Tag Archives: Movie Review

Movie Review: Kedarnath (2018)

3 Stars (out of 4)

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Two lovers on opposite sides of a religious and class divide fall in love just before their world falls apart in Kedarnath. The compelling central romance is eclipsed by a well-executed disaster sequence based on the tragic floods of June, 2013, which destroyed much of Kedarnath and killed thousands.

Mansoor (Sushant Singh Rajput) works as a porter, ferrying Hindu pilgrims and their belongings up the winding mountain path to Kedarnath Temple. He and the other Muslim porters and shopkeepers have a history of cooperation with the Hindu innkeepers, allowing everyone to make a steady living during the six months of the year that the temple is accessible.

An upstart Hindu landowner, Kullu (Nishant Dahiya), sees profit in building a fancy new hotel in the valley, increasing the number of pilgrims and displacing a number of shopkeepers in the process. Mansoor — whose mother’s shop would be demolished to make way for the hotel — argues that more buildings and pilgrims could put the infrastructure of the whole valley at risk. Briraaj (Nitish Bharadwaj), a Hindu priest, appreciates Mansoor’s dedication to Kedarnath despite not being a Hindu himself.

That appreciation only extends so far, however. Briraaj isn’t about to let his younger daughter, Mukku (Sara Ali Khan), date a Muslim. Mansoor’s relationship with her exposes simmering inter-religious divisions and provides a pretext for violence, led by Kullu, who’s engaged to Mukku after dumping her older sister, Brinda (the beautiful Pooja Gor). The floods hit before the town can erupt into full-scale riots.

Khan shows poise and charisma in her first film role, but Mukku is problematic. She has a lot in common with stereotypical Bollywood man-child protagonists in that she’s immature and unable to see things from other’s perspectives. She has no regard for how her romance with Mansoor affects him, his family, or the other Muslims in the valley, so confident is she that her desires are right simply because she desires them.

Unlike the typical man-child protagonist character arc in which he finds a woman who makes him aware of the world and his role in it, Mukku’s worldview doesn’t change. Her position as the privileged daughter of a powerful man makes her overestimate her ability to shape her world to her will. If she’s just persistent enough, she can break down Mansoor’s barriers and make him fall in love with her. That same persistence will get her out of her engagement to Kullu, she believes. She’s even convinced that she can influence cricket matches and the weather.

Having been mostly insulated from negative consequences thus far, Mukku fails to account for all of the other factors that influence the events in her life, like the desires of other people, the lucky bounce of a cricket ball, and the randomness of a natural disaster. Mukku’s arrogance makes one question whether, from a narrative standpoint, her star-crossed romance with Mansoor is a worthy enough endeavor to balance the deaths of thousands in raging floodwaters.

That balance undermines the vibrant romantic tension conjured by Khan and Rajput. This is Rajput’s most charming performance in years after lackluster outings in M.S. Dhoni: The Untold Story and Raabta, a reminder of how good he can be in the right role. It would be fun to see these two leads pair up again in the future after Khan gains more acting experience.

Director Abhishek Kapoor successfully blends practical effects with computer generated ones in Kedarnath‘s climactic disaster, with Rajput and Khan battling treacherous waters in thrilling sequences. The rarity of Bollywood disaster movies is perhaps reason enough to watch Kedarnath, coupled with the intrigued of a star scion’s debut (Khan’s father is Saif Ali Khan). If only the central romance matched the film’s spectacle.

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Movie Review: Karwaan (2018)

3 Stars (out of 4)

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The dehumanizing nature of modern office culture is ideal movie fodder. Companies tout their soul-crushing policies as necessary for the sake of “efficiency” — code for cutting labor costs to increase the profits of shareholders and executives. Karwaan (“Caravan“) beautifully puts the lie to this vision of efficiency, showing instead how interpersonal connections and generosity are often better tools for getting things done than cold bureaucracy.

Dissatisfied IT worker Avinash (Dulquer Salmaan) learns of his father Prakash’s (Akash Khurana) death via a curt phone call from a travel agent informing him where to pick up the body. The two men hadn’t spoken in years, since Prakash forced his son to abandon a promising photography career for a job offering financial stability. Avinash followed his father’s wishes but never forgave him, ground down by a boring job in an office where posters touting the employees’ replaceability are considered motivational.

The body shipped to the airport in Bangalore is not that of Avinash’s father but of a woman who died in the same bus accident. The airport’s cargo supervisor isn’t keen to track down Dad’s body, leaving it to Avinash to arrange a swap with Tahira (Amala Akkineni), the daughter of the dead woman who received Prakash’s body by mistake. Avinash hops in a van with his jaded friend Shaukat (Irrfan Khan), and they drive to Kochi to make the exchange.

The road trip gives Avinash opportunities to showcase just how much one man can accomplish with a generous spirit — and a van. Tahira calls in panic when she can’t reach her daughter at college, prompting a side trip to Ooty to pick up free-spirited Tanya (Mithila Palkar). Conservative, grumpy Shaukat almost calls off the caravan when he sees Tanya wearing a dress that hits above the knee, but Avinash prevails, giving the trio further opportunities to do good on their way to Kochi.

Tanya’s youthful exuberance affirms Avinash’s altruism but highlights the rut he’s fallen into after years demoralizing office work. He judges Tanya irresponsible for her drinking, smoking, and casual flings, only to realize how much he must sound like his own dad to someone younger.

Though Shaukat’s attitude toward Tanya and some of Avinash’s own behavior are sexist, the movie itself isn’t. Akarsh Khurana’s screenplay and direction always side with Tanya’s right to make her own choices, especially since she’s not hurting anyone else and isn’t that irresponsible in the first place. Given that Tanya’s the one who instigates a side trip to return the belongings of another bus crash victim, she’s a net positive for the world.

Irrfan Khan is typically charismatic, but he never hogs the spotlight from his co-stars. Salmaan and Palkar are at their best during their scenes together. In an industry where 50-something actors routinely romance women in their 20s onscreen, it’s refreshing that Khurana’s script precludes a romance between Avinash and Tanya because of their age difference. It allows for a greater variety of scenes than we normally get when two attractive young performers are paired together.

Karwaan isn’t an explosive film — there’s exactly one action sequence, and it’s not handled that well — but sometimes you just want a movie about nice people doing nice things. Karwaan is that movie. Enjoy it.

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Movie Review: Thugs of Hindostan (2018)

2 Stars (out of 4)

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Despite its novelty as a rare Bollywood seafaring epic, Thugs of Hindostan is done in by  predictable character development and a familiar plot focused too heavily on its male protagonists.

The film begins promisingly enough, with Ronit Roy playing the leader of the last Indian kingdom to resist takeover by the British East India Company in 1795. After instructing his young daughter Zafira (played by fierce little Deshna Dugad) on the importance of protecting her homeland, King Mirza plans to attack the Brits at dawn, but the Company’s merciless lead officer Clive (Lloyd Owen) attacks first. Only Zafira escapes with the help of the royal family’s devoted bodyguard, Kattappa…er, Khudabaksh (Amitabh Bachchan).

Fast-forwarding eleven years introduces the swaggering trickster Firangi (Aamir Khan). Firangi’s name means “foreigner,” explaining his willingness to pit Indians against Indians and Brits against Indians, all in the name of making a buck. He has no allegiance to the burgeoning resistance movement threatening the Company, making him the perfect spy to gather information on behalf of Clive’s second-in-command, Officer Powell (Gavin Marshall, who coordinated the circus acts for Dhoom 3, which also starred Khan and was directed by Thugs director Vijay Krishna Acharya).

The rebel leader “Azaad” (“Free”) is really Khudabaksh, assisted by grown up Zafira (Fatima Sana Shaikh), who’s become a deadly fighter. The name Azaad is confusing, because it’s hard to tell when the rebel army shouts the word if they’re cheering for the man specifically or the concept of freedom, generally. This is significant because the first character we see in the movie is Zafira as a girl. Thugs should be her revenge saga, but Khudabaksh appears to get all the credit for attacking the Brits — unless the masses really are cheering for freedom and not just for him. Either way, crown princess Zafira winds up playing second fiddle to her bodyguard.

