Saiyaara

 As the lead song echoes in my mind, I can’t stop admiring the intense and loud emotions that this film evokes. A must watch film, Saiyaara transports us into a world of love that can rarely be experienced. Explosive, consuming, heart churning love that might not exist and even if it does is very rare. The film gives us a well deserved break from reality and allows us to immerse, deeply, into love utopia that I am sure many experience but cannot express it. The provocative script, tight narrative and brilliant cinematography charges the film taking to a level of an immense energy. The expression that the director and the writer bring forth evokes feelings that are original. As original as the acting of Ayaan Pandey and Aneet Padda who have presented their true raw selves in portraying Krish and Vaani. 

We finally have a film that is pulling crowds back to the theatre in thousands. The scale of the film is huge and can be thoroughly enjoyed only on the big screen. The most prominent element of the film that gets you is the music. From the first tune to the last, the music stirs the soul. The title song does complete justice to the film and the story as it carries the audience into the deep ravines of the strongest emotion.

Of all the music themed films, Saiyaara is by far the most original one. The film has been made with serious attention to detail having just one agenda. The elements of the film, the acting, the music, the story, script and cinematography merge beautifully to rise the film like a phoenix. Manali, Alibaug and Mumbai can be as splendid as Europen locales.

A must watch ! that too on the big screen ! Netflix will not be able to do justice. 

Rating - 4.5 / 5

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

Jhund

One word that comes to my mind after watching this film is 'threshold'. The dictionary meaning of 'threshold' is :

Threshold: The magnitude or intensity that must be exceeded for a certain reaction, phenomenon, result, or condition to occur to be manifested. 

The trailer gives away the essence of the story. If you have watched it you will see that it is about a bunch of underprivileged kids prone to crime due to their circumstances. A sports teacher (#Amitabh Bachan) finds a way to channel their energies into something more productive, like football. The devil that had its roots deep into the troubled, impoverished, and depressed minds, was slowly thrown out root and stem. The once idle minds were now basking in the more positive light of sports and competition that ignited the machines of its workshop with purpose, meaning, and an outlet for youthful energies. We have seen several films in Hollywood with the same storyline. An influential kind teacher changes the lives of the impoverished through lessons of life to be good and creates positivity so they cross their threshold of negativity and emerge as heroes. Here too, like Gandalf from Lord of The Rings, Mr Bachan's enigma as Vijay Borade creates magic that turns devils to sportsmen. 

The first half is very predictable and one wonders if there is anything else the film can offer other than funny one-liners in tapori language and gunda gardi. But the second half changes seriously. It is the real struggle of these kids desperately breaking the chains that hold them back to cross their threshold. To overcome limits set not just by circmstances but also the ones that society heavily weighing them down. They fight to emerge from their misery in the downtrodden bastis and scavenging lives. And its not the story of kids from just one basti. The revolution spreads on all over the country engaging talent in basti football tournament. 

Nagraj Manjule created Jhund in his true style engaging a non-filmy cast to play real and authentic roles peeling away layers of pretense, stardom, and glamour. But has he overdone it this time ? The film edges on becoming a documentary as some parts lose the mainsteam cinematic sheen. In Sairat, he managed to strike a perfect balance between hardcore village dynamics with cinematic mastery; in Jhund there are a few gaps.  Ankush Gedam's performance as 'Don'/Ankush is the most noteworthy aspect of the film and we can see a star being born. I hope justice is done to his talent and performance.

A good family watch. 

Rating  3.5 / 5

Gangubai Kathiawadi

#Gangubai Kathiwadi is a biopic based on the life of a brothel owner and leader from the 1960s. It celebrates the bravado and badassery of Ganga who became #Gangubai in Kamatipura, Mumbai. This famous red light area has gained popularity in Bollywood as the mecca of Mumbai's underbelly.  In the quintessential Sanjay Leela Bhansali style the sets, costumes, and the grandiose of Kamatipura, catch your attention and stay on till the last frame. The subdued backgrounds from the 1960s are in sync with the tone of the depressing lives of prostitutes then. And #AliaBhatt in white is the shining glimmer of hope, the grand hero of the film dominating every dark frame in spotless white saree. The film revolves around Gangubai and her grandiose, over two hours, making her the Amitabh Bachan of Kamatipura.

