Tag Archives: Darshan Kumaar

Movie Review: NH10 (2015)

NH10_Poster3.5 Stars (out of 4)

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NH10 is a relentless race for survival that keeps you on the edge of your seat. Anushka Sharma is spellbinding as a woman who fights for her life after her husband makes a costly mistake.

As grim and intense as the movie becomes, its opening scene is charming. The audience is introduced to a married couple, Meera (Sharma) and Arjun (Neil Bhoopalam), as they converse while driving to a party in Delhi. The camera shoots the city at night from the car’s point of view, and we only hear the couple. Through their playful banter, we come to care about them before we even see what an attractive pair they make.

Their conversation reveals benign problems typical of many marriages. She doesn’t want to go to the party, but he does. He habitually forgets his phone in the car. Her job pulls her to the office at all hours.

Yet these modest issues set up the story. Arjun stays late at the party, and Meera drives to her office alone. On the way, she escapes an attempted carjacking. The couple’s subsequent meeting with the police is disheartening. The male officer chides Meera for failing to note the other vehicle’s license number before ceasing to address her entirely. He talks only to Arjun — as if he were her father, not her husband. As in many other Hindi films, the police in NH10 are unwilling to help the people they are supposed to serve and protect.

The attack awakens Meera to the many ways — subtle and overt — that her gender marks her as an “other” in society. It makes her a potential target for criminals. She’s regarded as a child in the eyes of the cop. A male coworker accuses her of receiving preferential treatment. Even when she and Arjun leave town for a vacation, she sees the word “whore” written on the door of a bathroom stall in a roadside restaurant.

As she washes away the offensive word, she’s drawn into the struggle that defines the rest of her journey. A young woman, Pinky, begs Meera for help. Pinky’s brother, Satbir (Darshan Kumaar), and his goons drag the woman and her husband into a car. Arjun tries to intervene, even as Meera begs him not to. Satbir punches Arjun before driving off with Pinky and her groom.

Arjun chases after Satbir’s vehicle, realizing too late that Satbir and his goons are not yokels who will be scared of Arjun’s pistol. Arjun’s act of bravado — born of his feeling of failure for not protecting Meera from the carjackers — dooms them both.

NH10 makes its points about gender in contemporary India with subtlety. The consequences of Arjun’s reaction shine the spotlight on comments made by some politicians in response to highly publicized rape cases (and reinforced in a number of popular movies): women will be safe as long as they have a man around to protect them.

It’s not enough that Arjun is there or that he has a gun. He and Meera are outnumbered by Satbir and his crew, who are far more experienced in violent behavior than the married couple. More importantly, the situation would have been exactly the same had Arjun been with Meera on the night she was attacked: outnumbered by violent people. What could any man do to protect his loved one in the face of such odds?

The futility of Arjun’s situation is emphasized by Bhoopalam’s depiction of him as a truly ordinary guy. Nice, but neither a sap nor morally perfect. Fit, but not a superman. He’s just a guy.

Meera begins as a similarly ordinary woman, but she endures more emotional extremes. Sharma guides her through terror, exhaustion, frustration, despair, and rage. It’s a career-defining performance that reaches its high point in the movie’s chilling climax.

Meera and Arjun spend much of the film running through the desert at night to avoid their adversaries, and the lighting throughout is terrific. It’s always easy to see the couple onscreen while being able to appreciate their own limited field of vision. The sound design is likewise great for enhancing the sense of danger without becoming cartoonish. Rather than a cheesy musical flourish, a car engine that’s a little too loud is more than enough to make you jump from your seat.

If anything, NH10 is a little too good at creating tension. Meera never gets a break, so neither does the audience. Even with a runtime of under two hours, it’s exhausting.

Nevertheless, NH10 is a movie worth watching for those who aren’t squeamish. Sharma shows that she’s more than up to the task of anchoring a film that succeeds or fails on her merits. Her performance alone makes NH10 a must-see movie.

[Update: Reflecting further on the NH10, I want to commend the filmmakers for avoiding a trope too common in Hindi films: none of the female characters are threatened with rape. The threat of rape is often used against women in movies, without regard to its particular gender significance. Its omission is obviously a deliberate choice, and a positive one at that.]


Movie Review: Mary Kom (2014)

Mary_Kom_Poster3 Stars (out of 4)

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With multiple world championships and an Olympic bronze medal to her name, Mary Kom can now add a Bollywood biopic to her impressive resume. Priyanka Chopra plays the title character in Mary Kom, an enjoyable chronicle of the Indian boxing superstar’s rise to the top.

Kom’s depiction in the film is flattering. Eager to find a better outlet for her hair-trigger temper, teenage Mary dedicates herself to boxing. With a natural aptitude for fighting, she faces little opposition in the ring. Her greatest obstacle is her father, who worries that no man will want to marry a woman who perpetually sports a black eye.

Dad needn’t have worried, as a local soccer player — Onler (Darshan Kumaar) — takes a shine to Mary and her shiners. After dating for several years, Onler proposes the night before a critical bout. Giddy and distracted, Mary nearly falters in the ring, leading her coach (Sunil Thapa) to question her commitment to the sport that defines her.

The second half of the film focuses on Mary’s return to boxing after giving birth to twin sons.  The movie shows the challenges of leading a normal family life while training as an elite athlete, and the sheer impossibility of the task without the aid of a partner as devoted as Onler.

While the movie portrays Mary as a worthy national hero, it doesn’t shy away from her massive ego. Such extreme self-confidence is a necessary characteristic for any athlete who competes at an elite level. It’s not a characteristic most regular folks can relate to, but it’s a vital part of who she is.

The movie’s climactic fight scene is worth the price of admission, paralleling a personal crisis with a critical moment in Mary’s professional career. All of the film’s fight scenes and training montages are well done.

Director Omung Kumar shortchanges other aspects of the story that should’ve been shown, rather than just talked about. Mary complains about the substandard training conditions she and her fellow athletes are subjected to, but we don’t see her experiencing them.

Other scenes of great visual impact aren’t fully explained. Mary loses or has her passport stolen the night before her first international fight, and in response, she shaves her head. This is an act of great significance for a woman, yet it’s not made clear why she does it. It’s also unclear how she gets her passport back. All we see is a photo of her triumphant after the match.

The film’s biggest problem for international audiences is its failure to explain why Mary feels discriminated against because she hails from Manipur, a state in northeast India that shares a border with Myanmar.

My understanding of the issue — which admittedly mostly comes from Chak De India — is that Indians from the northeast who may have more Burmese or East Asian facial features are frequently accused being “less Indian” than those from central India. Given that Priyanka doesn’t especially resemble Mary, the film needs to make it clearer why Mary feels discriminated against.

Ultimately, Mary Kom does its job, entertaining and raising awareness of an important athlete in Indian sports history. There’s a good chance Mary’s story isn’t finished just yet. As noted at the end of the film, Magnificent Mary hopes to compete in the Rio Olympics in 2016.