No new Hindi movies are opening in the Chicago area this weekend, and there aren’t many older options available on the big screen either. Last weekend’s new release, Ek Thi Daayan, carries over at the Big Cinemas Golf Glen 5 in Niles and AMC South Barrington 30 in South Barrington, which also gives a third week to Nautanki Saala!.
Allow me to preach the wonders of ABCD: Any Body Can Dance once again. The teen-oriented dance flick — which released in theaters on February 8, 2013 — is now available for streaming on Netflix. This is an unabashedly fun film that I can’t wait to watch again.
Was the TV edit of Ek Thi Daayan (“Once There Lived a Witch”) released to theaters by mistake? There’s a lot missing from the story: important stuff like character establishment and a coherent mythology. Absent those, Ek Thi Daayan doesn’t really work.
The film jumps into the action so quickly that it neglects to properly introduce the main characters. Following a stylish animated opening credits sequence, we find our hero at work on stage. Bobo the Baffler (Emraan Hashmi) — one of India’s top illusionists, despite his ridiculous name — levitates his assistant at the top of a burning rope. The trick is monitored from a control room by Bobo’s girlfriend, Tamara (Huma Qureshi), and their young orphan friend, Zubin.
Bobo visually and aurally hallucinates a little girl, later revealed to be his long-deceased younger sister, Misha. Bobo misses his cue, and the assistant is badly burned. Backstage, Tamara complains that this is the third time Bobo has hallucinated mid-performance this month. Has no one in the media noticed that India’s top magician has literally burned through a bunch of assistants recently?
While Tamara complains to the priest at Zubin’s orphanage that she can’t get Bobo to commit to marriage — an apparent obstacle to their plans to adopt Zubin — Bobo wanders into an obviously haunted apartment building. In what turns out to be his childhood apartment, he again hallucinates that he sees Misha. Tamara arrives and points out that it’s not Misha, just the dead girl’s creepy-ass favorite doll.
They head home, a love song plays, and the couple has sex — in front of the scary doll.
Already twenty minutes into the movie, we still don’t have any reason to care about Bobo, Tamara, or Zubin, apart from the fact that they’re our only options. Are they good people? Are we supposed to aspire to be rich, famous magicians? Where the hell did they find this orphan kid anyway?
Doesn’t matter. Bobo gets professionally hypnotized, and the rest of the first half of the film is a flashback to the repressed memories of 11-year-old Bobo and the circumstances of Misha’s death. Was his dad’s second wife, Diana (Konkona Sen Sharma), really a witch, or was the boy just angry at her for replacing his mom?
There are clearly paranormal elements at work, but director Kannan Iyer and writers Vishal Bhardwaj and Mukal Sharma throw lore around willy-nilly, without a clear description of the rules of their supernatural world. Where do witches and demons come from? Can they be permanently destroyed? What does Bobo have to do with them? Are his repressed memories some kind of magical amnesia or the result of childhood fright?
There are so many unanswered questions and unclear relationships that it’s difficult to become invested in the characters. While the movie is atmospheric, the story is so straightforward that it lacks tension. The few jump-scares that exist are telegraphed.
It’s too bad, since there are some decent performances in Ek Thi Daayan. Konkona Sen Sharma is delightfully sinister, while not so overt as to eliminate the possibility that young Bobo has judged her unfairly. The young actors who portray Bobo and Misha are both talented.
Hashmi and Qureshi are solid, though their characters lack depth. Kalki Koechlin shows up in the second half as an obsessive fan of Bobo’s. Koechlin’s performance is similarly good, but it’s overshadowed by the fact that Bobo and Tamara aren’t unnerved by her character openly stalking Bobo.
With a runtime of just over two hours, Ek Thi Daayan isn’t long enough (by Bollywood standards) to become boring, but it never offers the audience much incentive to care. With more careful control of the story structure and establishing a mythology, this could have been quite good. Maybe it will make more sense if the DVD contains a director’s cut.
Even though I’m a huge chicken, I am really excited about the new Hindi horror film opening in Chicago area theaters on April 19, 2013. Ek Thi Daayan (“Once There Lived a Witch”) has an incredible cast: Emraan Hashmi, Konkona Sen Sharma, Kalki Koechlin, and Huma Qureshi.
Last weekend’s new release, Nautanki Saala!, gets a second week at the AMC River East 21 in Chicago and the South Barrington 30, which is also holding over Chashme Baddoor for a third week.
