple times, weeps like a baby and adapts himself to the mould of a person lacking common sense and proper reasoning. It is no wonder that Salman Khan personifies innocent self-belief in the appearance of a pure hearted man child, and he nails it this time as well.

As far as execution and deliverance of emotions are concerned, he goes all Radhe (Tere Naam) on the naive Laxman. Notwithstanding the fact that he goes overboard in numerous scenes, his performance in few scenes is surreal, you’ll cry even before the ‘officially sad’ bits start. 

▶ Matin Rey Tangu as Guo is a scene stealer. He will leave a trace of smile on your face everytime he is in the frame.

Also the chemistry between Salman and Matin is one of the best things about this movie.

▶ Sohail Khan justifies the role of Bharat (Salman's younger brother) who is off to the battlefield to guard the nation. More could've been done with his character which seems underwritten.

▶ Zhu Zhu as Liling (Matin's mother), makes the most of the limited opportunities the screenplay gives her.

▶ Late Om Puri as the father esque Uncle plays an enjoyable part in the movie.

▶ Mohammed Zeeshan Ayyub plays the local rabble-rouser who beats up Laxman on a few occasions. 

⏩ Watch o Not ? 

Yes you may. Heres a heads up! Do not go expecting it to be as good as Bajrangi Bhaijaan, it certainly isn't. But all the highlights surely makes up for a decent one time watch with your fam. ❤

⏩Verdict : 

Its shine might be inconsistent, but when Tubelight does achieve full wattage, which is frequently enough to stand out, it does light up the screen. It does much more than just entertain by giving you takeaways to preach for life.  

Warning: This life affirming movie is like a sob fest that won't leave a dry eye on the seat. Do not attempt to watch it without tissues in easy reach.

Ratings - 2.9/5

Wonder Woman Review - Way To Go, Gal!

Not even a week and the highly anticipated superhero flick Wonder Woman (WW) is already the biggest grossing femme-centric comic book superhero movie ever.

⏩ Genre :- Fantasy/Drama/Action

⏩ Run-time :- 2 hrs 20 mins.

⏩ Cast :- Gal Gadot, Chris Pine, Robin Wright, Dawid Thewlis, Danny Huston, Elena Anaya, Connie Nielson

⏩ Director :- Patty Jenkins

⏩ Plot – It picks up from where BVS left off: Diana, sitting at her office in Louvre, where she’s presented with a photo by Bruce from her WWI adventure, requesting her to shed some light on her procurement of the sobriquet "Wonder Woman." Cut to (flashback) the hidden isle of
Themyscira in Amazon, where a tribe of athletic, leather-clad female warriors lives in a bubble of yesteryear's antiques, ignorant to the opposite sex and the first world war that rages outside their magical land.
One fine day, a spy (Chris) is "plucked" from the ocean and rescued by Diana. What follows is their expedition to a part of the world that's brewing with hostility, hatred and war-friction.

⏩ Direction and Screenplay:-

Another superhero movie. Another World War backdrop. Another film where a man named Chris (Pine) plays a man named Steve (Trevor). Another act of selfless sacrifice. Another save-the-citizens-from-GermanBombs-Invasion setting. Rings a bell? *whispers* Captain America. But the irony is that despite all the first-hand similarities, WW is nothing like it. The major distinguishing factor between the two is a pleasant distend of relief that she is a gloriously badass woman, one who wears femininity and empathy with the same pride and gracefulness that she wears her armour-plated bra.

Also, why do people think WW is a movie targeted for the feminine audience? *News Flash* It's not even remotely feminist. In fact, she is much more than a woman against the adversaries committing menacing felonies. With her indestructible bracelets, god-killer sword, shield and the Lasso of Truth coupled with her determination and perseverance to reclamate peace back to the world, she displays speed, durability, reflexes and longevity like no other. In a scene where she had to climb a gargantuan tower, I bet my bottom dollar she did it better than how Spiderman climbs those buildings in NYC.

It's great to see how Director Patty Jenkins preferred WW's disposition over her clashes, considering this is an origin story and requires some character building. And the approach yielded precisely, the positive results she might have anticipated.

Jenkins deftly uses Diana’s entry into the human world as a mirror for our own limitations. First, our warrior princess is taken aback by the bizarrely restrictive clothing women have to wear. Then she’s stunned by the way men instinctively dismiss her as physically weak and intellectually useless.

⏩ Editing and Cinematography:-

▶ Well, the movie is every bit intriguing and thrilling. But the (over)extended final fight could have been reduced by 5-6 mins. And the whole movie, by a decent 20 minutes.

▶ Cinematography of WW is top notch. Cinematographer Matthew Jensen has given nuances to the age old trademark of DC - Gloomy, Grimy setting with little to none light by adding vivid and warm undertones to the palette. Also hey, there's even sunlight here! Bye bye lustreless screens.😂

⏩ Music :-

▶ Rupert Gregson-Williams‘ high-octane score is marvelous enough to give you goosebumps, standing as the years best one so far.

⏩ The Highs -

▶The masterstroke of this origins story, directed by Patty Jenkins, after her 13-year long gap, is that it accentuates and celebrates Diana’s feminine traits. Her secret weapon is not the bullet-repelling jewellery; not her swordplay; not her ability to fire shockwaves from her wrists. It’s not even her luxuriant, swooshing hair. It is her empathy. (Although now I mention it, the hair is pretty impressive.😉)

▶Wonder Woman was originally designed to draw strength from empathy and love. To her great credit, Jenkins doesn’t shy away from these mainstream feminine characteristics but makes them the basis of Diana’s power. This lady isn't fuelled by adrenaline, but by compassion and empathy.

