MERI PYARI BINDU - Movie Review

Meri Pyari Bindu, yet another romantic film from the YRF stables. Yet another attempt at portraying a refreshing take on love and relationships. Yet another narrative pattern that shows promise but dies quickly thereafter; yet another boring film.

Somewhere between the plot and the screenplay, the story seemed to have gone missing. What happens on screen seems like a mere series of events put together in order to complexly narrate a rather simple story; the events never quite get their share of emotions to make a difference to the audience’s perspective.

On a close analysis, the plot is a done to death idea, novelty being far and few in between. It also appears that the plot was unnecessarily convoluted in order to add elements apart from the basic crux of the relationship between Aayushman and Parineeti. And as a result, the sub plots with substance, for instance, the one involving Parineeti’s father, Aayushman’s equation with his family, the camaraderie between Aayushman’s MBA and Mumbai buddies, never quite get the sortie to carry the narrative forward.  

As an after effect, you start to expect a logical conclusion to these sub plots towards the end of the movie but that sadly does not happen.

The screenplay further highlights the gaps in the story. With continuous shifts from flashback to present, there are at times, moments of indifference as the timeline shifts are hardly recognizable, neither from the behaviour of the characters nor from the set elements or production design. Aayushman’s capable narration could not do justice to the above mentioned point.

In MPB, we see the film from a unilateral perspective. What we see is what Aayushman sees or has seen. And what we see is only Bindu. Never for once are we allowed to have a perspective on Bindu from any one apart from Aayushman’s character. And hence, there grows a tendency to build an expectation about Bindu’s character to act and react. 

The telling blow to film comes right away when we see a contrast in the way Aayushman described Bindu and the way she reacted in certain situations. There happens a gross mismatch between the narrated bit and the acted bit. And that must precisely be the reason why at the point of intermission, MPB had already categorized itself into the list of films that cannot sustain their existence via story telling.

Parineeti Chopra sure lost out on a lot of flab but retained her screen presence. However, what also seemed absent was her ability to effortlessly pull off characters. She seemed too exerted in certain bits, too casual in others. And while she would still demand your attention, the ability to retain the same surely was not on display. She surely is a much better actress than what is on display in MPB. The last segment, 10 mins or so, do a bit of redeeming of sorts; but that is also just about.

Aayushman Khurana is one fine actor and indeed is the sole reason to watch MPB. He displays tremendous ability to grasp and grow with the character. He narrates the film in an impressive manner and totally steals the show in the final parts of the film. However, since Bindu does not quite act in the manner Aayushman builds up her character for the audience, his own character kind of turns out to be dim – witted, at times bordering on to the lines of foolishness.

The debutant director could not hold on to the reins of the film and hence dishes out a very average product. His directorial style seems to have garnered influences of Woody Allen, Imtiaz Ali and even Shaad Ali to an extent, but amidst a plethora of meaningless scenes, the bright parts loose their charm. Despite being just a tick over 2 hours, MPB seems excruciatingly long.

What helps the film surely is the music. Afeemi is a beautiful composition. Maana Ke Hum Yaar Nahi enhances the impact with the way it has been used in the film. The editing needed a lot of improvement. The cinematography is at par with YRF standards.

Being touted as the comeback film of Parineeti Chopra, after a self claimed hiatus for about 3 years now, MPB does try to live up to the vibe it constantly yearns to generate but never quite becomes the film that has the capability to actuate the viewer’s interest.

All said and done, MPB does not rise up from the levels of mediocrity, leaves a lot to be desired and ends up being one such film which would have made no difference even if it had not been made in the first place.

 **2 STARS**

PHILLAURI - MOVIE REVIEW

Finally, a refreshing Friday at the films!

Anushka Sharma, is out with her 2^nd production venture and as is evident, the focus clearly is on telling versatile stories, which is not a bad thing at all. But with PHILLAURI, could there have been a little more watertight narrative pattern? Well the answer is in the affirmative but it is not really going to be a major deal breaker for the film, it should not!

PHILLAURI is a fantasy drama, sprinkled with comic relief, guided well by poetic justice and showcased efficiently by the honest performances from the cast. The quest for unfulfilled love as a subject is a routine for any Bollywood film, albeit here, the treatment makes it a novelty of sorts.

So when we meet Kanan, we are immediately fed a dose (read sub plot) of commitment issues and confusion as an undertone for the film. When we meet Shashi and Phillauri, we are served a loveable rhythmic narrative which tries to make sense and relevance in the macro sense for the screenplay.

The narrative shifts from the present to the pre-independence 1919 India and the transition is seamless and blends well with the flow of the film. Romance here has been portrayed rather mildly, almost as if the director wanted the screen to blush while Sahebaan played on 70mm. 

