Heeramandi

                                  

The tune of Sakala Bana is still ringing in my head. I will always reminisce about the picture of mustard gowns performing soulful music. The beauty of the courtesans in Heeramandi is multiplied several times in the royal couture and precious jewelry. The series is an epic narrative in true Sanjay Leela Bhansali style. Gripping from the first frame to the last, Heermandi is a testament to the glorious past of the Indian subcontinent where courtesans were respected admired and feared for their talent. As poets and musicians they mesmerized their audience with their head held high in a society that admired them. And just like everything else. the British destroyed an important part of our rich heritage. 

Sanjay Leela Bhansali does it again as he celebrates the grandeur and magnificence of Lahore. With the gorgeous sets, and the beautiful men and women adorned in royal get-ups, Heeramandi is a visual exravaganza. If only I could watch this series on the large

screen, everything about it would have a grander reception there. And to top all that up with a gripping narrative and plot, it is just too perfect. The one-liners and dialogues will be used by many as they are complete and final in themselves. I am constantly reminded of Devdas when I think about Heeramandi. The series is as magnificent and has achieved the same grandeur inspite of the gloomy frames and dull tapestry as the lead women shine out like diamonds.The many tales and stories interspersed and woven into each other like the precious handwoven gowns the courtesans wear, is a rare and original experience. So many tales and facts within the stories are said yet unsaid. That is shown yet held back. This is the real essence of the series which is in tandem with the times when the courtesans ruled the hearts of Lahore. 

Manisha Koirala has successfully balanced the ruthless, powerful yet poised classy avatar of Mallikajaan. Sonakshi finally gets her due as she lights up the show with her grand aura and great performance. The tense and posed Aditi Hydari as Bibbo knows her craft well and Sharmin Segal is like the Id ka chaand.

My only complaint iss that the last episode was a bit abrupt and there could have been some build-up. Otherwise, this series is something we should celebrate for a long time. \

Rating - 4/5

Made In Heaven S2

 

“Hamari society bimaar hai”. Our society is unwell. This sentence sums up the entire Made In Heaven S2. A very emotional scene where a mother is correcting her son instead of the girl he abused and exploited. Like someone said. In India, it is not the girl that needs to be saved. But it is our boys who need the saving. Every episode of season 2 uproots the patriarchy and misogyny deep within us and peels it open layer by layer. As if patriarchy and misogyny are skin diseases that are hidden behind the healthy glowing skin but as you peel the outer layer and the rot begins to show the sight is unbearable and the stench is fatal. And in those gorgeous frames that look like a vintage European painting, behind the royal rich pristine faces deep inside the heart and mind, are archaic ideas of morals and ethics that are so deeply rooted that we have only just begun noticing them. And already their hideousness is unbearable. Casteism, Polygamy, Homophobia, Ageism, Body shaming, Transphobia, and ultimately women abuse are deeply rooted inside us, capturing body mind, and soul. Every wedding uncovers them in the thoughts, ideas, words, and actions as Tara and Karan maneuver them trying their best to unite two souls balancing many moral compasses.

MIH S2 is very intimate. I felt close to the characters. I could feel their souls. I could see their wounds. The season is all about these wounds. Flesh wounds that are still fresh, raw, and gross to the naked eye. As the lead and supporting characters dress their wounds and drown the pain, their tears and screams can be heard. The pain is felt and it is raw. For it is not in the good times and laughter that the true person is seen but it is in pain, sorrow and defeat that the true character emerges. Dignity is not how well we jump in joy but it is how high we bounce back when down. Upholding the women power flag high the season and every episode in it sounds the gong for equality and freedom loud and clear. And it does this with pomp, style and class.

Tara is a vision in every frame. She is the priced trophy of MIH that shines like a diamond. Stands out in every gorgeous backdrop. She is the pride of the series, the Tara that glitters and sparkles. Behind that killing beauty is a lethal soul that will always get what it wants. No compromises. Period! 

Karan Karan Karan !! OMG! What have you done?! Arjun brings out every ounce of emotion hidden in him to display the pain and sorrow that Karan feels. The suffering, anxiety, and a mixed concoction of love, acceptance, denial, and rejection swirl in him like a cyclone that could have destroyed him. Alas, it didn’t. Oh, the perils of being a homosexual. I don’t know how many can even begin to fathom what it is like to have a mother who doesn’t accept you! Can you imagine that? Well, gay people have to live it. And yet love, respect and take care of their parents. Those parents who disapprove, hide their faces in shame and curse you only for being yourself. Is it really surprising why so many gay men marry women? Die partially in the process and get blamed for destroying an innocent life? Why? For acceptance! And that’s just one part of being gay. Let us digest at least this much. Arjun deserves an award. Hands down. Ethereal. Superlative. Delectable performance. He has outdone himself. With the poise and emotional control of a surgeon.

Trinetra Haldar does not seem to be in her debut performance. She looks like a pro depicting the first transgender character with great aplomb and confidence. A doctor in real life, Trinetra does justice to the state of transgenders in our society who despite being educated have to face hell and bigotry.

