Tag Archives: Movie Review

Movie Review: Fanney Khan (2018)

1.5 Stars (out of 4)

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The corny family drama Fanney Khan lacks the self-awareness to notice its obvious thematic flaws.

Anil Kapoor’s title character is the only one that really matters in the film. Fanney traded in his life as a small-time band leader for a steady factory job following the birth of his daughter, Lata, whom he named after his favorite singer in the hopes that little Lata would one day achieve the stardom he never could himself.

Stardom proves hard to come by for Lata, however. As a teenager (played by Pihu Sand), Lata is repeatedly booed off stage at talent competitions by audiences and judges more interested in teasing her about her weight than listening to her sing. She finds her dad’s musical taste cheesy, but performing racy pop songs isn’t working for her either. Instead of allowing Lata to find her own way, the movie leaves it to Fanney to chart Lata’s course for her.

A chance encounter with the famous pop star Baby Singh (Aishwarya Rai Bachchan) inspires Fanney’s boldest plan for Lata’s success. He kidnaps Baby and holds her for ransom — not for the money his family desperately needs, but in exchange for getting Lata in the recording studio with Baby’s manager, Kakkad (Girish Kulkarni). Fanney recruits his jobless friend, Adhir (Rajkummar Rao) to keep watch over Baby, but Adhir’s crush on the star makes him an ineffective guard.

Fanney Khan might have succeeded as a pedestrian-yet-heartwarming family film were it not for a bizarre minor theme that alters the movie’s moral message in a way that debutant writer-director Atul Manjrekar appears not to have noticed.

The theme is first introduced when Lata plans her next live performance with her best friend, Rhea (Barbie Rajput, who is fantastic in her few scenes). When Rhea speculates that many top female stars slept with producers or other benefactors in order to become famous, Lata’s mother, Kavita (Divya Dutta), slowly enters the room, accompanied by music as somber as the expression on her face. She forbids the two girls from discussing the topic, even though were Rhea and Lata were both grossed out by the prospect and not actually considering it.

The same somber musical accompaniment reappears when Fanney asks Baby if she’d ever been pressured into sex for the sake of her career, when Kakkad is alone in a hotel room with Lata, and when Kavita sees Lata dressed in a (modest) one shoulder gown that Kavita nevertheless finds too revealing.

This repeated focus on women’s bodies and sexuality as they relate to fame is meant to convey the moral that women’s bodies are not tradeable commodities.

How, then, does director Manjrekar fail to notice the irony that his protagonist kidnaps a woman in order to trade her body for his own daughter’s success?

Fanney Khan is not a black comedy, and the sex-for-fame cautionary subplot isn’t explicitly juxtaposed against the main plot. Fanney is unquestionably a hero, slow-clapped by the very cops who come to arrest him as a way of praising his fatherly devotion.

Perhaps the point of the subplot is to convey that men may do what they like with women’s bodies, but women themselves may not treat their bodies as commodities. None of the men in the film face any repercussions for mistreating or intending to mistreat women’s bodies. Not Fanney or Adhir for kidnapping Baby, and not the studio head who wants Baby to have an “accidental” wardrobe malfunction in order to garner publicity. The character of a female recording engineer is invented specifically so that Kakkad can leer at her, thus making it appear as though Lata is in moral jeopardy when she’s alone in a room with him later. That Kavita doubts for a second whether Lata actually slept with Kakkad shows how little the film’s writers think of women’s ability to make their own moral judgements.

Fanney Khan lets down its main cast, who are all very good in the movie. Sand acquits herself well in her film debut, and she shares a nice mother-daughter rapport with Dutta. Rai Bachchan is natural in the role of a superstar, of course, and Rao is entertaining as always. Kapoor is flat-out terrific as the ultimate family man, making Fanney all the more endearing through his enthusiasm and cheerfulness. One way Kapoor could turn Fanney Khan into a positive is by taking Fanney’s band and backup dancers on the road, because they are a hoot. Enjoy them performing “Badan Pe Sitaare” in the video below:

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Movie Review: Vodka Diaries (2018)

2 Stars (out of 4)

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Vodka Diaries is uneven as a mystery, yet Kay Kay Menon fans will find plenty to like in the talented actor’s lead performance.