▶ Jenkins enthusiastically embraces a broad range of action options - precise archery, detailed and thorough swordfighting, smacking ninja moves and grand VFX driven battles. It’s worth noting that she’s also given her hero a worthy costume to fight. Wonder Woman’s redefined looks ticks all the right boxes.

▶The action is a highlight. There are two first-rate extended battle sequences, most bad ass female fighting sequences seen since Trinity froze in mid-air to kick a cop in the face in “The Matrix.” While the final action scene is weaker, it is not as dumb as the volcanic structure in the sky in the midst of haywire town wolfing down everything that came in the way or whatever the hell Suicide Squad was trying to do in its final act.

▶ This one wins hands down as far as the God vs God fight theme (where Marvel's Thor failed miserably) is considered. No balderdashing and more plausibility. Her emergence as Wonder Woman in a No Man’s Land sequence makes you stand up and cheer for her. (The theater woo-hood and that scene was received with a round of applause).

▶ It also pinpoints the character’s pure sense of heroism, identifying selflessness in a way most comic book adaptations abandon in favor of blunt displays of power (*coughs* Captain *coughs* America)

⏩ The Lows -

▶ The surprise adversary at the end of the movie is a bit underwhelming and cliche.  Also, WW is given hardly as fist pumping dialogues but considering her persona and dynamism - better a superhero flip than a monlogue, eh?

▶The CGI is unbalanced and wobbly during the second act where digital doubles
exposure takes over and trips your head for a good five minutes.

▶ Also, once the prime antagonist is revealed, you can help but scoff as how decrepitly frail and underwritten his character is as compared to our stiff and zestful demi-goddess.

⏩ Performances :-

▶ Gal Gadot who plays the play the red, white and blue bathing-suit clad demi-God. Gadot was introduced before fans at the 2015 Comic-Con when the Batman v. Superman: Dawn of Justice panel was held and there's no looking back for this woman who can literally kick ass! You can't help but be in awe of all that Ninja-esque prowess during the fight. All that training and hardwork even during her pregnancy has paid off and has got her the role of a lifetime. And not merely her looks or action chops, but she’s got a presence that’s something to behold, commanding the screen in every frame she’s in. All hail, Gadot! 😍🙏

▶ Chris Pine as Steve Trevor is the next big thing. His comic timing, support to our leading lady and chemistry with Gadot is quintessentially adorable yet well established.

▶ The supporting cast does a fine job - including a multicultural battle unit in the tradition of old World War II movies, featuring Ewan Bremmer, Saïd Taghmaoui, and Eugene Brave rock.

▶Robin Wright as Antiope is Diana's aunt and a fulfilling warrior leading the Amazon Army. It’s a treat to watch Wright growl like a pro wrestler, stealing scenes early on.

▶ Dawid Thewlis justifies his role as a mysterious character (Saying too much about him will act as a spoiler).

▶ Danny Huston is perfect as the scornful and iniquitous General Luddendorf who would go to any lengths to win the war.

▶ Elena Anaya as Doctor Poison is every bit menacing and wicked.

▶ Connie Nielson as Diana's mother Hippolyta is has a graceful and regal bearing in her. Hers is a perfect casting as a mother who is tough on the outside but fearing and hesitant to let her daughter off to save the word.

⏩ Watch o Not ?

Definitely.
Unlike Man Of Steel and Green Lantern, WW knows how to tell a story, how to assemble a scene, and how to stage an action sequence that’s not only seamed precisely but also exciting. It succeeds in introducing a team of characters and ensuring they matter and work with the spirit of togetherness.

⏩ Verdict : 

Jenkins and the screen writers have created a legend, who may not be easily defeated, questioned or put to trial. The one that fits exactly into the clan of superheroes with ease, and stands out like no other. WW probably does the best job with a superhero origin story than any film of its kind since the first Iron Man, back in 2008. This one has heart and it stands tall next to other great superhero films from this year including “Logan” and “Guardians of the Galaxy Vol. 2.”  It even surpasses them in many instances.

By crafting a satisfying origin story that gifts the beloved Amazon, a formidable first step towards big screen domination.

⏩ Ratings -  4.5/5

Sachin Review: A Straight Drive Direct To Our Hearts.

Whaaaaat? Released already? Yess mister! Sachin has hit the theaters this Friday and people can't seem to stop talking about it. To be more specific, I can't. I tried my best to hold back the tears, but I cried my heart out. It was like a trip down the nostalgia portal, from which I never wanted to return.

⏩ Genre :  - Sports Documentary.

⏩ Runtime:- 2 hrs 20 mins. 

⏩ Cast: - Sachin Tendulkar, his friends and the whole country (including you). YES, YOU!

⏩ Director: - James Erskine.

⏩ Plot – Seriously? Still, wanna know? Just Google "Sachin Tendulkar." Google it! Arre karr na. 🌚

⏩ Direction and Screenplay :-

Sachin: A Billion Dreams is a tale of a restless 10-year-old boy and his journey from watching India's first World Cup-winning skipper Kapil Dev lift the trophy, to the fulfillment of his dream of holding it in his hands for India. He is the most celebrated sportsperson in India, a virtuous hero who created an era, which Indians are proud of.  It is more of a documentary, wherein you get to see Tendulkar's cricket and personal life in substantial detail, as well as it reveals few aspects of his life which have never been heard of or seen before. 

Directed by Emmy-nominated James Erskine, the film took over four years in making and features some real never seen before and some made-up footages to trace the journey of Tendulkar from a young boy to unarguably the greatest batsman of all time.

