Tag Archives: hindi

The intermission is a nightmare.

This is true for the format in which Hindi cinema is traditionally exhibited, as the interruption creates a narrative chasm that messes up both filmgoer and filmmaker, but it is doubly true for Dear Zindagi, which ingeniously uses a bad dream to slap recess upon us and allow us out of the theatre. While the heroine lies awake in bed, jarred by an acute fear of being judged, we walk around and, over coffee and cola, do that very thing and judge her as we pick apart the film, in our own heads or in packs.

We return to see the dream being pieced together, a dream that — besides making us feel like “short, strange people” — lets us into the character’s head, and lets us draw our own conclusions. (Though conclusions, as Dear Zindagi patiently explains, aren’t quite the point.) Gauri Shinde’s deeply internal film is the straightforward, sincere story of a young woman on the verge of a nervous breakdown — or at least on the verge of thinking of the words ‘nervous breakdown’ — and one that speaks, on some level, to us all.

Any on-screen depiction of a patient-therapist dynamic is inevitably oversimplified, as basic psychology is made universal and palatable, and issues are sorted with simplistic ease. What separates the good portrayals from the weak are, I believe, a lack of obviousness, relative realism in the dialogue, some evident (and some hidden) insight, and, most importantly, the feeling that the character is actually learning something right in front of our eyes. (My gold standard, by the way, isn’t a film but instead the season finale of the first season of Frasier, an immaculate episode where the two shrink siblings sit in a cafe and ponder a question, one that starts out throwaway but gains remarkable weight as the realtime episode carries on: ‘Are you happy?’)

Shinde scores on these fronts, cannily focussing on a dyspeptic protagonist whose default setting is to be rubbed the wrong way. Kiara is a bright cinematographer who thinks she knows better than the directors she works under and is highly aware of the studied state of topsyturviness in her apartment, but her love life is a shambles, where everyone — even the drunken ditz in a bowler hat — makes more sense than her. Relationships see Kiara reduced to a whiny, irascible mess and, since this gets in the way of work (and sleep), she decides to go visit the hottest therapist she can find.

This linen-clad therapist, a twinkly-eyed man who tinkers with bicycles and plays kabaddi with waves on the beach, is too good to be true, right from the get-go. He talks, she listens and we, leaning forward, eavesdrop. That is all this darling little film does, and all it needs to do.

He is played, with a knowing smile and easy grace, by Shah Rukh Khan, and there is a dashing effortlessness to his charm. We have rarely seen Khan not angling for a girl, and he shines here as he exhorts his young charge toward revelation while backing away from conversational — and cinematic — spotlight. Modesty might not be a colour familiar to him, but Mr Khan wears omniscience lightly and majestically.

The film, of course, is about the girl. Shinde, who gave us an absolutely irresistible female protagonist in English Vinglish, turns the tables and gives us a girl frequently hard to like. She snaps at her friends, is rude to family, and is so inconsistent with the aggression with which she acts out that I was beginning to doubt the actress playing the part. No fear. Shinde and the mercurial Alia Bhatt, who plays Kiara, know exactly what they’re doing, and there is reasoning for the way this girl behaves.

The preternaturally talented Bhatt plays Kiara with defiant pluck, a shy girl overcorrecting for her insecurity, lashing out before she’s lashed at. There are times the performance appears showy, but the actress brings such a raw, earnest vulnerability to her highly flawed character that she remains compelling throughout. Despite this being a film with a lot of talking, Bhatt’s silent moments are the ones that threaten most to stay with me: her eyes scorched in thought as she chows down flat street-side noodles; the stunning pause after she wonders whether she is, in fact, “common”; and, unforgettably, one of the most fantastic slapstick pratfalls I’ve seen in recent times.

There is much joy in the details. In the way the therapist begs for two more waves to play with on the beach, and, later, the patient tries literally to steal five extra minutes with him. In the way a singer — one who is helpfully labelled Wolf — tries many a smarmy line, but nothing impresses a girl like quick reflexes. In the way the background score knows when to hush up and the camera knows when to push in really close and give the character her moment.

The supporting cast is uniformly solid, and the finely crafted film is shot well by Laxman Utekar, though, for obvious reasons, I wish it had a female cinematographer. The writing is what really shines, restrained and easy. The therapist likens trying out lovers to a hunt for the perfect chair, and, at some point, one fellow — a particularly roomy one, who shuts up easy — is offhandedly described as a ‘musical chair.’ It goes without saying that those make fleeting seats. Beautiful.