PHILLAURI takes you in to a dreamy world, a world of the folk lore, which might seem extra ordinary at the outset but turns out to be just like the routine, which in itself is not a letdown. It lends a certain degree of reliability to the film.

Technical aspects of the film must be applauded. The VFX and CGI tem have created the most beautiful and alluring ghost ever. And in what is rare for Indian cinema, the visual effects are not cringe worthy. They are extremely well crafted. the sound design is another plus here which kinds of helps in creating the right mood and let it linger, more so in the climax where the background score almost doubles up as a saviour of the film.

The screenplay however, is not a crisp one and the same can be said about the editing as well. Both leave a lot to be desired. The dialogues do their part well. Cinematography has been stupendous! The frames are beautiful and there is attention to detail, which becomes apparent more so due to the languid pace of the film.

Suraj Sharma (Kanan) plays his part effectively as the ever so confused and high on the obvious Canada returned Punjabi. He displays a natural knack for comedy. His obvious underplay of the character helps a lot in getting the comic timing spot on most of the time.

Mehrene Kaur Pirzada as Kanan’s to be wife emotes well in what is a very simple and doting character, sans any negatives.

Diljit Dosanjh, though looks staid in most of the screen time that he gets but that he has screen presence cannot be denied. He does his part almost the way I perceived the writer wrote. However, the transformation in his character, though portrayed well by the effective Dum-Dum track in the background, could have been far better emoted.

And as is a no brainer, this is Anushka Sharma’s film. She shines, in almost every scene. She looks effervescent, and single-handedly justifies the fantasy drama genre with her acting prowess. 

She is endearing as the ghost and vulnerable yet plaint as the poetess back in the day. I might just stretch my neck out and say that she OWNS every frame she is in and you cannot but ignore to see her mature as an actress who knows the game and the rules. 

SMITTEN!

The debutant director, Anshai Lal, captures vrious scenes brilliantly. The way Sahebaan song has been shot is lovely.

Sample the scene where the family welcomes Kanan, or the one where Dadi proclaims 9am as a time worthy enough for a drink, or the scene where Shashi meets Annu or the scene Shashi’s brother acknowledges her love- tearjerker! 

The genius here lies in the fact that the director does not go overboard with anything despite having sufficient enough situations to do so. The humour is situational and not slapstick, the emotions are more left to be deciphered than making them obvious.

However, this ends up in making the film roll over at a languid pace, which is perfect as PHILLAURI has the moments but the film crawls, at places and that kind of lets the entire premise down. The climax went a bit haywire, the immediate post intermission portion said a lot but made no value addition towards the end. 

Also, Nidhi Bisht is wasted in the role of Anushka’s friend which again eats up the screen time and adds on to the number of sub plots.

PHILLAURI, thereby, ends up taking the path much travelled and hence dilutes the sense of Awe!

That said, if slow boiled romances, a dash of fantasy and a relaxed movie watching experience is your cup of tea, PHILLAURI should make for a decent watch.

“Tere bina Saans bhi Kaanch si Kaate” – GENIUS!

*3 STARS*

RANGOON - MOVIE REVIEW

“Sufi ke Sulfe’ ki, lau uth ke kehti hai,

Aatish ye bujh ke bhi, jalti hi rehti hai”

One simply cannot not be astonished, mesmerized and appalled, all in the same breath as Arijit croons to YE ISHQ HAI and the lyrical genius of Gulzar and the poetic justice by Vishal Bhardwaj opens up, layer by layer on the 70mm. However, all is not well here.

There is a sense of anticipation whenever there is a talk in the town about Vishal Bhardwaj coming up with something for the celluloid. Fair enough, he has by far, been at the top whenever it has come to adapting literature as  cinema but the same is not the case when it comes to original scripts and screenplays. (Refer – Matru Ki Bijlee Ka Mandola)

Amidst the storm of the Second World War and the rise against the Empire Raj for the Indian Independence by the Indian National Congress, Bhardwaj develops a story of love, faith and betrayal. The plot in itself is very basic and done to death in many formulaic Bollywood movies, except for the backdrop in which the movie is set.

To be honest, I went in to watch the movie as an ardent admirer of Bhardwaj’s craft and came out hugely disappointed. The ones who did not go in with any expectations whatsoever, too had the same emotion while exiting the theatre. And it is not entirely the canvas that lets the director down, it is the sub-plots and the idea to strike a balance between romance, patriotism, capitalism, war and poetry that lets this film down.