The film depicts the depressing lives of prostitutes in the 1960's who faced exploitation, abuse and were shunned by society at large. Gangubai rises like a phoenix to fight it, giving sex workers an identity and claim. She fights for their safety and dignity as their leader and champions for their civil rights. Why should a woman who is stripped of her dignity and respect withhold her tongue? Why should a woman who relieves a man of his lust be ashamed of what she does when he isn't? Why should she carry the burden of morality when it is actually the men who are losing it ? Fearless and unabashed, Gangubai makes men dance to her music, beating them in their own game with cocky one-liners; kicks, and punches even.  The dialogues and their delivery are the cornerstones in the entire story, delivered by the godmother of thousands of sex workers.

 The single obsession with Gangubai can be a drag but there is some respite in Alia's performance. I was convinced that choosing Alia for Gangubai was a big mistake. How can someone so pretty and clean justify the role of a harsh, tough sex worker? But she has proved to not just give a striking performance but also fill up the gaps and inconsistencies in the story. 

Rating ; 3.5 / 5

Panghrun

#Panghrun means a blanket in Marathi, symbolically used at the end of the film that changes everyone's lives. Laxmi is a child widow who loves ballet and wants to marry a British officer in his shining uniform. Alas, she is remarried to an elderly widower priest so she can take care of his daughters.  Set in a small village in Konkan Maharashtra during pre-independance period this film is a poignant narration of the desires of a young girl suppressed and asphyxiated by #misogyny and #patriarchy.  She is supposed to be happy for being remarried and have her hair intact (widow's heads were shaven). It didn't matter that her older husband was still mourning his dead wife and showed no interest in Laxmi.

In such a scenario discussing the carnal desires of a woman is unthinkable. Is she supposed to suppress her desires and emotions?  Shouldn't a woman desire a man, her own husband in fact, as much as any man who desires a woman? And what will the consequences be when she can't control her urges ? 

#Panghrun deals with these dense, complicated (man-made) issues beautifully through slow-paced heavy narration. Every scene carries a heavy burden of the intense conflict between desire and morality. Adorned by meaningful kirtans, carrying a message for every incident, the film carries a soulful and ethereal tone throughout. Though it may seem slow to most of us living in the digital age, every scene and frame carries so many dimensions to it conveyed perfectly by radiant acting and picturization. I have never experienced such burden within the undertones of every scene in any film. It had to be slow to be able to absorb all of it frame by frame and dialogue by dialogue. Gauri Ingavle's performance has left me speechless. She has conveyed Laxmi's turmoil creatively, while Rohit Phalke does great justice to his role. The dramatic ending made me very emotional. One can expect this only from a #Marathi film. 

Rating - 4 / 5

Badhai Do

 

Badhai Do is another valiant effort for acceptance of the LGBTQIA++ community by cis het folk.  This film is based on the concept of Marraige of Convinience often considered as a means of hoodwinking the hetero society to escape homophobia and the gross discrimination and hate that follows it. A queer man and a woman decide to get married to satisfy the socio-cultural hetero norms to please their family, community, and society outside their bedrooms. They live their seperate homosexual lives so as to create this "win-win" situation so all parties are happy. 

In this premise, Badhai Do uses the unusual arrangement and the events that occur within it to create humor and entertainment. The film makes most of the situation by bringing out difficult details of two individuals with different mindsets trying to make it work for everyone outside their lives but themselves. The conflicting gender based roles within the construct of a hetero family, the sharing of expenses, answers to be given to the society at large for their partners, and the pretense of being a couple to look "normal" and be accepted: it's all there.

 No doubt the script is sharp with perfect dialogues timed immaculately. But personally, I felt a strange sense of melancholy throughout the film. Issues like the effort, mental and psychological trauma, the acting and pretense, and denial to be oneself of the two gay people are just not taken into account. Both the lead actors are straight, obviously, so that sense of deprivation, suffocation and suffering is just not being realised. It's as if a straight guy and straight girl are sharing an apartment. This is deeply disturbing because the film uses humor at the expense of two lives that are not really living and breathing as they should. Also, even in such an arrangement, somehow, god knows how, but somehow, the woman is suffering more than the man. Though both of them are queer, patriarchy will not let go no matter what the circmstance is.