Shinde might be the most celebratory feminist among our mainstream filmmakers, her heroines far from being defined or restrained by men. Dear Zindagi is a lovely picture, made with finesse and heart, and one that not only takes some stigma off the idea of seeking therapy, but — in the most natural of ways — goes a long way in making a viewer think of the people who matter most.

The single smartest trick in this film, however, may well be the primary casting decision. Because a good therapist is a superstar.

Rating: 4 stars

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First published Rediff, November 25, 2016

The film opens with Ranbir Kapoor’s character, Ayan, talking to an interviewer. She commends the singer on the fact that he’s broken through and found a foothold in music, “that too non-film,” and in a couple of lines, he calls his love “aamir” — which is to say the kind that cannot die. It is an atypical choice of word, and a couple of seconds later when we meet young Ayan fumbling around and proving to be a feeble kisser, it is clear that the nuanced usage of the word, the Persian use over the Urdu use, isn’t a part of his vocabulary. At least not yet. Over the course of Ae Dil Hai Mushkil, this character learns to feel, to address, and to speak.

Karan Johar’s new film casts Kapoor in that clueless persona the actor has often inhabited, but chooses to hand the reigns of the narrative — and, indeed, of the young man’s heart — to Anushka Sharma, who delivers a performance effervescent enough to win over cynics and yank at their kerchiefs. In fact, between Sharma’s electrifying and unapologetic Alizeh and Aishwarya Rai’s quip-carrying poetess Saba, Johar makes sure we know his women know better. And yet they may not be the better off for it.

This is a mature, relatively intense film and, in many ways, Karan’s least compromised work. There is something humane and naked about the sentiment expressed here, despite the glitz, and it throbs with palpable intensity. It is an emotionally bare film about an entirely unprepared young lover, and the vulnerability feels disarmingly real. It feels almost personal. Karan introduces us to his loquacious leads and lets them do the talking — an awful lot of talking — without feeling the need for extraneous comedy or even supporting characters who aren’t germane to the affairs in the middle. Karan Johar has finally cut loose the extended familial ties; this one is all about loving.

Ayan is a rake, a blissful wastrel with a private jet and little to do, and an eye that sees him impulsively tail women who catch his fancy. He sees Alizeh vogueing energetically on a dancefloor and — after she takes charge, paying for drinks and overhauling his plans — finds himself immediately, understandably besotted. The two are Bollywood-referencing bewaqoof younglings, after all, wealthy beyond worry and drawn to each other’s brand of mad energy. She proclaims that she, like raita, lays herself out because that’s just who she is, and he, perhaps like paapad, has dipped into her lunacy and now longs to dive in.

Both actors are on fire from the start. Kapoor plays the brat brilliantly, his Ayan restless and fitful with misplaced anger and misguided affection. His mask of coolness slips early on — even MDMA makes him wail like a hurt baby — and Sharma’s beguiling Alizeh takes charge, deciding what and where they’ll do. The two have an infectiously giddy dynamic, an immediately crackling chemistry that can’t be denied. It is, thus, a shame that Johar chooses to drown their bubbly banality with an incessant background score that makes it sound like someone in the theatre has left their phone on.

As with all immediately heady chemistry, things get sticky. The two come closer but then we meet Alizeh’s eye-wideningly handsome paramour, which sends Ayan’s world careening into the worst kind of spiral. That said, stomping around an airport after a wedding, looking like Mogambo with a rucksack, Ayan encounters a woman who immediately takes his breath away. This woman, Saba, proceeds to smash back his verbal lobs with practiced ease while he keeps talking about blushing — even when he isn’t.

It is, then, a love rectangle. It just feels more personal. When a cleanly shaved Kapoor preens in front of a mirror, mehndi on his hands and a smile exulting in his own prettiness — with concealer, just this once, masking that scar under his right cheek we see all the time — he looks freshly plucked, stripped by love and utterly open to the guillotine. His optimism feels frightening. On one end is a girl who revels in passing judgement and on the other, a woman so used to compliments that she doesn’t feel the need to acknowledge them, or to be falsely modest. As you might have surmised, he’s hurtling head first into disaster, but we can’t look away.

Johar has improved massively as a storyteller, this film more polished and assured than anything he’s done before. Sure, this is a highly glossy film — and only in a Johar production will people at a headphone party dance in choreographed fashion to the same damn song, and a bag from Shakespeare & Co contain clothes instead of books — but the gloss, like foundational makeup, is there to hold these excruciatingly attractive people and their excruciating problems in place. It suits the world instead of dictating it, and the film looks terrific.

