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

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).

Naam Shabana - Naam Bade Aur Darshan Chotte. (Not worth the hype).

Naam Shabana, India’s first spinoff, the making of a spy from the team BABY, has hit the theatres this Friday. Will it match up to the success of it's predecessor, BABY? Or will it fall flat? Let's analyse.

Genre :- Crime-Action/Thriller

Run-time :- 2 hrs 30 mins. *gasps* (I know, right?)

Cast :- Taapsee Pannu, Akshay Kumar, Anupam Kher, Manoj Bajpayee, Taher Shabbir Mithaiwala.

Director :- Shivam Nair

Plot – Naam Shabana is the story of Shabana, her journey from being an aggressive girl who carries guilt and a dark past on her shoulders to becoming a spy for the intelligence agency of the country, BABY.

Direction and Screenplay :-

Neeraj Pandey has transferred the baton to Shivam Nair, as far as the direction is concerned. While Shivam Nair has directed the film, Neeraj has written the story. Does that mean bad news? Sadly it doesn't. Shivam Nair's direction is not perfect but commendable. It is the screenplay by Neeraj Pandey, that seems to be toying between two genres here: revenge and a spy thriller. While the revenge part is meted out in typical Bollywood style, he resorts to his own style when handling the thriller. It feels like two distinct films held together at the interval. The first half takes us back to the traumatic life of Shabana Khan (Taapsee Pannu) and her initiation into the Indian undercover counter-intelligence unit. The second half is about her first mission to nab a global arms kingpin which eventually turns out to be utterly predictable and disdain.


Naam Shabana isn’t as taut as the previous films written by Neeraj Pandey. It lacks the depth of A Wednesday, Baby and Special 26. Unlike his previous stints, even the most important operations, thrilling chases and edge-of-the-seat suspense sequences are predictable.
The plot consists of typical thriller elements like hidden dens, unidentifiable moles and surveillance systems, fist-fights and chases, violence and bloodshed. Except for the action and chase scenes, nothing manages to prevent the film from being dry and bland.

Editing and Cinematography :-

The editing by Kathikuloth Praveen is sharp but the songs, barring Rozana, completely stall the narrative. Amidst all the anti-terrorism and socio-political issues, the songs feel slapped on and jarring, although they are woven firmly.

Sudheer Palsane’s praiseworthy cinematography also fails to lift the storyline. There are countless slow motion sequences and bird's-eye view shots of the cities be it Vienna, Mumbai or Kuala Lumpur, but they fail to ignite a sense of awe.

Music :-

Shahaab Alam and Dharma Vish create a constructive and efficacious background score which helps in maintaining the thrill and excitement of the film.

‘Naam Shabana’ has Rochak Kohli and Meet Bros. offer you four strictly average songs, that are straight replicas of almost every template Bollywood song from recent times. Rozaana is the only song out of the lot which is of a fine quality.

The Highs -

▶ The Stunt-Action duo Abbas Ali Moghul and Cyril Raffaelli deserve an applause for making Taapsee seem lethal and powerful.

▶ There are some Baby references which manage to generate decent laughs, like: "Mantriji toh aaj bohot busy hain," the "conference" moment and Shuklaji's (Kher) dry humor ofcourse. There is also a dig at the mainstream fight sequence where both the hero and the villain rip off their shirts for a grave fight elicating chuckles. Smart.

▶ Later in the film, there is even a dig at corporates taking advantage of “free” mentality (Jio?). You could debate the point of view, but the writing brought a smile. You also smile as you wonder why only Shabana needed all this training while the male field agents got by with paunches.

▶ What I really admired that the makers mostly resisted giving her anything glamorous. The only thing that could be remotely called glamorous is that this seemingly middle class girl almost never wore the same set of clothes twice. *Winks*

The Lows -

▶ The biggest problem with the movie was the trailer. The trailer gave most of the plot, thus leaving the first half, dull and dreary.

▶ A conversation on Shabana’s religion (Islam) still has me scratching my head in confusion. The agency’s head recruiter and planner Manoj Bajpayee tells Shabana that her religion is a perk, that in contemporary times being a Muslim gives better access, opens many closed doors. How? The incredulous look refuses to leave my face. Did I misconstrue something here?

▶The film might appear radical enough to show a woman fight her way past the men but at the heart of things rests a very male, big boy world-view. I expected Taapsee to do an out an out mission on her own but you will be disappointed at how her encounter ends. Her scenes with Akshay are nothing but patronising and made me cringe, twice. Also, a big let down for me was when Tapsee's name appears below Akshay Kumar in the end credits although the latter just had a cameo. Tch tch!

▶ There are some underdeveloped lines like, “Main aapko zabardasti karte hue achcha lagta hoon (Would I look good forcing my way)?” Locker room jokes about a drunk boyfriend being a liability and a drunk girlfriend an asset (I don't understand how it was supposed to humorous).

Performances :-

▶ After giving a stellar performance in Pink, Naam Shabana is a progression as an actor for Taapsee Pannu. Her expressions, mannerisms and gestures in the Shivam Nair movie keep harking back to the sleeper hit of last year. Here you can see Taapsee showing off her martial art chops in spades and they are an absolute delight. Her portrayal of a badass woman, is alluring. Her altercation with the antagonist in the climax is a reflection of her fine acting abilities.

▶ With Prithviraj Sukumaran as Tony, the antagonist, it feels that the actor could have perhaps done a lot more with a better etched role. He has a striking personality but his character of Tony, a kingpin, is an inexcusable waste of Prithviraj's talent.