I dont see why there is such a monumental effort,yet again, in another queer hindi film, to beg for acceptance. The arguments of commercial viability and social entertainment seem important. But will a straight man live and pretend to be gay and stay with another straight man ? Will two cis het women be able to do it ? If that can't even be imagined, then how is it possible for two queer individuals ? Exactly when is this toxic nonsense going to end ? And the grand ending of acceptance and happily ever after is infuriating.

Good effort by the cast and bla bla bla .............Whatever.....No Badhaai here..... 

Its high time India knows everything it has to about LGBTQIA++ and moves on to live and let live. They don't get the luxury of getting convinced. Enough time and effort has gone into this. ENOUGH. 

Chandigarh Kare Ishq

 

Abhishek Kapoor takes a huge risk in making an in-your-face film. The story is about the life of male-to- female transgender in a highly misogynistic and patriarchal region of India. Moreover, the lead male is a bodybuilder, which is a testosterone-driven, macho, and chauvinistic profession. The film plays out in these circumstances and situations giving the maker a lot to work with. Manu (Ayushmann) has two sisters who are big advocates of patriarchy, and for the first time, women who are visciously heteronormative.

In my personal experience, North India is seriously homophobic. The fear and anxiety related to flexibility of gender and sexual orientation are very deep compared to the southern regions of India. And this can be witnessed throughout the film. The film does an amazing job of bringing this out in the open and creating awareness about gender dysmorphia and gender/sexual fluidity. Though Manu's character lived up to its expectations, Manvi's character seemed somewhat inconfident and tepid. The deadly pounding of masculine chauvinistic punches could have been fought back with equal aggression. This could've sent a strong message balancing the guilt-driven psyche of transgenderism. 

Ayushmann knows his niche and strong suit extremely well and uses it in film after film. He is industry's  most intelligent strategist and actor in the way he chooses roles and scripts. Kudos to Vaani in looking, playing and being the part of Manvi - the cast director has hit the bull's eye. The film had to end in a dramatic way as it is a hindi film which was not really necessary. A simlpe sweet thoghtful ending would have continued the main tone of the film. A film important for Indians, especially the law makers. 

Rating  3.5 / 5

Beyto (2020)

This film is about "Beyto" a young swimmer whose family has immigrated to Switzerland from Turkey. A hard working computer science student and a professional swimmer, Beyto is the quintessential"perfect" son any parent would want. But as always, perfect sons are more often than not ....? You are right - gay. And his parents are as orthodox as they come, for they don't want to benefit the country they migrated to. They are loyal to their own country even though they have left it to enjoy greener pastures. And you can only imagine the fate of Beyto. The fact that they trick their own prodigal son after knowing that he is gay is proof enough of the deep dense prejudice and homophobia. Like a pig for slaughter, Beyto becomes a victim of a dupe planned by his own parents. 

What follows is gut wrenching, heart wrenching and edgy as we witness acute hatred for gays in the Arabic world.  Burak Ates will not only make you mad with desire but will make you fall in love with Beyto as he gives a controlled and complete performance. 

The film has a unique and satisfying ending that will surely appease the audience.

Hawaii (2013)

 In the sea of intense series and films, with strong dialogues and racy stories, watching Hawaii is like meditation. Like a beautiful wildflower slowly blooming in the grassy meadow, this film calms the mind and refreshes it with its tranquillity. This story of two men who become friends and later, fall in love, is simple and serene. Based in Argentina, a homeless young man comes back to the town where he grew up, looking for his relatives. But on discovering that they don't live in the town he is forced to live like a hippie. He then stumbles on his childhood friend Eugenio, who is kind to him and offers him work and stay. Though most of the film is very quiet with a very simple direction following the daily lives of these two decent young men, the director very delicately unfolds the feelings that develop between these two friends. After being used to intense storylines, nail-biting suspense, and hard-hitting scenes and dialogues, Hawaii will rejuvenate the harrowed mind of the film buff. The silences with very little dialogue and the simple being of the characters in every frame are such a welcome change. In strong contrast to most gay films where the sexual tension is the elementary part of the storytelling, Hawaii barely uses it in the storyline. More than the attraction, the longing, and togetherness of these two souls unfolds beautifully. The attraction that both feel is subtly yet distinctly portrayed. This is just the kind of story the gay community the world over needs. Where sexual obsession is replaced by the delicateness of feelings, emotions, and companionship. The happily ever after is when Eugenio conveys his feelings to Martin in an innocent deed that warms you up and fills the heart.

