Raazi - Movie Review

Cast: Alia Bhatt, Vicky Kaushal, Jaideep Ahlawat, Rajit Kapur, Shishir Sharma, Soni Razdan, Amruta Khanvilkar, Arif Zakaria, Ashwath Bhatt, Aman Vashisht

Cameos By: Kanwaljeet Singh and Sanjay Suri

Director: Meghna Gulzar

An elderly Kashmiri gentleman called Hidayat (Rajit Kapur) travels back and forth between India and Pakistan under the pretext of business dealings, when actually he is serving as a double agent between both countries. His friend in Pakistan, Brigadier Syed (Shishir Sharma), is convinced that Hidayat is spying on India for Pakistan. The truth is the exact opposite: Hidayat is a loyal lieutenant of India’s Intelligence services and, as it happens, the son of a freedom fighter.

As his life nears its end, he wants to ensure that his mission is not disrupted at this delicate juncture – the year is 1971, when India-Pakistan tensions are running high in the midst of the liberation war in East Pakistan, now Bangladesh. It dawns on Hidayat that continuity can come if his daughter Sehmat (Alia Bhatt) marries the Brigadier’s son. The catch is that she is a mere teenager – a college student in Delhi University – and untrained, and there is no telling whether she will go along with her father’s plan. She does. In short, she is Raazi (willing). And soon enough she is the bride of Major Iqbal Syed and a resident of the Syed family home in Pakistan through which passes crucial national security documents and senior members of the country’s defence forces.

Given the circumstances, you know your heart is at risk, even if Sehmat’s is made of stone, when it turns out that Iqbal is played by Vicky Kaushal. Unless his character is decidedly villainous, this is an actor who has the ability to reach into your rib cage, rip your heart out and tear it to shreds.

Watch Raazi to find out if that is indeed the effect Iqbal has on the viewer, but I can tell you already that that is precisely what the film as a whole achieves. Meghna Gulzar’s latest directorial venture, based on Harinder S Sikka’s novel Calling Sehmat, is a heart-stopping, heart-breaking espionage drama the beauty of which lies in the fact that, in the era of chest-thumping nationalism and hate-mongering that we live in, this India-Pakistan saga holds out an unexpected healing touch.

“In a war, nothing else matters but the war. Not you, not I, just the war,” a significant character in Raazi tells Sehmat. Although this is the premise on which the establishment operates on both sides of the border, the film’s overriding theme is the human cost of war. And so it compels us to ask uncomfortable questions. Are undercover agents callous or dutiful? Does a father have a right to sacrifice his daughter’s future at the altar of a nation’s safety and survival? And above all else: If there is pain on both sides of the divide, then who is benefiting from this confrontation and why, in the name of all that is logical, are we fighting?

This is the kind of story that conventional Bollywood would drench in bombast, condescending clichés about the ‘good Muslim’ and “aisa nahin ki unke sab log bure hai” (it is not as if all ‘their’ people are bad) sort of dialogues. If you have seen Meghna Gulzar’s Talvar (2015), you know of course that she is anything but conventional.

Raazi’s screenplay by Bhavani Iyer and Ms Gulzar, with dialogues by the latter, is a political tightrope walk that never lets up. Sure there is a line about the watan/mulq (country) being above all else repeated by more than one actor, but it is woven so smoothly into the larger picture and delivered so naturally by the actors in question, that it serves its purpose without trumpets blowing or bugles calling. Even a line from Hidayat about how Sehmat is a Hindustani first and then his daughter passes muster, although it is the closest the film comes to bowing to Bollywood traditions in these matters.

So yes of course, there is a – necessary – point being made about the patriotism of a Muslim Indian citizen from insurgency-ridden Jammu & Kashmir, but by not spelling it out or emphasizing her Kashmiri Muslim identity, Team Raazi delivers the gentlest of slaps in the face of Islamophobes and advocates of hatred who dominate the current national political discourse.

Raazi says so much else without feeling the need to say it. Its feminism, for one, goes beyond the obvious fact that it is a woman-centric film. In the emotionally wrenching number 'Dilbaro', with music by Shankar Ehsaan Loy and lyrics by the legendary Gulzar, a daughter sings, “Fasle jo kati jaaye, ugti nahin hai / betiyaan jo byaahi jaaye, mudti nahin hai (when a daughter is married off she does not look back) / Aisi bidaai ho toh / Lambi judaai ho toh / Dehleez dard ki bhi paar kara de.” Note the irony of those words, coming as they do during the wedding of a girl who, far from conforming to the social norm of turning her back on the house she leaves for marriage, proves to be one of her home country’s most invaluable assets.

As much as it is a poignant story of human relations, Raazi is a suspense thriller so tautly executed that I could feel knots of fear in my chest for several hours after I had stepped out of the hall. The unrelenting parade of risks and twists owes as much to Meghna’s conviction as to Nitin Baid’s brisk editing, Kunal Sharma’s intelligently crafted sound design and the nerve-wracking background score by Shankar Ehsaan Loy and Tubby.

A further boatload of kudos to the music directors for imbuing a Pakistani patriotic anthem with emotional resonance for Indian viewers. 'Ae Watan' – written by Gulzar and incorporating lines from Allama Iqbal’s 'Lab Pe Aati Hai Dua (not mentioned in the credits, but in the Making of 'Ae Watan' video) – is beautifully sung by Sunidhi Chauhan and the Shankar Mahadevan Academy children’s chorus. It marks a turning point in Sehmat’s effort to win over the people in her new life.

Jay Patel’s camerawork is intrinsic to the nervous edge that is a constant in the narrative. He seems to shadow Sehmat rather than shoot Bhatt, and is particularly responsible for underlining heightened stress levels in a scene involving a chase down a lonely street.

The hub of this enterprise is Bhatt’s stupendous performance as Sehmat, with the young star once again displaying the maturity and confidence of a veteran on camera. She is as convincing wielding a gun as she is crying her heart out at the betrayal that is unavoidable in the task she has taken on. By mining his innocent persona, the astonishingly versatile Kaushal becomes a perfect match for the baby doll looks that Bhatt uses to carefully camouflage her character’s iron will. In his Iqbal Syed there is not a trace of the serial killer he became for Anurag Kashyap’s Raman Raghav 2.0 in 2016

The supporting cast is a roll call of strong artists. As Sehmat’s trainer, Jaideep Ahlawat of Gangs of Wasseypur (2012) gets a role worthy of his talent after a gap. Ashwath Bhatt as Sehmat’s brother-in-law is remarkable in a smaller part.

The information Sehmat conveys to her bosses in India is related to Pakistan’s planned attack on the Indian naval vessel INS Vikrant during the 1971 war, which was the subject of the 2017 Tollywood film Ghazi (Telugu), also made in Hindi as The Ghazi Attack. That film was primarily a defence forces procedural. Raazi, on the other hand, is an espionage venture with heart and soul tempering its gritty core. Even as it kept me on the edge of my seat for its entire 140 minutes, it broke my heart. Bravo Alia Bhatt !

My Rating: 4/5

Parmanu - The Story of Pokhran - Trailer Review

On the day when India has completed 20 years of the second Pokhran tests, JA Entertainment released the long-awaited trailer for the upcoming movie Parmanu: The Story of Pokhran.

It is clear from the name what the movie is about. Based around the events and people behind making India a nuclear nation, Parmanu: The Story of Pokhran tells the story of how India decided to become a nuclear state.

The trailer starts with statistics of how many nuclear tests have been performed by the United States of America and China. The trailer also mentions Pakistan and the nuclear assistance the neighbouring country got from China.

Boman Irani’s voice announces that whoever takes up ‘this’ job will not get any rewards, medals or even designations. We then meet John Abraham who explains why India needs to conduct these nuclear tests. He then goes undercover with a team of military offices to ensure the tests are conducted without any hurdles.

Directed by Abhishek Sharma, Parmanu: The Story of Pokhran is about a team of officers who were given the responsibility of carrying out a covert operation.

Operation Shakti, as it was called, was carried out despite international pressure on India to not go forward with the tests. While the premise of the film is based on true events, the characters are fictitious.

Parmanu: The Story of Pokhran will hit theatres along with Bhavesh Joshi Superhero on 25 May.

It stars John Abraham, Diana Penty and Boman Irani in lead roles.

Bioscopewala - Trailer Review

Kabuliwala, the iconic short story by Rabindranath Tagore, has been adapted into a feature film by director Deb Medhekar. Titled Bioscopewala, the film stars stellar actors such as Danny Denzongpa, Geetanjali Thapa, Tisca Chopra and Adil Hussain. The story of the film picks up from where Tagore had left it.

In the war-torn Kabul (Afghanistan), lives the daughter of Kabuliwala, who in the film shows films to children on his bioscope. Hence, the name change. He spends his days longing for her trying to look for a glimpse of her in Thapa's younger version. The trailer shows a grownup Thapa, whose father passes away in a plane crash.

In a dramatic turn of events, her memories of the Bioscopewala are revived and she takes it upon herself to look for him. She tries to unravel the mystery behind his daughter and her whereabouts while the war in Afghanistan rages.

The trailer is poignant and evokes the same emotion of Kabuliwala — of pain, separation and longing. Even in the two-minute-long trailer, Denzongpa is a delight to watch as he brings to life the much-loved character of Kabuliwala. The trailer captures several stages of his life and he stands out in each of them.

Presented by Fox Star Hindi in association with Star India, Bioscopewala releases in cinemas on 25 May.

AVENGERS: INFINITY WAR - MOVIE REVIEW

Cast: Josh Brolin (voice of Thanos), Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Tom Holland, Chadwick Boseman, Zoe Saldana, Chris Pratt, Vin Diesel (voice of Groot)

Directors: Anthony Russo and Joe Russo

From 2008 till now, we've watched and devoured 18 Marvel films. Some we loved, enjoyed and revered, some left us particularly breathless, and of course, several were forgettable.

Our superheroes like Iron Man, Captain America and our cherished Guardians of the Galaxy gang have spearheaded their independent enterprises with authority and aplomb and we've carefully kept track of their story lines.

But then along comes Avengers Infinity War, which unites most of our heroes. And at the outset, it's every die hard Marvel fan's dream, to see their idols talking to each other under one roof.

What could be better than to see Star lord and Iron Man verbally sparring?

However, this isn't just an ambitious crossover film to delight fans. It's so much more than just a reunion of all superheroes. You cannot watch Avengers Infinity War in isolation, or just watch the previous Avengers films, you need to retrace your steps all the way back to 2008, back to Iron Man.

Avengers Infinity War, directed by Anthony Russo and Joe Russo, might sound like a typical Marvel superhero film in the beginning. But as you go along, you realise that this film has a distinct place of its own in Marvel history.

Let's cut to the chase.

As we already know, the Avengers have separated, and are scattered all over the world. Tony Stark (Robert Downey Jr) and Captain America (Chris Evans) aren't on the best of terms, and the once-blooming romance between Bruce Banner or Hulk (Mark Ruffalo) and Black Widow (Scarlett Johansson) has been struck down.

Thor (Chris Hemsworth), as we saw in Thor Ragnarok, is trying to get his hammer back, which was destroyed by his sister Hela.

Yet, this isn't the time for ego clashes and sulking, as the epitome of villainy, the towering monster Thanos (Josh Brolin), is on a macabre mission to annihilate half the universe. He is in desperate need of all six infinity stones. Thanos has been referenced in several films before, and he finally gets to take centre stage in this film. And we get the first taste of the pure evil that Thanos is capable of, in the opening scene itself.

If Thanos gains possession of all six infinity stones, he can destroy half the universe with just a snap of his fingers.

He is a wrathful creature, and doesn't hesitate to punish but he's also one of far more depth, than any other villain that we have seen before.

Far from being a uni-dimensional villain, a common feature of many Marvel films, he's probably the most compelling one after Killmonger from the Black Panther movie.

While for the most part he demonstrates his sheer power brutality, he has to fight his own demons too while making his choices. But sadly, these choices are not just hard on him, they're a punch in the gut for the audience as well.

The locations to some of these infinity stones are no secret, Dr Strange has one, and Vision has another, which is embedded in his head. The others are scattered on different planets.

Clearly, the Russo brothers wanted each character to shine. And how did they go about this gruelling task of juggling 30 characters with their numerous, distinct storylines? They segregated the superheroes into various teams. Be it intergalactic battles, or back to Wakanda, the African Utopia where Black Panther reigns, we're taken across different parts of the universe, and you are not even left with the time to breathe.

And so, each superhero team will do whatever it takes to bring down Thanos, irrespective of the sacrifice it might cost them.

Paced over 156 minutes with restless storytelling, the film is strong on its humour game as well, a Marvel trademark. The one-liners are brilliant and crisp, and add the perfect touch of humour to dark situations. These little humorous exchanges are deliciously embedded like gems in a cake.

It is a true joy to watch Thor dealing with the Guardians or Spider-Man saving the day owing to his knowledge of pop culture.

But don't get carried away. If the Russo brothers let you laugh at one point, they break your heart in the next. And that's the brilliance of Avengers Infinity War, it blends fast-paced action, despair, humour, triumph and awe into one super package for their audience.

It ends on a shocking cliff-hanger, and the post-credits don't seem to provide answers either.

Avengers: Infinity War leaves you breathless, and wanting more. It is the God of all Marvel films !

My Rating: 4/5

Veere Di Wedding- Trailer Review

The upcoming Bollywood chick-flick Veere Di Wedding is undoubtedly a much-anticipated film of this year, and for numerous reasons. It boasts of star cast of the likes of Kareena Kapoor Khan, Sonam Kapoor, Swara Bhasker and Shikha Talsania. In addition to that, the film promises to be possibly India's first 'commercial entertainer' with all female leads.

It starts with the four leading ladies chatting with each other at a bar. The trailer then progresses to how their friendship has blossomed over the years, leading up to one of them getting hitched. Sumeet Vyas proposes to Kareena and then prepping for 'Veere Di Wedding' begins.

The trailer boasts of a rather 'colourful' language which lends this film an air of realness. However, the chic, polished vibe soon sets in, making it visually, and also thematically, similar to a chick film; though the film's cast has maintained that theirs is 'not a chick flick'.

In India, while genres like multi-starrers, films with male leads (colloquially also termed 'buddy' films) are often made in surplus (so much that it is done to death), women-led narratives are still considered niche. Probably that's why the term 'women-oriented' is so often callously used to describe films with female leads.

Director Shashanka Ghosh, whose previous film Khoobsurat (2014), starring Sonam Kapoor and Fawad Khan in the lead, struck a chord with the audience and critics alike.

While Khoobsurat was a joyride, Veere Di Wedding takes the fun quotient many notches higher. With Kareena's charm, Sonam's style, Swara's screen presence and Shikha's quirk, the film is a complete package. After all, why should boys have all the fun?

Veere Di Wedding has been written by Nidhi Mehra and Mehal Suri, and co-produced by Nikhil Dwivedi, Anil Kapoor, Rhea Kapoor and Ekta Kapoor's Balaji Motion Pictures.

The film is slated to release on 1 June.

Sanju - Teaser Review

The much-awaited teaser of the Rajkumar Hirani-directed Sanjay Dutt biopic Sanju is here.

In it, Ranbir Kapoor can be seen in six different looks of Dutt that depict six phases of his life. And then in typical Hirani fashion, and in a Munna Bhai accent, Ranbir introduces Dutt's life.

The teaser then jumps into a montage of Sanjay Dutt's life, from his onscreen journey to the multiple affairs to his AK-56 rifle case. The teaser underlines the many lives Dutt has lived within one lifetime: from luxury to captivity, from being loved to being punished.

From the first shot of the trailer itself, you will find yourself adjusting your eyes to make sure you're watching Ranbir Kapoor, and not Sanjay Dutt, in the teaser. The similarities are uncanny, and full marks to Ranbir Kapoor for carrying off the character so well.

Ever since the film was announced, it has been in the news for several reasons — leaked pictures wherein Ranbir Kapoor looks like a carbon copy of Dutt, and the ensemble cast including Sonam Kapoor, Paresh Rawal, Anushka Sharma, Vicky Kaushal and Manisha Koirala (among others).

The most important reason behind this surging enthusiasm is undoubtedly Sanjay Dutt.

From his younger days to superstardom, from his infamous drug scandal to the 1993 Mumbai blasts case — the upcoming film promises to bare it all.

For his part, Ranbir also had to undergo major physical transformation. While Ranbir will be seen as Sanjay Dutt, Manisha Koirala is playing the part of his mother Nargis Dutt and Paresh Rawal will be stepping into the shoes of Sanjay's father, Sunil Dutt.

This biopic was earlier scheduled to release in March, but later got shifted to 29 June.

Nanu Ki Jaanu - Movie Review

Cast: Abhay Deol, Patralekhaa, Rajesh Sharma, Manu Rishi Chadha, Himani Shivpuri & Brijendra Kala

Director: Faraz Haider

Although Abhay Deol is the leading man of Nanu ki Jaanu (Nanu’s Beloved), the film belongs, in my humble opinion, to Rajesh Sharma. In what appears to be subliminal messaging snuck in by this brilliant character artiste, in a scene towards the end where he is supposed to be weeping, he turns his head gently sideways and gives the impression that he is masking a laugh. Whether or not this was his intention, it feels like an encrypted note aimed at the viewer, with Sharma’s expression seeming to say: I cannot believe I am actually working on this bizarre nonsense AND you dunces are watching it!

