DANGAL - MOVIE REVIEW

In one of the many intriguing scenes in the film, a young girl, forced into child marriage makes our “Heroes” realize why their father was probably right in doing what he was! And that creates a beautiful balance between the ethos of feminism and patriarchy, silently hinting at why both the extreme ethos are extremely dangerous and why there exists a need for co existence! Dangal is all about this balance.

The characters here, despite being from a biopic are relatable, purely for a fact that none of the characters have singularity of emotion and every character is equally susceptible to normal human fallings. For a film that achieves this kind of characterization, audience involvement is a guarantee for sure.

A young Omkar gives up his career to make his Tau live his dream. The girls give up their childhood to make their father live his dream. The father gives up on everything he has to make his girls live their lives like a dream. Dangal is much more than just your run of the mill sport biopic.

Dangal is a rare film where everything came together seamlessly on screen, right from the performances to the technicalities. The editor has done a splendid job at keeping the film engaging despite a run time of around 3 hours, ably supported by a stellar screenplay.

And if someone deserves an out of the box mention, it has to be Amitabh Bhattacharya, the lyricist. Back in the day, when he penned poetry for Udaan and Lootera, I had almost, in my head, hailed him as the Gulzar of the coming generation. And frankly, his recent work had not been inspiring, to keep it really simple. But Dangal is where you realize his mastery yet again.

The music arrangement by Pritam is average but Amitabh, with his words has made Dangal an absolutely admirable album. Gilheriyaan and Naina (Arijit yet again displays his ability to make a complicated song sound ridiculously simple) stand out as the songs of 2016 for me! And just you feel like running out of the mood, get on Daler Paaji to croon into Dangal-Dangal!

Another highlight of the film is the costume design by Maxima Basu. Dangal should surely be a nominee for the best costume design in the coming award season. The cinematography is visually appealing and captures the tensions and emotion exactly the way it should have been. The commentary during the wrestling matches remains steady, the supporting cast performs ably. So with so much right going on for Dangal, what could possibly go wrong?

Nitesh Tiwari tells a tale with enough substance for the audience to chew on. The film has a settled flow and minimal abruptions. However, towards the fag end of the film, the grip over characters goes haywire, clichéd montages take center stage and a movie which had survived sans dramatic influences for most of its run time, falls back on to them. This, in the larger picture, is a minor hiccup but it just stops Dangal from acquiring that special place that it possibly deserved.

The Phogat sisters are a find. The fact that they manage to hold on to their own in front of Aamir, speaks volumes of their talent. Sakshi Tanwar, despite the limited screen time and dialogues etches a place for herself in the hearts of the viewers.

Aparshakti Khurana, the doting brother, is an absolute crackle on screen. His comic timing is excellent and as a narrator, we view the film from his perspective. His mannerisms and tone suit the flow of the film.  

Aamir Khan has lived the role of Mahavir Singh. This is his performance right in the zone of Lagaan, Taare Zameen Par, Rang De Basanti etc. It takes mastery over the craft of acting for a superstar to play second fiddle to the script. And whenever Aamir has done that, the results have been phenomenal. The only shortcoming was that while Aamir aged physically and emoted perfectly, the voice, pitch etc still remained that of the young Mahavir Singh! So when you hear him shooting dialogues towards the fag end of the film, you do not really feel the fact that here is an aged Mahavir Singh speaking to and for his daughters.

Dangal is a must watch. While we have had sport biopics coming out in numbers recently, apart from Pan Singh Tomar and Bhaag Milkha Bhaag to an extent, there has been none that has stayed with me once I have left the theatre. Dangal therefore fills up the void by becoming a film that told the story of sporting glory and doing the unimaginable with the finesse that it almost felt like slice of life film most of the time.

LATHH GAAD DIYA BHAI !!

FITOOR -- Movie Review

To be honest, the cinematographer does his job remarkably well. The dreaminess that ran through Great Expectations has been captured as is on the camera, almost fairy-tale like but alas it happens to be the only thing that has been kept consistent in lines with Dickens’s work.

Given the fact that Great expectations in itself was melodramatic enough (has been an unnamed source, for its theme, for umpteen number of Bollywood films), the film sulks considerably at creating that mood.