As is the case for many Hindi films, the challenge in Thugs is weighing the needs of the story against the needs of the stars. The stars’ needs clearly trump the narrative in this case. Without Khan or Bachchan — and perhaps with an actress with a longer resume than Shaikh’s — Zafira would be the main character. But one feels a calculus governing the whole plot, and that’s ensuring that the biggest stars get the most screentime. For example, Khan must be onscreen for three-fourths of the movie (I’m estimating), Bachchan for less (but he gets more dramatic entrances), etc. That limits the scope of what other characters are able to do and diminishes their importance.

That calculus is responsible for the absurdly lazy incorporation of Katrina Kaif’s dancer character Suraiyya into the plot. She’s summoned out of the ether as the screenplay demands, with no attempt to make her feel like a person who exists when she’s not onscreen. She’s a character designed for item numbers, nothing more. It’s a shame because Kaif is captivating in her brief dialogue scenes, and there had to have been some way to further utilize the grace and athleticism she displays in the songs “Suraiyya” and “Manzoor-e-Khuda”.

Shaikh is likewise underutilized, despite having the most compelling emotional arc. She and Kaif share a nice moment in which their characters discuss the dangers of revolutionary action (after telling Khan’s chatterbox character to shut up). The film’s high point is a touching scene in which Zafira mourns her family, and Khudabaksh sings her to sleep as he did when she was a girl. The film is lessened for putting Zafira’s thirst for vengeance second to the question of whether Khan’s Captain Jack Sparrow-lite character will finally become a good person (of course he will).

One point in Thugs of Hindostan‘s favor is that they cast British actors who don’t sound ridiculous speaking Hindi, which is not common practice in Bollywood. There are good supporting performances by Roy, Sharat Saxena, and Mohammed Zeeshan Ayyub as Firangi’s psychic sidekick. Ila Arun has the only other female role of note, giving a funny turn as Jaitumbi, a potion-maker with a crush on the much-younger Firangi.

Thugs of Hindostan has one of the biggest budgets of all time for a Bollywood film, and it gets quite a lot of value for the money. Battle scenes are fun and clever, set against stunning backdrops. The leather armor worn by Zafira and Khudabashk is gorgeous, designed by Manoshi Nath and Rushi Sharma. Dance numbers are grand in scale.

High production values coupled with decent story pacing are enough to maintain interest while watching Thugs of Hindostan, even if its narrative deficiencies make it ultimately forgettable.

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Movie Review: Once Again (2018)

2.5 Stars (out of 4)

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A reclusive movie star pursues a romance with the woman who cooks for him in Once Again.

Comparisons between Once Again and 2013’s The Lunchbox are inevitable. Both films are about lonely Mumbaikars who form a romantic attachment to one another through the medium of food. While The Lunchbox chronicles the development of attraction, Once Again pushes its lead couple forward into a relationship.

There are some critical differences between the two films. The duo in The Lunchbox have a significant age difference working against them: she’s a young mother with a child, he’s days away from retirement. In Once Again, the obstacles are economic class and gender expectations. Amar (Neeraj Kabi) is one of the nation’s most popular stars. Tara (Shefali Shah) runs a restaurant, which she’s done for the twenty years since her husband died, as a means to support her family.

Recently divorced, Amar lives alone. He has a standing order with Tara’s restaurant to supply dinner to his high-rise apartment. Calls to Tara for meal requests became more intimate in nature over time, and Once Again begins with Amar asking the restaurateur to finally meet in person.

Tara has her hands full. Her son Dev (Priyanshu Painyuli, who played the title character in Bhavesh Joshi Superhero) is getting married, and she’s fighting with the bank to secure a loan for restaurant repairs. On top of that are all the questions of what a romantic relationship would mean for her after decades alone, always putting her own wants and needs second to those of her children.

Amar is more impulsive and less introspective, showing up outside of Tara’s restaurant unannounced one day. It’s the push the fledgling romance needs, and the two find they share a crackling chemistry. But of course things can’t go smoothly for the middle-aged lovebirds. When paparazzi take photos of them on a date, it creates havoc, especially for Tara.