Nautanki Saala! is a mostly-great comedy that squanders the goodwill it builds in the first half for the sake of a melodramatic second half. All its good aspects aren’t enough to make up for an obligatory “happy ending” that feels forced and undeserved.
The story primarily takes place inside a theatrical production. RP (Ayushmann Khurrana) is the director and star of the fictitious play Ravaanleela, a re-imagining of a classic fable that repositions the story’s villain as the lead character. The theme of the play parallels RP’s own story, as his good intentions give way to felonious deeds.
On his way home from the theater one night, RP rescues a man, Mandar (Kunaal Roy Kapoor), who’s trying to hang himself. Rehabilitating sad, oafish Mandar becomes RP’s primary occupation, much to the chagrin of his girlfriend, Chitra (Gaelyn Mendonca), who’d like to be the focus of RP’s attention for a change.
Mandar makes slow but steady progress after RP casts him in the play in the role of Ram, the story’s traditional hero and the mortal enemy of RP’s character, Raavan. RP tracks down Mandar’s ex-girlfriend, Nandini (Pooja Salvi), in the hopes that she’ll finally take Mandar off his hands. He gets in over his head while breaking her out of her current relationship, accidentally becoming the object of her affections in the process.
When the story stays within the physical confines of the theater, Nautanki Saala! is hilarious. The vibrant sets and costumes add visual interest and a sense of whimsy, providing the ideal backdrop for the movie’s funniest scenes. Mandar’s audition for the role of Ram is the film’s high point. He stumbles through his lines while RP tries to convince the producer, Chandra (Sanjeev Bhatt), that hapless Mandar is really an artistic visionary, not an inept actor.
Khurrana and Kapoor are both terrific. Grim-faced Khurrana plays up RP’s growing frustration, banging his head against any flat surface when his plans repeatedly fall apart. Kapoor (who is almost unrecognizable from his role in Delhi Belly) gives Mandar just enough charm to make his bumbling endearing, rather than tedious.
The movie grinds to a halt when the action moves outside of the theater, which it does for most of the second half, as RP tries to get Nandini to consider reuniting with Mandar. RP’s scenes with Nandini aren’t particularly funny, and there’s no urgency to them once he starts falling for Nandini himself.
RP’s infatuation with Nandini is the movie’s real problem, because she’s a terrible match for him. Nandini admits that she’s desperate to be in a relationship with anyone, just so she won’t be alone. She’s gullible enough to fall for all of RP’s tricks. The fact that she was once in love with a dud like Mandar should automatically disqualify her as potential dating material.
Nandini’s only appealing qualities — such as they are — would seem to be her good looks and her eagerness to have sex with RP: something we know she’s already done with Mandar, and likely with her current boyfriend, the moronic cheater Loli (Rufy Khan).
RP is a successful, clever guy who already has a beautiful, live-in girlfriend with a hot body, so why would he confuse Nandini’s sexual overtures with true love? The fact that RP is willing to trade in Chitra for a woman who’s needy, dim, and has an established record of bad judgment regarding men diminishes him as a character. Once RP falls for Nandini, the movie becomes a tedious slog, culminating in a disappointing ending that isn’t as happy as the filmmakers think.
The new Hindi film opening in Chicago area theaters on April 12, 2013, looks like it could be pretty cute. Nautanki Saala! is a comedy of errors set within a theater troupe, and it stars Vicky Donor‘s Ayushmann Khurrana.
Last weekend’s new release, Chashme Baddoor, carries over for a second week at the Golf Glen 5 and South Barrington 30.
The Telugu movie Baadshah (showing locally without subtitles) gets a second week at the Golf Glen 5, Cinemark at Seven Bridges in Woodridge, and Cinemark Century Stratford Square in Bloomingdale. Other Indian movies playing in theaters this weekend include Settai (Tamil) at the Golf Glen 5 and Sadda Haq (Punjabi w/English subtitles) at the Century Stratford Square.
Today marks the Netflix streaming debut of Race 2, which opened in theaters on January 25, 2013. It’s a follow-up to 2008’s Race, which is also available for streaming on Netflix. A familiarity with the first film helps to explain some of the relationships in the second, but it’s not essential to understanding the plot of Race 2. I wasn’t a fan of either movie, but if you’re in the mood for mindless action, Race and Race 2 might fit the bill.