▶ Akshay Kumar has an extended cameo and he leaves no stone unturned to show off his prowess in martial arts and machismo.

▶ Manoj Bajpayee does full justice to his role but it would have been better had he been given some more material apart from playing the role of a human version of Siri.
*sighs*

▶ Anupam Kher as Om Prakash Shukla manages to tickle the funny bones with his tiny role of 15 mins.

▶ Danny Denzongpa as Feroz Ali Khan also makes an appearance and makes one wonder why he doesn't appear on screen more often.

▶ Taher Shabbir as Jai does fine. He manages to carry off the role of a boy next door quite well, although his delivery feels forced.

Watch o Not ? 

Uhmm. Maybe. Maybe not. Watch it only if you want to see a completely kick-ass avatar of Taapsee. Her dedication and hardwork for the role is noteworthy.

Verdict : Don't go in with the expectation of watching a riveting action packed thriller like Baby.
Given the marvellous action sequences and terrific performances that were done well, the pace of the film could have been forgiven. But, it is difficult to forgive no pounding hearts in a thriller. When the protagonist feels too safe, nothing can make you worry about her, can it?

A Wise Word Makers? 
Next time you make a film supposedly revolving around a woman, please do so because you have a great story to tell, not because female-led cinema is a hot current trend.

Ratings - 2.5/5

Trapped Review: A Spine-chilling and taut thriller that instills our faith in Indian Cinema.

TRAPPED - MOVIE REVIEW.

Over the years, we've seen how in most survival films the protagonists are caught in extreme situations - between boulders (127 hrs), stranded in the sea (Life of Pi), washed ashore on to some uninhabited island (Cast Away). Trapped is about the horror and danger lurking in the ordinary and mundane – a modern tale about the likelihood of getting marooned in the security and safety of your own home, here, between the hush-hush of Mumbai. No wonder the threats and the fears are so gruesome.

Trapped marks a step in history of Indian Cinema as the first movie that willingly left the interval and provided uninterrupted show. 
("What!? There is no interval? Yes. There isn't).

Genre :- Thriller/Survival Drama

Run-time :- 102 minutes.

Cast :- Rajkummar Rao, Geetanjali Thapa

Director :- Vikramaditya Motwane.

Plot – ‘Trapped’ is a story of Shaurya (Rajkummar Rao), who falls in love with his office colleague Noorie (Geetanjali Thapa). Noorie is set to get married to someone else. Shaurya wants Noorie to be with him, but does not have a decent place to live with her. Thus, Shaurya decides to rent a good place for both of them. With minimum budget, Shaurya ends up getting a vacant flat in a disputed high rise building. Before he could let Noorie know about the place, Shaurya gets trapped inside that empty flat.
In the absence of food, water and electricity, 35 storeys above the ground, he struggles to remain alive by resorting to measures like lighting a fire, throwing things out of the window like television and so on. However, everything goes in vain and the zeal to live drives him to be audacious. But how far can enthusiasm take him? Does he succeed or his physical and mental turmoil takes a toll on him? Watch the movie and find out!

Direction and Screenplay :-

As a storyteller, director Vikramaditya Motwane makes sure to create the required tension with the first rate pairing of writers Amit Joshi and Hardik Mehta. The screenplay has a quality of interlocking elements like Lego which are being fueled by Rajkummar's brilliant acting, thus giving this movie a boost.

Motwane deftly demonstrates, an unearthly vision of the present-day Mumbai. The city is a silent member of the cast. It gives Shaurya the power to dream, but displays a hostile and opposed behavior beyond the grilled windows through which he yells for help. His screams ricochet through the air, and he learns the hard way that in Mumbai, you are well and truly on your own, even in the middle of a crowd.

The pithy and poetic writing shows how a social animal trapped in a society (getting the pun) uses every element in the barely furnished apartment as a weapon towards his freedom. As victory is fleeting, and sparks of hope are quickly getting extinguished, A rat drops by, pigeons flutter in, and a cockroach becomes a metaphor for life. This is a great piece of artwork.

There are scenes wherein the whole theater squirms and gasps at the same time, be it FOR or WITH Shaurya, thus depicting how impactful the story telling is.

The only problem with ‘Trapped’ is that the movie has a one liner story and runs mainly on its screenplay, which starts to move unsteadily like a drunkard in the last 20 mins and loses its connect towards the climax. The culmination part is highly missing. 

⏩ Editing and Cinematography :-

The Editor, Nitin baid, has managed to keep it short yet meticulously interesting. Full marks on that. But on the contrary, Trapped does not quite manage to convey the inevitable passage of time in that cramped space. I mean, some particulars about time, would have smoothened the seam.

Cinematographer Siddarth Diwan's camera moves in accordance with the facts and reality in our protagonist's ordeal. Diwan draws us into Shaurya's struggles by hugging him so close that it often feels like we are walking alongwith him rather than watching him.

⏩ Music :-

Background svore plays a pivotal role in making this movie lot more intriguing and exhilarating. Alokananda Dasgupta, uses ambient noises like metal scraping,  metal clangs, or the water droplets falling on the floor, which goes well along with the scenes.

⏩ The Highs -

▶ Rajkummar Rao, he becomes the movie’s thumping heart. Rao’s talent has been highly demonstrated in his previous films, and it reaches its apex with Trapped. Despite inanimate objects and mute creatures to play off against, Rao brilliantly and effortlessly transforms the location and the movie into a battlefield of emotions and takes you along, in his journey to escape from his agony.