Once Again acknowledges the greater burden borne by Tara. She’s suddenly an item of public interest, followed by reporters once she steps out of the sanctuary of her kitchen. Dev and his future in-laws fret about the perception of impropriety among their social circle — as if a woman is only allowed one romantic relationship in her life, even if her husband dies when her children are very young, as in Tara’s case.

Amar himself seems less understanding of Tara’s predicament than filmmaker Kanwal Sethi’s script is. Amar is used to being famous, and no one bats an eye at when a man reenters the dating scene in middle age. Plus Amar’s wealth affords him a kind of social protection that doesn’t apply to a struggling small business owner like Tara.

Once Again‘s great failing is that, even though it raises issues on Tara’s behalf, it seems to side with Amar’s “who cares what anyone else thinks” romantic notions. Amar is allowed to chart the course of their relationship, driven by his own wants and without any course corrections to make things easier for Tara.

The subplot about Tara’s bank loan is badly mismanaged. Its inclusion seems to inevitably point toward a conversation between Tara and Amar about his possible financial assistance and the effect of their economic inequality on their relationship, but she never even mentions the loan to him. The loan is a big issue for Tara and Dev, so for her to not even mention it to Amar is weird.

Elements working in Once Again‘s favor include endearing performances by Shah, Kabi, and Painyuli. The movie’s MVP is Director of Photography Eeshit Narain, who shoots delectable footage of Tara cooking in her restaurant and positively hypnotic footage of Mumbai at night, shot from inside Amar’s car as he drives restlessly around the city.

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Movie Review: Andhadhun (2018)

4 Stars (out of 4)

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Neo-noir filmmaker Sriram Raghavan made his best movie yet: the black comedy Andhadhun (“Blindly“).

Ayushmann Khurrana stars as Akash, a talented blind musician living in Pune. He gets a gig as the piano player at trendy restaurant after the owner’s beautiful daughter, Sophie (Radhika Apte), runs into him with her scooter. The job puts Akash in touch with some high rollers, including former film star Pramod Sinha (Anil Dhawan). Pramod hires Akash to serenade him and his young wife Simi (Tabu) on their anniversary, and things don’t go as planned.

Raghavan’s script — co-written with Yogesh Chandekar, Hemanth Rao, and frequent collaborators Arijit Biswas and Pooja Ladha Surti (who also edited Andhadhun) — rewards fans of crime thrillers with familiar genre nods like femmes fatales and characters who aren’t what they seem. Yet the story veers in unexpected ways, forcing the audience into a giddy series of emotional pivots, from shock to uneasy chuckles to horror to hysterical laughter, all in a matter of seconds. It’s astonishing how well Andhadhun pulls this off.

Khurrana’s filmography is full of nice-guy roles, and the sympathy he inspires serves Akash well early on, before we discover that the pianist has his own secrets. His more complicated character contrasts with that of Sophie, who has the movie’s “sunshine role”, according to Ladha Sutri. A love scene between Akash and Sophie is wonderfully steamy despite its brevity.

Then there’s Tabu. She’s glorious in this, so much fun to watch as the ambitious trophy wife (who is shown at one point reading a book titled Anita: A Trophy Wife). She’s charming and chilling, and also hilarious as the movie’s main source of dark humor.

Raghavan and his co-writers ensure that every supporting character has their own clear motivations, which not only elevates the overall quality of the story, but makes it that much easier to get great performances from the whole cast. Ashwini Kalsekar is a laugh riot as the enthusiastic-but-out-of-the-loop wife of a police officer, played by Manav Vij.

Sound design plays a huge role in Andhadhun, as it has in Raghavan’s previous movies. Here, Raghavan expertly deploys tunes to shock the audience or punctuate a joke. Amit Trivedi’s terrific original songs are interspersed with Bollywood hits from the 1970s (ostensibly from the soundtracks of Pramod Sinha’s films).

Khurrana learned to play the piano well enough that cinematographer K. U. Mohanan could shoot Akash playing in full frame, instead of filming him from the chest up and inserting shots of a real pianist’s hands doing the playing. It’s an example of the cast & crew’s dedication that helps make Andhadhun so darned fun to watch.