Menon plays Officer Ashwini Dixit, a detective in the small mountain resort town of Manali. He and his wife, Shikha (Mandira Bedi), share a playful antagonism, though their relationship often takes a backseat to his career.

A young woman’s murder leads Ashwini to Vodka Diaries, a swanky hotel’s awkwardly named nightclub, populated by half-a-dozen or so additional characters who wind up involved in the investigation. The introductions of the new characters are poorly integrated into the main story, with Ashwini’s storyline progressing on an entirely different track that only meets with the other plotlines after a half-hour has passed.

It’s not just the length of time that makes the parallel story tracks a problem. The other characters — including a bickering young couple and two friends on a first date — are either uninteresting or annoying (specifically the cloying hotel manager, played by Sooraj Thapar). The only character we assume will be important to the plot going forward is a woman played by Raima Sen, whose defining characteristic is her mysteriousness. But without clear reasons for their presence in the story, the attention paid to these other characters feels like an interruption, pulling our attention away from Menon’s performance.

Thankfully, that all changes when multiple supporting characters are killed, putting the spotlight back on Ashwini as he tries to connect their deaths to the initial murder. Around the same time, it becomes apparent that something is seriously wrong with Ashwini–as his sporadic, violent hallucinations increase in frequency and severity (punctuated by effectively jarring sound design courtesy of Jitendra Chaudhary). Ashwini and the audience are equally confused about what is real and what isn’t.

Vodka Diaries is unquestionably Kay Kay Menon’s movie, and he is compelling throughout. The film’s opens with a scene of Menon’s character running through the snowy countryside, and if that was all there was to Vodka Diaries, it would still be riveting stuff.

With her role in Ittefaq last year and now this, Mandira Bedi has become the go-to actor to play a cop’s wife. It would be fun to see Bedi turn her current specialization into a starring role, perhaps as a wife who learns so much by talking to her detective husband about his job that she starts secretly solving crimes on her own. I know I’d pay to watch that.

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Movie Review: Puzzle (2018)

3.5 Stars (out of 4)

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Puzzle opens July 27, 2018, in New York and Los Angeles and in additional cities throughout August.

An innocuous gift makes a homemaker question her life in the insightful drama Puzzle.

We meet Agnes (Kelly Macdonald) as she’s fulfilling all of the duties of a party host: serving drinks, picking up the pieces of a broken plate, even taking the time to glue the pieces back together. It’s when she lights the candles on a birthday cake only to blow them out do we understand that this is her party, and she’s not able to enjoy it.

Agnes’s husband Louie (David Denman) and their young adult sons Ziggy (Bubba Weiler) and Gabe (Austin Abrams) take her efforts for granted, in part because she’s so good at running a household. She’s detail oriented and attuned to how long each task takes, starting the laundry before she runs to the grocery store so that it’s ready to go in the dryer as soon as she gets home, leaving just enough time to prepare dinner before the men in the family get home from work or school.

She finally loses track of time when she opens one of her birthday presents: a puzzle depicting a map of the world. Agnes flies through it, assembling the 1000-piece puzzle in hours (minutes, maybe) instead of the days it would take most people. She enjoys herself so much that she breaks up the puzzle and does it again, not realizing she’s forgotten to make dinner until Louie and Ziggy walk through the door.

Louie’s dismissal of puzzles as “childish” forces Agnes to pursue her hobby secretly. At a specialty shop in the city, she meets a man in search of a “puzzle partner”: Robert (Irrfan Khan), a wealthy divorcee who is as worldly and intelligent as Louie is parochial and incurious. Robert’s fascination with Agnes and his encouragement of her independence makes her realize how little attention she’s given to her own wants and needs since she became a wife and mother.

Even as a more equitable division of household chores has become normalized, women are still responsible for the majority of housework (even when they are the primary breadwinner). As such, the depiction of Agnes’s plight will resonate with a lot of women. In the immediate term, it’s easier for Agnes to do everything herself rather than ask Louie and Gabe to help (Ziggy sometimes offers), especially since they’d just feign ignorance rather than try. Clean clothes are made dirty again and dinner needs to be cooked every night — an endless loop of mundane tasks that allows precious little time to question one’s purpose in life.