#hawaii2013 #filmreview

The Married Woman

 A Married Woman is based on Manju Kapoor's book with the same title. I haven't read the book but I can say with confidence that it is a very good one. I will definitely say that this is one of the best Indian web series I have watched so far. I rank it amongst the top series with Asur and Made in Heaven. Maybe because it is an adaptation of the book, the makers were able to write a series of such depth and meaning and execute it to perfection. The characters are mature and complete. The narrative is fierce, intense yet deeply emotional. 

There are two worlds in this story and the characters from both worlds sort of confront each other through the eight episodes. Two ideologies, traditions vs modernism, battling it out through characters that are fierce advocates of their respective ideologies makes the series compelling and engrossing. One looks forward to the interactions and sort of underlying debates that go on in superb articulate dialogues. In the backdrop of serious communal conflict and in a conservative India which still did not permit unconventional love, these various conflicts have been used to tell a love story that blossoms beautifully. On one side we have the Indian culture manual following family, as opposed to free-thinking characters who do not believe in any boundaries, some of them fall prey to religious fanaticism. And one person is stuck between the two worlds pulled by societal chains on one side and self-realizing freedom on the other. All of this is communicated not only through dialogue but every element including the costume and design. And they are interspersed with urdu shayari that give you goosebumps. This is one of those series in which some dialogues will always be remembered. 

"For the first time in my life, I experienced freedom. Wife, Teacher, Hindu, Muslim, Punjabi, these man-made identities, he removed all these and saw me for who I am. I saw myself in his eyes. Free. " 

"You opened your heart completely in the very first meet. Totally bare with all the cracks"

The concept of pansexuality in itself is a new idea even for people of alternate sexuality. For once, it was not so much about sexuality, but about love, bonding, and companionship. 

Riddhi Dogra has given a stupendous performance. She is controlled, courageous and brilliant in every scene. Monica looks effortless on the screen but I am not sure if the work was. She has a presence on the screen that fits the character of Peeplika like a glove. Exception yet natural storytelling makes this series a must-watch. Kudos to writers Jaya Misra, Surabhi Sarat, and Aparna Nadig. 

Rating : 4.25 / 5 

His Storyy

                              

The number of gay men married to women in India is huge. They did this to escape social bigotry. Homophobia in India, and all over the world, is so prevalent even today that most of the LGBTQ ++ community doesn't have a choice but to suppress and suffer in silence. Imagine if you couldn't date and be in relationships freely. You had to keep pretending that you are a different person than what you are. And all this so people don't hate you. They don't bully, target, and malign you as they please.  It's even difficult to imagine that. And while doing all this you get suffocated and snubbed by your own self asking you to be careful of what you say, how you say it, when you say it and to whom you speak to. And you continue this existence and get married to a woman to fulfill the world's expectations and one cannot begin to imagine that life after marriage. 

Indians live socially complex lives. Even in the so-called elite, well-educated, champagne-drinking, gourmet food, wealthy businessmen, and eclectic food critics, scenario our lives are complicated because we live them in our relationships. Homophobia, body shaming, bigotry, and misogyny see no class, pedigree, or education. They infect and decompose even the upper crust. 

This is the essence of "His Storyy" the new gay love story series on ALTBalaji. The series deals with the emotions of every character involved in the life of a gay man married to a woman, in a very evolved manner. It is complete in the sense that it has all the imaginable parts of an Indian gay story. The revelation of the catastrophe so to say and the emotional coping of every person connected to the gay protagonist is depicted superbly. 

This story has all the ingredients one can expect. We have the toxic masculinity, the misogyny, elite successful women, the closeted gay teenager and his fag hag, the married gay man, and his faithful loving wife. They all have been tossed in to make this spread of several course gourmet meals in an elitist restaurateur background with the gorgeous food critic. But somehow the food tastes undercooked. The toxicity is overwhelming.  The corporate-like formality in many scenes leaves a dry palate. It seems as if the chef had the right ingredients but hasn't done justice to them.

The characterization is jumpy and jerky, The storyline is full of cliches and completely detached. I am not sure if the audience will connect to the series as a whole. The gay couple seems very plastic and passionless. They seem to be trying very hard to appear masculine for a gay story.  Were the makers playing safe by choosing a high society set-up? Is it easier for the well-educated to accept alternate choices? Isn't the story of the gay married man too plain and linear? Doesn't it need more depth and intensity? These are a few questions I have for the writer and director. 