The fantastic narrative style of Lil Master touches every corner of the viewers' hearts. The sequential picturization of every important aspect is very beautifully crafted by James Erskine through words. Insertion of the logs from Dhoni, Kohli, Ajit Tendulkar, Sourav, Bhajji, Yuvi, Sir Don, Sir Viv. Richards and lot more gift a gorgeously decorative frame to the film. 

The film showcases finely the relationships between Sachin-Anjali, Sachin-His Father, Sachin-Ajit but the relationships like Sachin-Sourav, Sachin-Rahul and so on are not so well-narrated but fine.

⏩ Editing and Cinematography:-

Cinematography by Chris Openshaw is cool suiting the light-hearted feel of the movie. He has used cool and subdued undertones for the most part of the movie.

Editing by Avdhesh Mohla is smooth and the bites of all his friends and family are appropriately allocated. 

 ⏩ Music :-

The background score by A.R Rahman has been rightly placed and it gels beautifully with the narrative offered by Sachin and keeps you fascinated throughout. The usage of ‘Vande Mataram’ is one of the finest in our Hindi cinema. ‘Hind Mere Jind’ and ‘Sachin Sachin’ will stay with you for a long time after you leave the hall.

⏩ The Highs -

▶If you’re of the generation that grew on Bhajji’s off spins, Sachin’s masterstrokes, Ganguly’s aggression and Dravid’s ‘Mr. Wall’ days, this will bring you back to Cricket once more. And not to mention, ‘Sachin… Sachin… Sachin… ’ never dies. Because Sachin isn’t a name. It is an emotion.

▶ No matter how many times we’ve seen the clip, it’s impossible to not cheer at the World Cup Win, 2011 or choke up while watching Sachin deliver that heartfelt retirement speech at Wankhede. 

▶ I am so thankful this isn't a biopic, but a documentary about a man, narrated by the man where he tells his own story in his own words. Not a journalistic or potboiler approach but a sincere and honest depiction which is so intimate and personal, in a way where the audience claps and cheers alongside those who clapped and cheered live, years ago. That beautiful feeling of having already experienced the present situation in the past and still enjoying it with the same sense of euphoria.

▶ What makes the movie endearing is a peek into his private life like his love story, footage from his wedding, the birth of his two children and the special bond he shares with his father. The footage might be blurry at times, but you don't mind as it engrosses you. 

▶ People who are not associated with cricket might not experience the same magic but still will like the film. The documentary styling might not highly appeal to the masses. But come-on, his life doesn't involve controversies for you to expect masala and high voltage drama. Calm yourself. 🌚

▶ Sachin has squeezed his heart into the narration. One can see the spark in his eyes in many scenes (especially when he talks about his father and mother) making you connect with his feelings and emotions.

⏩ The Lows -

▶ The dramatized version of Sachin’s childhood track could have been better as well as engaging but honestly, this doesn't cause any void in your movie viewing experience since you're so overwhelmed by all the other things. And after the childhood phase passes, there isn't a single dry spell in the movie.

⏩ Performances :-

▶ Since this is a documentary, there are no performances as such but yes, Sachin seems to have done a lot of work in his delivering style, approach, and expressions. Definitely more convincing than "Boost is the secret of my energy." 😹

▶ Jokes apart, he might not be an actor but he engages you with his story-telling and it's impossible to be unmoved with his disappointments and achievements.

⏩ Watch o Not? 

Defi-fucking-nately! You gotta watch this one if you're a cricket fan (well that's almost the entire country) and have grown up watching this legend bowl us over with his extraordinary prowess in the field and his humble attributes in real life. 

⏩ Verdict : 

This ship sails through the air of nostalgia, relatable moments, motivation, achievements, spirit, admiration, hardships, never say no attitude and our collective love for a man whose name we turned into a chant. You gotta be too ignorant or ahem, Maria Sharapova, to miss this masterpiece our very own, Lil Master.

Get ready for a goose-bumpy ride! I can bet on the fact that by the end of the movie, you'll be the happiest you've been in any movie so far. Do yourself a favor, please!

Pro tip - Get yourself some tissues just in case, you know. 🙈 Also, please don't hold yourself back from cheering with the audience - "Sachin... Sachin!!" 

Ratings -  4.5/5

Meri Pyari Bindu - Not your regular run-of-the-mill movie. This one melts your heart. ❤

Bollywood has often faced flak for its melodramatic plot and clichéd endings. But YRF's latest offering Meri Pyari Bindu is different. And by that I mean, good different. 

Genre :- Romance/Drama

Run-time :- 1 hr 59 mins.

Cast : - Parineeti Chopra, Ayushmann Khurrana, Aparajita Auddy,

Director : - Akshay Roy

Plot – (Later in the review)

Direction and Screenplay:-

Director Akshay Roy seems to be away from the regular formula of love stories. He is definitely good at his craft of telling a simple story in a quirky manner. His film surely breaks the idea of 90’s about two individuals can’t be just best friends. Childhood love, college friendship, heartbreaks, Meri Pyaari Bindu has every conventional trope ingredient of a love story but still, stands out in the crowd. 

Written by Suprotim Sengupta, Nostalgia is the essence of this film. The journey of two people, spanning three decades is not less than a nostalgic trip to the old cities in 80’s and 90’s. The film has its own share of glitches - There might not be many takers for the kind of platonic combined with love relationship that has been portrayed by the Writer-Director duo. 

Cinematography :-

Tushar Kanti Ray paints this world with a warm light– so it’s beautiful but not so much that you don’t believe in it. The atmosphere feels authentic and lived-in.

Music :-

Sachin-Jigar’s music is extremely apt and novel. Maana Ke Hum Yaar Nahin, Haareya and Afeemi are not just incredibly hummable but also have been shot beautifully. 

PERSPECTIVE

Okay so as I've heard opinions from many that this movie is "half-baked, slow, average, what's the point if it focuses just on the man, etc."

