With a new year underway, let’s take one last look at the biggest Hindi cinema duds of last year. Here are my picks for the worst Bollywood movies of 2016. (Click on the title of each movie to read my original review.)
I’m a little loath to include Baaghi on this list because the film is so unintentionally funny, but it’s also really, really bad, so I guess I have to.
Madaari tries to paint a guy who kidnaps and threatens to kill a little kid as a hero, thus earning it a spot on the list.
All the rest of the worst films of 2016 are problematic in the way they relate to women. Shivaay is weirdly hostile, while Sanam Re is tacky and outdated.
Ki and Ka‘s comedic approach to gender norms falls flat when its male character becomes a national role model just by doing chores. Still, Ki and Ka is positively progressive compared to Kyaa Kool Hain Hum 3, a movie built around the stereotype that white women are sluts.
The worst film of the year is written and directed by the same man who wrote the dialogue for Kyaa Kool Hain Hum 3: Milap Zaveri. Mastizaade is hatred masquerading as comedy, a mean-spirited attack on everyone who isn’t a straight, Indian man. Zaveri’s targets include women, addicts, and non-Indians, but he’s particularly fond of picking on people with disabilities. His characters literally point and laugh at a man in a wheelchair. This is about as loathsome as a film can be. Mastizaade‘s title as my Worst Bollywood Movie of 2016 is well deserved.
Writer-director Milap Zaveri doesn’t seem to understand the difference between being funny and making fun of someone. His latest film, Mastizaade, is hateful.
Take for example the film’s lone gay character, Das, played by Suresh Menon. (There’s also a trans character who is depicted as frightening and repulsive.) Das is portrayed as a lustful sexual predator who sneaks into people’s hotel rooms. He is shown being sexually aroused by what he mistakenly thinks is an act of bestiality. His own father calls him “disgusting.”
Does Zaveri not have the empathy to realize that writing such characters reinforces harmful stereotypes about gay men? Apparently not, otherwise he’d be more circumspect about writing East Asians, people with speech impediments and physical disabilities, and women as well. Unless you are a cool, thirtysomething Indian dude, Zaveri considers you a target.
The cool dudes at the heart of Mastizaade are Aditya (Vir Das) and Sunny (Tusshar Kapoor), a pair of ad men who make juvenile commercials laden with sex references. They frequent sex addiction support groups, hoping to get beautiful recovering addicts to fall of the wagon and into their beds. If they don’t succeed there, they bring booze to Alcoholics Anonymous meetings.
Hope for redemption for two such despicable characters arrives in the form of Lily and Laila Lele (both played by Sunny Leone), a pair of voluptuous twins who run a sex addiction clinic. The twins are the first women the guys have been able to see as something more than potential conquests.
Lily and Laila mistake Aditya and Sunny for sex addicts, a fact of no narrative consequence despite how many times it’s restated in the film. Somehow everyone winds up in Thailand, and the twins fall in love with the idiots for no good reason. Plot is not Zaveri’s foremost concern.
It’s also unclear why Lily speaks with a stutter. It’s not a challenge for her character to overcome during the course of the story, nor does it have any noticeable effect on the dialogue she delivers (as far as I can tell). Her stutter exists because Zaveri thinks people who stutter are funny.
He also gets a kick out of people with physical disabilities, having a crowd of bystanders point and laugh at a man left behind in his motorized wheelchair as everyone else takes off on a car chase.
If a child exhibited the kind of bullying behavior Zaveri writes into Mastizaade, he’d be sent to his room without supper and grounded for a month. Why Zaveri thinks he can get away with it as an adult boggles the mind.
Let’s not forget the way Zaveri looks down on women. Even though Sunny Leone is by far the biggest star in the picture, her characters lack agency, playing second fiddle to the two male leads. Laila is entirely defined by her sexual appetite, though she is only able to land Sunny when she dresses as a traditional Indian housewife and prays for her beloved’s well-being.
Naive Lily is engaged to wheelchair-bound Deshpremi (Shaad Randhawa), who seems like a decent guy. However, Zaveri’s narrative calls Deshpremi’s manliness into question based on his disability. This somehow gives license to Aditya to torpedo Lily’s relationship with Deshpremi through trickery. Why exactly are we supposed to be happy when Lily chooses Aditya over Deshpremi?
Time after time, Milap Zaveri is involved in projects that are mean-spirited and bigoted, whether it’s as the dialogue writer for Kyaa Kool Hain Hum 3, the screenwriter for Grand Masti, or the writer-director of Mastizaade. Maybe its time to stop patronizing a filmmaker who insists on churning out such poison.