#hisstoryy #gayseries #altbalaji #zee5 #critic #seriesreview #lgbtgseries #lgbt

Rating : 3 / 5

The Serpent

After a long time, I had a nail-biting experience while watching something. Riveting and absorbing, 'The Serpent' presents the modus operandi of Charles Sobhraj, a serial killer whose victims were hippies traveling through southeast Asia during the hippie movement in an interesting chronological narrative. It is amazing how the makers have made the story thrilling even though it vacillates between two different timelines. It can be a bit confusing as most of the time we are used to just a few flashbacks in a story. But here the entire series happens that way but once you get used to it, it's quite gripping. What makes the show that good is the exceptional performances of Tahir Rahim as the protagonist Charles Sobhraj. The ice-cold, vane ruthlessness that Tahir brings is pivotal to the whole series. He is one of the perfect avatars of portrayal of evil as the central character of the plot. Billy Howle as Knippenberg is the counter to balance out Charles. His depiction of the obsession with Charles is admirable. The cat and mouse chase between these two across the Asian hippie route is kind of exotic and exciting to follow. I always wondered how the hippie culture/ movement could have been and this series definitely gives us a taste of it. Must watch!

Ajeeb Daastaans

Four different stories combined into one film. Majnu, Khilauna, Geeli Pucchi, Ankahi.Four new experiences in Indian cinema. It's as if a new threshold has been crossed in filmmaking and storytelling. Each story has a distinct personality of its own. The only thing in common is they all have a twist in the end. It reminds me of Jeffrey Archers' short story collection 'A twist in the tail'. Our lives are not linear but quite complicated. And the relationships that shape our lives have many layers. Though they are not uncovered we live inside these layers of complex thoughts and emotions. It is not always easy to interpret all of the emotions and feelings. This is what makes for real stories hidden in each of our lives. Ajeeb Daastaans tries to unearth and peel these layers in its stories. It is very plausible to see our lives in these stories because all these stories are inspired by real life. The suffering of a gay man and his wife, the oppression and suppression of a lesbian backward caste woman, a dystopic story of two sisters, and a story about the emotions of the deaf and mute, the film tries to unearth the complex character of loss and gain in human lives. Nushrat Bharucha, Konana Sen Sharma, and Jaideep Ahlawat deserve special mention for their exceptional performances. Kudos to the four directors to present this story in this interesting format and having a common theme in very different and original stories.

Rating - 4 / 5

Tribhanga

 

Marathi performing arts have the unique character of simple stories presented with great profundity. Their no-frills nature makes way for intense and stoic storytelling. The works offer the audience deep meaning and poignant experiences. Tribhanga has both Marathi and Hindi dialogues but the soul of the film is essentially Marathi. Cinema in India across languages and borders is celebrating womanhood and breaking shackles of misogyny and patriarchy. Tribhanga is one such story that celebrates womanhood in her independent and pioneering avatar. A story of three generations of women, this film delves deep into the emotions and sentiments of the mother-daughter relationship. Often children resent certain aspects of their parents and through their life, decide to not repeat the mistakes their parents made. By doing so they feel they will protect their own children from the chaos and suffering they have been through. But more often than not they end up making the same mistakes and the cycle continues. This goes on to say that resentment and guilt always trap us into a vicious cycle. The only escape from it is to forgive and let go. 

Tribhanga is also the story of women who chose to live life on their own terms. While doing that they spend most of their lives overcoming the conforms of society. A woman who chose to be single and have multiple partners was accused of being promiscuous. Another had to deal with the responsibilities of a family coming in the way of her work and passion. We often celebrate women who manage to have a career and home and do the "balancing" act successfully. But why do their lives have to be such a struggle? Why cant their lives be as easy as a man's who is able to realize his work and passion without the anguish and difficulty that a woman in his place has to? Hopefully, things are changing in the 21st century. Like I said earlier, this is a wonderful film that spells out smaller nuances of womanhood through great dialogue and masterful storytelling.

This is a great piece of work by Renka Shahane as she has done it by choosing the perfect cast. Kajol is at her expected best as Anu; a master at her craft steering the ship with great aplomb. Tanvi Azmi has gives her best as another lead of this film. Mithila is sweet and adorable completing the experience of the film.

Rating - 3.9 / 5