▶ Trapped makes us look afresh at all the obvious things we take for granted. A plate full of buttery  pav bhaji or the ride in the Mumbai local packed with sweaty bodies, the daily stress of office, the luxury of bathing, or simply a packet of biscuits suddenly seem life-affirming and meaningful when life itself is slipping away from you. Such is the beauty of Trapped.

▶ A thought-provoking concept. The same flat would have otherwise felt like a great room with a magnificent view - sprawling, shiny new constructions, the sea at a distance. However, for Shaurya it becomes a hell hole, despite the “welcome” banner on the wall. A place he gets shut in without a soul being aware of his whereabouts.

▶ We all have had certain fears as kid, which have registered their place even in our adulthood. My being rats and a paranormal presence hiding behind the curtain. No kidding! And Motwane has zeroed in on such fears and succulently whipped up the sinister quotient of the movie. Some sequences are so precise and impactful, it made me shook an imaginary rat off my foot, only to realize that what I mistook for a rodent was in fact my footwear, which I had removed for comfort. Embarrassed enough, I looked around to check if my fellow audience had noticed my shameful plight. To my luck, they had not. Phew!

⏩ The Lows -

▶ While there are small plot errors like
- Our hero finding conveniently placed Match-Box with an unending supply of matchsticks,
- Not a soul in his life bothering to look for him.
But they are too immaterial and irrelevant to focus on.

▶ For the most part, what we get is a surface feel of the man behind his appearance. Too much has been explained about his physical condition and too little regarding his psychogical order. This is the only thing that prevents Shaurya from entering into the league of Chuck in Castaway, Pi in Life of Pi and Aron in 127 Hours.

▶ Shaurya’s survival tactics remain admirable throughout if you give them some thought, but the manner in which they are portrayed becomes too matter-of-fact after a while and ceases to inspire the awe towards the end.

▶ One major glitch that needed better handling is when there was a hope, Rao’s character could have done more to get the attention. (NOT A SPOILER, CHILL)

⏩ Performances :-

▶ Trapped showcases Rajkummar Rao's best performance till date. A scene where he is petrified of a rat is one of his best scenes from his career. Whatever role he gets he transforms himself completely into the character; viz - Nawazuddin Siddique. May it be a young and bubbly journalist that we saw last year in Aligarh or a destitute poor farmer who gets ‘trapped’ into the vicious cycle of money in ‘Citylights’, he is undoubtedly one of the most talented young actors working in industry today, and he surely deserves an award for the same.

▶ Geetanjali Thapa is reasonably effective in her brief appearance in as Shaurya’s friend/partner Noorie.

▶ Khushboo Upadhyay has barely a few seconds of screen time, but those moments are enough to note that she is an artiste with a screen presence who is worth watching out for.

⏩ Watch o Not ?
Defi-effin-ately!! Waiting for me to buy you a ticket? Comeon! Grab a popcorn and sit back to enjoy this enthralling and spine-chilling ride. This is one such movie that has instilled my faith, in Indian Cinema.

⏩ Verdict :

Motwane’s smart approach to the story-telling, the screenplay, his understanding of Rajkummar Rao as an actor and his strengths and then Rajkummar’s comprehension of what the character and director demand, these people made the movie worth every penny. Facing your fears and life being an unending cycle - Trapped is a movie worth watching out this weekend. The movie is so stimulating that from now on, if I go someone's house or in a room alone, I will definitely check whether the knobs are working, electricity is fine and yes, the battery is fully charged.

Ratings -  4.3/5

DEAR ZINDAGI REVIEW - Love You, ‘Dear Zindagi.’

⏩ Genre :- Drama.
Most of the critics are calling this a Romantic flick. It's not. Until you are talking about romancing your life. Then yes, it is. ❤

⏩ Runtime :- 2 hrs 30 mins

⏩ Cast :- Alia Bhatt, SRK, Kunal Kapoor, Siddharth Nigam, Yashaswini Dayama, Ira Dubey, Rohit Saraf, Ali Zafar.

⏩ Director :- Gauri Shinde.

⏩ Plot :- Dear Zindagi is the story of Kaira (Alia Bhatt), a talented young Cinematographer in Mumbai who is going through a lot of problems faced by many of us from her age group.
Her family doesn't approve of her job (especially the relatives);
She has a fear of being left in a lurch by her boyfriends, so she dumps everyone before they dump her;
She has been kicked out from her apartment by her landlord because she is single;
This leads to a lot of emotional turmoil in her life and she couldn't sleep. Therefore, she decides to seek help from a Psychological Counsellor (played by a sober, toned down version of SRK) and with his help, eventually, she finds all the answers by herself.

⏩ Direction and Screenplay :-
After English Vinglish, which was both commercial and critical success, this is Gauri Shinde's second directorial venture and she has totally nailed it. I couldn't find a single glitch in the direction. Gauri Shinde, we don't expect anything less from you. ❤
Speaking of the screenplay, it's very thought provoking. It changes the way you look at your life and relationships. Kudos to Gauri Shinde for the way she has tried to portray the unconventional version of hero and heroine. There is such warmth in Kaira's interactions with the Dr. Jehangir that it envelops the rest of the narrative in a soothing manner and serves us with a delightful experience.