Louie isn’t abusive or mean, but his vision of how life is supposed to be hinges on a wife who accepts her role in it. When Agnes does start to question her part, her rebellion is staged on a small scale. There’s little in Puzzle that could be described as explosive, but the film’s message is impactful nonetheless.

Driving that is a well-constructed script, written by Oren Moverman and Natalia Smirnoff, who wrote and directed the Argentine film of the same name upon which Puzzle is based. The dialogue is direct and memorable, particularly Robert’s explanation for why Agnes finds solving puzzles so satisfying: “When you complete a puzzle, when you finish it, you know that you have made all the right choices.”

The film’s performances are likewise strong, though Macdonald’s precise dialogue delivery comes off as bit affected and takes some getting used to. Khan at first seems to channel Jeff Goldblum, but quickly makes the role his own. Weiler’s turn as Agnes’s unexpected ally Ziggy is sweet.

Keeping a tight focus on one woman’s evolution helps Puzzle to illuminate a particular aspect of modern gender dynamics. It’s as thought-provoking as it is enjoyable to watch.

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Movie Review: Race 3 (2018)

1.5 Stars (out of 4)

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Director Remo D’Souza knows how to stage a big-screen spectacle, yet he seems overwhelmed by the baggage that comes with Race 3.

Most of that weight comes in the form of Salman Khan, whose stardom requires an outsized chunk of narrative space and screentime. Trying to give sufficient due to all of the other well-known cast members in the film — an admirable goal, for sure — expands the runtime beyond what the story can comfortably accommodate. Add to that the pressure of being bigger and bolder than the two previous movies in a series known for its outlandishness, and it’s simply too much.

Race 3 is a sequel in name only. Returning cast members Anil Kapoor and Jacqueline Fernandez play different characters than they did in Race 2, and the story takes place in a different narrative universe.

This time, Kapoor plays Shamsher Singh, an arms dealer living in exile in the Middle East after being falsely accused of illegal dealings back in India. He hopes to return home with the help of his stepson Sikander (Khan) and his twin children, Sanjana (Daisy Shah) and Suraj (Saqib Saleem). The family is assisted by Shamsher’s right-hand-man, Raghu (Sharat Saxena), and Sikander’s bodyguard and best friend, Yash (Bobby Deol).

Shamsher’s favoritism for Sikander has driven a wedge between the half-siblings over the course of decades, further inflamed when their mother’s will gives half of the family fortune to Sikander, forcing the twins to share the remaining half. When Yash’s new girlfriend Jessica (Jacqueline Fernandez) is revealed to have once romanced Sikander, the crew combusts.

The characters and their relationships are established via long scenes of dialogue that fall flat. Then, the Race story formula — with characters tricking one another, but planning ahead because they know their targets know they’re being tricked, etc. — kicks into full effect, necessitating even more boring dialogue. No individual character is particularly interesting, though the scheming twins had potential had D’Souza and franchise screenwriter Shiraz Ahmed pushed things in an edgier direction.

So much downtime allows one to imagine the Race 3 characters in other, potentially better movies. Shah and Saleem as creepy twins in a horror flick or sinister thriller. An action comedy starring Kapoor and Saxena, with Rajesh Sharma — who appears in Race 3 as Shamsher’s hometown friend — as their beleaguered younger sidekick. Fernandez starring in, well, anything else that utilizes her bubbly personality.

Fernandez and Shah feature in Race 3‘s most entertaining fight scene, flying through the air in a nightclub tussle. Shah has another fun bit when her long designer gown hampers her ability to kick her opponents — until she cuts a slit down the side with a dramatic flourish.

With an ace choreographer like D’Souza behind the camera, one expects mind-blowing dance numbers, yet Race 3‘s numbers are mostly forgettable (in part because of the need to accommodate Khan’s limited range of motion). The exception is “Selfish”, which stands out for the wrong reasons. Shah trained in aerial dance just for the number, yet the camera hardly captures her face, giving the impression that she used a body double, when I don’t think she did. There is also a group of backup dancers positioned so far behind the lead couple that they are often out of focus, which all but encourages the audience to ignore the lead couple in the foreground and instead strain to make out what’s happening behind them.