This, is probably Bhardwaj’s most accessible work to the audience as there are hardly any implicits to take away, imageries to give a thought to, subtext to be understood or dialogue to be deciphered. Now if only making a movie less symbolic could also not bring up with it the challenges of lopsidedly composed characters (which have been Bhardwaj’s strength) and scenes written with heavy loopholes as if the director forgot to tie the final draft into a cohesive unit at once.

Rangoon begins with some serious pace and has the moments to get you hooked for a reasonable part of the first half but nearing intermission, you just sense things going downhill. The editing leaves a lot to be desired, not only in terms of cutting the run time but also in hampering the impact of sub-plots due to their haphazard arrangements. There is just too much happening at one go to garner undivided attention to any particular scene.

In what could be ironical, the songs in Rangoon convey the feelings, emotions and thoughts much more effectively than the narrative. The entire magnitude of the romance between Shahid Kapoor and Kangana Ranaut has been beautifully incorporated in the song YE ISHQ HAI which highlights the fact that their relationship is a liberating one, almost Sufi-isq! The genius of Gulzar then goes on to add comparisons with RUMI and TABREZI to further enhance the impact of their relationship but the dialogue, actions and the characters fail to bring it alive on the screen.

ALVIDA, another masterpiece, with great amount of lyrical detailing has only been used as a fade in-out effect song and it again conveys much more meaning as a song than the way it has been used in the film.

BLOODY HELL is your Dhan Te Nan, Oye Boy Charie, Darling, Bidi Jalaile type of song from any of the Bhardwaj’s films. This song essentially hooks you on with its lyrical quality and boy Sunidhi Chauhan is back and how! The rest of the music is spot on and possibly is also one of the very few highlights of Rangoon.

Kangana Ranaut gives a decent performance as Miss Julia, the action star. There is this sense of seen it all with her performance in Rangoon as it gets heavily monotonous and repetitive as the movie progresses. She sure has her moments in her interaction with the Japanese soldier but you have seen that in Queen. She aces the vulnerable moments but you have seen that in Gangster and Tanu Weds Manu. So in a way, though she performs ably, she is not able to bring out and develop the perspective that her character craved for.

Shahid Kapoor is brilliant as he always has been in a Vishal Bhardwaj film. Shahid’s characterization is crafted with care and it shows with the way his character entails on the journey from being the Jamadaar to the man carrying India’s possible chance to oust the Brits. Torn between the calling of his heart and the hopes of an entire nation, Shahid totally aces it.

Saif Ali Khan looks dapper, acts the desired way and leaves an imprint of the class of an actor lost in a syndrome called the 1990’s. He is stern, decisive and almost an antagonist. Despite relatively lesser screen time, Saif manages to hold on to his character.

The British Army General Hardings, recites Ghalib and Meer at the drop of the hat but does not mince his words when the situation demands.

The supporting cast performs ably and Zulfi stands out as one of the supporting characters to the main plot.

Vishal Bhardwaj sure has his moments of genius, be it the wonderfully thought and executed MIYA GAYE ENGLAND with references to Churchill and Hitler, the alluringly haunting scene in the bath tub where Saif reunites with Kangana after her being attacked on by warrior aircrafts and Saif’s discovery of the romance blossoming between Shahid and Kangana.

He is ably supported by the cinematographer who has done an absolutely splendid camera work which makes Rangoon looks plush and almost dreamlike at times. However, apart from the cinematography, the moments which have the capacity to hook you on through the run time are very few.

You cannot take the Shakespearean influence out of Bhardwaj’s work. Tragedy has to strike inevitably but it seems a little too forced in Rangoon. Also, the gamut of euphemisms and metaphors absent from the screenplay have been incorporated in the dialogues and what is a first for VB film, the dialogues are disappointing.

The Indian Army under the British command seemingly cared only about Miss Julia’s night shows, with proper set designs and lighting rather than on their training drills. The superstardom of Miss Julia is almost impossible to be believed to an extent where the army jawans are shown holding Placards stating – LOVE YOU JULIA!

The entire movie could have ended immediately after the first strike on the troop but why does the troop decide to continue, where does all the set and props come from after getting destroyed in the attack, why does CGI has to screw up climaxes? Sadly, Rangoon does not answer these questions. In fact it leaves you with many more but these are more about the existence of the movie altogether.

So Rangoon is a disappointing fare, a rare from Bhardwaj. The performances only lift the film a bit but do not have potential to carry it through. And if you try to look beyond the obvious, as is the case with most of the VB movies, or even focus on the obvious, headache is a guarantee for sure.

In the end I’d close it with the lines that most significantly describe what this film could have been –

“Ek hi TU Khuda to nahi,

Yu kabhi koi Jiya to nahi,

Alvida, Alvida, to nahi”

BLOODY HELL!!

*Why art thou so awesome GULZAR SAHAB!!!*

*1.5STARS*