Thappad

#FinalVerdict: AUDACIOUS

4 stars

Anubhav Sushila Sinha fits into that exceptional variety of film-makers that opens up thought-processes without losing the cinematic elements that constitute a film. Right from Mulk (2018) to Article 15 (2019), Anubhav Sinha's body of work stands out from the rest.

There are two kinds of films. One, which focuses on providing wholesome entertainment. And the other, that sets you thinking! Director Anubhav Sushila Sinha's Thappad belongs to the latter category, although it has its share of entertaining moments as well. The Hindi film industry is branded for creating movies from a male perspective. The women's stories are not really exemplified conscientiously. But, out of the blue, the souk of women-centric flicks is fast turning out to be a bankable genre. Sure, masala movies are great fun, but a film like Thappad breaks the monotony, shatters the unwritten rules of the game and scores brownie points. Thappad is a commanding story, has an authoritative central character, has several dominant and thought-provoking moments, which makes it an all-persuasive film.

You enjoy a movie even more if it has the unforeseeable factor adjoined to its premise. Thankfully, a number of storytellers in Bollywood are aiming to surprise, shock and charm you with attention-grabbing yarns you haven't witnessed earlier on the Hindi screen. Some get it right, some don't, but what needs to be lauded is the effort to break the mould, to go beyond the stereotype. Director Anubhav Sushila Sinha's Thappad also dares to push the envelope. Thappad boasts of some of the most talented names on and off screen. And the outcome is laudable!

Director Anubhav Sushila Sinha attempts a film that peeps into the heart of a woman. Without doubt one of the finest realistic films made in recent times, Thappad focuses the viewer's attention to that segment of society that has seldom been depicted on the Indian screen. Director/writer Anubhav Sushila Sinha and co-writer Mrunmayee Lagoo Waikul have opted for a story that has a vigorous impact. Here's a dynamic director-writer duo who needs to be lauded for tackling such a difficult subject with the utmost sensitivity and emerging triumphant! Thappad truly celebrates the human spirit and also reflects a vital change in the society and in the attitudes of people. A film like Thappad pricks your conscience and makes you think. In fact, it's the kind of film that will lead to debates and discussions. If Taapsee Pannu is the driving force on-screen, it's director Sinha who deserves kudos and a few extra brownie points for handling the material with aplomb. His prowess and competence is visible all through the film. The director also incorporates ample emotional baggage that would make you connect with the on-screen characters. Dialogue deserve special mention. They are straight out of life.

Having said that, Thappad isn't fool-proof either. The bloated run time - almost 2.25 hours - acts as a roadblock. Also, to some extent, the story stagnates in the second half. As a result, the film feels elongated and also indulgent at times (editing: Yasha Pushpa Ramchandani). Thankfully, the film is back on tracks towards the closing stages. The final act is indeed brilliant!

A hard-hitting drama, generally, doesn't have scope for music. But Anurag Dipali Saikia's music is malleable. The picturization of Ek Tukda Dhoop song is simple but arresting, keeping the mood of the film in mind. Shakeel Sitarunnisa Azmi's lyrics are also superior. Soumik Sarmila Mukherjee's cinematography is luminous, closing in tight on the protagonist in dramatic moments. The background score (Mangesh Urmila Dhakde) is perfect and he makes sure he doesn't go overboard. Casting (Nandini Shrikent, Karan Mally), filtering, blending of characters together and depicting them in a complex film like this, without outlasting any one character's limit, is a lesson indeed and how!

Thappad is Taapsee Pannu's film all the way and there are no two opinions on that. Her performance deserves the highest marks. Her work is flawless and the impact her character makes on the minds of the viewer is also due to a tailor-made role. She projects an imposing figure of maturity, refinement and veracity. Her performance is bound to be talked-about in days to come. Kumud Mishra is splendid. What a fine actor! Pavail Gulati fantastically raises abomination. He is exceptional all through. Way to go! Ratna Pathak Shah is phenomenal, consummately. Geetika Vidya sinks her teeth into the character, giving it the much-required pragmatism that it necessitates. Tanvi Azmi is perfect. Dia Mirza looks every bit the character she is portraying and the effort is laudable. She essays her character with flourish. Siddhant Karnick, Ram Kapoor, Ankur Rathee and Manav Kaul are completely natural. Maya Sarao is outstanding. An actor to watch out for!