⏩ Editing and Cinematography :-
The Editing is a flaw in this movie. It could've been more sleek and crisp sans a few song and repeated sequences. But nevermind, the film looks engaging and fresh – with beautiful set ups, locations and lightings. Cinematographer Laxman Utekar glides the camera smoothly to shoot pretty frames of Goa that's unlike what we are used to seeing, Watch out for his magic while capturing focus-shots of Bhatt and Khan and the climax scene of Bhatt on a beach. So alive!

⏩ Music :- Well, it's known to everyone that Amit Trivedi never throws massy Chartbuster Albums, but his is the kind, that supports the screenplay, feel and theme of a movie. 'Just Go To Hell-O Dil' is situationally appropriate. 'Love You Zindagi' is mesmerizing and soulful. 'Tu Hi Hai' is hummable. Others are forgetful.
The background music is so refreshing if never allows you to even think of parting your attention from the movie.

⏩ The Highs –

▶In a male-ridden industry still tending to sideline women in most mainstream projects, this is a decision that shows guts on Shinde's part and Khan's evident willingness to experiment by not being the center of the movie. It goes without saying that this is an extremely unconventional film. King Khan appears about 45 minutes after the opening scene and and is nowhere to be seen in the concluding scene. Just 50 mins of screenspace in a 150 mins movie. Seriously? That's commendable. *claps*

▶Most of the scenes in this movie are either witty or insightful or both. Be it Kiara's conversation with her exes, friends or bitchy relatives. But the best part is, it never goes OTT.

▶From an industry that usually treats parents as deities (*Quotes Karan Johar* “It's All About Loving Your Parents.”) that are to be worshipped, are always right, knows what is best for you; It's unusual to come up with a story that shows the other side of the coin – *They can go wrong too, sometimes.* Shinde has managed to depict this so beautifully. Full marks on that.

▶ Performances by both Khan and Bhatt are top notch. Not even a single feather flaw.

▶ The Cinematography is one of the strongest points of this movie.

⏩ The Lows –

▶Towards the end, Dear Zindagi succumbs to the pressure of the mainstream public and throws an ending that is now considered inevitable in every Hindi film.  (not giving away any spoilers, chill.) But don't you worry, the ride upto the end is so damn good, you would happily digest the needless angle. Dear Zindagi is a perfect example of a journey that's more beautiful than the destination.

▶There are some glitches in the movie that closed the gateway to becoming a classic –Character Development.
- Who is Fatima (Ira Dubey), apart from being a mom and Kiara's bestfriend? We get to know her
husband's profession but her.
- Another bestfriend, Jackie (Yashaswini), what about her? All we get to know is, she is the optimistic one, and she goes on to date a guy Alia refers as a wierdo.
They are supporting characters, right? Where's their support?
Same goes with other supporting actors.
But these two, above, were important.

▶Also, the film had too many extras. I mean, seriously, you could've easily edited out 2-3.

⏩ Performances :-

▶ SRK gets lesser screentime than Alia but he owns every scene he is a part of. In fact, Dr. Jehangir enters the picture just as the film starts to sag and appears somewhat stretching. His arrival immediately lits Dear Zindagi. It goes dull occasionally thereafter, but never when he is around. Now that Khan is in this new phase of his career where he is acknowledging his age gracefully, showing us a tinge of gray and a whiff of wrinkles, unkempt hair and oh boy is he looking hot! Its about time we got to see SRK the actor and not SRK the Super Star in a film (Last seen - Chak De.), with no outstretched arms, no larger than life persona; And this movie, does exactly that. This is a new inproved SRK, who is a feast to the eyes with all that cotton and linen shirts, vintage lingo. That’s a rather nice avatar to have graduated to, SRK. We Likey! *winks*

PS - Even I have many problems in my life ya. Even I can't sleep some nights. Why can't I get a therapist like SRK? Then toh, I wouldn't even mind giving up on sleep. Lel.

▶ Alia Bhatt's Kiara is a perfect representation of who Alia is, who I am, who my friends are, and probably who you are. That's why the connection with the reel character is surreal, it touches your soul. She portrays her character so well, it's no long a wonder how slowly and steadily she is slipping into our "Favorite Actresses" bracket. She adds all the quirk, chirp, maturity and determination that her character demands. So much that you smile and cry along with Bhatt’s Kaira and at times want to just reach out and give her a tight hug, reassuring that all will be well

PS - Dear Alia Bhatt's makeup team, Stop making her wear bright red lipsticks and too much makeup as our natural beaut looks dull and made up because of it. Take a note.

▶ Angad Bedi and Kunal Kapoor as Kiara's exes play their parts really well.

▶ Ira Dubey and Yashaswini Dayama (Phobia fame) as Kiara's best friends are "BFF Goals."
The former is a mature mother figure while the latter is the goofy-but-sensible-when-required one. And both of them pretty ladies, do justice to their roles.

▶ Rohit Saraf as Kiara's younger brother Kiddo is cute and comes out as a fine actor.

▶Ali Zafar's (Yes. He has not been replaced by anyone and is STILL in the movie.) character Rumi is one of Kiara's flings and 5 minutes into his screentime you'll understand why. he. wasn't. replaced. He sweeps you off your feet by a beautiful song and his innate boyish charm. (I am not saying anything more because then, I'll be politically incorrect and people will label me as a "Deshdrohi." *sighs*)

▶ Aditya Roy Kapoor also has a very small cameo in the movie. Yes! Now you'll be paying attention to the movie. I know that.