Action scenes throughout the film overuse slow-motion and are treated with a distracting effect that desaturates the image for a few seconds at a time. If randomly changing the image from color to black & white and back is the only way to hold an audience’s attention during a car chase, you’ve got big problems.

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Split Screen Podcast, Episode 44: The Salman Khan Remake of ‘Little Boy’

Shah Shahid and I are kind of obsessed with Tubelight, the Bollywood remake of Little Boy. It’s probably because writer-director Kabir Khan cast Salman Khan in a role originally played by an 8-year-old. First Shah and I compared the trailers of both movies, and now we review the films themselves in Episode 44 of the Split Screen Podcast. Here’s a teaser: we sorta like Tubelight. Also, I call a child an “asshole” in the episode.

You can subscribe to the Split Screen Podcast at iTunes, or you can listen to Episode 44 in your browser on this page at Audioboom. Find links to other podcast episodes and Shah’s reviews at his website, Blank Page Beatdown. I’m a guest on the following episodes of the Split Screen Podcast:

Movie Review: Pari (2018)

2.5 Stars (out of 4)

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Despite its sometimes disorganized story structure, the horror film Pari: Not a Fairytale (“Fairy: Not a Fairytale“) views maternity and childbirth through a compelling sinister lens.

Debutant director Prosit Roy’s movie opens with a boring scene of two single people — Arnab (Parambrata Chatterjee) and Piyali (Ritabari Chakraborty) — chitchatting on a rooftop after being set up by their parents. They aren’t very interesting, and any information about them that may eventually prove relevant could have been introduced later.

The movie should have started with the next sequence. Arnab’s parents drive him home from the meeting on a rainy back road. Their discussion of a possible marriage proposal intensifies, and a distracted Dad accidentally hits an old woman, killing her.

As the police investigate the deceased’s identity, they find a frightened young woman named Rukhsana (Anushka Sharma) chained inside a ramshackle barn. Rukhsana has had no contact with the outside world, hidden by her mother — the dead woman — from a nameless man who wants to kill her.

Early on, Pari is largely a collection of horror movie must-haves, like sudden loud noises and people appearing abruptly in frame. There’s no finesse in how the jump scares are applied. There’s also a surprising amount of gore, which seems to exist only to prepare the audience for more blood to come — although that later gruesomeness reinforces the movie’s themes, while the early stuff doesn’t.

The story hits its stride when Arnab becomes Rukhsana’s reluctant caretaker. She’s been so sheltered that she eats out of the garbage bin, not knowing that there is food in the refrigerator, because she doesn’t know what a refrigerator is. Arnab isn’t sure if Rukhsana’s mystery man is real, but he accepts that her fear of him is.

Of course the man is real, and he’s hunting Rukhsana. Professor Quasim Ali (Rajat Kapoor) is obsessed with stopping a doomsday cult from disseminating the bloodline of the djinn Ifrit. The professor takes more than a little pleasure in destroying those he suspects are connected to the djinn.

In Pari, Ifrit’s influence is tied to the female reproductive cycle, the sanguine nature of which drives director Roy’s visual style. Roy and his co-writer Abhishek Banerjee use Ifrit’s influence as a mechanism to explore the unique physical connection between mothers and their offspring. The gore associated with this aspect of the story — in the form of injuries visited upon the female characters — makes sense, evoking the bloody nature of childbirth.

Another theme related to that mother-child connection is its corollary: the lack of a physical connection between father and child, and how that frees men to abandon their unborn progeny at will. Professor Ali personifies society’s desire to punish women for out-of-wedlock pregnancy (consensual or not).

Kapoor’s performance as the professor is the spookiest element of Pari. He coolly partakes in murder and torture as an ordinary part of doing business. The dull opening scene featuring Chatterjee and Chakraborty is a blip, with both of them getting better and better as the story progresses. Sharma commands the screen, as always, though it would’ve been fun to spend more time with her character as Rukhsana discovers the modern world.

For all of its flaws, Pari is a film with a lot of interesting ideas. Just don’t expect too many scares.