There has been an evident try to make the subject hold to its pretext of being melodramatic and almost theatrical by trying to infuse Urdu in dialogues which come at various impact places in the film, entirely forgetting the fact that Urdu is best enjoyed blended and not as a garnish.

The characters age rather obscurely in the drama that unfolds in a manner that leaves little scope for any layers to develop. There was a clear requirement to tell out the age of the characters for the dialogues they mouthed and the manner of their reactions surely contradicted their apparent age as portrayed on screen

The fluency of Firdaus’s accent goes haywire as with age “Noor” becomes “Knorr” for her (Oh Katrina). Noor grows up to be a chiselled piece of art himself; probably doing lifts with the heavy paint brushes! Dimensions of characters are as loosely defined as Ajay Devgn’s special appearance. Tabu’s intent is unclear since inception and with the progress of story it converts into a rather constipated mix of sub-plots converging entirely at her behest and asking out for the reasons for their very existence in the main plot.

Dickens’s simplistic idea of the societal barriers and falsely lived childhoods has been overcooked here to an extent that makes it unbearable. Fitoor tries to be a clever take on Kashmir’s polity by masking Haider on its head and bask in the glory of soulful slowly brimming romance by trying to ape Lootera and it fails miserably at both of them.

For Haider and Lootera, despite based on watertight narratives and excellent screenplays separated themselves from the rest on the basis of performances alone. Lootera for a matter of fact showcased more “fitoor” in its portrayal of romance than Fitoor itself.

What somehow manages to keep the attention intact is Amit Trivedi’s music. Again it is not something out of the box from Trivedi and quite a predictable soundtrack for someone who’d have followed Trivedi’s discography. Though the lyrics by Swanand Kirkire are thoughtful, the tracks somehow do not add the desired depth to the narrative.

Katrina Kaif, well, tanks enormously in her portrayal of Firdaus. The accent is haywire, the body language and voice tone suggest two different intentions and the emotions, well, are absent.

Aditya Roy Kapoor tries hard to match Katrina as he portrays a rather dimwit Noor Nizami, a natural talent leading a life based on lies. For a character that had so much to offer, the performance largely remains unilateral.

And how often would you see Tabu deliver an inconsistent performance? And the inconsistency graph here ranges from the axis of rubbish to the axis of salute! While she mouths laughable dialogues in front of the still young Noor and Firdaus, to the masterful act in the pre climax scene, Tabu disappoints.

The narrative by Abhishek Kapoor moves along languidly and that isn’t a problem till the time the screenplay has moments to offer or the story has substance to hold on to. Sadly the director lacks the presence of both those elements and it almost seems like an eternity before intermission strikes. Also, digging deeper into the plot itself, there seems to be no justifications for any of the character to behave in the portrayed manner.

In one of the most laughable scenes of the film, our artist hops on to ride with a complete stranger on the promise on being fed on the tastiest Kahwa in the city! Who is who and why is hardly given importance to! There is an apparent lack of flow in the narrative and is barred at places with unnecessary plot convolutions and excessive characters.

Abhishek Kapoor tries to hard to make Fitoor look like one of the classiest films ever made, with abundant randomness scattered throughout in the name of art and logics bypassed in the name of romance. What the director forgot that Haider and Lootera, both being adaptations, tried hard to tell the story rather than sell out as a classic. This is where Fitoor falls, and falls flat.

Fitoor is what happens when grandeur lacks artistry, story lacks substance and romance lacks soul.

**1.5 STARS**

Masaan -- Movie Review

"Sangam insaan ko do baar aana chahiye, ek baar akele aur ek baar kisi ke saath"

As the movie draws to a close with a poignant shot of the boat heading towards the sangam, probably symbolic of the characters move towards new beginnings in their own respective lives, with Indian Ocean's Bhor playing in the background, there is a feeling of inevitability and amusement about human existence and its meaning in the context of a plethora of emotions that surround an individual.

With a story line that is devoid of any sub plot convulsions but filled with layers, each layer to the character, sub plot converge seamlessly.

The film is a slice from the lives of individuals, capacitated enough to look beyond the social norms, brave enough to question morality in its substance and form, eager enough to cross cultural barriers, yes vulnerable at times but capable enough to give the desired direction to their lives.