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Movie Review: Pataakha (2018)

3 Stars (out of 4)

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Director Vishal Bhardwaj is a master world-builder, designing rich spaces for his characters to inhabit and filling them with evocative music of his own creation. Pataakha (“Firecracker“) is the latest example of Bhardwaj’s formidable skill.

Based on the short story Do Behnein (“Two Sisters“) by Charan Singh Pathik, Pataakha‘s plot is simple. Badki (Radhika Madan) and her younger sister Chhutki (Sanya Malhotra) are constantly at war, each blaming the other for her sorry lot in life. But when they set out to achieve their dreams independently, they discover they need each other more than they thought.

The tale feels like a familiar parable, something one might expect to find in a storybook for children, were it not for all the swearing and fighting. Badki and Chhutki are their small Rajasthani town’s source of entertainment, their curse-filled brawls drawing enthusiastic crowds. Every fight ends with the girls’ father, Bechara Bapu (Vijay Raaz), dragging his daughters home — but not before getting battered in the melee himself.

Adding to Pataakha‘s folkloric feeling is the presence of a trickster character, an itinerant jack-of-all trades named Dipper (Sunil Grover), whose joy in life is instigating fights between the sisters. He snitches on them to each other, and he invents conflict when things are too peaceful. When Badki and Chhutki get boyfriends — Jagan (Namit Das) and Vishnu (Abhishek Duhan), respectively — it gives Dipper more fuel to stoke the fires of war.

Bhardwaj is clearly fond of both the character of Dipper and the actor who plays him. This may be more perception than reality, but it’s almost like Grover’s face is in sharper focus than the other actors’ — and it certainly seems like he gets more closeups. Whether that’s true or not, my attention always gravitated toward Dipper, just to see what he was going to do or how he would react, no matter what other chaos was happening on screen.

For so much attention to be given to a secondary character — as delightful as he is — hints at Pataakha‘s biggest problem: there isn’t enough material to warrant a full-length feature film. Trimming the runtime by thirty minutes would’ve been a start, but Pataakha‘s story would feel most at home as part of a collection of short stories.

It’s by the strength of Bhardwaj’s world-building and the performances he gets from his actors that Pataakha is as enjoyable as it is. Raaz is charming as the girls’ flawed father, who lectures them on the dangers of smoking by showing them the warnings on a half-empty packet of cigarettes he pulls from his own pocket. Madan and Malhotra give it their all in what must have been a fun but exhausting shoot, spending most of their screentime fighting, screaming, and crying as they do. Das and Duhan are solid in their supporting roles.

The movie’s showstopping item number, “Hello Hello,” is another highlight. Written by Bhardwaj and performed by his wife, Rekha, the sexy song is brought to life by the incomparable Malaika Arora. Unlike many lesser item numbers, cinematographer Ranjan Palit keeps his camera a respectful distance from Arora, without zooming in on particular body parts. This is not just a matter of decency but an acknowledgement that, when Arora dances, you need to see her from head to toe.

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Movie Review: Manmarziyaan (2018)

2.5 Stars (out of 4)

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Emerging adulthood is a particularly annoying stage of human development. Teenage immaturity is no longer a viable excuse for bad behavior, but many emerging adults are still self-centered enough not to fully appreciate the impact of their actions and choices on those around them or even on their own futures. It was a stage I was glad to grow out of and glad for my friends to grow out of.

It’s a tricky balance to write a drama about emerging adults that feels authentic but isn’t as irritating as real life. Maybe director Anurag Kashyap and writer Kanika Dhillon get things too right in Manmarziyaan (“The Heart’s Wish“, international title “Husband Material“). Two-and-a-half hours of watching characters repeat the same mistakes because they lack the self-knowledge not to is tiresome, even with a tremendous cast in the leading roles.

Headstrong hockey player Rumi’s (Taapsee Pannu) romantic relationship with wannabe DJ Vicky (Vicky Kaushal) is the neighborhood’s worst-kept secret. Sick of the local gossip, Rumi’s family tells her to marry Vicky, or they’ll find a groom for her.