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Movie Review: Veere Di Wedding (2018)

3.5 Stars (out of 4)

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Veere Di Wedding (“Friend’s Wedding“) released to higher expectations than usually precede Bollywood buddy comedies, yet its four female leads rose to the challenge, turning out a warm, relatable, and very funny movie.

Well, relatable if you overlook how obscenely rich the characters are, driving around in cars that cost as much as a house (at least here in the Midwest). The only speaking character who isn’t wealthy is a maid who appears in one scene, crying after being beaten by her abusive husband. Her wounds are addressed in a couple of lines before she’s forced to participate in the excitement of one of the rich friends’ upcoming nuptials. It’s one of the film’s few off moments.

The friend getting married is Kalindi (Kareena Kapoor Khan), one of a quartet of lifelong buds that includes stuffy lawyer Avni (Sonam Kapoor Ahuja), stay-at-home mom Meera (Shikha Talsania), and drunkard Sakshi (Swara Bhaskar). Reuniting in Delhi for the wedding gives the women a chance to cut loose, but also resurfaces buried conflicts, primarily between the adult children and their parents.

There isn’t really a villain in Veere Di Wedding. The conflict is driven by complicated family dynamics, a boundless well that keeps the plot moving and gives everyone in the audience something to identify with. Kalindi became estranged from her father (Anjum Rajabali) following her mother’s death. Avni’s mom (Neena Gupta) is desperate for her daughter to wed. Meera married a white man named John (Edward Sonnenblick) against her dad’s wishes. There’s tension in Sakshi’s household over demise of her short-lived marriage.

The family of Kalindi’s fiance, Rishabh Malhotra (Sumeet Vyas), is the most colorful source of drama, often literally so. Eager to fill the void left by Kalindi’s mother, Rishabh’s dad (Manoj Pahwa), mom (Ayesha Raza), and aunt (Alka Kaushal) take over the wedding planning, their tacky, kaleidoscopic taste in decor and attire sending Kalindi into a daze. Kapoor Khan’s glazed expressions as they parade garish garment choices in front of her are hilarious.

Yet Veere Di Wedding is careful not to make too much fun of the Malhotra family. Kalindi herself says that she knows how important the pomp and circumstance are to Rishabh’s family, rejecting Rishabh’s offer to tell his family to back off.

That’s what’s amazing about this movie: the characters are so nice. The four friends will do anything for one another. Rishabh and Meera’s husband John are loyal and supportive partners, as are Kalindi’s uncle Cookie (Vivek Mushran) and his boyfriend Keshav (Sukesh Arora). Conflict is borne from hurt feelings and stubborn grudges, not from any inherent malice. The resolution to a subplot involving Kalindi’s well-intentioned stepmother Paromita (Ekavali Khanna) is especially touching.

That good nature makes Veere Di Wedding a joy to watch. Hype over the film’s bawdy language and (tame) masturbation scene is overblown. It’s important that female movie characters be given as wide a range to inhabit as male characters, and Veere Di Wedding does so in an uplifting, unthreatening way. It’s a welcome change to see topics such as sexual compatibility and the changes that happen to a woman’s body following childbirth discussed from a female perspective in a mainstream Bollywood film. Farah Khan’s choreography of the song “Tareefan” — in which white men are treated as eye candy instead of white women — is noteworthy, too.

What gives Veere Di Wedding lasting appeal beyond its present cultural significance is that it really is charming, thanks to the performances by the lead quartet. Kalindi’s bewilderment in the face of her in-laws stands in contrast to Avni’s stuffiness, which is at odds with Sakshi’s constant insobriety. Even maternal Meera goes wild on the dance floor. Kapoor Khan, Kapoor Ahuja, Bhaskar, and Talsania each bring something different to the table, and their efforts combine to make a movie that’s a real treat.

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Movie Review: Bhavesh Joshi Superhero (2018)

3.5 Stars (out of 4)

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Hindi cinema loves a vigilante, that one good man who fights against a corrupt system. Bhavesh Joshi Superhero takes that template in a fresh, contemporary direction, addressing problems that are uniquely Indian but tie in with struggles being fought around the world.

After the government crushes their political opposition group, young activists Bhavesh (Priyanshu Painyali) and Siku (Harshvardhan Kapoor) take their fight for justice to YouTube. Wearing paper bags over their heads, they confront lawbreakers for infractions like public urination and traffic violations, while their videographer buddy Rajat (Ashish Verma) records the encounters.