Skipping the 'Highs and Lows,' I am trying to put forth my (or maybe the writer's) understanding/perspective of the movie. 

The framework of a typical Bollywood heroine has already been set - No matter how maverick or full of life the woman is, she will eventually settle down with a romantic, disillusioned secure hero who has left no stone unturned to woo the lady, because that's what a hero should do, right?  This is the outcome of most romantic flicks these days. Always about what BOTH the protagonists achieve/strive to stay together and that's it. Definite.  

This is exactly where Meri Pyari Bindu distinguishes. 

Here, Bindu is a game changer. She is THAT GIRL who does how she pleases, who'll not settle for less, who'll go to any heights to achieve the satisfaction she desires from life. Volatile, unreliable, warm, cold, shrewd, selfish are all her second names. Since she is determined to live life on her own terms, she doesn't bat an eye to storm out of a relationship or even wreck her own engagement. (Much like 'Gayatri' and 'Raina' from 'Shudh Desi Romance' and 'Ekk Main Aur Ekk Tu' respectively).

She is the type, Bollywood parents warn their sons about. She is like living art. It's easy to feel bitter about her, but too hard to get over her. 

And in this film, the  Writer-Director have demonstrated a progressive perspective. It is about one person, not a couple. And since the film is about one individual, it doesn’t carry the narrative baggage of having to explore and analyze the other person.

Therefore if it's half-baked, one-dimensional, incomplete or whatever you might have felt, that's because the writer (Ayushman) who is writing a romantic story with Bindu as the protagonist, remembers her that way. If she isn’t convincing, it’s perhaps because he didn’t understand her. If there isn't any chemistry or reciprocation from her side, that's probably because it wasn't there, to begin with.  It’s a story of a writer who is using his own heartbreak as fuel for his next book. 

THIS MOVIE IS A MOTION BOOK!! Getting it?

You may find the non-linear narrative, plastic supporting characters like family for friends (who are merely there for entertainment purpose), the breaks in emotional continuity, as that's all playing in the hero (Ayushmann's) mind. And he is recollecting all the pieces to form a book.

On the contrary, the main problem is the mere crux, which prevents the director from tapping into the true moods of romantic closure. Therefore, leaving the audience unsatisfied, not being able to accept the climax.

I bow down to the makers of this film, for they have managed to make Meri Pyari Bindu quite quirky, fun and lovely, overshadowing the reality that a writer's life can be quite boring to watch.

Perhaps at a different stage of my life, I might not have liked this movie at all. I might not have found the need to engage with it. As of now, owing to certain circumstances, I do, which is why I expected to be more moved – or shaken, healed or affected – by Abhimanyu’s plight. By Bindu’s callousness and energy. By the writer’s words. By his coming of age.

Performances :-

▶ After the sleeper hit 'Dum Laga K Haisha,' the bar has already been set quite high for this beautiful man with a soulful voice. Although he got no songs to his credit this time, he certainly amazed everyone with an exceptionally good performance as Abhimanyu "Buubla" Roy; a horrotica writer, with a gracious heart and an innate innocence. 

▶ Parineeti's portrayal of a bright and bubbly woman is repetitive but that doesn't take away from the fact that this woman is extremely convincing as a lady from Kolkatta who aspires to be a singer like veterans Asha Bhosle, etc. She displays her fine acting chops in 2-3 particular scenes -

during the hospital sequence, towards the climax and through a conversation with her dad. 

With Ayushman and Parineeti being the central characters, not much focus is dedicated to the supporting characters but each of them does a fine job with the little that's offered to them. 

Watch o Not? 

YESSSSS!! I insist. It's been a while since Bollywood has produced a decent romantic flick with nothing OTT. Do give it a watch.

Verdict : 

If you are into films that take a while to build on, but is worth the wait, this one might excite you. Meri Pyaari Bindu is slightly different from the typical run-of-the-mill love stories. It's a light-hearted romance saga which will melt your heart whilst making you laugh, cry (might) but man oh man it certainly will make you smile. ❤

Ratings: 3.5/5

Guardians Of The Galaxy 2 - Double the fun, Double the emotions.

Guardians of the Galaxy ($140mn) is the second-highest opening of the year, behind Disney’s “Beauty and the Beast” ($175 mn), and marks a solid official start to the summer movie season.

Genre :- Fantasy/Sci-fi/Adventure/Comedy

Runtime:- 2 hrs 15 mins.

Cast: - Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Kurt Russell, Michael Rooker, Karen Gillan, Elizabeth Debicki, Sean Gunn, Chris Sullivan (XII) Cameo by Sylvester Stallone.

Director: - James Gunn

Plot – The Guardians' troop continue the adventures as they traverse the outer reaches of the cosmos with a view to keeping their newfound family together as they unravel the mystery of Peter Quill's true parentage with a mysterious outer space army chasing to kill them.

Direction and Screenplay:-

After a quick flashback prolog, we find the Guardians in an off-the-wall opening credits scene, battling a space monster while Baby Groot dances to "Blue Sky" in the background. Meanwhile Raccoon ticks off the members of a powerful race consisting of Gold-colored aliens, and they find themselves on the run, along with some foe turned friends. And things go haywire from here. To be more specific, the script does. There is not much power or innovation involved in the script. It's the same "Save yourself, Save the world" shit. But there are many reasons as to why this basic ship doesn't sink. 

Directed and written by the writer of sleeper hits 'Slither' and 'Dawn of the Dead,' this one is fresh as far as the characters are concerned, who continue to interact in an effortless manner supporting the story’s narrative involving the notion that family always comes first (too many similarities to Diesel's FnF Franchise).

