Tag Archives: Kunaal Roy Kapoor

Movie Review: Action Jackson (2014)

Action_Jackson_21.5 Stars (out of 4)

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If you were hoping for something new from director Prabhu Deva, you’ll be disappointed. Action Jackson (which isn’t actually a character’s name in film) is just as disorganized and misogynistic as R… Rajkumar and Rowdy Rathore, despite a solid effort by leading man Ajay Devgn.

I’ll do my best to spoil as little as possible about the plot, but it’s hard to do so given how all-over-the-place the story is.

Devgn plays Vishi, a typical macho Bollywood hero who’s prone to drinking and fighting but has a heart of gold. While visiting his friend Musa (Kunaal Roy Kapoor, butt of the film’s many fat jokes) in Mumbai, Vishi meets pathologically unlucky Khushi (Sonakshi Sinha).

Khushi’s luck changes for the better after she walks in on Vishi in a changing room and then in a bathroom. She starts hanging around him in the hopes of catching Vishi with his pants down again, thereby making her lucky enough to land a rich, American husband.

The first hour of the film is spent on Vishi’s and Khushi’s budding romance, and it’s pretty funny. Prabhu Deva pokes fun at Devgn’s limited dance abilities by making Vishi bust moves whenever he hears music. Devgn’s “robot” is among the worst I’ve ever seen, and it’s all the more charming because of it.

As competent as he is at action, Devgn’s best genre is comedy. He’s quite funny in his storyline with Sinha, who pairs with him nicely.

Interspersed through the romantic storyline are scenes of goons and cops hunting for Vishi at the behest of a Bangkok-based don named Xavier. This story arc takes over after about an hour, and Sinha only shows up a few more times in the film.

The next portion of the film is a flashback about the Xavier’s former right-hand man, AJ (also Devgn, though I won’t specify how Vishi and AJ are connected). After establishing a light, cute tone at the start, the flashback is stunningly brutal.

When Prabhu Deva tries to reestablish a comedic tone later in Action Jackson, it doesn’t work. It took time to cast that comic spell, and it can’t be brought back instantaneously. Plus, after watching a AJ’s wife (Yami Gautam) get punched in the face repeatedly, I just wasn’t in the mood to laugh.

The flashback is also when Prabhu Deva’s troubling view of women — and specifically their sexuality — rears its ugly head again. Like Sinha, Gautam also plays a virtuous character (whose name I’m not sure of). We know this because they both wear floral prints, and usually long pants and long-sleeved tops. Their only desire is to get their men to give up drinking and fighting.

In contrast is Marina (Manasvi Mamgai), the don’s sister. She’s introduced after she’s been kidnapped, and AJ is sent to rescue her. Her kidnappers threaten to rape her, throwing water on her white blouse before unbuttoning it to reveal her bedazzled bra.

Hypothetical question: if Xavier had a brother instead of a sister, would the kidnappers have threatened to rape him?

Prabhu Deva makes an unsettling choice during the scene of AJ’s rescue attempt. Marina gets turned on while AJ chops down her would-be attackers. The song playing in the background — a blatant rip-off of Michael Bublé’s “Feeling Good” — sings about her beauty as she sits aroused in a forced state of semi-undress.

After her rescue, bikini-clad Marina sexually propositions AJ. He turns her down, prompting Marina to send Xavier’s goons to attack the character played by Gautam. They hit her, but they don’t threaten her with sexual violence.

So the chaste, modestly dressed woman isn’t threatened with rape, but the sexually aggressive, scantily clad woman is. The implication is that, for a woman who enjoys consensual sex, rape probably isn’t a big deal. Hell, she might even like it.

Will producers please stop giving Prabhu Deva money to direct films? He can’t do it responsibly. Given that I was the only one in my showing of Action Jackson, maybe other people are as sick of his movies as I am.

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Movie Review: Nautanki Saala! (2013)

Nautankisaalaposter2.5 Stars (out of 4)

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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.

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