⏩ Watch O Not ? – Arre! Yeh bhi koi puchne ki baat hai? Definitely. If you have enjoyed movies like Wake Up Sid, Kapoor and Sons Rockstar, Queen, English Vinglish, you are going to love this. Even if you aren't a fan of these movies, (I mean seriously? Upar se ek bhi pasand nhi ayi? Kaunsi duniya se ho bhai? Kidding. XD) give this one a try, and thank me later. *winks*

⏩ Verdict :- Dear Zindagi is a sweet one time watch. ❤⛄Watch it for Alia and SRK. Watch it for Amit Trivedi's calm and composed music. Watch it for Gauri Shinde's direction and screenplay. Watch it for YOU. Every broken heart wants a nurture, and Dear Zindagi will provide you that. That is explained by a perfectly written dialogue in the movie, delivered by SRK - "Don't let your past blackmail your present to ruin your future." Geddit? Geddit.

Dear Zindagi is all about finding comfort and happiness in life's imperfections. ❤

Love You Zindagi! ❤⛄❤

Ratings :- 3.7/5 :)

Shivaay – Shivaay, We Needed More Of Shiva-ay! 👀

I couldn't resist myself watching this movie first day after watching the amazing trailers which has astounded audience worldwide. And, I wasn't disappointed. 🙈

⏩ Genre :- Action/Drama

⏩ Runtime :- 2 hrs 52 mins.

⏩ Cast :- Ajay Devgn, Abigail Eames, Sayyeshaa Saigal, Erika Kaar, Vir Das, Girish Kamad, Saurabh Shukla.

⏩ Director :- Ajay Devgn

⏩ Plot :- Shivaay is a Himalayan mountaineer and guide who is innocent but is capable of transforming into a mean destroyer when he needs to protect his daughter.

⏩ Direction and Screenplay :- Directed by Ajay Devgn, the direction is not the best part of this film. The frame is quite shaky in few action sequences. But cut him some slack people, Shivaay is only his second directorial venture—the first being 'U Me Aur Hum.' (2008). As far as the screenplay is concerned, it may seem like 'Taken' and 'Rocky Handsome' in some aspects, but  co written by Sandeep Srivastava and Robin Bhatt, Shivaay has a deeper emotional connect, distinct execution and an amazing visual appeal. 

⏩ Editing and Cinematography :- 2 HRS AND 52 MINS!! It could've easily been toned down by 15-20 minutes by editing the "love blossoming" scenes between Shivaay and Olga. The cinematography by Aseem Bajaj is exceptionally good. The usage of electrifying blue, grey and white colors in the frame adds to the tranquility and refreshment factor. The breathtaking views of the Himalayan mountains and the cobbled streets of Bulgaria are so well shot and used to maintain the balance of the film. 

⏩ Music :- Music is the one of the best things of Shivaay. The music is extremely powerful and perfectly blends into the narrative.  'Darkhast' and 'Raatein' are soulful and hummable. But the title track 'Bolo har har' is mind-blowing and has the power to produce intoxication into one's being. It takes you to the level of extreme exhilaration. 

⏩ The Highs :-

▶ The story isn't something you haven't seen before; however, the execution and performance by the protagonist is thrilling.

Ajay's character depicts two phases that's parallel to that of Lord Shiva – The server of mankind and the destroyer of evil.

The character savoured with mythological tattoos of the Trishul, Naag and Chandra. –Also, few close-up shots of his eyes. (Remember the Third eye?)

▶ In a world where all the attention is given to the mother-child relationship, it's good to see a film reminds us that a loving and a responsible father too can mean the whole world to his child. Sweet. 

▶ The movie is 172 mins long since the makers take time to set up the plot, but the adrenaline-pumping action picks up from the word go (after 40-45 mins into the movie). Also, if you are an action enthusiast, you would love every bit of it. 

The second half is more entertaining and the background score and chase sequences keep you engaged and refrain yourself from yawning. 

▶ The music blends in so perfectly, you would even fail to recognize whether a song/music is going on in the background or not.

▶ Shivaay’s USP is its cutting edge VFX, which makes the film a reality. 

⏩ The Lows :-

▶The love making scenes between Ajay and Erika (who is just in the starting 30 mins of the movie) are awkward and you feel no chemistry.

 

▶ There are a few scenes wherein actors like Girish Karnad and Saurabh Shukla mouth dialogues that have no or least connection with the central theme. Sighs.

▶ It would've been better had they shown much reference to Lord Shiva's antiques by adding more flavour to Shivaay's character.

Instead what we see is a travel guide/mountaineer (whatever you'd like to call him) jumping from cliffs, constantly smoking a chillum – extremely self-consciously at that, looking meaningfully at the audience as though telling them : Stop me if you can. 

Even the Censor Board couldn't stop him from getting away with weed; since he was sanctioned by Shiva himself with the chants of 'Bolo Har Har' playing in the background. Smart. 

⏩ Performances :-

▶ While his last film 'Dhrishyam' was the psychological thriller, Shivaay marks the return of Ajay Devgn in his action mode. 

Ajay gives a stellar performance in the role that is totally tailor made for him. And as usual, does his signature 'emoting with eyes' thing perfectly. Also, the on screen relationship that he shares with the child actress Abigail Eames is extremely natural and flawless.

▶ Erika Kaar as Shivaay's love interest is beautiful but goes OTT with her accent. Dear makers, we would've been okay with her speaking English as we know she is not an Indian. Her hindi seems too forced.

▶ Abigail Eames as Gaura, who plays Shivaay's vocally impaired daughter is sweet and charms us with her acting skills.

▶ Sayyeshaa Saigal as a diplomat, does fine for her Bollywood debut. (She is already a renowned name in Tollywood.) 

▶ Vir Das has been roped in as an "Ethical Hacker" for the sake of comic relief and he proves his mettle once again through his perfect timing and killer expressions.

▶ Girish Kamad as the diplomat's father does an impressive job in whatever little role he's been given. (Although his character seems unnecessary.)

▶Saurabh Shukla as the chairman of Indian Ambassy in Bulgaria has a screentime of merely 5 minutes with dialogues somewhat like :

"Shakkal se firangi ho, par dil se ekdum Hindustani. Ghoos kaha deni hai sab jaanti ho." *sighs*

⏩ Watch or Not? Definitely. Shivaay deserves a watch for it's visual appeal, perfect soundtrack and powerpacked performance by Ajay and the cute kid.

⏩ Personal Note – It's indeed disturbing to learn about the paid propaganda unleashed by a lobby to demean a groundbreaking film like Shivaay! Don't go by the critics this time, you know who is funding them. No offense. *winks*

⏩ Verdict – With crisper editing and less melodrama, Shivaay could’ve been the best of the year. But it sure as hell, is worth all your money and time. So grab a popcorn and enjoy the visual canvas that Shivaay is. ❤

⏩ Ratings :- 3.5/5

🙏 Har Har Mahadev. 🙏

Happy Diwali and a prosperous New Year. 💁

Ae Dil Hai Mushkil - Waqayi, Yeh Movie Hai Mushkil

Ae Dil Hai Mushkil (ADHM) has been one of the most awaited movies this year.

The film’s teaser, trailer and songs have already been a hit amongst the audience. After a lot of controversies, ADHM has finally hit theatres yesterday. 

Let's take a look at how we found it. 

⏩ Genre :- Romance/Drama/Musical.

⏩ Runtime :- 2 hrs 38 mins.

⏩ Cast :- Ranbir Kapoor, Anushka Sharma, Aishwarya Rai Bachchan, Fawad Khan.

⏩ Director :- Karan Johar.

⏩ Plot -  Ayan (Ranbir) and Alizeh (Anushka) start off as friends, both coming off breakups, one a serious relationship while the other a casual affair. Eventually, Ayan falls for Alizeh while what Alizeh feels for him is not "Ishq wala" but "Dosti wala" love. Fawad Khan (DJ Ali), Alizeh's ex, begs her to give their relationship another chance resulting in marriage. A heartbroken Ayan finds lust in the arms of a divorced poet Sabah (Aishwarya) who convinces him for a "No Strings Attached" relationship. But Ayan still loves Alizeh and turns into Justin Bieber. Things get seriously complicated in the second half and... (Well, I know what you are thinking - "Isn't this complicated enough?" No. There's more to it.) Ayan gets transformed into the Ranbir from Tamasha while Aishwarya falls for him. Enter, SRK. Then there's some more drama. Few mellow songs. The end. (Deliberately written that to avoid giving away any spoilers. Thank me later.) 

⏩ Direction and Screenplay :- Karan Johar  surely knows how to tug at your heartstrings. Especially, when the target audience are Indians. The direction is top notch. Karan does an amazing job at ensuring that the pace never dulls, by painting in dialogues that keep you engaged. There are enough references to pop culture favs and films that we have grown watching and loving. (Yes. Most of which are his own.) Basically, the movie deals with the fine line between love and friendship and the fact that the former cannot be enforced. 

⏩ Editing and Cinematography :- 2 hrs 38 minutes is slightly more for a romantic film and that could have been avoided with a few cuts in the initial 15 minutes.

Well it's a Karan Johar movie, so it's pretty evident that the cinematography is going to be of top class. Like his every other movie ADHM is beautiful and glossy like a model from the cover of an A class mag. The movie has been shot in exotic locations like London, Paris and Vienna. Also, the majestic grandeur and simplicity of our 'Nawabo ka sheher' Lucknow has been depicted by shooting two song sequences there. 

⏩ Music :- The music by Pritam has already taken us into an euphoric high.

The soulful 'Channa Mereya', 'Ae Dil Hai Mushkil' and 'Bulleya' being absolute favourites. Also, 'Breakup Song' and 'Cutiepie' are peppy but good.

A big thumbs up for the background score which is scintillating and clever. Also, there is a very smooth transition from serious to funny scenes which is commendable. 

⏩ The Highs :-

▶ The first half is fun and the banter between Ranbir and Anushka is extremely engaging. 

▶ The highlight of the movie has to be the smart one-liners and jokes that too using words and language that's not only current but also entertaining. (It made me remember the friendly banters between the trio in Kal Ho Na Ho. Sweet.)

References to other films, dialogue-baazi namely the ones from the 80s makes you glee. 

▶ Johar does not season his film with supporting characters – Like no unnecessary best friend or overly protective parent or villain. 

Except for few cameos by his best friends.

Yes, We've SRK... And ek "ladki beautiful."

Guess? 

▶ Also, there are a lot of philosophies being thrown at you right from the beginning but you may very well connect with them.

A lot through shayris to be specific. 

Also, some lines are as good as an honest slap - Why go through it, when one can be friends: "Pyar mein junoon hai. Dosti mein sukoon hai." Corny, but true.

▶ Performances. Performances especially by the lead pair Kapoor-Sharma. They are so good you can't take your eyes off them.

▶ THE SONGS. THE COSTUMES. THE LOCATIONS. Need I say anything more? ❤

▶ The movie is so very relatable for people

who have been through heartbreaks or one sided relationships. 

⏩ The Lows :-

▶ In the second half, the scenes gets heavy on the head and that cloud of ‘been there seen that’ looms till the very end. We start getting Déjà Vus from different films like Tamasha, Katti Batti, YJHD to name a few.

Also, the filmy dialogues start irritating you by the end of the film. Not too much, but yes.

▶ The execution of the narrative gets lost in translation. By the end of the movie, you feel there are many unresolved feelings between the lead pair. Also, Aishwarya's character lacks depth. The reason of her divorce being unknown, her whole persona being a mystery till the end. 

▶ The lame twist in the end, annoys. Couldn’t there have been a better way to work it out? Can't we for once, make the reel-life scenarios like that of the real ones? Ffs.

Thousands of people live with their 'one sided' love story everyday. "Ek Tarfa Pyar Ki Keemat, Tum Kya Jaano Johar Baabu." *Pffts*

⏩ Performances :-

▶ Ranbir is the stand out performer of this movie. He owns Ayan like he’s felt every emotion of the character. Right from the long monologues to the short subtle reactions to his co-actors make his performance much more endearing. He is the soul of the movie. Plus, it’s an excellent return to form for him after a spate of failures recently.

▶ Anushka Sharma is so vivacious and vibrant, she keeps your eyes glued to her all the time. So much so that post-interval, you begin to miss her natural and unconstrained piece, even though the femme fatale Sabah (Aish) is in the centre. 

Stole your thunder, Aish! *smirks*

▶ Aishwarya 'Beautiful' Rai Bachchan looks like she’s strutted out of a beauty pageant with all the exaggerated movements of the hips and shoulders. Also at one point, you feel as if you are watching one of the Ads of a brand she endorses. 

(I maybe wrong, but the pouts, pucker, hair flips, eye rolls say otherwise. *Ahems* )

Speaking of her character Sabah, an alluring poetess, her moments with Ranbir have INTENSE sensuality and passion. But her role doesn’t go beyond what you see in the trailer. Also, was she high the whole while? Or maybe that's what was asked of her. Hmm. (I know most of you boys won't care about whatever has been written about her above. Even I would go watch her for her Oh-So-Beautiful features. Guilty. *drools*)

⏩PS - There is one confrontation scene between her and Ranbir, wherein she is all red and teary eyed - And mahn, her eyes speak volumes with minimal lines! *applauds*⏪

▶ Fawad 'Hot' Khan, as Anushka's ex boyfriend DJ Ali, is at his best!

⏩Cameos :

▶ Shah Rukh Khan too gets a small role and he cracks the most important dialogue of the film, “Ek tarfa pyaar ki takaat hi kuch aur hoti hai, wo auron ki tarah do logon mein nahi batt-ti. Sirf mera haq hai iss par. Sirf mera.” (I am not being racist but, Is he like... tanned? Or is that the standing-next-to-Aish effect? Go figure.)

▶ Lisa Haydon as Ranbir's fling nails the tiny role she's been given. She is funny as hell. Also, the word "Vatavaran" is soon going to be a catch phrase amongst youngsters. 

▶ Imran Abbas ('Mohabbat barsa dena tu' fame) as Anushka's date does a fine job too.

⏩ Watch or Not? - ADHM is basically a love child of Kal Ho Na Ho and Kuch Kuch Hota Hain. Therefore, if you are a sucker for TYPICAL, good, soppy romantic comedies book your tickets rightaway!

⏩ Verdict :- Ae Dil Hai Mushkil has some really nice moments, but they suffer the curse of an over complex second half. Nevertheless watch it for Ranbir and Anushka, and Karan’s nearly perfect interpretation of platonic love, unrequited love and heartbreaks.

⏩ Ratings :- 3/5.

Mirzya - Movie Review. More Show, Less Say. ❤

▶ Genre :- Period Romance / Drama / Art

▶ Runtime :- 2 hrs 15 mins.

▶ Cast :- Harshvardhan Kapoor, Saiyami Kher, Anuj Chaudhari, K.K.Raina, Om Puri, Art Malik and Anjali Patil.

▶ Director :- Rakeysh Omprakash Mehra.

⏩ Plot :- Mirzya is based on the folktale of Mirza-Sahibaan. The film is based on two different eras. One, where Mirza tries to win Sahibaan by competing with her brothers. And in the present time, Monish(Adil) tries to rekindle the romance with his childhood love Soochi, after an incident in their childhood did them apart; while Soochi's fiancée Karan and her fam tries hard to drag him down.

*WARNING : MIRZYA ISN'T FOR THE MASSES. THIS MOVIE IS HIGHLY FOR A NICHE AUDIENCE WHO UNDERSTANDS AND ARE A FAN OF ART FILMS.*

⏩ Direction :- Rakeysh Omprakash Mehra has given us beautiful films like Rang De Basanti (One of the best films of Bollywood so far) and Bhaag Milkha Bhaag. And he awes us with his style of story-telling with Mirzya. It seems like a work of art in motion that is beautifully painted onto the white canvas of our theatres. Too much of hard work has been put into the direction, especially those done in Ladakh. And the result is a visual spectacle. The transaction between the two eras has been done smoothly. Rakeysh has risked the commercial aspect of this movie – adding an artistic angle by emoting the happenings in the lives of Monish and Soochi through Rajasthani folk-dance.
The way the camera just hovers over the sand dunes and the road for that matter, is aesthetically pleasing.

⏩ Editing and Cinematography :- The editing is top notch. Although the movie is slow-paced, one doesn't get bored because of the sleek editing. A special mention to Cinematographer Pawel Dyllus - Take a bow! Dyllus has soaked the past era in a shiny iron-grayish tone whereas he has glazed the present with blazing sun and brownish orange. Especially the lush landscapes in Ladakh and the huge palace proves his spirit in the work.

⏩ Screenplay/Writer - The expectations were soaring high considering the screenplay was written by the man himself, Gulzar. The man who can make silences convey more than words. The lyrical narrative with metaphors like Rajasthani folk-dance as a background for Monish-Soochi's love story is soooo captivating. But the story buildup is poor and that is where Mirzya falls flat. In this 135 minutes film, there is hardly any moment where the passionate love story touches your soul. It's wavering on the surface with little to less emotions. It's like the base of the building itself is shaky. Kya Gulzar Sahab, Shakespeare would be so disappointed. *Sighs*

⏩ Music : Music is one of the best and effective elements here. Shankar-Ehsaan-Loy have poured their heart into making this music of this film. The melodies and the instrumentation are so very beautiful. Also, the rendition of title track by Daler Mehendi coupled with powerfully evocative lyrics gets you every time.

⏩ The Highs :
▶ Rakeysh Omprakash Mehra has presented the age old story in new brackets like the stretch of snow against that of sand; the bow and arrows against the guns.

▶ The film plays out like a highly stylised, spectacular Broadway musical, it’s as though you are witnessing larger than life theatre on a 70 mm screen.You can actually see the film in its soundtrack alone. This remains the main stay of the film.

▶ Mehra's presentation of Mirza-Sahibaan’s saga, one of India's most famous folklores is stunning. He nails it every manner. But he takes a backseat with its portrayal in the present times.

▶ Gulzar, who is back to giving Screenplay after 17 years chooses voice-over and a group of tribal men-women who wear colourful clothes and dance to songs reflecting the protagonists’ mental states. And it works.

▶ There is one scene, just one scene where we actually connect – when these two lovers look at each other, look into each other’s eyes, and break out in laughter, telling us that they are delighting in each other’s presence. It's beautiful.

▶ There is very little chest thumping and dialogue baazi and no item song or gimmick to make the film appeal to a broader audience. And the promos have been indicative of the texture and fabric of Mirzya. A risk taken here, is commendable.

▶ The performances are brilliant. The new pair is as fresh and beautiful as a daisy. In the given screentime, everyone's performances are remarkable.

⏩ The Lows :
▶ The filmmaker doesn't try to add his own tadka by breaking down the feudalism or the power over the women in the society, but simply accept the story as it is. Maybe one couldn't connect to the whole plot because there was nothing new.

▶ You can actually see the film in its soundtrack alone. For some places it also acts as a takeaway because then, there is room for just few dialogues.

▶ Unlike his other films, here, Mehra has highly focused on its craft instead of the story that's why the viewers can't connect.

▶ Just like a dialogue in the movie where a character quotes Romeo's monologue on Juliet : "She speaks yet says nothing," this movie speaks louder than words (with all the visuals and music), but alas, says nothing. (When it comes to dialogues.)

▶ It's highly disappointing as to why the antagonist (Karan) is given more lines than our protagonists.

⏩ Performances :
▶ Harshvardhan Kapoor could've got a better break than Mirzya. This Kapoor lad is full of potential. (unlike his sister. *coughs*) He shined in the few lines he got and appears to have a quiet spark which may surface after some more refining and grooming. From his debut film, we can surely say, he's here to stay. And yes, he comes out as a better actor than the leading lady. Points for that.

▶ Saiyami Kher is like a breath of fresh air in Bollywood with her natural beauty and perfect curls. Her character Soochi is a challenging one wherein she has to be bright, mischievous, impulsive, sensible and volatile at the same time, for her heart is hanging between two men. And she manages pull off the role brilliantly.

▶ Anuj Chaudhari as the estranged fiancée is great with his emotions and delivery. The way is depicts the idea of a person who can risk his own life for the lady-love and at the same time, kill the lady's love is beyond excellence.

▶ Art Malik as the Shakespeare spewed father is good at times, but for most of the time his dialogues seem jarring and inaudible. Miscast.

▶ K.K.Raina as the majesty is just fine.

▶ Anjali Patil as the girl who knows Mirza's soul, is magnificent.

▶ Om Puri gets lost somewhere in the middle of the film and the maker doesn't bother to bring him up. But for the little to no role that he has, including the narration at the beginning of the film he does full justice.

⏩ Watch or Not? - Yes, for the people who loves poetry and art films, theatre; this film is just for you. And for those who love sparkling love stories, this may make you yawn. Decide.

⏩ Verdict : I am still aweing at the visual spectacle this film is. It's a heartbreakingly beautiful poem coupled with beautiful performances. Thank you Mr. Mehra, for pushing the boundaries and making this film.

▶ Ratings - 3.3/5

🙏 PRIZMI TRIPATHI 🙏