The first was well-made and profoundly clever in its use of nostalgia as part of its storytelling rather than just appearances, but the sequel has a more perfect magic - emotional honesty. This is a real roller coaster of emotions right from the word go.

The intergalactic battle sequences, lots of quirky humor with adorable antics of Baby Groot are scene-stealers, along with an extraordinary lot of CGI except the ending.

Editing and Cinematography:-

▶ Editing by Fred Raskin and Craig Wood is fine but some of the scenes feel pitch-forked and immaterial to the aura of the scenes.

▶ The Shangri-La esque cinematography by Henry Braham of a larger-than-life planet bursting with colors, bubbles, lush vegetation, and waterfalls appear more animated than dimensional but that's a good thing considering the comicbook accuracy. Also, ACES used for the color space works wonders for the most part of the film. But heaven knows why they chose to distribute the reel with such a big blunder towards the end. 

Music :-

Can a mixtape save the galaxy? If you're James Gunn, perhaps. After Gunn's film Guardians of the Galaxy exceeded all box office expectations, the soundtrack comprised of 70's and 80's era tunes that the film's protagonist Peter Quill kept handy in his Walkman, also made a major impact. 

Thus giving way to the Awesome Mix Vol. 2, which is the type of Spotify playlist I'd want to dive into — a healthy dose of rock education punctuated with a few familiar favorites like "Wham Bang-Shang-A-Lang" and "The Chain" to hold my attention.

The Highs -

▶ Remember that scene at the end of GOG? The part where Baby Groot dances whenever Drax isn’t looking and freezes whenever the big guy turns around? Well if you found that adorable, you're in to spend all your "Awws" for the day, every time the little man's on screen.

▶ Most of the scene-stealers are devoted to a wise-cracking Raccoon (Rocket) and a miniature tree trunk creature (Baby Groot) recalling Ally McBeal’s Dancing Baby.

▶Gunn manages to make this installment pleasantly weird by including pop-culture references to “Pac-Man” and Julie Andrew's “Mary Poppins.” Plus there are a couple of Stan Lee cameos (continued straight from Civil War), along with “Awesome Mixtape #2.” (One of the tapes that Meredith left for her son Peter before her death). Also, it marks the return of 'Howard the Duck.'

▶Nothing this summer will top the eyeball-popping cartoony of Rocket Raccoon (Bradley Cooper) and Yondu (Michael Rooker) careening through jump gates. 

▶ After all the unwanted CGI and sequences, James redeems himself with that twisted sense of humor and running gags. Involving around a debate over what kind of animal Rocket is, Drax and Mantis' conversations, Rocket and Quill's banter on who is better and much more. 
▶ I like the way all the characters are all a beguiling mix of imperfections; there is no such thing as black and white. Even when it comes to who is the enemy. Battle scenes are elevated into an entertainingly choreographed ballet set to music: violence is refreshingly played down. Music is a tool for humor.

▶ You see tons of weapons in the deadly arcade, but none can compete with the small, shining eyes of Baby Groot, a creation whose immaculately crafted adorableness could level cities and sink small-to-medium continents. No, seriously guys, get your tissues along. 💓

Marvel/Disney

The Lows -

▶The original “Guardians” was the coolest – and most surprising – movie of the summer of 2014. This second installment essentially kicks off this summer’s season – and let’s just say the ball is short of the end zone. It’s a letdown, especially at a strained 136 minutes. Not much distinguishes the two movies. 

▶Gunn fires a lot at us all in unnecessary 3-D, of course with too many colors and CGI to distract us from the plot. A la "Too many cooks spoil the broth."

▶ The plot and subplots are too tangled to keep straight. I mean, nowadays, you don’t meet a hero without daddy issues. Come on Marvel, the father-and-son drama has been done time and again.

▶ Also, Marvel uses a new roster of boring villains. And to make things worse, lots of them are just a set up for the inevitable MCU phase 4.

Performances :-

▶ Chris Pratt is reliably charismatic as Quill aka Star-Lord, but he is majorly coasting on his appeal in this installment, plodding through beats that you can see coming from the stratosphere. On the other hand, Pratt gets to play to more serious and heartfelt moments that deepen the character.

▶ Zoe Saldana as Gamora seems like she is stuck between a hard place and a rock, in both her not-quite-romance with Quill and her combative relationship with her sister Nebula.

▶ Baby Groot (voice of Vin Diesel), the star of the movie, the clone of the late co-Guardian, Groot is exploring his bombastic environment with all the wonder and innocence that childhood can confer. Brought to stunning animated life, his range of facial expressions, and general affability is far more eloquent than words. He is also gifted with the largest character arc, as his innocence is trampled, but not his spirit or his slow-wittedness.

▶ Dave Bautista as Drax, the brawny literalist, gets a better showcase, positioned as an observer of the other characters, offering filterless and often inadvertently insulting thoughts to whoever he’s with, and playing especially well off Ego’s naive servant Mantis (Pom Klementieff).




▶ Only the character Rocket (voiced by Bradley Cooper) with his patented snarky smart-ass and that sassy smirk can, ahem, have the spheres or chutzpah to bring low the antagonist (Taser Face), who is about to kill him by pointing out that his choice of name is inordinately silly.

▶ Quill’s long-lost father, Ego, is played by Kurt Russell, with a full serving of mac and cheese (a metaphor for sweet and salty) and a gorgeous wavy Hasselhoff  (Quill's idol) like flow.

▶ Michael Rooker, as Yondu, with his whistle-controlled Arrow, gives his best as the bright blue, extremely dangerous, disgraced Ravager who is an unexpected figure of emotional significance. Just as you feel it's getting drowsy, Yondu's arrival gives the film the jolt of momentum and genuine feeling it had been missing; Although he isn't cute as Groot and possesses a habit of joking about eating children, he is the real MVP by the climax.