The other two actors in this scene, Deol and Patralekhaa, on the other hand, try to look invested in the film till it takes its last gasping, rasping breath. It is tempting to ask why they bothered at all, but the truth is, I can see what they might have spotted in the project’s concept.

Nanu Ki Jaanu is a remake of the 2014 Tamil hit Pisaasu (Devil). Although the original is not named in this one’s credits, its producer Bala and director Mysskin are listed in the acknowledgements, and the story is credited to Mysskin. I have not seen Pisaasu, but from the trailer and reviews it comes across as a somber horror flick that Faraz Haider decided to turn into a horror comedy for Hindi audiences.

The idea is not bad at all – since rationalists brush aside the possibility that ghosts exist, it makes sense to make a film that pokes fun at those who believe in spooks. And frankly, sizeable parts of Nanu ki Jaanu’s middle portion are quite uproarious. When viewed from start to finish though, the kindest thing that can be said about it is that it is uneven.

Haider’s introduction hints at a film that is vastly different from what it turns out to be. The director also fails to make a credible transition from the humorous passages to the grave latter part. And the end is maudlin to the point of being embarrassingly silly.

In the opening moments, Nanu (Deol) and his gang barge into the house of an elderly gentleman, and threaten him into signing a flat’s ownership over to them for a pittance. The scene is trying too hard to be amusing, but is not.

Cue: change in tone: shabby ‘item’ song.

Cue: change in tone: Nanu is driving down a main road when he stops to take a call on his cellphone and sees a crowd running towards a woman (Patralekhaa) lying bleeding on the ground, her scooter beside her. Since no one else does anything but stare, Nanu rushes her to a hospital where she dies on arrival, her hand in his as life ebbs out of her body.

The episode leaves the ruffian shaken and, much to his gang’s dismay, too soft to lead them through the house-grabbing assignments that follow. What comes next is a bunch of laughs interspersed smoothly with scares as we try to figure out with Nanu & Co whether he is genuinely suffering from a psychological problem or the ghost of the dead girl is actually haunting his Noida flat.

Just as it seems like Nanu Ki Jaanu might add up to something after all… Cue: change in tone: love angle.

Cue: change in tone: messages.

Cue: change in tone: lively song with end credits.

The middle bits are fun. The scene involving the redoubtable Manu Rishi Chadha’s character Dabbu trying to scare off the spook is a scream. Chadha brings to that very long segment all the comical depth that made Hindi film-goers sit up and take notice of him in Oye Lucky! Lucky Oye! (2008) and Phas Gaye Re Obama (2010). (Note: he is also this film’s screenplay and dialogue writer.)

Haider’s direction is too ham-fisted to make optimum use of his talented cast though, making Nanu Ki Jaanu a bumpy ride, until it gets to its it's-so-bad-that-it-is-good finale.

Deol, who started off with such promise in films like Socha Na Tha (2005) and Oye Lucky! Lucky Oye! Has featured in very few good projects since then. The beguiling innocence he brought to those early works and the finesse of his performance in the more recent Shanghai (2012), is proof enough that he cannot be written off. His performance in Nanu Ki Jaanu is uninspired though.

Patralekhaa, who shone in Hansal Mehta’s Citylights (2014), has almost nothing to do in this film. Sharma seems to give up part way through it. Only Chadha crackles till the end.

Parts of Nanu Ki Jaanu feel as if the production team stopped bothering with it. If you have spent money on making a film, how much would it cost you to throw some extras into a hospital scene? Or to consult grammar experts before flashing “After Few Days” and “After Few Week” on screen to indicate the passing of time?

And oh ya, Messrs Haider and Chadha, if you want to pack in messaging about beef terrorism, speaking on cell phones while driving and helmets for two-wheeler drivers, please do not make it all sound so contrived. Granted though that the point about domestic violence is well – and subtly – made.

The crux of this entire affair is that Nanu Ki Jaanu is unsure of what it wants to be, the team lacks the ability to make it everything they want it to be, and the film therefore ends up flailing its arms all over the place. It is scary in a few parts and funny in more, which is why it is so sad that in the overall assessment and especially in its finale, it turns out to be such a loosely handled, low-IQ mess.

My Rating: 1/5