Also on April 10, the bizarre Hindi monster movie Hisss exits the Netflix streaming catalog. The film was plagued with problems throughout the production, and they are obvious in the final product. It will not be missed.
In other video news, Dabangg 2 makes its streaming debut on Eros Now on Friday, April 12 (though not in India). Dabangg 2 is available free to subscribers or as a premium rental for $1.99. 2010’s Dabangg is already available for streaming on the service.
Chashme Baddoor is an enjoyable comedy, and I’m not just saying that because Ali Zafar is adorable. And his hair looks so soft. And when he smiles, I feel like I’m floating.
Knowing that David Dhawan is responsible for both the film’s direction and updating the screenplay from 1981’s Chashme Buddoor, I expected the film to be as crude and tedious as some of his other recent comedies, like Rascals and Do Knot Disturb. Though it has a few annoying elements, Chashme Baddoor is a sweet, funny film about the ways love can interfere with friendship.
The plot focuses on three best friends living it up in Goa: bookish Sid (Ali Zafar) and two aspiring Lotharios, Jai (Siddharth) and Omi (Divyendu Sharma). Their landlady, Ms. Josephine (Lilette Dubey), and the tough-guy owner of the local bar, Mr. Joseph (Rishi Kapoor), can’t understand why a guy with as much potential as Sid hangs out with two losers.
The film introduces Jai and Omi first, which is something of a mistake, since they’re not as likeable as a Sid. The apparent risqué humor of Omi’s romantic poetry doesn’t translate well from spoken Hindi into English subtitles, and Jai is too brash. Their antics are often accompanied by irritating musical cues that had me reaching for my earplugs.
Jai and Omi take turns trying to woo the cute new girl in town, Seema (Taapsee Pannu). Both flame out, but conceal their failure from each other and Sid, inventing stories of romantic conquest. When Sid — having never seen Seema before — falls for her, Jai and Omi conspire to break the couple apart before Seema can reveal their rebuffed flirtations and subsequent lies.
More than just a pretty face, Zafar does a fine job playing Sid as a regular guy. He’s shy, but not mousey; scholarly, not nerdy. Sid’s presence has a calming influence on his buddies, and Omi and Jai are at their best when they’re with Sid.
Pannu likewise does a fine job with Seema, who is feisty without becoming a shrill caricature. She’s youthful but a bit more worldly and confident than Sid, enough to lead him to believe that she could be a lot more worldly than him.
Anupam Kher plays a double role as Seema’s father and uncle. Kher’s characters are even more outrageous than Omi and Jai and are accompanied by even noisier sound effects. This isn’t my favorite performance by Kher.
Kapoor and Dubey, however, are very cute as Joseph and Josephine, a pair of single adults whose courtship is heartwarming. Their story could’ve been more thoroughly integrated into the main plot, but they are delightful every minute they are on screen.
Even during its darkest moments, Chashme Baddoor never gets too dark. When romances and friendships are at risk of falling apart, there’s always a sense that the relationships can be saved, because the characters are all good at heart. This is unapologetic light entertainment that succeeds because it maintains a carefree air throughout.
For the second week in a row, a Hindi remake of an ’80s film hits Chicago area theaters. This time its Chashme Baddoor, which stars Ali Zafar and is distinguished from the original — Chashme Buddoor — by a slight spelling change in the title.
Last weekend’s remake, Himmatwala, performed poorly at the box office, earning just $197,770 from 99 U.S. theaters. Nevertheless, it carries over at the Golf Glen 5, South Barrington 30, and Regal Cantera Stadium 17 in Warrenville.
The other big Indian release of note this week is the Telugu film Baadshah. It opens on Thursday, April 4, at the Golf Glen 5, Cinemark Century 12 Evanston in Evanston (one-time-only showing on Thursday), Cinemark Century Stratford Square in Bloomingdale, and Cinemark at Seven Bridges in Woodridge. It has a runtime of 2 hrs. 38 min. and is showing locally without English subtitles.
Other Indian films playing at the Golf Glen 5 this weekend include the Tamil movies Kedi Billa Killadi Ranga and Settai. The Century Stratford Square has the Punjabi movie Sadda Haq, which is showing with English subtitles.
Can someone check director Sajid Khan to make sure his brain is still functioning? Lack of neural activity is the only way I can explain why someone would be so unaware of current events as to make a film as out of touch as Himmatwala.
