I have been watching reruns of The Office lately. The American version. So, when I saw that John Krasinski is going to star in an upcoming film with his real-life partner and incredible actor ‘Emily Blunt’, I made up my mind that I had to see this film. I generally don’t watch Scary Films, but then I knew this was more of a creature feature and not really a supernatural horror. And I am glad I watched it.
It’s quite unlike anything you have seen at the movies. It’s a really quiet film, which is different from a silent film - because Silent Films are not quiet, as they have a lot of Background Music. This has no dialogues, no music and just a barely audible sound design. And everyone has to watch quietly. Even having popcorn might land you in trouble coz people around you might get pissed by the constant crunching sound!
The plot is simple. A Family is stuck in a post-apocalyptic world where Aliens have taken over. These creatures are blind, but they have an extremely keen sense of hearing. As soon as they hear a pin drop, they attack and kill. So, this family has to live extremely quietly. The rule is simple - if you stay silent, you stay safe. But then the wife gets pregnant. And you can’t keep a baby quiet, can you! And that is when things get really tricky.
In terms of horror, it’s all about the build up here. The film starts slow, but when it gets into a higher gear there are no brakes till the very end. The screenplay is brilliant and there is always a lingering sense of doom. You just know something might go wrong and a character might die. What gets your goat is the brilliant sound design and the stellar cinematography. Ofcourse, the Indian movie theaters completely ruin the build up with an ill-placed interval. Just when things start getting warmer, they spoil it. Anyway, even if the presentation is a downer, the film triumphs.
Is it scary? Well, if you go to watch this film expecting a horror, it will disappoint you. But if you go to watch a really thrilling drama, you will be more than satisfied. It’s a human tale about a family trying to survive against the odds. It touches you more that it scares you. The opening 20 minutes sets it up brilliantly and you start caring for the family. And that is its greatest strength. Now, you don’t want things to go wrong. A small misstep and you are wondering who will die. But you don’t want them to, coz you are emotionally invested in them.
Kudos to Krasinski for writing the screenplay and directing this gem of a film. He’s the last person you would expect to make such a film, but he does a stellar job. In terms of the performances, the kids and Krasinski are competent but Emily Blunt really powers the film with her amazing range.
After a long time it is a film I want to go watch again at the theaters. Because I want to notice the little things that the film does to keep one emotionally invested. It does have a few clichéd scares, but then most of the scares come from the cares! So buy a ticket right away and go to the cinema today. But remember, in the theater – just shut up and watch!
Very rarely is cinema used to show the world in all its glorious greys. They generally paint the world black and white. You root for the protagonist through their absolutely worst, because somewhere you know he/she has been wronged. But what if nothing was black or white. What if with every step you had to question your decision? Three Billboards is cinema at its powerful best. Because it opens up a separate can of worms at every step and makes you question where you stand morally. And that is what makes it a deeply affecting piece of art.
The plot is simple. It’s a mom’s quest to find the killer and rapist of her daughter, and she is ready to do absolutely anything to do the same. In one glorious move, she directly attacks the Police Chief by asking hard questions about the murder on 3 billboards placed on a freeway that is hardly used by anyone. And this, as they say, stirs up the hornet’s nest.
While everyone sympathizes with her, they also sympathize with the chief as he is not only a good man but also a dying man. While she doesn’t know about it when she puts up the hoarding, but even after finding out she doesn’t bend. She knows she is on the right path and no guilt can stop her from finding out the truth about her daughter. Now, she not only faces the wrath of the town but also of the Chief’s racist sidekick. Will she succeed in her mission, in embarrassing the police enough for them to find her daughter’s killer? Or will she succumb to the pressure put by the police on her? To know that you will have to watch the movie. And watch you must!
The movie will really make you think. You might find some things too farfetched, too sudden, but then most of it will just make you think what you would have done. You will judge each character, you will take sides, you will definitely be moved. It is not a perfect movie, but it is an affecting movie and very rarely does a movie put you on that moral seesaw. Is the mother going to far by going after a dying police chief? Is the police chief really a good guy if he supports a racist, aggressive subordinate? Is the subordinate really bad or is he driven to that by his wicked mom? Is the mother really any different than a racist subordinate if she discriminates against a dwarf? There are many questions and very few answers. You have to look within to find these answers and that is the triumph of the film.
Martin McDonagh, the writer-director of this film is truly a champ. After having given us marvels like “In Bruges” and “Seven Psychopaths”, he really ups the game in Three Billboards. He could be picking up some big ones at the Oscars soon. And what adds the cherry on top are the performances. While Francis McDormand is flawless as the grieving mother ( and almost has the Oscar in the bag), Woody Harrelson excels as the police chief stuck between a rock and a hard place. But the one who’s character is the most flawed is the wicked subordinate played by Sam Rockwell. You might question his character’s arc, but you won’t question the performance – it’s brilliant. It’s so good to see him get some meaty roles once in a while. And this might just get him an Oscar.