Years of small-scale victories but no systemic change take their toll on the trio, emotionally and also physically when the occasional video subject decides to fight back. Siku and Rajat are ready to move on, accepting a broken social contract as an annoying inconvenience in their otherwise comfortable middle class lives. Unemployed Bhavesh resents his friends for quitting before the fight is won.

Things come to a head when Bhavesh uncovers evidence of a scam to divert water from the municipal supply. He doesn’t have all the pieces to the puzzle, but he’s willing to take risks to find them. Siku’s too preoccupied with a potential job transfer to Atlanta and how that will affect his relationship with his girlfriend Sneha (Shreiyah Sabharwal) to care.

India’s water infrastructure problems are uniquely complicated, and basing the story’s big crime around it roots the film in a specific place. Yet the characters’ frustrations are relatable to anyone who isn’t rich.

It’s an especially interesting choice by writer-director Vikramaditya Motwane — whose impressive resume includes Udaan, Lootera, and Trapped — and his co-writers Abhay Koranne  and filmmaker Anurag Kashyap to set up a class conflict within the main trio. Siku is an engineer and Rajat a journalist, so they have options that Bhavesh does not. Bhavesh sympathizes with the underclass because he’s a member of it. Champions of workers rights across the globe face the same challenge: how to motivate members of the middle class for whom matters like access to water or healthcare are merely academic, not an urgent need.

Much of the press leading up to the film’s release focused on Harshvardhan Kapoor, the son of a prominent acting family, in his second movie after a disastrous debut (at least from a box office perspective). He’s perfectly fine in this, as are Verma and Sabharwal. The movie’s villains are likewise well acted, although I found their relationships a little complicated due to my unfamiliarity with job titles within the Indian bureaucracy.

The real surprise is Priyanshu Painyuli as Bhavesh. He pivots easily from Bhavesh’s exuberance during happy times to his simmering rage when things start to fall apart. Bhavesh is frequently lit in red to emphasize his righteous anger and revolutionary spirit, and Amit Trivedi’s dynamic score sets the perfect tone.

Even though Bhavesh Joshi Superhero draws from Bollywood’s vigilante legacy, it makes the case that social movements aren’t a solo effort. They require a group of people working together. One person may sacrifice more than the others, but you can’t change the world alone.

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Movie Review: Raazi (2018)

3.5 Stars (out of 4)

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A young Indian spy marries into a Pakistani military family in the gripping period thriller Raazi, the latest in a string of hit performances by leading lady Alia Bhatt.

Bhatt plays Sehmat, a Delhi college student in 1971 summoned home at the behest of her father, Hidayat (Rajit Kapur), to receive two shocking pieces of news. First, Hidayat reveals that he has just months to live. Second, as a spy himself, Hidayat has spent years cultivating a friendship with Pakistani Brigadier Syed (Shishir Sharma), who hinted that the military is planning an attack against India. In order to uncover the plot, Hidayat fixed Sehmat’s marriage to Syed’s son, Iqbal (Vicky Kaushal), so that she may act as a spy in her father’s stead.

The movie’s very title (“Raazi” translates to “Agree”) informs us that this isn’t an order but a plan that requires Sehmat’s consent. Hidayat’s fatherly instincts kick in, and he encourages her to go back to college just hours after his revelation. There’s also a sense from Hidayat and other characters of his generation that young people deserve to make their own choices — in contrast to their own youth when the buildup and aftermath of Partition forced them to act out of necessity.

Sehmat agrees to the marriage plan, assuring her father that she’s acting out of an inherited sense of patriotism, not obedience. She undertakes a month of training under Khalid Mir (Jaideep Ahlawat), who also wants to be sure that she’s doing this of her own volition. He’s hard on Sehmat because — even though there’s a plan in place to rescue her in case of trouble — she’ll be largely on her own, responsible for finding intel and relaying it to Mir in secret via a convoluted spy network.

It’s worth noting in relation to Mir that the film’s story — at least initially — is kind of confusing, at least for those whose history education focused on countries other than India or Pakistan. A lot of characters with secret allegiances are introduced right away, and there are mentions of separatist groups — which Mir may have been a part of, I’m not sure — that most of the audience will get, but that flew past white, American me.