▶ Karen Gillan, as Nebula (the avatar-like sister of Gamora), has got not much to prove her acting chops but enough to acknowledge her existence.

▶ Elizabeth Debicki, as Princess Ayesha, of the Sovereign, a snooty civilization of overdressed and overgroomed golden narcissists does fine with the deadpan expression and delivery.

▶ Sean Gunn, (brother of James Gunn) a side-kick to Yondu has been offered a significant role in GOG2 and he slayed it as the observant, loyal, lean and vulnerable lad.

▶ Cameo by Sylvester Stallone is as pointless as the "ay" in "Okay."

⏩ Watch o Not? Definitely. I know it's been a few days already (Yes yes, I am sorry). I earnestly request you guys to watch it in the hall for it's an effects laden spectacle propped up by its out-of-this-world (literally) ensemble. It will give you your money's worth. It's chock full of wild characters, action, comedy, music and locations. What brings it all together is color - eye-candy design, ear-candy dialogue, soul-candy emotion. 

⏩ Verdict: It's more like the first but with more humor kicks and honest sentiments. If you were a fan of the first (I was) you’ll dig this one too, but your enjoyment will depend on your tolerance for redundancy and your willingness to succumb to Chris Pratt’s hotness, Rocket's sardonic humor and well, BABBYYYY GROOOOOOT! ❤ With stunning visuals and incredible chemistry from the ensemble cast, it's just as amazing and as fun as the Vol. 1.

PS - Stick around for the handful of credit scenes (Count - Five).

Ratings: 3.2/5

Maatr Review - Quality content integrated with blazing performances.

Over the years, Bollywood has produced many films on  issues like rape and molestation. More than a decade later (Remember 'Jaago' and 'Daman') Raveena returns with her latest film ‘Maatr’, which is a story of a middle aged mother who, along with her teenage daughter are ganged raped in our very own, rape-capital Delhi. (Sorry not Sorry).

Genre :- Drama.

Run-time :- 1 hr 54 mins. 

Cast :- Raveena Tandon, Madhur Mittal, Divya Jagdale, Anurag Arora.

Director :- Ashtar Sayyed.

Plot – How badly can a wrong turn jeopardize your life? Maatr is a film that explains just that. After being raped and forced to watch her daughter’s soul getting shattered by a group of 7 men breathing drugs and living on alcohol, with no support from husband and the police bowing down to political pressure and eventually dismissing her case, the last resort left with our Maatr (Raveena Tandon as Vidya) is to take matters into her own hands and go on a revenge spree.

Direction and Screenplay :-

Director Ashtar Syed has captured the sinister and eerie locations of Delhi and built suspense and horror effectively by his fine camerawork. He gets striking performances out of even those actors who stumble with shallow parts. Raveena Tandon has been directed so perfectly, focusing on her youthful face and giving her minimal dialogue and no emotional outbursts to ruin the effect. Also the excitement towards the climax is enhanced by the anxious but effective background score that blends well in the narrative.

Screenplay by Michael Pellico (with additions from Mishkka Shekhawat) is extremely vivid, far-fetched and full of overwrought melodrama. But with well-defining characters delivering gripping performances and the right amount of action and drama, Director Ashtar Sayed succeeds in making the tale engrossing.

Editing and Cinematography:-

At 114 minutes, the editing by Manoj Magarr is sleek without any hindrances in the uncanny atmosphere.

Cinematography lensed by Hari Vendantam is beyond amazing. The entire visual palette and the vintage narrative style borrowed from the revenge/action Korean films are enough to maintain the balance and thrill. You witness blood gushing out, heads being bashed in, rage outshining the law and order system, all within a glossy and gleaming world with realism to some extent.

Music:

Music by Utkarsh Umesh Dhotekar is good enough to make you feel the agony of the matriarch who has a volcano of emotions erupting in her heart. The songs, 'Zindagi Ae Zindagi' sung by Rahat Fateh Ali Khan and 'Aisi Hoti Hai Maa' sung by Kavita Seth are appropriately used to propel the emotional quotient of the narrative. The background score and the production design add to the viewing experience.

The Highs -

▶ Talking about realistic characterization, 

the only truly authentic character in the film is a guard who appears for 5 Min's and reminds you of all your real encounters with these Men In Blue.

▶ Performance and the framework of the antagonist Madhur Mittal is flawless.

▶ The intent and the subjugation of the wrongdoers is depicted in a way that will make you feel content.

The Lows -

▶ All through the film, Vidya seemed to have stepped out of a parlour, all groomed up, ready to kill. It forces one to wonder - 

When does a woman, who is so damaged and so busy plotting seven deaths, find the time to blow dry her hair?

▶ Some lines are downright dim-witted. For example - A cop at the crime scene says: ‘PM desh ko shape karne ki baat kar rahe hain, aur yeh rape ki baat ho rahi hai’. Okay, whaat? Maatr isn't devoid of plot loopholes - After nailing one down, killing people becomes as easy as quashing bugs.

Armed vigilantes cross heavy police bandobast as easily as getting past a circle of dandiya dancers and the only disguise they use are SUNGLASSES! Seriously? 

▶Raveena Tandon's performance is surreal, your heart screams when she screams. There are few scenes where her pain becomes real, but then it cuts to illogical gym sequences trivialising her sufferings.

Performances:-

▶"Paani ka toh pata nahi, celluloid mein zarurr aag laga di." Termed as Raveena's 'comeback,' she doesn't let us down. With the same energy, charisma and finesse, she is cogent as a wounded mother. She exercises restraint, exudes an eerie calmness and yet injects fresh blood to her persona.

This is clearly a performance no other actor in her age bracket from her era could have pulled off with such ease. Even though her character is wounded, her spirited performance, though flaunted with faulty and excessive make-up, emerges as a compelling element in the film.💕

▶ Divya Jagdale, as Vidya's best friend Ritu who is the warmer flesh-and-blood one, doesn't fail to stand out despite being the bearer of a somewhat underdeveloped character.

▶Rushad Rana plays Vidya's spineless and inconsiderate husband Ravi, who asks for ketchup and separation in the same breath and is a proud member of the Victim Blaming Society. 😒Rushad is aptly cast and gives a performance expected of his character.

▶Madhur Mittal (Remember "Titto" from 'Shakalaka Boom Boom?' Yes. This is him all grown up) as Apoorva Malik is stubborn, self-willed, menacing and abhorrent guy he is meant to be. He essays his character with ease and makes sure we end up hating him from the word go. Such performance, much admiration. 😍

▶Anurag Arora as Inspector Shroff does fine as the officer of the law bent by the weight of politically influential people, so much that he forgets he is a human first. 

Watch o Not ? Maybe. The plot of the film is nothing extraordinary but it is the great performances, gripping subject line and apt execution that makes ‘Maatr’ a decent watch.

Verdict :

Maatr is a raw and powerful with its share of flaws. Despite an uneven plot, watch the film for its compelling, hard-hitting performances and the fact that it creates a world where justice is served someway or the other.

Ratings -  2.6/5

Review: Begum Jaan - A Powerful And Strong Piece Of Art That Reflects Reality.

Begum Jaan, directed by Srijit Mukherji, is the Hindi remake of the Bengali movie 'Rajkahini' starring Rituparna Sengupta. Vidya’s much awaited film finally made it to the theaters on Friday, much to the delight of her fans. 

Genre :- Drama.

Run-time :- 2 hrs 14 mins.

Cast :- Vidya Balan, Rajit Kapoor, Chunky Pandey, Naseerudin Shah, Ashish Vidyarthi, Gauahar Khan, Pallavi Sharda.

Director :- Srijit Mukherji.

Plot – The year is 1947. India is going to be partitioned according to the Radcliff Line. That line runs through a brothel owned by Begum Jaan (Vidya Balan). Nearly everyone is happy that India’s getting independence, except her. And why should she be happy? Her palace (That's what she prefers to call it) would be destructed in the whole process. What lengths would she go to protect it? Or will she succumb to the snarly politics going around in the country?

Direction and Screenplay :-

Begum Jaan begins with one of the many hard hitting opening scenes I've seen in a long time. Set at Connaught Place in 2016, it is under the same framework of the Nirbhaya incident. It's painful, and gives you quite the jolt. Later it cuts to 1947, when independence came to India at the cost of Partition and proceeds further.

National Award winning film-maker Srijit Mukherji, who makes his Bollywood debut with Begum Jaan, fails to achieve finesse in technicalities which was required out of a movie that is packed with stellar performances and a taut script. For example, two officers – Hari Prasad Srivastav (Ashish Vidyarthi) and Ilias (Rajit Kapoor), former best friends, who have been divided by the Indo-Pak Partition - in charge of executing the Radcliff Line, meet each other after a long time. Before the scene could make an impression, Mukherji films it in a wide-shot with the two men at the extreme ends of the frame, with EXACTLY HALF their faces visible. He keeps alternating between the actors’ solo shots, needlessly distracting us, drawing attention to craft. And we get the intention ­– partitioned face, as in part of a whole, in a film focusing on Partition. It is so obvious. But no, he is unsure and repeats it later in the film, in a different scene with the same actors. Why oh why?!  

Vidya as Begum dives into the skin of the character and swims effortlessly through it. Vidya’s Begum is a hookah-snorting, razor-tongued woman with an authoritarian air, she is the master of her fate and fortune. From Gujarati to Bengali to Awadhi to Punjabi, her brothel has women of every caste, language and religion. She (Vidya) usually grabs attention in all her movies. But this movie has all of its actors performing to the fullest and it's hard to point out who is better than the other. Also, the very idea of the characters explaining things to the audience under the pretext of talking to each other is fresh and commendable. 

Editing and Cinematography:-

Editing by Praveen Prabhakar could've been better. With abrupt cuts and switches, it seems like a ride filled with more than few speed-breakers.

The visual-palette of the film by Cinematographer  Goopi Bhagat is like a series of Raghu Rai photographs drained off their magic partly but manage to adjust to the required tone of the film. Certain shot-taking choices such as slow motions, rain sequences, climax are supremely mastered and served by him.

Music:

This is one of the many movies which didn't require songs interrupting the smooth narrative. But speaking of the album, each of the tracks is a treasure. 

Anu Malik has managed to create magic by creating beautiful songs by bringing together the best of the bests to lend their voice. “Prem Mein Tohre” and “Woh Subah” are the best of the lot. 
The latter which is a recreation of the classic composed by Khayyam and lyrics by the legendary poet and lyricist Sahir Ludhianvi, speaks for the film in Shreya-Arjit’s voice. 

With the former,  Prem Me Tohre, sung by the supremely talented Asha Bhosle, the lost art of making soulful renditions about love and its sheer power seems to be back. Thank you, Anu Malik - the man who gave us unforgettable music albums in the ‘90s. 
“Holi Khelein” is perfectly orchestrated and sung by Sunidhi Chauhan and Anmol Malik wheras “Azaadiyan” by Sonu Nigam gives a very expected ‘LOC Kargil’ feel. Lastly, the stunning lyrics from “O Re Kahero” will leave you speechless and moved.