Phew. I am sure you know I am a huge fan of Made in Heaven. It is a truly international Indian series. This season has matched season 1 in every quarter, and it was a marvelous experience. WOW !

Who is bothered about rocky rani bunty babli and their toxic prem Kahani? I love the new age real Indian non-masala raw stories. No more tadka and masala thank you. Let's go with the wine and cheese vibe. The Five Noble Grapes, please.

The Kerala Story

After the dreadful saga from the extreme north of our country now, from the southern tip comes another extremist saga of excessive extremism in the excruciating exodus of our women. Kashmir files were very graphic and visually shocking. On the other hand, The Kerala story is mentally and psychologically painful and numbing. I have never seen a film have a numbing effect on its audience rendering it speechless. 

This true story of radicalization, and forced religious conversion of thousands of women shakes you to the core. The agenda, plots, and schemes to radicalize innocent young women influenced by barbaric philosophy is a rare experience in our modern evolved world. And hence it is hard to witness believe and digest. At some point during the film it creates an acute fear and anxiety towards a particular race and religion. And as we know the root cause of anger is always fear; it instigates a feeling of hate and anger too. But one has to come to senses and know that an entire people subscribing to a religion cannot be blamed for the terror created by a few. Terrorism has no religion. It is sad and cruel that only one religion has to take the blame and become almost a symbol for it. Terrorism exists universally irrespective of religion race or creed.  Women are raped murdered tortured and brutalized in regions dominated by other religions too. 

The biggest regret is that the law and order system is not doing its work. Silently blaming a religion instead of bringing the perpetrators to book exposes a hidden agenda and propaganda. Why isnt the police and judiciary coming down on radical elements operating under their noses strongly and arresting their growth? Why is the system not acting instead, investing so much in creating phobia against communities and religious groups? 

Although the story convincingly portrays radicalization, one wonders how anyone of a different faith is radicalized to the extent of abandoning emotional familial relations. But it is claimed that this is indeed happening. The effect that the narration has on the psyche is serious and profound. The heart-shattering story of innocent young women and their families makes the experience very emotional. The sadness and tragedy depicted are as grave as extreme joy and happiness. The savagery against women in the film is depressing and fatalistic. This film is an adult film and rightly so. It is definitely not meant for people below 18. And also not for sensitive adults

The Indian Predator - Season 3 - Murder in a Courthouse.

                                    

Though Indian Predator Season 1 and 2 were interesting, the experience of  Season 3 will be etched in our minds for a long time as one of the most unique shows. Everything about this series is originally Indian. The premise, the story, the narration, and even the direction.  The series is based on real life story of Aku Yadav who was lynched in a Nagpur courtroom by a mob of women. If that’s not interesting then I don’t now what is. I have watched many murder thrillers and psychological mysteries, mostly international. But this Indian story goes to show the wealth of content available in our culture that is yet to be explored.

It is a firsthand narrative of the victims who suffered 4 years of trauma by a rapist and murderer who preyed on lower caste, poor and oppressed residents of a slum dwelling in Nagpur. The audacious atrocity of a single man on an entire colony of Dalits goes to show the social tyranny of the scheduled castes and tribes. What made it worse is the support of the police and administration enjoyed by the predator leaving absolutely no hope for these people. With no food and water to live the victims were also in constant threat of violation of their dignity and life. The spine-chilling stories of helpless women giving a detailed account of every incident will shake the audience. To be constantly anxious for your life, to not know when you will be raped and cut like a piece of meat, is worse than hell itself.

In a land where goddesses are worshipped, sometimes even more than gods, with pomp and fervor, how is it that their women are raped, molested, and butchered like animals? But it is these same stories of Durga and Kali that inspire our women to attain the goddess’s avatars and end the atrocity. When the going got tough a whole community was enraged with vengeance. They came together to finish a Ravan who would never be punished in the decayed rotten justice system.  The bloodthirsty women ended the tyranny of a demon in a way that befitted his karma. The story narrates the account given by people on both sides. And the horrendous presence of the misogynist that lives in the Indian male’s mind is clearly depicted. In the end faith, for whatever its worth, was restored, leaving a glimmer of hope for the administration.

Rating – 4 / 5

Kanthara (Kannada)

We are often called a country of soothsayers and snake charmers. Our culture is known to be deeply influenced by spirituality, folklore, superstitions, and traditions arising from these beliefs. But no one realizes the richness and grandeur of the rituals and traditions emanating from those fables and folklore. And they are understood only by Indians because we grow up listening and experiencing them as they are embedded in our daily rituals, habits, and events. Kantara brings the story of such a mystic and ancient fable believed by tribals living in the deep dense forests of coastal Karnataka.

The legend of the Kanthara (meaning forest) happens in the deep, dense green forests of  Tulunadu, Karnataka. Marinated in the thick foliage and intoxicating misty thickets where a mystic ancient folklore of Bhoot Kola took birth and lives on. This story revolves around the regional deity "Panjurli" known by the indigenous tribals living there as "Daiva". The lives and homes of people on these lands are sacred and the people inhabiting them worship Daiva who offers them protection from evil forces that threaten to drive them away. The folklore says that whoever believes in the deity will be protected by him an avatar of Vishnu, one of the Hindu trinities.

To the present day, the protector and the evil both live on and the age-old tussle between the two continues for the rightful claim of the land. The deity is waiting to take its form in the protagonist Shiva who is a Kambala champion and darling of the village. His father who would be possessed by Daiva in a once-a-year "Kola" ritual has disappeared into the forest. It starts out with the legend of a king who donates the land to the tribals and leaves it under the protection of their Daiva. The story builds up with different characters playing their role representing all the human characteristics of humility, pride, humor, idiocy, treachery, self-service, deceit, manipulation, friendship, love, and belonging; each in different proportions. The richness of the culture expressed in the vibrant traditions, relationships, social and economic differences, caste differences, and hierarchies make for a very interesting and thoughtful experience. The complexities of the village ecosystem - the government, the indigenous people and their hero, and the manipulative, wealthy, and powerful fiend, that any Indian story has are all there and how !

It is a bold move made by Rishab Shetty to present a unique mystic story to an audience plagued by digital dominance with a short attention span. The elements of the story will seem boring to those deeply influenced by the western or cliched Punjabi and north Indian backdrops we are so used to. But the elements are original and rich so the audience tends to get interested and engrossed. For me, this film has the same effect that my father's narration of short clips from Ramayana and Mahabharata had on me as a child. The exoticism embedded deeply in divinity and spirituality is engrossing and entertaining.

The last scene will leave you enthralled and enraptured at the sheer theatrics and spectacular talent of Rishabh in a captivating performance. It is no less than the best Yakshagana you might have or will ever have the fortune to witness. Daiva's avatar is waiting to be unleashed and explodes to give a fitting closure to an epic film. Kannada films have finally arrived with original flavors and taste that they do not need to mimic other film industries anymore. Watching the film in Kannada made it a richer experience than a dubbed version. 

Rating : 4.3 / 5

#Kantara #kantarareview #rishabhshetty 

Runway 34

Runway 34 is based on a true story that happened on Aug 18th, 2015 when Jet Airways flight bound for Cochin from Doha had to make a blind landing amidst a storm. The Aviation disciplinary committee initiated action against the pilots for declaring a May Day (a life-threatening situation) in flight, which created controversy in the media. Ajay Devgan is an action hero and often his dialogues are in the form of kicks and punches. He is used to delivering suave one-liners with machismo and bravado - his typical characterizations in most of the films. Its not surprising that his film is an extension of his performing style.  

The first half is gripping since it has all of the action scenes with intense visuals and sound effects. The special effects quality is of international standards and gives a great experience of the real-time situation of the blind landing that happened. Ajay Devgan, expressionless, stoic, macho, uber confident, and the stallion, is at his best. With bare minimum dialogues and intense eyes, he plays the role of the protector captain perfectly. The flight has taken off successfully for the audience so far and the film is gripping.

The aftermath which is mainly the investigation of the pilots for the May Day declaration has been done poorly. Devgan has overplayed on AB's grandeur and screen presence. The entire attention seems to be on his body language and few enunciations of the minimal hollow dialogues. With an overemphasis on character building, the narrative is gone for a toss. By far the biggest disappointment lies in the fact that there is hardly any discussion (explanation) of what happened that fateful morning. There is no background, no argument, no scientific facts, and total disconnectedness. So much more could have been done in that investigating chamber. Boman Irani does lip service as a cunning billionaire. Immature, childish, and vacant, the second half is a tragic crash of the film.

Rating - 3 / 5

The Kashmir Files

The Kashmir Files is based on true events as narrated by displaced Kashmiri Pandits in the 1990 exodus (genocide) - claims the disclaimer at the start of the film. The cinematography creates a hostile, snowy, bitter cold and melancholic mood throughout. The passionate, almost aggressive story, narrates the barbaric massacre of thousands of docile Kashmiri pandits in 1990. The film's ambition is to give a voice to the Kashmiri pandit women and children who were raped and butchered like animals. The satanic and demonic avatar of Pakistani militants celebrating the brutal bloodshed mania sends a chill through the viewer's spine. The narrative connects the freedom movement of Kashmir instigated by Pakistani source, to the anti-establishment, agenda-driven, woke communist propaganda brewing deep within the walls of JNU in Delhi. Under the rhetoric of repression and victimhood, the story claims that extremists have a vitriolic propaganda to capture Kashmir via religious superiority. The apathy and silence of the then ruling government is the final nail in the coffins of the thousands of pandits who lost their homes forever. It also is said to have under-reported the number of deaths.

The narrative is deeply moving and poignant.  The character build-up of Krishna, a young pandit is intense. He is trying to find the truth about his parents who are lost during the exodus during which his emotions are played about by ideologies; ideologies that are trying hard to cover up his parent's slaughter. In his final revelation of truth, his speech describing the barbarism of Islamic tyrants slaughtering Hindu clergy to gain communal dominance will boil any Indian's patriotic blood.   The last scene shook the audience in the cinema hall by its core and the stillness was as if a bomb had just exploded. I won't forget this experience. Anupam Kher is a class act as the pivot of the film at the center of events. He is the unrelenting voice of the filmmaker.

Rating :- 4 / 5