As the princely DJ, Fawad Khan has far too little to do in this film — though even a role with him on-screen throughout the film wouldn’t have justified the ridiculous kerfuffle his casting has caused — but looks perfect for the part. Aishwarya Rai looks stunning as well, but is markedly ill at ease handling unwieldy urdu couplets. Her eyes have helplessness and longing but she lets down well-conceived lines that deserved far better. This is a Julia Roberts type of role, and Ms Rai emerges this film’s feeblest link.

Kapoor is super at being charming but has developed a specialisation in cluelessness, and both sides shine through in this winning, woeful performance. Playing a singer, he embraces syncing mannerisms beautifully — the guy would rule at Dubsmash — and it’s lovely to watch him play off Sharma. He lights up for her, he powers down for her, and the film belongs to the actress who strikingly, come what may, sticks to her guns. Even if all she’s doing is patiently let a weeping boy kiss her on the head. At one point, as he tries inexpertly to drape a saree around her (so that they can roleplay Yashraj-Yashraj) she looks at him wistfully, overcome by a love that is both too strong and yet not strong enough.

Ae Dil Hai Mushkil is a film about ‘tedha love’ — crooked love, love that refuses to stay straight — and about the unshared, pure potency of unrequited passion. It is a film about words long and sharp, elaborate and precise, and about the way we muck up and often manage to slip — inadequately and without definition — between them and between the lines. The heart wants what it wants, and sometimes all we need is a compelling reason to cry. Thank you, Karan Johar. For this film feels like a sob.

Rating: 4 stars

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First published Rediff, October 28, 2016

I wonder if Katrina Kaif is good at poker.

In Baar Baar Dekho, Kaif wears an all-encompassing blankness, looking like a striking but not altogether realistic waxwork. She’s a vision, albeit one whose accent-soaked Hindi — more unbearable than ever — gets in the way of possible appreciation, and I wager she’d be an unnerving opponent on a card table, one both stealthy and distracting.

Cast in a film, however, her blessings are less obvious. Particularly with a co-star not known for any acting talent either, in a film where a feeble script is built on constant, relentless revelations with artlessly expository dialogues. Characters consistently point out the obvious, labelling things for the audience: one points to a Hanuman statue and calls it Hanuman, while a woman at a Thailand resort points out a Welcome To Thailand sign when a guest — who may well be asking which floor he’s on — asks where he is. Siddharth Malhotra, who plays protagonist Jai Verma, stands around at a lavish pre-wedding party and tells his bride-to-be that he could have spent all this money on vedic mathematics research instead.

Right. That is a creative decision in the same league as Chitrangada Singh teaching Economics at Oxford in the execrable Desi Boyz. Worse, perhaps, since Jai is a real piece of work.

The most imbecilic hero I remember in awhile, Jai is a math professor perpetually wondering what is going on. A slackjawed dullard, he walks around in a duh state, asking silly questions trying to keep up with his surroundings. Granted, director Nitya Mehra frequently (and inexplicably) pulls the rug out from under his feet, with a half-baked plot which is two parts A Christmas Carol and one part Groundhog Day, but there is no excuse for a hero this dismal and lunkheaded in any romantic film.

We have to believe that this guy is a math-obsessed academic, and that his lady Diya (Kaif) is turned on by hearing numbers multiplied quickly, the way Jamie Lee Curtis melted for the Italian tongue in A Fish Called Wanda. Nothing in this movie adds up, but the gist is that Jai — annoyingly tentative and indecisive about marriage, in-laws and the woman in his life — keeps getting jolted ahead into the future where things change and he remains the same stupid self, struggling to catch up. It is all rather excruciating, despite the glossy settings and the casually futuristic detailing, largely because Mehra labours her point endlessly and her tubelight hero never seems to learn a thing.

This is a hero who, minutes after he first leaps forward in time, decides to let his hair down and chill over a party song. This is a hero who, recognising the potential for an affair that could wreck a marriage or two, goes ahead and tries it out first. This is a hero who learns of a once-prosperous friend’s life going awry but doesn’t bother to help him with a warning. This is a hero who, after assuming a day in court signals the wedding of his son, is stunned to see his wife there. This is a hero who makes use of a second-chance by being needlessly rude to various people who may perhaps cross a line in the future, but are blameless at the time he’s throwing them shade. This is a hero who calls his pregnant wife fat and then proceeds to make the car drive to hospital all about himself, later preferring to accost a pandit in a corridor rather than be there to hold his hand.