So you might catch it before the Oscars on Monday morning or maybe after that, but be assured that it will be hoarding a lot of awards. Coz whether you like it or not, Francis McDormand is a Volcano that will engulf you with her fury.
Rating: 4.5/5 - Yes, it has its problems, but then it is like nothing you have ever seen.
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 )
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!!
Last weekend was supposed to be epic. A Rohit Shetty-SRK combo vs SLB’s magnum opus and as expected the former took the lead in terms of box office collections. While Maharashtrians went up in arms against the historical inaccuracies in Bajirao Mastani, tolerant right wingers went bonkers against Dilwale because of SRK’s intolerant remark! While they fail to see the irony in this, the only thing it does is give publicity to this useless piece of fArt.
Well, dear Right Wingers, if you really want to get it right, here are a 5 valid reasons to be intolerant against this film. I mean, you won’t have to explain to the junta that you are doing this not because SRK is Muslim, but because he called India intolerant. Anyway here goes:
1)Manma No Emotion Jaage: Diwale is probably the most heartless film made by Shetty. By tolerating his shit over the years, we have inflated his ego so much that now he doesn’t even try to add a plot into it. I mean, we don’t expect too much of a story from Shitty, but this is the nadir of storytelling. This time he is not even pretending to try.
Guys if you wanna protest – protest against Shetty’s lack of interest to even pander to the lowest common denominator.
2)Gerua ? Why not Bhagwa?: Ok, don’t get excited now. I am not trying to say protest against them using red instead of Saffron! I am saying that there is more to see red here than just that Shetty is now lifting song locations from a Justin Bieber song! There is no logic in the proceedings. One minute the Don’s daughter is a conniving mastermind, the other - she is a blithering fool falling in love. The current drug lord (Boman Irani) is no more than a stand-up-comedian who gets wiped out by a single man in one brief fighting sequence. A loyal henchman takes 15 years to tell the heroine that the hero wasn’t at fault and he says it so nonchalantly that you want to slap him for wasting your precious time.
All of it is one big joke playing on the audience and when the film makes 300 crores, Shetty will be laughing his pants off.
Guys if you wanna protest – protest against Shetty’s attempt at making Chennai Express feel like a masterpiece!
3)Janam Janam Barbaad: Kajol and SRK created magic in DDLJ and the film was promoted as a recreation of this magic. Probably the biggest disservice Shetty does with this film is completely waste the chemistry of his leading pair and taint the pleasant memories of the past. The writing is so lame that the love story never comes alive. It looks like even SRK and Kajol realize that the dialogues are ineffective, so they deliver it half heartedly. When they say “Jaan le lungaa” to each other, you wish someone killed you first!
Guys if you wanna protest – protest against Shetty for rendering SRK-Kajol’s chemistry impotent.
4)Hamming ke Daayre breached: This is a moment to be remembered. This is like the epic clash between Pete Sampras and Roger Federer in Wimbledon 2001. It was the end of an era and beginning of a new one. Dilwale is officially the film where SRK gets out-hammed. Right, I know you would think that is impossible, but so was anyone beating Pistol Pete at Wimbledon! In Dilwale, SRK passes the baton to Varun Dhawan, who serves more Ham Sandwiches than the Americans have annually!!!
Guys if you wanna protest – protest against Varun Dhawan’s existence!
5)Acting Tu kar Tu Kar: As you walk out of the theater, you see the leading pairs gyrate to a song called Tukur tukur. You wonder if they are saying Tu Kar Tu Kar, Tu Kar Tu Kar, Tu Kar Tu Kar, Acting… Seriously, the actors don’t even seem interested in making your time, in the theatre, worthwhile. SRK is on his own trip. In Swades he was restrained, in other films he was over the top, this time around he could care less. Only in a couple of scenes where he is supposed to be angry, he puts up his hammy mukhautaa and runs in slow-motion, but otherwise he is just sleepwalking through the role. Kajol, tries a little, but again the best dialogues seem to be written for Johnny Lever, so why would she care? Kriti Sanon knows as much about acting, as she does about the hair shampoo’s composition used in a Salon i.e. Zilch! So you can’t ask much of her. And Varun… well Varun is actually trying to make up for each one of them!
Guys if you wanna protest – protest against SRK-Kajol’s utter disregard for your precious time.
I could keep going on, but I know you won’t tolerate any more reasons. So go ahead, protest for the right reasons. Save the nation some money, after all we work so hard for it. But don’t do it under the pretense of being tolerant! We should be standing up against such mediocrity. We should be protesting against such cruelty against our bums.
If we need to be intolerant, it should be against something like Dilwale, a film that tests our tolerance to the limits.
Rating: 2/10 … It can’t get worse. Alas, there is RGV’s Aag
If you haven't read my take on BAJIRAO MASTANI - CLICK HERE
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Tharki baaba Bhansali is back and this time he is screwing history! Don't get me wrong, I am not saying this. That's what people along with me said. I for one had no idea about Bajirao's glorious regime, but a man who won 41 battles in a rao..uhh.. I mean row, must be better than Rocky Balboa atleast! But then Bhansali is on his own trip, it seems and washes his hands off history in a 2 minute long disclaimer right at the beginning.
Now if no one had told me about the actual history of one of the greatest warriors in Maratha history and if I wouldn't have really paid attention to the disclaimer, this would have been my take away from the film :
Bajirao was a brash, cocky, sadakchaap warrior who was made the prime minister urf Peshwa because of his peerless talent. He was the Virat Kohli of the Marathas, foul mouth, cocky gait, irritating presence...( or maybe it's just Ranveer... you never know)! He was kind of psychotic too... I mean who shows a LOTA of water so much tashan anyway? Also, he loved standing in between fountains and in water of any kind. Like most men, he went soft ( err.. hard) around beautiful women also, and really didn't have too much control over his men ( or women) because his people routinely messed with his orders. And yeah, powerful sperm - I mean 2 nights, 2 women and poof, 2 sons!
Mastani really confused me. Beautiful, tender princess, who was brilliant at sword-fighting, dancing and what not. But it seems the poor soul suffered from split personality... One moment a powerful princess, the other - a lady with absolutely no self pride. But then LUVVVVVV makes you do stupid things right? Once Bajirao Bajaoed her, she was a goner. And yeah, she was the Sidhu of her times - Shayaris and Kafiyas at the drop of a hat!
Kashibai, Bajirao's wife, was the sensible one. Terrible Maharashtrian accent, but sensible. Also, an ace dancer with absolutely no problems in any of her limbs!
Anyway. Bajirao for one, really didn't fight too much. He fought a couple of battles and hammed his way out of battles otherwise. Mostly he was ping-ponging between his wife and Rakhail ( harsh word, but couldn't quite pick the other word Kashibai gives her). Also, his elder son - Nanasaheb, was a real prick.... a worthy successor!
And last but not the least, Bajirao's brother Chimaji was almost like Sheldon Cooper- brilliant but intolerable. I mean he built a projector that displayed Live feed of things happening far away in the times of no electricity. Yes, tilt the reflective glass at the right angle and poof, dish tv is ON. Otherwise, he too was a real prick!!!
------------- Enough history lesson for today, let's get down to the making.
It's said that Bhansali creates grand sets and then sets a story within them! This time too, he has created the most opulent, grandiose sets, but kinda forgets to set too much of a story in them. While every frame is like a piece of art, what lacks is the craft! There is no basis for the insane love and hence, we really don't feel for them. Mastani's love seems too forced, too sudden. Also, beyond a point, there is no story. You just have a never ending loop of - Song-Dance, Mastani pines for Bajirao, Bajirao stands in a fountain, Peshwa Clan insults Mastani, Kashibai sad, Bajirao goes on a trip, Peshwa clan tries to get rid of Mastani, Mastani Sticks around, Kashibai welcomes Bajirao, Kashibai stands in a fountain, Bajirao wants Mastani to be accepted, Brahmins refuse, Bajirao angry, Bajirao stands in a fountain, Song-Dance and repeat all over again - 5 times - Bajirao dies, Mastani dies, THE END.
If Bhansali had paid a little more attention to facts and to writing a better script, rather than focussing solely on costumes, colour combinations and grandiose sets, this would have been more than just a costume drama. Infact, he does a great job even in the battle sequences and would have been great if he could have ended with one epic battle. All you get is a caricaturish, Gaddar style Sunny Deolish scene of Bajirao taking on an entire army alone!
Anyway, this is definitely better than the squirm inducing Goliyon Ki Raasleela, Ramleela for sure. So if you screwed history during exams in school, then you won't mind Bhansali doing the same on screen too! And if you still don't know Bajirao-Mastani's love days ki history, then you definitely won't say "History ke Love Days lagg gaye"
Rating: 4/10 ( Stupendous Art Direction, Production value and Cinematography!)
To read my take on DILWALE : CLICK HERE
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Rating Scale : on 10
1,2,3,4 - Poor
5,6 - Average
7,8 - Good
9,10 - Excellent