On the whole, Thappad is a purposeful film within commercial parameters that is sure to win plaudits by those who appreciate good, realistic cinema. The emotional and disturbing journey, the strength of a common woman and her relentless endeavour have all been most compellingly put together on moving picture. The best part is that the Indian masses will be able to identify with the goings-on. This gutsy film deserves a standing ovation! Just do not miss it. It is several notches above the stuff we've been subjected to in the past.

Shubh Mangal Zyada Saavdhan

#FinalVerdict: RIB-TICKLING

3 stars

The last few years have proved that 'small films' (in terms of costing) have big stories to tell. Also, one of the strengths of the recent success stories was their absorbing storyline, which was so well presented on celluloid by their creators. A film like Shubh Mangal Zyada Saavdhan shuns the conventional plot and brings the issue out in the open determinedly. In fact, it's a forward-thinking, avant_garde movie that holds worldwide appeal. Above and beyond, the endeavour to transport the issue out of the closet and presenting it in a light tone in the backdrop is an added move that merits acknowledgement. Shubh Mangal Zyada Saavdhan is the ultimate culture shock for Indian audiences.

Shubh Mangal Zyada Saavdhan is a comic caper, with a smart screenplay and witty dialogue as its aces. It is funny, has a lot of energy and most importantly, as you protest that Hindi movies thrive on beaten-to-death formula, a film like Shubh Mangal Zyada Saavdhan defies the stereotype and comes alive with a brand new recipe (writer: Hitesh Kewalya). The writing is airtight and the movie moves from one episode to another furiously. Original in style and thoroughly entertaining, backed by colourful characters and superior acting, there's no film quite like this one or should I say, there is no film that matches the sheer brilliance of Shubh Mangal Zyada Saavdhan. It's a top-quality comical made with guts and gusto. I can assure, you will exit the auditorium with a grin on your face.

Come to think of it, very few movies can claim to make you laugh at the right places, yet mirror the realities concurrently. Shubh Mangal Zyada Saavdhan walks the thin line wonderfully. The on-screen characters seem straight out of everyday life. The focus is on telling a story that's fascinating and enthralling. This one's armed with a fascinating premise that's nourished with care by the raconteur, magnificent act by its lead actors, dollops of humour (wicked, sparkling, smart) that's punctuated so well in the scheme of things and eye-filling production design.

While the first hour is thoroughly amusing (a few episodes are howlarious actually!), the post-interval do a somersault. Writer/Director Hitesh Kewalya introduces certain complications in the lead characters' lives, which take the familiar route and dilute the impact, albeit faintly. Also, a few episodes don't work, the pacing gets slow, the narrative is prolonged... till it gathers steam towards its resolution. The film never gets into the serious zone or melodramatic, but remains lightweight all through, which is a plus. In short, Hitesh Kewalya has cleverly written the film to suit the Indian sensibilities, which works exceedingly well for the Indian spectator.

The music & lyrics (Tanishk Bagchi-Vayu) of the film is plain okay. In terms of visuals, Shubh Mangal Zyada Saavdhan has been filmed at real locations and the DoP (Chirantan Das) captures the essence extremely well. The eye-candy locales are clearly missing here. Instead, what we get to watch are real locations and real lower middle-class surroundings. Even though this is director Hitesh Kewalya's debut film, his directorial spark shines throughout the film. One has to appreciate and applaud him for paying heed to even the minutest of the detailing that has gone behind every character. However, the story of the film leaves a lot to be desired. He seems very confident with the camera and its angles and is definitely one name to watch out for in the days to come. Even though the film has its 'could-have-been-better' moments, the film scores on the director's ability to extract performances from the star cast. The only problem, however, is that the film starts lagging in places, which could have been taken care on the editing table (editing: Ninad Khanolkar).

Shubh Mangal Zyada Saavdhan is a boy's film predominantly (although the women have key roles to play) and boy's films are always fun. The chemistry between Ayushmann Khurrana, Jitendra Kumar and Gajraj Rao is what makes the script come alive. In fact, I won't be wrong in stating that their sense of humour is very much in sync with each other. This is Jitendra Kumar's best work to date, no two opinions on it. Ayushmann Khurrana gets yet another demanding role and the actor, who has already impressed us with his acting skills, casts a spell yet again. Gajraj Rao is incredible. Neena Gupta is the scene-stealer actually. As a matter of fact, the performances by these actors will be the talking point once the film releases. Manu Rishi Chaddha is in top form yet again. Maanvi Gagroo has a naturally endearing screen presence. She does add 'weight' to her character. Sunita Rajwar and PankhurI Awasthy are equally competent and have an important part in the madness.

On the whole, Shubh Mangal Zyada Saavdhan is a winner all the way. In terms of content, it might just prove to be a trendsetter. In terms of business, the film holds tremendous appeal for the youth. Its business at multiplexes mainly will be amazing. Aanand L. Rai, Himanshu Sharma, Bhushan Kumar and Krishan Kumar, the producers, deserve to be lauded for treading the untrodden path. It requires courage and conviction to swim against the tide in your directorial debut. Hitesh Kewalya, the debutant director, deserves a few brownie points extra for not thinking straight. Ayushmann Khurrana and Jitendra Kumar deserve an ovation for not only agreeing to play these characters but also infusing life in them, without making a mockery of the gay community.

Bhoot Part One: The Haunted Ship

#FinalVerdict: ORDINARY

2 stars

In Bhoot Part One: The Haunted Ship, debutant director Bhanu Pratap Singh tackles the horror genre with utmost care. Viewers will be struck by the simplicity of the film, its incredible fluidity: the story flows naturally, naturally. The story is not very complicated. Undoubtedly, the film is well constructed, superbly designed and filmed with sometimes a lot of indulgences. The film's decorations are magnificent and the camera embraces them greedily. To be honest, Bhoot Part One: The Haunted Ship is no masterpiece but is atmospheric, spooky, bloodless and carried by strong acting.

Debutant director Bhanu Pratap Singh defies several 'rules' of Hindi cinema, like:

a) Bhanu Pratap Singh has done away with the mandatory song-dance sequences in Bhoot Part One: The Haunted Ship. In fact, the film has *only* one romantic ballad.

b) There are no 'light moments' or 'relief factors' in the film. In fact, the film is so content-driven that one hardly longs for any 'relief' or 'light moments'.

c) The intimacy between the couple is more mature, unlike the routine stuff.

Also, one of the USPs of this 1 hour, 57 minutes' film is that the story is set in the middle of the city. There's tremendous identification with the goings-on, with every character looking believable. The desire to watch breath-taking visuals does not surface in a film like this. When the ghost appears, you get a shock of your life. The impact is eerie. Yet, Bhoot Part One: The Haunted Ship doesn't leave you completely enchanted or spellbound. The feelings are mixed after the show concludes. You have witnessed all this (and more) and that's where the film falls short of expectations.

The horror genre hasn't been tapped to the fullest in India. What works in favour of Bhoot Part One: The Haunted Ship is the fact that first-time director Bhanu Pratap Singh chooses a real-life story and garnishes it with scares aplenty. It works with those with an appetite for horror films and also with those who seek for interesting concepts. The film is terrifying enough to make you jump on your seat. The movie teases the viewers at different points as the sequence of events unravel. Scenes remain silent and still; not for long though, but long enough to make you fret. There are ample blood-curdling moments. But the problem with the film is that it takes a lot of screen time to drive home the point, testing the patience of the viewer in the process. Some sequences are so long drawn that they mellow the impact that a few brilliantly executed sequences had created. Even the climax - so vital in a film of this genre - is a downer. It is bound to have its share of adversaries. And the finale - which leaves behind the scope for a sequel, may not be fully absorbed or gel well with the orthodox Indian moviegoer.

Also, the film stagnates for a few minutes in the post-interval portions. Though the film is short in duration, one still feels that things could've been spruced up towards the middle of the second half (editing: Bodhaditya Banarjee). Bhanu Pratap Singh shows a grasp over technique, with the lighting and camera movements contributing enormously in making the situations look eerie. But the writing is not at all convincing.

Three aces of the film are Anish John's sound effects, Aditya Kanwar's apt production design (especially the set of the ship) and Ketan Sodha's background score. They are of international quality. In fact, sound plays a major role in a film like this and director Bhanu Pratap Singh has ensured that the sound quality is superior. It's more than just throbbing music, digitized screams and high-pitched shrieks. Pushkar Singh's cinematography is appropriate. The eerie atmosphere of the ship has been captured very well by the DOP. Special effects by Redefine are amongst the best we've seen in Hindi movies. Also, Bhanu Pratap Singh's storytelling is super-stylish. Bhoot Part One: The Haunted Ship must've been quite a challenge for Bhanu Pratap Singh from the writing point of view as well.

The performances are of a high order. Vicky Kaushal enacts a role that is in sharp contrast to his image. He portrays the character remarkably. The actor delivers a striking performance yet again. Bhumi Pednekar is superb in her role, proving yet again that she's a dependable performer. Ashutosh Rana is extremely competent. Akash Dhar leaves an impression. Meher Vij and Sanjay Gurbaxani are passable.

On the whole, Bhoot Part One: The Haunted Ship does the job of scaring you half-heartedly. At the box-office, the film has chances of faring better at multiplexes of metros. A good idea gone horribly wrong! Disappointing!

Love Aaj Kal (2020)

#FinalVerdict: TEDIOUS

1 star

An Imtiaz Ali film is awaited with bated breath. When you have films like ROCKSTAR (2011),  JAB WE MET (2007) and HIGHWAY (2014) to your credit, every step you take, every move you make comes under a microscopic view. Obviously, the expectations from Love Aaj Kal are colossal.  Given a title like Love Aaj Kal, the film ought to evoke strong feelings, principally towards the second hour. But the emotional moments fail to evoke any emotion. In fact, your heart doesn't pine for the lovers and that is why Love Aaj Kal fails to create any effect.

Without an iota of doubt, you are hypnotized by the initial scenes in Love Aaj Kal, but unfortunately, it's not the screenplay that magnetizes you. The chemistry between Kartik Aaryan and Sara Ali Khan is piping hot and makes you speechless. Surely, Love Aaj Kal is not an easy film to write and execute. Like its predecessor, it has two stories set in different eras, run parallel, but have a similar end. Sadly, the script is riddled with cliches and flaws, which makes Love Aaj Kal a mundane love story that talks of love and heartache. Director Imtiaz Ali is known for his imaginative and inventive take on love stories, but the problem with Love Aaj Kal is that it starts off most impressively, has some terrific moments in between, but the writing gets so erratic and incoherent as it heads towards the conclusion that you wonder, am I really watching an Imtiaz Ali film?

With a capable raconteur like Imtiaz Ali at the helm, one expects Love Aaj Kal to be notches above the stuff we've been subjected to in the past. But the film falters after an impressive start, after you are introduced to the pivotal characters in the story. The writing (Imtiaz Ali) gets erratic as you delve deeper and deeper. The second half is stretched without valid reason and that makes Love Aaj Kal a tedious watch. Imtiaz Ali fails to outshine his previous works. Sure, he explores the emotional depths with immense compassion and also draws bravura performances from the central characters. But every film depends on a watertight screenplay and Love Aaj Kal stumbles and fumbles in this department.

In a nutshell, Love Aaj Kal suffers from a plot that appears confusing and is convoluted for an avid cinemagoer. Imtiaz Ali's direction fails to complement the screenplay and vice versa. The movie is not a regular run of the mill flick and the proceedings are clearly aimed at the classes rather than the masses. Also, music has always been a mainstay in all of Imtiaz Ali's films. But, sadly, in Love Aaj Kal, it is otherwise. Despite Pritam at the helm of things, the music, sadly, is plain ordinary and does not help in lifting the proceedings. Amit Roy's cinematography is top-notch. Every frame is picture-perfect, a painting on celluloid. Dialogue (Imtiaz Ali) deserve special mention. They are straight out of life. If any film stands on a weak foundation (writing), even 1.30 hours seem never-ending. The lethargic pacing and uneven editing (Aarti Bajaj) also mar the overall impact. The film could have been better had the editing been watertight.

Kartik Aaryan carries the most difficult parts with remarkable ease. Sure, we've seen him as the cool, urban guy in several films, but this one's the most demanding role and he glides into the character effortlessly. Sara Ali Khan looks ethereal. More importantly, she acts very, very well. This should be the turning point in her career. Randeep Hooda puts his heart and mind into every project he chooses to perform in. He is a stunner. Arushi Sharma does well in a small, but significant role.

To sum up, Love Aaj Kal is too confusing a film to be understood and enjoyed by the general public. It does not live up to the confidence and expectations from the otherwise very skilled and accomplished film-maker Imtiaz Ali. Once the initial euphoria settles down, it'll be difficult for the film to sustain. A KING-SIZED DISAPPOINTMENT! Imtiaz Ali's streak of flops continues!

SHIKARA

#FinalVerdict: Heart-rending

3 stars

As Shikara unfolds, one realizes that the film is actually based on true incidents from life. Shikara harps on being real that we have never witnessed on the silver screen before as far as Hindi films go. Vidhu Vinod Chopra seems to have researched extensively on the issue and Shikara does boast of some razor-sharp moments and the viewer gets to have an insider's viewpoint on Kashmir, something that we haven't read/seen (on news channels/films) earlier.

Shikara comes across as hard-hitting as it promises. The film has moments that are sure to bring a lump to the throat, tears to the eyes, goosebumps to the flesh and will linger in your memory much after the screening has concluded. Director Vidhu Vinod Chopra compels the audience to invest their emotions in the film and he succeeds in bringing home the Kashmir conflict.

Shikara has been filmed in Kashmir and you're awe-struck by its beauty, with DoP Rangarajan Ramabadran doing a splendid job in capturing the scenic locales on celluloid. The camera movements also give a real feel. The written material (screenplay: Vidhu Vinod Chopra, Rahul Pandita, Abhijat Joshi) just stick to realism, instead of trying to strike a balance between realism and make-believe. Honestly, in the end, you recall not just the visuals but also the content. Shikara is that powerful and hard-hitting. Even the dialogue, like the screenplay writing, tries to strike a balance between real and filmy. Hindi cinema hasn't looked into Kashmir, preferring to gaze at it instead. Also, the detailing is a marvel. This is a film you could watch with the sound muted. But you shouldn't because the music is gorgeous, underscoring the narrative perfectly. Also, the performances are uniformly stunning. 

With so much already happening in Kashmir, Vidhu Vinod Chopra projects the anguish of the helpless Kashmiris with precision. Usually, such films are expressions of the filmmaker’s vision and Shikara is no exception. To create the tapestry of Shikara could not possibly have been an easy task. Of course, Vidhu Vinod Chopra's repertoire shows he is capable of it but dealing with a plethora of emotions, blending them in the same film is only his cup of tea. There are no confusing hiccups or moments where the filmmaker is self-consumed. Shikara is Vidhu Vinod Chopra's most accomplished word to date! Mr Chopra, now more than ever, seems assured of the power of his content and knows when to pull his punches and doesn't fall for obvious temptations. The result is a knockout, a film that makes you smell corpses, that makes you shudder with melancholia, and a film that points accusing fingers. A film that doesn't fumble.

To sum up, Shikara is an unforgettable film that doesn't flinch and is so sure of itself that it doesn’t go wrong. Everything in the film works. A film that audaciously breaks every rule in the book, everything that you could have expected from it and ends up being that edgy watch which you’ll savour, while you watch it from the edge of seats! Its deliberate pacing may not work for all, but this is a solid, well-acted movie that deserves your time. There is much in Shikara that deserves a standing ovation. You will emerge from Shikara shell-shocked. And when was the last time a Hindi film did that to you?

Malang

#FinalVerdict: SLICK

2 stars

Furious moviegoers often protest that superior stories are hard to find, yet I don't buy into this perspective. I really feel that we have extraordinary stories to narrate, but we mess up on screenplay writing, ruining a splendid story in the process. That's the issue with Malang as well. An entrancing idea may not convert into a captivating and tempting film, right?

Undoubtedly, director Mohit Suri has advanced into a smart and stylish storyteller with the passage of time and Malang bears testimony to this reality One cannot overlook the shot compositions and the edit pattern. Malang has the unmistakable stamp of Mohit Suri. But a collage of splendidly executed sequences cannot make up for a riveting screenplay, unfortunately. That is precisely why Malang lacks the overall impact.

At heart, Malang is a game of chor-police, but the screenplay (Aniruddha Guha) fails to grab your attention after a point. Malang unfolds in two different timelines and director Mohit Suri does a brilliant job to establish what’s what. But the writing (Aseem Arrora) gets muddled due to the predictability factor, after one has savoured some tremendous moments in the first hour. Although Malang is laced with just the proper amount of thrills, yet there are certain portions that put you off, that remain unexplained... It's a screenplay of convenience! Besides, too many cinematic liberties taken to establish a point of purpose also mar the impact.

What works in favour of Malang is the fact that Aseem Arora’s script maintains dual-shade characters for almost every actor and is backed by exuberant performances. Malang moves at a feverish pace initially, but towards the latter portions, the editing (Devendra Murdeshwar) could have been sharper to register a long-lasting impact. Clocking in at roughly 2 hours and 15 minutes, Malang is much longer than it should be. Also, director Mohit Suri, story writer Aseem Arrora and screenplay writer Aniruddha Guha expect the viewer to grasp and figure out certain situations that arise in the film, instead of explaining it themselves, but as aforementioned, the predictability factor is a huge let-down.

One comes across a completely different Mohit Suri in Malang, blending emotions and thrills consummately. He has a unique style of storytelling, which is evident throughout the film. He merges his direction with sound-design very smoothly leaving a great impact. The highpoints include sharp dialogue and a popular soundtrack. The title track has already caught on and will prove to be a major crowd-puller. Vikas Sivaraman's cinematography is top-notch. In fact, Malang bears a stunning look all through. There's no refuting that the cinematographer has created some really alluring and enthralling visuals. The background score (Raju Singh) is electrifying. His sound effects combined with superior camera movements work really well for the film. In fact, the BGM is Malang's very backbone. 

Aditya Roy Kapur is truly outstanding. He projects varied emotions without going overboard. Malang is sure to multiply his fan-following by leaps and bounds. Much of the joy comes from watching Disha Patani infuse believability into her character. She has never looked so hot, so inviting. But it's not about the looks, but talent and Disha scores on that front as well. Kunal Kemmu shines in several moments of the film. He impresses a great deal. The actor carries her part with elan, notwithstanding the discrepancies in the narrative. But it's Anil Kapoor who steals the show. He is excellent throughout and his work takes the graph of the film to an all-time high. A tailor-made role! Elisabet Elli AvrRam springs a surprise, essaying her role to perfection. Amruta Khanvilkar is in terrific form. This is one of her most uninhibited works!

On the whole, director Mohit Suri has scaled several notches above his past accomplishments in Malang. The film seduces the viewer with thrills aplenty, soulful music and of course, the crackling and wonderful onscreen chemistry between Aditya Roy Kapur and Disha Patani. The film caters more to the youth in metros than the hardcore masses in general. Also, Anil Kapoor makes Malang come alive.