Himmatwala is a remake of a hit film from 1983, a period when cultural views of gender equality were less advanced than they are today. Khan sets the events of his remake in 1983, but that doesn’t mean that every detail of the remake must be exactly the same as the original. In fact, characters make numerous references to modern life — things like swine flu and YouTube — that were obviously not part of the original.
(Further evidence that this is not a strict remake is that Khan lifts an iconic scene directly from the 1987 comedy Planes, Trains and Automobiles. I’ve included a video of the original scene at the end of the review.)
The problematic sequences have to do with the film’s depiction of women. The film shifts from a light-hearted, Looney Tunes-inspired comedy in the first half, to a more serious story in the second, though refusing to abandon its comedic elements entirely. As a result, women’s suffering is made light of, existing only as a prompt for jokes.
The story centers on Ravi’s (Ajay Devgn) return to his hometown, which he left as a boy. His father, a respected priest, had been framed by the evil town overlord, Sher Singh (Mahesh Manjrekar), and driven to suicide. When young Ravi attacks Sher Singh, Singh’s goons burn Ravi’s house, presumably with his mother, Savitri (Zarina Wahab), and his younger sister, Padma, still inside. Upon learning that his mother and now-adult sister (played by Leena Jumani) survived, forced to live in squalor on the outskirts of town, Ravi returns.
In the process of restoring the family home, Ravi inspires the impoverished villagers to hope for a life out from under the thumb of Sher Singh. Ravi’s divinely endowed heroism wins the love of Singh’s bratty daughter, Rekha (Tamannaah), and gets her to stop being mean to the poor townsfolk.
Up to this point, the tone is relatively light. There are a few impressive dance numbers, lots of cartoonish sound effects, and direct-to camera asides from Narayan Das (played by an incredibly annoying Paresh Rawal), Singh’s brother-in-law.
The tone changes when Padma reveals that she and Narayan’s son, Shakti (Adhyayan Suman), are in love. Ravi objects to his sister’s relationship with the nephew of his arch-rival, but relents and apologizes to Shakti when he sees how unhappy Padma is. This apology is an insufficient balm for Shakti’s wounded pride, and he conspires with his father and uncle to ruin Ravi by physically and emotionally torturing Shakti after going through with a sham marriage to her.
But first, Padma is almost raped by a gang of Singh’s goons. After trapping her in an abandoned train car, the lead goon declares, “I will molest you, and then your brother will kill himself.”
Of course, Ravi shows up in time to save Padma, but his pre-fight announcement is less than reassuring. He says, “If you lose your dignity and your life, you can never get them back. I will definitely protect my sister’s dignity, but who will protect you from me?” Then he announces that women need not fear when there’s a himmatwala (“brave heart”) around to protect them.
I feel comfortable speaking for all women when I say, I don’t want a man to protect me; I don’t want to be threatened in the first place! And why, as a woman, is my virtue at stake if I get molested against my will? I didn’t do anything wrong, the man who molested me did.
After escaping the rapists, Padma marries Shakti, who whips her when she complains about being psychologically tortured by him and Narayan. She reports her miserable living conditions to Ravi. Their mother restrains her son’s justifiable urge to beat up Shakti, saying, “When a girl moves to her husband’s house, she leaves only after she dies.”
Ravi and Rekha concoct a scheme to extort Singh the same way he’s extorting Ravi. They pretend that the worst possible thing has happened to Rekha: that Ravi has gotten her pregnant out of wedlock!
While Singh begs Ravi to marry Rekha and spare him public humiliation, Ravi sets about trying to right the wrongs committed against Padma. He does so by forcing Narayan and Shakti to sweep and wash dishes (how womanly!), and then he puts a crab in Singh’s pants, causing the overlord to dance around. Hilarious, right?
So, according to Himmatwala, equivalent punishment for physically abusing a woman (not to mention the near gang rape, ostensibly sanctioned by Singh) is light housework and mild embarrassment.
With new stories of some horrific gang rape emerging from all over India seemingly every month, it’s time for moviemakers to stop treating the abuse of women as a joke. Remakes are fine, but they need to be updated to fit the times. Sajid Khan is should be ashamed of himself.
*Here’s the scene Khan stole from Planes, Trains and Automobiles, recast with Singh and Narayan. The English subtitles in Himmatwala are exactly the same as the spoken dialog in the original:
