I got the news of her death as a tweet shared on Whatsapp. I had just woken up and my first reaction was #FakeNews. I didn’t believe it. So I clicked on what’s trending to check the veracity of the claim. She was trending at #no1 and a strange inevitability creeped in. Tweet after tweet confirmed the news. But then wasn’t she in her early 50s? How could this be? So I googled. And the results filled up with one eulogy after another. This couldn’t be, not Sridevi. Just when Bollywood had started writing beautiful scripts for this great actress, how could she leave us? After reading some reactions, I got up and switched on the TV. Every News channel was covering the same News. Saroj Khan’s voice quivered as she spoke fondly of Sridevi’s brilliance. And then it sunk in. She was gone. Gone too soon.
In the 90s, while I grew up, there were 2 powerful female influences in my life ( excluding my family member’s ofcourse). And I was crazy for the both of them. Sridevi and Steffi Graf. Both insanely talented, both at the top of their game and both dedicated to their craft. In this patriarchal world, these women showed me that they were second to none. While Graf blazed her way on the court, Sridevi sizzled the silver screen. And amazingly, both these women whose name started with an ‘S’ were pitted against 2 equally brilliant ‘M’s — Madhuri and Monica Seles. Evenings were filled with debates on who was better and I always sided with the ‘S’s. No matter what people said, I always believed Sridevi’s ‘Kaatein Nahi Kat tey’ was much better than Madhuri’s ‘Dhak Dhak’. Madhuri may have been the modern Madhubala, but Sridevi was a singular beauty who was unique and peerless. Her eyes mesmerised. Oh! those eyes.
A complete actor, equally equipped to make you cry or leave you in splits, she gave every hero she worked with a run for his money. In fact be it Kamal Hassan or Sunny Deol, I am sure they would be terrified at the thought of being outclassed by her. And more often than not, she did. When she came to Bollywood, she had already acted for more than a decade. And her ability to bring life to a scene was just incredible.
One of my favourite movies was Mr.India and Sridevi was like a tornado in this film. The intrepid journalist who falls for the superhero but is in many ways tougher than the hero himself. I was simply amazed by this character who disguises herself first as Hawa Hawai and then as Charlie Chaplin to get to the bottom of her stories. And the comedic timing was spot on. In the era when you had to be fat or deliberately ugly to do comedy, she did it with pure timing and an alarmingly expressive face. Be it Chalbaaz or Lamhe or Chandani, she was always the centre of attraction of every film. She carried it on her shoulders. If she was on screen, nothing else mattered.
I remember dragging my parents to Eros to watch ‘Roop ki Rani Choron ka Raja’ in the opening week just because I wanted to watch Sridevi’s magnum opus. That, it was a magnificent dud, didn’t matter to me. And I went with my friends to watch Army with the same enthu. It was so awesome to watch SRK play second fiddle as this Devi/Diva lead from the front. In those days, I felt proud to be living in Lokhandwala, just because she had moved into Green Acres! Every time I walked by that building, I wished I would catch a glimpse of her. Alas, I never did.
While she got some amazing roles in Tamil/Telugu/ Malayalam cinema, the thing that makes me most sad is that she was short-changed in Bollywood. After the masterclass in Sadma, she had to do a spate of ridiculous movies with Jeetendra (Himmatwala / Justice Chaudhry / Tohfa). The great films were too few and far between. While I lapped up Nagina, Nigahein, Joshilay, Sone pe Suhaga - let’s face it, these were atrocious films. Even the late 90s had films like Chandramukhi, Chand ka Tukda, Ladlaa, Mr.Bechara and Judaai. This was cinema at its worst, even though Judaai was a roaring hit and her performance was outstanding.
And that is why we have lost her too soon. Just when we could have had an outstanding second innings of which we had already seen a glorious trailer. As Shashi in English Vinglish, Sridevi showed that the queen had not lost her touch one bit. It was a commanding comeback, showcasing her in all her glory. And although I missed watching Mom, its hard hitting trailer had given me goosebumps.
I secretly had a desire of writing a film for her. But alas, that wish will never come true. And I am sure there are many like me who were itching to work with this stellar actress. Just when Bollywood had become more accepting and was finally writing some good stuff for actors of all ages and appearances, have we lost the brightest flame.
And all I can say is ‘Thank You’ — for the laughs, for the school boy crush, for the paper clippings, the mix tapes, the insanity, the rain dances, those hypnotic eyes and that beautiful, expressive face that could break the hearts of millions. Thank you Sridevi.
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Very early in the film, Salman is fixing a radio with his son, somewhere in Austria. He works his magic and the radio catches All India Radio – Amritsar… in Austria… on a radio…not the internet…on a radio… And that sets the tone for the film. Towards the end, he walks bare-chested and bare-nosed in Highly Toxic Gas and still remains zinda. No one knows how and why. They just whistle. Maybe he practiced his survival tactics on the roads of Delhi, without a mask! Maybe…You just don’t know. All you know is that Tiger is alive and kicking, and he's feeding you a big dose of hogwash!
So, Tiger and Cat-rina are hiding from their respective agencies and living happily with their Cub. After Tiger fights off a bunch of wolves (actual wolves) without killing them ( ofcourse, they are wolves, not black bucks), he is pulled back into action when a bunch of terror breeding hyenas (actually, men) kidnap some Americans and hold some Indian/Pak Nurses hostage at a hospital. The American administrators bark like rabid dogs and threaten to bomb the hospital. The only way to save the lambs from becoming biryani is to set the Tiger loose on the hyenas.
Ofcourse, Cat needs to Purr as well. And so starts a menagerie of sequences that defy gravity and logic. While Cat displays her cat-alogue of Martial Art Moves, Tiger displays his pecks. They infiltrate the pack of hyenas without raising a stink, even though every move they make is fishy and manage to remain bullish even when the chips are down. Afterall, Tiger Zinda hai. And after an elephantine period of time (2 hours and 50 mins), loads of horseplay and 15 utterances of the phrase ‘Tiger Zinda Hai’, Tiger blasts the living daylights out of the Hyenas with a machine gun and saves the Lambs urf Nurses. Then he goes back to living his Henpecked life!
While Abbas Ali Zafar has the capacity to write good stuff, it is apparent that he wants to make a hardworking Sallu film. So we have Slow Motion entries, whistle-inducing action sequences and a paper thin plot. Everything just falls into place for the protagonist. And ofcourse, Abbas has to add the crowd pleasing elements like – woman empowerment (a character actually points it out so that no one misses it – this is woman empowerment, she says!). Add in a bit of India-Pakistan bhai chaara, and you have a message as well ( Aman ki Asha).
Yep, Abbas embraces Sallu’s animal instinct of being human with aplomb and creates a movie fit for monkeys! And because he does that, you have a film with extra long action sequences, useless jokes involving tu tu tu tu tu tara ( don’t even ask) and a running time that is an hour too long! While the screenplay is slick, the editing delightful, action choreography sound and background score purposeful, it just has too many ebbs and flows - specially ebbs.
So, get ready for Sallu the Santa to reindeer in the Box Office Christmas Cheer. But then do not expect a nuanced action film with a dash of logic. Yes, there are some decent performances, but the usual action film tropes come in as thick and fast as animal references in this review ( can you count how many?). Go with a lot of patience and no brains at all. Coz, Tiger Zinda hai… but logic kuttey ki maut marr gaya!
Rating: 1.5 / 5 - Technically it is well made film... but please no 3quel, let Bhai-gones be Bhai-gones....
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Being an Aamir Khan fan has its problems. You have to wait for years for a single movie to hit the theater. And considering he is in his 50s now, we hardly have any time left. But what keeps us happy is that he hardly ever compromises on quality ( except Dhoom 3 ofcourse). His hit rate is tremendous and going by the reviews of this film, I knew that this wouldn’t be bad either. One review said, it was better than Lagaan! Wow… Now that is a pretty extraordinary claim. Having seen it, I must say it isn’t as good as Lagaan because it isn’t as complex or huge, but it is a pretty good movie in its own right.
Based on the real life story of a pretty extra-ordinary man, his extra-ordinary daughters and one slightly extra-ordinary nephew, this is a sports movie with a difference. Most sports movies in India do not place too much emphasis on the technique of that sport. A boxer can get away with simply putting on Satin shorts and tap dancing in the ring. But the sports choreography and cinematography of the wrestling sequences in this film is brilliant to say the least! And that’s what places this film several notches above most Indian sports films.
If you have seen the trailer, then you know that this is about a fanatical father who imposes his dreams unto his daughters, becomes haanikarak for them and then inspires them to win gold medals for India. Now, I have read in some places that this is the ultimate misaal of chauvinism, where the father imposes his dreams onto his daughters and just because everything turns out right in the end, doesn’t mean his abuse was right.
Right and wrong. Everything has a context. Before judging the man, we should understand the time and the place he did it in. Fighting the entire system and societal norms is not easy, and even though it had a selfish motive, his heart was always in the right place. He saw potential in his kids and set out to realize it. What we also forget is that his kids started liking the sport and hence their training continued. So yes, this is a story worth telling. The Williams sisters’ tale is very similar, but just imagine if they were in Haryana where the Khap Panchayat believes that having Manchurian causes rapes!
Now, let’s talk about the film. It starts off a little weakly, as the sequences are unevenly edited and the dialogues lack punch. But half an hour into the film, it starts gaining momentum with little Geeta getting into bouts with flustered boys. While Aamir goes on with his duty of captaining the ship like a champ, the young girls steal your heart with their innocence. And then there is the boy who does the narration, Phogat’s nephew! He infuses life into the film and binds it together with his endearing one liners. The second half, has some really powerful scenes with the father-daughter relationship hitting a nadir and then getting back on track. Even the bouts, though detailed, are thoroughly entertaining. The amount of effort the girls – both Jr. and Sr. have put in the fight sequences is phenomenal. Hats off to them.
Yes, the film has its flaws. The villain in this film is poorly manufactured. When you have a good actor like Girish Kulkarni, it is criminal to not define his character properly. He is the weakest link in the film and his final shadyantra in the film seems utterly forced.
All in all, this is a movie worth showing your family. It is a sports film, but it is also about the dangal between an ambitious father and his rebellious daughter. You will laugh, cry, get bored but also feel inspired. The range of emotions it taps into is what makes the film a winner. And then there is Aamir, who never looks like the hero, but is very much the life of the film. He lets the girls take over and watches them from the sidelines. It is amazing how he allows the other characters to come to the fore in his films and restrains himself from always overshadowing everyone. That’s what really sets him apart. Plus, his body transformation is the stuff of legends. Go watch it. It’s worth the weight ( gain and loss)!
There is a scene in the film when SRK gives ALIA some advice with a metaphor about Chairs. It is so lame that you start wondering whether he did it purely because he had heard all the ALIA BHATT jokes and wanted something to match her IQ. The methaphor about chairs about sums up the film. It's pretentious, it's trying too hard to be artsy and it makes you go - "Kya pakaa raha hai bey!"
I know this review has come really late, but I purely did it because of the effusive reviews and reactions I have read about it. And it's absolutely flabbergasting. How can such a boring film ever elicit such a response. The answer - it being a flagbearer of people suffering from depression. But let me tell you this, this is no "Goodwill Hunting" and if SRK treated you for your emotional-ailments, then you might just slit your wrists!
Gauri Shinde started off her career with the charming 'English Vinglish'. But this film is her trying too hard to be an uber cool, indie director. Alia, a free spirited girl, is an ace cameraman but finds it really hard to make any commitments in her relationships. She runs away from them as soon as things start to get serious. Ofcourse, the reason lies somewhere in her past and for that she has to confront her parents.
Though Alia and SRK are eminently watchable, Alia is a little inconsistent and SRK's character is very flakily written. He flits between Swades and Main Hoon Naa quite often. The biggest problem with this verbose film is that, the emphasis is on dialogue but none of the conversations are absorbing. When you want to make a conversation heavy film like "Before Sunrise/Sunset" or like Woody Allen films, you need very very strong dialogues, which Dear Zindagi sorely lacks.
Gauri tries too hard to have many 'Poster Shots' and hence picks odd locations + weird accessories to make the film look quirky. It looks like a very oddly assembled bunch of things and hence the Art Designer fails miserably in making everything seem organic. Yes, I noticed these things because the story didn't grab my attention at all. After shifting in my seat for some time, I started nitpicking!
If you think your Zindagi is Dear, watch it only on television - coz this is a very average fare. And yes, this movie doesn't make any breakthroughs nor does it tackle depression in a powerful way. It's a very shallow take on a deep problem. So beware... SRK will put you in a chair, talk about chairs and inflict pure atya-chair!
-We have come a long way from Damini. Yes, we have. I remember cringing at the perversity of some of the sequences in that film. It was a savage tale, told savagely by Santoshi. When Sunny Deol shouted ‘Tareek pe Tareek’, Amrish Puri adjusted his hair and Meenakshi overacted, I rolled my eyes in disbelief. But 90s was the era of exploitative, melodramatic, purposely over-the-top cinema. Today, we have Pink. A more believable tale, told far more realistically. Yes, it does fall into the usual filmy sermonic traps sometimes, but then it does recover.
Aniruddha Roy Chowdhury runs a tight ship. A tense undercurrent is set from the very first scene. The mood is grim, the colour palette filled with greys, the sound design gloomy and the characters shady. The misty surrounds of Delhi set the perfect stage for the drama to unfold.
3 girls fall into a terrible mess and a weirdly grumpy old man helps them. He stalks them for a bit and then realizes that they are in trouble. So decides to step in and do something about it. Why is he so grumpy and strange, is neither established nor deemed necessary! Infact the director doesn’t spoon-feed too much, which is kinda refreshing.
What works for the film is that the characters and situations are believable. The brash boys and their political contacts have their limits, the girls are heroic yet human and the judicial system fair. Taapsee Pannu and Kirti Kulhari are perfectly cast, and emote effortlessly. Amitabh seems a little typecast and does go a little over-the-top in some sequences, but who the hell cares! His presence itself provides oodles of hope in the otherwise tense proceedings. Also, the director neither makes the villain a super villain, nor makes Amitabh a super hero. Yes, he is shown as a good lawyer, but no time in wasted in showing off his repertoire.
While the screenplay is swift, the story is a little scant. Though the outcome is a given, the film does get a little repetitive and makes its point in a rather tedious way. 15 minutes could easily be chopped off, but commercial constraints would have pushed the director into adding a morose subplot. Also, there are a few plot loop holes which conveniently make the situation even more tough for the girls in distress. The writer ( Ritesh Shah) takes a couple of liberties and adds to the drama, but then it can be forgiven because the message is strong.
Should you watch the film? Yes. Coz like in the 90s, the message is still relevant. When it comes to consent, there is no ambiguity. A “No” means “No”, no matter who is saying it - be it a sex worker or your wife. Unless you respect that, you might aswell be living in the stone age! What is really sad, is that when you see the film you realize that this could happen to anyone of us. We talk about progress, but then there are limits to our definition of progress. A woman cannot get physical before marriage without getting labelled. Forget that, in a country where Manchurian and Mannequins can cause rapes, the definition of Consent must be reiterated. And Shoojit Sircar’s cast and crew successfully manage the same.
Rating : 6.5/10 ( The message more than makes up for the flaws )
There’s a scene in the middle where a lecherous Akshay Kumar (cameo), sporting a hair-bun, forces the 2 main leads of the film to take off their clothes and expose their buns. Standing there in their kachchaas, exposing their perfect abs, they question a suspect! The scene is utterly pointless, but then in that scene you know that the Kachchaa exposing antics of David Dhawan have well and truly been transmitted to his son, Rohit Dhawan. The only saving grace is that you don’t have to look at the hairy legs of Shakti Kapoor!
I had no intention of watching this film, but then I read some good reviews about it and someone even said that it was like a Hindi version of Bad Boys. GHATAA!! It was just a very bad mix of all the regular buddy cop comedy tropes.
If you have seen the trailer, then you know that this movie begins with the kidnapping of a famous Indian cricketer (conveniently named Viraj). To solve this case, the Indian Foreign Minister sends to UAE the best Indian cop (John Abraham). He has the mind of Sherlock Holmes and the range of expressions of a wooden broomstick! There he combines with an Indian-Origin rookie cop from the UAE (Varun Dhawan) and they ham their way to solving the case. And yeah, Akshaye Khanna plays one of the lamest bad guys in the history of Indian cinema.
The story, screenplay and direction is done by Rohit Dhawan. With so much talent filled in one person (Zilch), no wonder this film turned out the way it did (Belch)! While the premise is interesting, the story runs out of steam pretty quick and third rate jokes start to pile up. John acts like a regular hard ass in a foreign land and the police force there seems utterly inept. And the case is solved by mistake, rather than competence. Even the way they escape in the end is so pea-brained, you just know that someone with an IQ of Rahul Gandhi would have conceptulaised it.
Varun Dhawan tries really hard to make this ride fun, but most of the audience is left looking as constipated as John Abraham. This is because the investigation is pretty lame, the action sequences sub par, the songs forgettable and the acting just atrocious. The best piece of comedy is from a cellphone conversation Varun has with an unknown person, which is entirely irrelevant to the story and that doesn’t speak too highly of the movie. Atleast, David Dhawan and Govinda would ensure some genuine laughs!
It’s amazing how John Abraham still gets movies. There are enough beefy guys in the industry to do what he has been doing ( NOT acting) for so many years. Why him?? Anyway, Varun is talented but he needs a better vehicle than this to deliver. As for Nargis Fakhri and Jacqueline Fernandes, the less we speak about them, the better. Even Akshaye Khanna wastes his comeback, but then maybe he would have got an Abbas Mastan thriller instead. So he doesn’t really have too many options. The only saving grace of this film are the cricket scenes and Mohinder Amarnath’s acting! Subhaan Allah…
Should you watch this movie? Absolutely not. If entertainment was the objective, then Dhawan fails miserably. It neither has style, nor substance. It is pretty redundant in the scheme of things and is definitely not worth the price of admission. Infact it would be better to have SAU TARAH KE ROG, rather than watch this bullshit.
Let’s get one thing out of the way first. Like always, even if Salman would have sipped Iced Latte for 3 hours, it would have made 300 crores. So this was never about the box office collections; this is about how good the movie actually is. Did it meet my low expectations? Did it surprise me? Or did I feel as violated, after watching this film, as Salman felt after the fight sequences??? Let’s find out!
Sultan is about this Haryanvi Wrestler, an ex-Gold Medal Winning Olympian + World Wrestling Champion, who gets invited to fight in the MMA-Wrestling League. But he refuses to do so, because there is a tragic backstory. 8 years ago he was, as always, a village idiot with a good heart who fell in love with a National-level wrestler (Anushka) and learnt the Thigh-5 maneuvers to Win her over. In just 6 months he went from a novice to a world beater! But then tragedy struck and he had to give it all up. Will he fight for glory once again? Will he be able to go from ‘tond to toned’? Will he survive the brutal mixed martial arts pro-wrestling league? Yeh bhi koi questions hai??? Ofcourse, it’s Bhai ki picture!
The movie starts with a highly air-brushed version of Salman taking down 8 odd pehelwaans in an akhada. This is the pivotal introduction sequence but the background score is extremely underwhelming and leaves a lot to be desired. From the very beginning you realize that Vishal-Shekhar are not on top of their game. Even the music of the film is sub-standard, which is highly surprising for a Salman movie. The only track that stands out is the brilliant “Bulleya” by Papon.
Now this film is made by the same director who made the torturous “Mere Brother ki Dulhan” and the disastrous “Gunday”, so you know that it can only get better. Hopefully… This time around, he packs in enough material in 3 hours that could have lasted his next 5 films. The story is extremely protracted. Sultan goes from nobody to hero in the first half and repeats it all over again in the second half. In the first half he does it to win his love and in the second half he does it to win his love back! In the first half he learns wrestling by pulling tractors and in the second half he learns Mixed Martial Arts by pummeling rusted cars with a hammer. And the title track plays with different levels of motivation throughout! It’s like watching Rocky 1 and Rocky 4, all in the space of 170 Minutes.
As there is so much to be said, Salman jumps from goofy to grumpy, from family pack to four pack in a matter of minutes. This maddening pace leaves you completely detached from the characters. There is no real sense of pride when he wins the Olympic Medal, because it all seems so blah! You don’t feel his pain when he loses his child, nor his happiness when he gets married. The first half is lifted by the effortless performance of Anant Sharma, who plays Sultan’s friend Govind.
The second half though becomes exciting with the entry of Randeep Hooda. This Rocky type training sequence, followed by a compelling opening bout suddenly gives you some hope. But then Ali Abbas Zafar smashes your hopes and puts on the head lock. Slowly but surely, you begin to doze off. The rest of the bouts seem pointless and clichéd. Having seen 100s of underdog films, you know exactly what is going to happen next. And you walk out shaking you head, wondering what might have been!
Anushka does as well in her Haryanvi avatar as Salman, though they fail to be as convincing as the amazing Kangana in “Tanu Weds Manu returns”. She had set the bar too high, but then the wrestling duo are not bad. Infact Salman pulls off one of the best scenes of his career in the second half when he removes his T-shirt in front of a mirror and is ashamed to see how unfit he has become. The supporting cast is competent, quite unlike Salman’s normal fare.
So is it worth the watch? Well, I know you have already made up your mind. It’s an average underdog movie, that is lifted by some good performances. But is weighed down by its repetitive, clichéd plot and base-numbing length ( Psst… Director ko aapki Base pasand hai.. maarega zaroor!).
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Transcript of the Rant! But watch the video instead.
Today I am going to Talk about Omung Kumar’s 2nd Biopic – Sarbjit.
The real life story of this man was a tragedy, is the movie tragic aswell? Let’s find out.
You guys should be paying me to watch this shit man.. I mean, Seriously.
Atleast ek Paracetamol yaa Saridon ke toh paise de do yaar.
Who picture dekhne ke baad jo headache hua hai naa.. Who nikla nahi hai..
Bhai agar iss picture ka aim tha ki audience ko Sarbjit ke dard ka ehsaas ho.. toh bhai.. waah. Slow Clapp … Slow Clapp…
Arrey bhai, I know Sarbjit ji by mistake Pakistan chale gaye the,
unko torture kar kar ke unse confession liya gaya tha,
aur yeh bhi sach hai ki unko saari zindagi kaa kothri main rakha gaya tha..
But iska yeh matlab nahi hai ki humein bhi Torture kiya jaaye,
Yaar yeh picture main toh who theater bhi koi kaal kothri se kum nahi lagaa..
Now, I mean no disrespect to Sarbjit ji or his family.
Meri problem hai Aishwarya Rai aur Umang kumar se hai.
Pehle aate hai Umang Kumar pe, koun banaya re isko Director?
Pehle usne who bakwaas Mary Kom banaake humaare dimaag ko knockout kar diya.
Government bhi sahi hai, usko uss bakwaas ke liye National Award de diya..
Chadd gaya saala, banaa diya ek aur picture. Koi humaare baaremain sochta hai.
Lagta hai jaise Omang Kumar ne Ek Minute Ka Crash Course liya hai Storytelling main.
Cliched Plot-line, hammy dialogues, Idiotic Make up, Bakwaas Screenplay
Arrey yaar kuch toh theek thaak kar leta bhai.
Aur upar se Aishwarya Rai. Ek ghatiya innings kum nahi thi ki waapis aa gayi industry main.
Usmein bhi Pehle apna Jazbaa dikha ke sabko rulaa diya, aur iss baar aa gayi Sunny Paaji se chilaane ke tutions leke. Pehle toh I should tell her, that Punjabi bolna matlab N ko NAA karnaa nahi hota.. Khana ko banaa diya Khaana.. Peene ko bol diya Peenaa.. Bus ho gayi Punjabi? Acchaa who Rehnn do, acting ko maasha allah.
Abb Bichaare Randeep Hooda aur Richa Chaddha kya karengay. Unko toh Ash bolne hi nahi deti. Hooda bechaara usne apna haal buraa kar liya picture ke liye, kaal kothri main marr raha hai addh nangaa… but nahi Ash ko harr scene ki waat lagaani hai. Mujhe toh lagta hai, randeep Hooda ko Harr din shoot ke baad Ash ki Acting dikha dete hongay.. tab aaye hai uske itne ache torture waale bhaav.
Anyway, aapko agar picture dekhni hai naa dekh lo. Phir mujhe matt bolnaa. Yaar ek sardard ki goli de de yaar..main nahi dene waala.
Kya? Rating? Ek dun kyaa!!
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Rating Scale : on 10
1,2,3,4 - Poor
5,6 - Average
7,8 - Good
9,10 - Excellent