The Highs -

▶ There's a strong gasp-worthy scene when a new girl is brought to the brothel and she is in a state of complete shock. She has stopped responding to anything — until Begum slaps her out of her stupor and she has a cathartic breakdown.

▶ The strongest parts of the movie are its script and dialogues. The narrative is layered and the dialogues are powerful. The performances are each better than the other.

▶ Begum was of the opinion that it doesn't matter if the country gets independence or not, for women will always remain oppressed, unsafe and treated inferior to men. Well, not everything she felt was untrue. After 70 years of Independence, women are still fighting for equal human rights. *sighs* And Srijit manages to depict this, in the most powerful manner in the first 5 minutes. With an unfortunate incident occurring in Delhi of 2016, the Tricolor plays a silent spectator at the back. It hits hard at your soul. And for a moment, you can’t move.

▶ The usage of cuss words and terms which are derogatory or “gandi baatein” in the eyes of the society are effortlessly used and woven into the narrative without hindering the film viewing experience. Also, slapping certain issues which have been too sensitive for the Indian audiences till date, without wrapping it under a velvet cloth is both daring and commendable.

▶ Also, a round of applause for the Censor Board too, please, for they have allowed the film to run with hardly any cuts but just some alterations in few words.

The Lows -

▶ Sometimes, the girls come across as extremely inept and ineffectual, their lingo and accents is particularly labored, the body language seems too designed and deliberate.

▶ Mukherji struggles in sustaining a mood, often disrupting the film’s flow with needless songs. There’s a song on Holi, a song when Indians and Pakistanis cross the border, a song when a local king (Naseeruddin Shah) visits the brothel. Mukherji, it seems, is constantly trying to hammer home a point, forbidding us to create our own meanings. It’s 2017, and we want our filmmakers to, at least now, stop handholding their audiences, stop guiding them where to look, what to listen to. Don’t they find us intelligent enough to have figured that out after two hours of viewing time!

▶ There is a love scene between Gauahar and Pitobash, wherein the latter confesses his “lub” for the lady, in a cute and innocent manner. This scene, till a point, is both heartfelt and funny, but Mukherji keeps stretching it, making it loud and obvious, and ultimately dilutes its emotional heft.

▶ Some of the crudity in dialogue and scenes seem deliberately aimed at sensationalizing, eliciting wolf-whistles from the male audience rather than being sensitive to women. 

Performances:-

▶ From the unibrow to the contact lens, Vidya is perfection as the Begum. Not only is Balan here privileged with the punchiest of quotations and the most decisive of actions, even the horizon dissolves into her thinking face. There are two sides of Begum’s personality. One is the self-important side, who when she talks, seems to be reading out from her own resume. And then there is the Begum who wonders about the changing realities around her, and who can feel the earth beneath her feet slipping by. And Vidya Balan nails it with a puissant performance. A scene between her and Shah towards the end proves her mettle as a well experienced actor when she emotes just with her eyes.

▶ Pallavi Sharda as the vulnerable Gulabo, among the sex workers at the brothel with a traumatic past — doesn't get enough screen time but manages to strike a cord with her performance oozing fortitude.

▶ Look who's back. Back again. It's Chunky Pandey and he isn't joking this time. He plays the polar opposite of the roles he's been seen in so far, as the the antagonist here who the government appoints to get the brothel uninhabited. He's promising as the ruthless lad who finds the worst possible ways to inflict pain on poor Begum and her girls. *Applauds*

▶ Rajit Kapoor and Ashish Vidyarthi, as two friends united by heart but divided by boundaries, have a long-lasting impact on your being and the changes in their personal relationship due to the changes in the political environment is one of the highs of the film. Their character development gradually helps in making the narrative strong.

▶ Naseerudin Shah as Rajaji, has been provided with an understated role but he does fine. His character bows down to his own era and has more charm than the spirited fights of the other characters.

▶ Gauahar Khan as Rubina stands out in the sea of other characters playing sex-workers, probably because she has been given impressive dialogues and a lot more screentime than other ladies. Her Punjabi accent seems boisterous after a while. Trying too hard, eh? But she manages to cover that up with her dialogue delivery in a scene with her love-interest alongside a river.

▶ Supporting cast consisting of Flora Saini as Maina, Priyanka Setia as Jameela, Ridhima Tiwari as Amba, Raviza Chauhan as Lata, Poonam Rajput as Rani and Sumit Nijhawan as Salim justify their roles.

▶ Gracy Goswami (Nimboli from Balika Vadhu) as Laadli aces in one fiery moment.
▶ Ila Arun as Amma, manages well as the old lady who knows way too much.
▶ Pitobash as Begum’s handyman and pimp Surjeet, is amazing and manages to shine in the part given to him.
▶ Mishti as Shabnam hardly has a line in the whole 134 mins film. (Fun fact: She is the same beauty whom we see in the Vicco Ad during the interval in theatres, saying, “Kya aapko mere face par dark spots dikh rahe hai? Close-up main bhi nahi? Kyunki hain hi nhi!” *Facepalms*)
▶ Rajesh Sharma as Inspector Shyam and Vivek Mushran as Masterji do fine in their respective roles.

Watch o Not ? Definitely. This is how a woman-centric film should be. Begum Jaan is high on content, emotions, (metaphorically) colors and mind-blowing performances supported by meticulous visuals.

Verdict : Good intentions also need to meet good craftsmanship; the abundance of one can’t compensate for the lack of another. Therefore, to cut out the confusion, Begum Jaan warrants a watch for the significant storytelling, background score (most of the time), a quintessential performances and awe-inspiring visuals.

Ratings -  3/5 (Considering the technical flaws).