After the initial information overload, the story itself and the relationships between characters simplify. Most of the action takes place at the spy training ground or in and around Sehmat’s in-laws’ house, and details of the brewing military conflict are less important than what’s happening to Sehmat. The 2017 multilingual film The Ghazi Attack deals with events in the same time period, and watching it beforehand gave me enough background information for me to walk out of Raazi feeling like I understood what happened.

Raazi is ultimately about its characters more than the military conflict. Sehmat not only faces challenges as a rookie spy but as a new bride as well, forced to integrate into a new family. Pure luck finds her married to a good man who is as surprised by their abrupt betrothal as she is. Iqbal’s compassion allows their relationship to develop naturally, and their romance adds a layer of complexity that Sehmat did not anticipate.

Every actor in this movie is terrific — from key players like Sharma as Sehmat’s kind father-in-law to the guy working at the flower stall and the sympathetic military wives — enabling Raazi to cast a spell that never breaks. Kapur and Kaushal are stellar, whether they are in the background of a scene or if they’re sobbing with the young woman they both love.

Alia Bhatt’s star power is beyond question. She effortlessly portrays Sehmat’s youthful inexperience and her fierce determination, provoking the same protective instincts from the audience that Sehmat inspires in her mentors in espionage. This is a wonderful performance by Bhatt in a thoroughly engrossing film.

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Movie Review: 102 Not Out (2018)

3 Stars (out of 4)

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A centenarian father tries to loosen up his grumpy, geriatric son in 102 Not Out, a funny, poignant take on parent-child relationships.

102-year-old Dattatraya Vakharia (Amitabh Bachchan) announces to his 75-year-old son Babulal (Rishi Kapoor) his intention to become the world’s longest-lived man, breaking a record held by a Chinese man who lived to 118. Dattatraya claims that the current record holder said in an interview that “old, boring, unenthusiastic people are more injurious to health than cigarettes.”

That description fits Babulal to a tee. He’s cautious and cranky, and nothing makes him happy — a perfect foil to his fun-loving, curious father. Dattatraya believes the best way to protect his own health and beat the record is to remove Babulal’s negative influence from his life. Dattatraya hands Babulal a brochure for an old folks’ home and tells him to pack his bags.

When a flustered Babulal protests, Dattatraya offers him a way out. Babulal can stay if he agrees to perform a series of tasks determined by his father, designed to shake Babulal out of his routine. To make the agreement official, the tasks are logged and witnessed by Dhiru (Jimit Trivedi), a 30-something pharmacy delivery man Dattatraya adopts as his sidekick.

Fulfilling Dattatraya’s conditions initially brings the three men closer together, but as they get closer to the heart of Babulal’s unhappiness, Dattatraya’s unorthodox prescriptions threaten to drive a permanent wedge between them.

Director Umesh Shukla’s picturization of Saumya Joshi’s play touches on a number of interesting themes, some of which seem in opposition to one another. Dattatreya demands that Babulal change, but he also wants Babulal to accept people as they are — chiefly Babulal’s absent son, Amol. While he’s busy wishing for a more gratifying relationship with Amol, Babulal ignores the fact that there’s a young man, Dhiru, who’s happy to accompany him on Dattatreya’s quests.

One aspect that could’ve been explored further is the idea that, even though Babulal is himself a grandparent, Dattatreya has sole claim to the maxim “father knows best” so long as he lives. Babulal just mentions it once, grousing about Dattatreya’s luck that his own father died while Dattatreya was young enough to enjoy the perks of being the head of the household. The story offers only two options for parent-child relationships — total deference to the parent or estrangement — and it would’ve been interesting to see if the characters could reach some middle ground.

The comfortable rapport Bachchan and Kapoor have developed after more than four decades of experience working together peeks through in small gestures, like the grin on Babulal’s face as Dattatreya lip-syncs old movie tunes to him. Trivedi fits in perfectly with the veteran duo.

102 Not Out is brief enough never to lose momentum, the story flowing between comedy and drama as it addresses family dynamics that are often times as comical as they are dramatic.

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