And then… he calls himself a genius.

Geniuses are in entirely short supply when it comes to this production, with a boisterous Ram Kapoor proving the least objectionable element. Comedian Rohan Joshi is around — carrying a briefcase into a hospital only because he wants people to think he’s a banker — and, without the slightest chance to try out his comic chops, looks incredulous at the film he’s in. Perhaps he’s distracted by the music, by songs like Kho Gaye Hum Kahan which sound shamelessly like Karen O’s The Moon Song played through an Amit Trivedi filter. Characters go through a lot in this film — the Groundhog Day section of the script is the most tedious and the most contrived — but none more than the audience.

Diya, portrayed by Katrina as high-strung and shrill, is — by my reckoning — the most patient and understanding wife in the world. Married to an utter idiot, her outbursts are entirely justified, and come what may, she does put up with him and consents to loving him. Poor thing. And yet, even at the end of this unbearable film when things are finally, belatedly being set right, the fool husband complains about her impossible temper. As if it’s her fault. Poor show, Ms Mehra. If you could go back in time to set this film right, make something else instead.

Rating: 1 star

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First published Rediff, 9 September, 2016

The good thing about casting Tiger Shroff as a superhero is that, thanks to his fluidly lithe movements, it does sometimes become hard to spot where the actual moves stop and the wire-work begins. Watching Shroff, an endearing, almost unbearably earnest performer, reminds me of those early Salman Khan days when he was a lanky guy with long hair who pluckily tried to act, which is a great start — but alas, this poor lad has all the dialogue skills of Hrithik Roshan. Which is to say: perhaps his martial arts movies need to be watched only when dubbed into another language.

(Also deserving of earplugs: leading lady Jacqueline Fernandez, sounding like a chihuahua who loves swallowing saxophones.)

This is a shame, for A Flying Jatt isn’t bad. It ends poorly, sure, and has some catastrophically clumsy moments on the way, but as a children’s film it goes a helluva lot further than those Krrish things. It is a film, in fact, more about a superhero’s Punjabi mother than it is the hero himself, and that goes a long way in setting up the humour. Amrita Singh as the thrilled mom looking at Superman Returns tapes to educate her son on flight-pose decorum (“aise toh full speed mein udte hain”) is priceless, as is the moment when, after appropriately epic heroic buildup, Tiger fatefully wears the costume only to flop into bed and pick up the television remote.

I don’t think I’ve watched a superhero movie where the hero’s mother has enthusiastically sown him a costume, and given the apoplectic way the genre is now exploding, finding a new, authentically Hindi filmi angle is commendable. The problem with A Flying Jatt is its lack of faith in its own originality, which is why director Remo D’Souza ends up — like Amrita Singh — cribbing from superhero films we already know and love. There’s the already classic Quicksilver sequence from Days Of Future Past (link to review), there’s a Sam Raimi trolley shot straight out of Spider-Man 2, and when the big villain — Nathan Jones from no less than bloody Mad Max: Fury Road — says that he wants a better costume, evil sponsor Kay Kay Menon basically orders him a Thor suit.

D’Souza, as a director, isn’t one. The film is put together sloppily, with several comedic sequences well-intentioned but not making sense. There is, for example, a scene with Tiger taking on a tennis ball machine with nunchuks. Obvious slapstick, but it can be done amusingly and, while Shroff himself tries hard, the scene itself is staged bizarrely: it starts off with everyone wowed by the grace with which he strikes slower balls, even though the whole point of using the machine was to see if he could stop something as fast as a bullet. Still, the way this boy hits an enzuigiri to a tennis ball is something special.

And that’s before he has powers. After they kick in, and he — apparently hard of hearing — takes the shrill Fernandez for a joyride in the skies, she gasps more at seeing fireflies and a big moon than at her superpowered man.

The climax is painful and — as with all films that yearn to be really big films without having the budget — it looks more and more pathetic. The film is riddled with issues from the start — Tiger is given far too many superpowers and we never quite understand their limitations — but it is, for the most part, an amusing diversion with a leading man hard not to like. He might whimper too much, but I’ll take A Flying Jatt as a potentially decent franchise-starter even if the guy  himself isn’t always in on the joke. (Though I do wish the film didn’t preachily go on and on about how amazing Sikhs are. Who didn’t know?)

As he begins to fly around — not too high because he’s afraid of heights — two women watch The Flying Jatt go viral on news channels and one wonders if he’s an alien. “Jo bhi hai apna hai,” says the other smugly, the line — meaning ‘whatever he is, he’s ours’ — can be a dig at imported superheroes, sure, but also a line loaded with pride and one that holds more truth than all of Zack Snyder’s superhero attempts put together. Superheroes are about hope, not fear. Unless, that is, you’re afraid to show your kids a superhero movie that focusses on twerking.

Rating: 2.5 stars

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First published Rediff, August 26, 2016

There are some filmmakers who make feature-length trailers. They think they’re making an action movie, of course, but the fact is that everything — from an overabundance of slow-motion, to the way words like “one day ago” fly across the screen in the Dhoom font, and the way the film starts and ends with music videos— is for effect. Done well, this often obvious style can be rather rollicking, and there are times when Rohit Dhawan’s Dishoom is actually fun. The first half is breezy and snappy, and the increasingly irrepressible Varun Dhawan is on point.

The setup is dynamite. It isn’t particularly groundbreaking dynamite, but it is a potentially crackling premise: India’s top cricketer is kidnapped ahead of an India-Pakistan final in the UAE. There is much room for hilarity in a setup like this, and the film taps into a fair bit of it, even as the setpieces get bloated and the background score thuds with relentless urgency and repetition. (To me, there were times when it feels like watching a music video version of 99, a cricket/match-fixing film I once worked on.)

This cricketer — Viraj, a combination of Virat Kohli and Yuvraj Singh, if you will — is played by Saqib Saleem, and the youngster obviously knows how to hit full-tosses all over the place. Saleem is a fine performer and the cricketing bits seem as authentic as they need to be in a film like this, and the initial mystery of who kidnapped Viraj is an intriguing one. On the trail are Kabir, an Indian supercop flown in to hunt him down, and Junaid, a Dubai-based Indian cop itching for action. It is all Buddy Comedy 101, but as can be said justifying 90% of all movies starring The Rock, we all know the genre works besides its predictability because of the way the actors play off each other. Into each Murtaugh a little Riggs must fall.

The big problem here is with the heavy. John Abraham here plays Kabir, the douchey tough-cop who smokes in elevators and speaks to his girlfriend like a bully, but Abraham — who, at one point several films ago, was at least attempting to act — has turned into a top-heavy slab with all the expressions of granite. He weighs Dishoom down considerably. Even his half-winking smirk now appears leery, as if he’s been bench-pressing with his cheeks and can’t smile a human smile any more.

This is depressing because of just how frothy Varun Dhawan keeps things. With the natural, cocky charm of a young Will Smith — a fact alluded to when Dishoom references Men In Black with its heroes calling themselves K and J — Dhawan is spontaneous and funny but, most importantly, sincere. He hits the emotional beats lightly but firmly — like when he tears up after having finally found a dog — and these are what sell his character, the way he can establish earnestness in a second and go back to being goofy right after.

Still, like I said, the first half is a lark. Varun is in form, Saqib’s realistic, and there is an entertaining cameo by Akshay Kumar who puts the man in ‘man-bun.’ It is after the interval, when the shenanigans have been left to an exhausting Akshaye Khanna, the villain of the piece, that tedium really sets in. The film keeps trying to concentrate on the plot, which is weak, and because the action scenes and chases are long and repetitive, merely changing backgrounds don’t help things as much. Jacqueline Fernandez joins the action, running in and unable to keep a straight face, but there is a priceless, awestruck moment when the shoe drops and she finally realises who these two cops are looking for.

There is much more that could have been done here. It should be snappier and the jokes sharper, and the plot could so, so easily have been made water-tight. There are even times, unforgivably enough,  when it begins to feel immaterial that the kidnapped quarry is a cricketer; it could be just anyone held up for ransom. But ah, the film is clearly aiming for laughs, and even when it gets lost along the way, blindsided by some unnecessarily elaborate action moment or by a bicepped un-actor, it still provides a fair bit of corny fun. The film’s best parts are Dhawan asking a helicopter pilot to pull over “side mein,” or Satish Kaushik trolling people on the phone. If Dishoom does well, however, I do hope they’ll avoid John in the sequels. All this film needed was a cop out.

Rating: 3 stars

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First published Rediff, July 29, 2016