There are primarily 3 major sub plots. The one involving Devi and her desires, her subjective truth, her struggle to instill the confidence back into her existence dwells on a linear narrative pattern.

The plot involving Devi's father, Vidhyadhar Pathak and his struggle to come to terms with the enormity of situation at hand and to preserve the image in a social set up coupled with the ever tightening strings of financial obligations makes it a delightful sub plot to watch. Also a minor portion including Vidhyadhar's relationship with the little kid serving as his help is delightful.

But where Masaan really scores is on the way the narrative unfolds on the story of Deepak and Shaalu. This is a plot filled with moments of untimely blushes, simplistic conversations and most of the relatable and identifiable situations fill this part of the story in abundance.

Richa Chaddha as Devi is extremely impressive. Her confidence develops as the movie flows along and by the end of the film we find Devi's life coming a full circle. From the amateurish eagerness to paving way to lead her life on her own terms, she plays it with a very matured understanding, both of her character and the context in which her character is supposed to react.

Sanjay Mishra has been in supreme form. Known largely for his comical stint, he came into his own in a gem of a movie called Aakhon Dekhi, amazed all and sundry again in Dum Laga Ke Haisha, gives a terrific performance yet again in Masaan. The pain of social stigma, coming to terms with the mindset of his daughter and finally accepting and acknowledging his insecurities of her daughter leaving him in a brilliant scene where Devi expresses her desire to move out of Benaras. Words fall short to describe his immaculate understanding of his character and the subtlety with which he brings a transformation in his character's mindset and views. Excellent Work.

There's been a long time since an actor impressed so much with his debut effort. Vicky Kaushal has arrived folks and how! An excellent display of method acting coupled with the camaraderie with his friends, mannerisms, all of it make it a treat to watch him perform. However there is one scene that stands apart, along the banks of Ganga, where Deepak breaks down finally, comforted by his friends. Terrific. Never for once you feel as if there is an act going on. Deepak fits into the movie's premise as naturally as it could ever be. After a really long time there has come an actor who plays along with the emotions through his eyes! Grief, anxiety, ambition, willingness and happiness all from the eyes, words reduced to minimal.(Check the scene where he asks the boatman to turn the boat post his conversation with Shaalu)

Shweta Tripathi is unparalleled with her portrayal of Shaalu. There's the genuine blush when on call with Deepak, playfulness in their meetings and purety in the emotion as one would find in a Nida Fazli Ghazal.

Neeraj Ghaywan stiches along a tale spread across a myriad range of emotions, emerging from characters from different walks of life and society and mixes it all with relative ease, categorically setting up Benaras as a silent character in giving shape to the mould of his story telling pattern.

He sets up extraordinary scenes in the ordinary setup. Vidhyadhar's and Devi's confrontation, Shaalu reciting poetry to Deepak and his incapacity to understand a single rhyme, Deepak's outburst as he discloses his identity and address, Shaalu's maturity as she accepts the calling of love and speaking it out to Deepak while on move to pilgrimage are certain scenes to be watched over and over again!

From the beautifully shot Tu Kisi Rail Si Guzarti Hai to an effective and evocative Mann Kasturi, the director builds up emotions from the routine and ordinary.

The cinematographer brings out the story's part of silence and unsaid words through his camera and does a commendable job.

This is one film which should be looked upon for the way it includes the songs in the narrative. Indian Ocean's work has been brilliant and 'Tu Kisi Rail Si' and 'Man Kasturi' were easily amongst the best soundtracks of 2015. Varun Grover's lyrical quality shines efficiently in the tunes of Indian Ocean.

There could be a never ending write up on how small and routine has the potential of delivering the extraordinary and how issues and mentality of a certain society can be challenged and questioned without any melodrama but I shall let Masaan do that talking.

This isn't a movie to be reviewed. This is a movie to be experienced. This is a story to identify oneself with and raise questions on the "why's" rather than the "how's". It makes it's stand on moral issues, ethics, societal stigmas and honesty pretty clear without making it even evident to be solely focusing on them.

Hats off Masaan team. It'll always be a regret to have missed out watching this one in a theatre.

To sum it up,

" Mann Kasturi re, Jag dasturi re, Baat hui na poori re..."