For Rumi, the solution is easy. An engagement will pacify her family indefinitely, and she and Vicky have professed their love to each other anyway. But Vicky is happy the way things are, with all the sex he wants and none of the responsibility that comes with a publicly acknowledged relationship.

As immature as Vicky is, Rumi isn’t much better. She spends far too long ignoring the reality Vicky presents to her and wishing for him to be someone he’s not. She accepts a marriage proposal secured by her family as a means of punishing Vicky, not really considering that the groom-to-be, London banker Robbie (Abhishek Bachchan), thinks he’s getting a wife, not some other guy’s spiteful girlfriend.

The first half of Manmarziyaan is so dense with material that the interval break comes as something of a surprise, resetting the story right when it seems to be nearing a conclusion. The film shifts focus from how Vicky’s immaturity ruins his relationship with Rumi to how Rumi’s immaturity ruins her relationship with Robbie. It’s too much of the same thing.

The bigger question is why Robbie thinks Rumi is worth all the trouble, since he really doesn’t know much about her. She gives him the silent treatment when he asks her questions — that is when she’s not sneaking off by herself. Why would someone as ready for marriage as Robbie is put up with her petulance for as long as he does?

Robbie claims that he wants an unconventional bride, and Rumi’s vivacity intrigues him more than other, more demure candidates suggested by the matchmaker. But when Rumi and Robbie are together, she behaves much like a conventional housewife, cooking and waiting up late for him. There’s no discussion of how her other interests — playing hockey and working at her family’s sporting goods store — fit in with married life, or how she’d spend her days if it was just her and Vicky in London, with no family or friends around. The movie makes it seem as though the only obstacle between Rumi and wedded bliss with Robbie is Vicky, but maybe the version of married life Robbie offers her is part of the problem.

It’s not the cast’s fault that Manmarziyaan doesn’t quite work. Pannu’s spiritedness is balanced by Bachchan’s steadfastness. Kaushal goes full-tilt with Vicky, especially during Amit Trivedi’s great song “DhayaanChand” (one of several songs in the film to feature the twin hip-hop dancers Poonam & Priyanka, who steal the whole movie). The soundtrack overall is quite good.

Watching the characters in Manmarziyaan repeat the same mistakes over and over brought back memories of a time when my friends and I made ourselves unhappier than we should have been by trying to force relationships to work that never could. It was a relief to grow out of that phase. I wish the characters in the film had done so sooner.

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Movie Review: Stree (2018)

3.5 Stars (out of 4)

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A female ghost teaches the men of a small town to respect women in the hilarious horror comedy Stree, from the filmmaking duo Raj & DK.

Legend has it that, every night during a four-day holy festival, a ghost known only as “stree” — which translates as “woman” — steals any man wandering the town of Chanderi alone at night, leaving only his clothes behind. Residents write “Oh stree, come back tomorrow” on the walls of their homes, hoping to deter the ghost until the festival ends and she disappears until the next year.

Some of Chanderi’s young men doubt the story’s truth, none more so than Vicky (Rajkummar Rao), a gifted tailor of ladies’ clothing. He and his cronies Bittu (Aparshakti Khurana) and Janna (Abhishek Banerjee) attend a raucous guys-only house party where one of guests is snatched — right after Vicky pees on the outside wall, washing away the protective writing.

Earlier that day, Vicky met a beautiful woman (Shraddha Kapoor) in need of a new dress, falling in love “at first eyesight,” he brags in English. The woman — who never gives her name — says she’s only in town for the festival, so she needs the dress completed quickly. After the disappearance at the party, Bittu and Janna assume that this mystery woman is “stree”, driving a wedge between the friends right when their survival depends on them sticking together.

My chief complaint about one of Raj & DK’s earlier horror comedies — the 2013 zombie flick Go Goa Gone — is that the jokes dragged on too long, but Stree‘s jokes are crisp and well-timed (as was the humor in the duo’s 2017 action comedy A Gentleman). Perhaps it helped that the duo ceded directorial duties to Amar Kaushik, who does a wonderful job interpreting their screenplay in his feature debut.

The superb cast deserves a ton of credit as well. Rao is charming as a lovestruck dope, and Kapoor gets her character’s befuddlement at Vicky’s naiveté just right. Banerjee primarily works in films as a casting director, but he’s hysterical as Janna. Khurana is great as well, as is the always reliable Pankaj Tripathy as the town’s ghost expert, Rudra. Atul Srivastava — who plays Vicky’s father —  gets a stand-out scene opposite Rao. Dad tries to talk to his son about sexual responsibility, but Dad is so uncomfortable he resorts to euphemisms for everything. Sensing the discomfort, Vicky plays dumb, goading his father to explain exactly what he means by the advice: “Be self-reliant.”

The real surprise of Stree is how deftly it conveys its message of respect for women within such a funny movie. The men of Chanderi — young and old — are all losers in love, too immature to be able to form the kinds of romantic relationships with women that might actually lead to sex (without having to pay for it). It’s a legacy that’s haunted the town for centuries, when “stree” was murdered before her wedding night. Though Stree doesn’t pass the Bechdel test, there’s a narrative justification for it, since this is a story of men learning from one another how to stop objectifying women.

Two of the film’s song numbers help illustrate the men’s progress. “Kamariya” features Nora Fatehi in a more traditional item number, dancing at the house party just before the first man is snatched. The camera focuses on specific features and body parts as she performs in the living room among all the rowdy men. This kind of item number in which a woman dances at the center of a group of male audience members — as opposed to out of reach on a stage — is intimidating, yet the number ends with Fatehi escorted from the party by two bodyguards, letting the movie’s audience know that she was never in any danger. It’s an important cue that most other filmmakers neglect to include in similar numbers.

Contrast “Kamariya” with the closing credits song “Milegi Milegi”. The men in the audience are along the sides of the room while Kapoor dances in the middle of a group of female backup dancers. There are no closeups of specific parts of Kapoor’s body. When Rao joins in, Kapoor first manipulates his body to dance the moves she wants him to before he starts dancing alongside her. It’s a clever way to show the characters’ moral development while also making sure there are enough catchy tunes to fill out the soundtrack.

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Movie Review: Gold (2018)

2 Stars (out of 4)

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Director Reema Kagti and screenwriter Rajesh Devraj took some liberties with Gold, their fictionalized account of India’s 1948 Olympic field hockey victory, changing the names of players and minor details while keeping the core of the story intact. Yet the story’s predetermined ending seems to have stumped the filmmakers, as almost every attempt to create tension in Gold feels forced and inorganic.

The events of Gold are told from the perspective of Tapan Das (Akshay Kumar), an assistant manager on the British Indian field hockey team that won gold at the 1936 Olympics in Berlin. As the world’s most formidable hockey team for many years running, frustration builds among the team at being forced to share their glory with their British oppressors. But with the independence movement growing in strength, Tapan and the team’s captain, Shankar (Kunal Kapoor), hope to one day win the gold for India alone.

World War II cancels the Olympics in 1940 and again in 1944. This is addressed in a song montage that shows Tapan spiraling into despair and alcoholism, but it warranted further exploration. What was it like for those athletes who spent their prime competitive years on the sidelines, particularly those in countries far removed from the theater of war? We learn from Tapan that Shankar became a coach and that another player, Imtiaz Ali Shah (Vineet Kumar Singh), became a freedom fighter, but not how they felt about being unable to compete.

Gold’s greatest fault is that it is too focused on Akshay Kumar’s character. His emotional journey is the only one shown in any real depth, and events are shown exclusively from his perspective. It’s a stark contrast to 2007’s Chak De! India — another patriotic field hockey movie — which managed to establish about a dozen other memorable characters, in addition to a manager played by a superstar actor (in that case, Shah Rukh Khan).

When the war ends and a new Olympic games is announced for 1948 in England, Tapan rushes to assemble a team. With independence from Britain right around the corner, it’s the perfect opportunity to beat the Brits on their home soil. The sports commissioner Mr. Wadia gives his consent, with the provision that Tapan share managerial duties with Mr. Mehta (Atul Kale).

With the former superstar Shankar comfortably retired, Tapan enlists Imtiaz to serve as captain, bringing veteran leadership to a squad of young players with no international experience. Two hopeful new stars include a Punjabi policeman named Himmat (Sunny Kaushal) and Raghubhir Pratap Singh (Amit Sadh), a prince from a noble family.

Yet the plans Tapan and Imtiaz make in anticipation of independence are destroyed by the surprise implementation of Partition. Violence forces Imtiaz and several other Muslim players to flee with their families to the newly formed Pakistan, and the team’s British-Indian players head to Australia. Gold‘s best sequence is the heart-wrenching moment when Imtiaz decides to leave the nation whose independence he fought for, saying: “My country is different now.” His character’s particular struggles warrant a standalone movie.

Sadly, Gold heads downhill from here. The newly assembled team’s training is plagued by problems that promise to generate dramatic tension. Only that tension never really manifests — since the problems are all solved as quickly as they start. Mehta undermines Tapan, but Wadia immediately endorses Tapan’s approach. The team won’t work together, but then they learn to do so in a matter of minutes.

It’s a shame that Kagti and Devraj abandon politics at this point, since it could have been a good source of intra-team conflict, especially since the characters aren’t strictly based on any of the real-life team members. How do working class team members feel about playing with a prince, who seems unaffected by the fallout from Partition? Is Himmat worried about the violence in Punjab while he’s in training? How do any of the other dozen or so unnamed players feel about… well, anything? Instead, the climactic tension is created by one character needlessly withholding information from others — a silly shortcut, given all the potential sources of conflict available.

The acting is uniformly decent, with Singh giving the film’s standout performance. Shah and Kaushal are good as well. Kumar is fine, but the film’s uneven mix of drama and comedy keeps this from being one of his more memorable roles. Mouni Roy — who plays Tapan’s wife, Monobina — likewise suffers for having to perform comedy scenes that aren’t especially funny. Roy is seventeen years younger than Kumar, which makes one wonder why her young, attractive character would marry a much older, intermittently-employed drunk — a question that could have been avoided by casting an actress closer in age to Kumar.

Many of Gold‘s shortcomings could be forgiven if its hockey scenes were exciting, but they aren’t (the few that exist anyway). The Olympic scenes are also hampered by distracting CGI crowds in the background. Contrast that with the thrilling, beautifully-shot hockey scenes in Chak De! India, and Gold is strictly average.

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Movie Review: October (2018)

1 Star (out of 4)

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October is a difficult film to watch, but not for the reasons one might expect. The drama of a young woman’s life forever changed by injury is merely the backdrop for a too familiar story of an undeserving male character’s redemption.

Varun Dhawan stars as Dan, a hotel management trainee with no likeable qualities. He’s a snob who’d rather delegate work than do it himself, especially tasks he deems beneath him, like cleaning rooms and doing laundry. He’s a know-it-all who loves telling more experienced people how to do their jobs. He’s lazy, yet competitive enough to resent fellow trainees who are smarter and more capable than he is.

Among the trainees, the chief recipient of Dan’s bad attitude is Shiuli (Banita Sandhu). Whether his being a jerk to her indicates some kind of stunted elementary school-type crush or if it’s just his standard jerkiness is unclear. Shortly into the film, Shiuli slips from a third floor balcony at a New Year’s Eve party, rendering her comatose and permanently paralyzed.

Dan wasn’t at the party, so he only learns days after the accident that Shiuli’s last words before she fell were, “Where is Dan?” This sparks an obsession, leading Dan to spend all of his time at the hospital in the hopes that Shiuli will wake and tell him why she asked about him.

That sounds like the setup for horror movie, yet we know it can’t be, because Dan fits the mold of a common type of Bollywood hero: the boorish man-child who must finally become an adult. The arc for this character type is so familiar — in the course of falling in love with a good woman, he learns to care for someone other than himself — that director Shoojit Sircar and writer Juhi Chaturvedi treat the hero’s emotional growth as the inevitable consequence of his devotion.

But Dan doesn’t change in October. He ends the movie as much of an obnoxious know-it-all as he is at the start, correcting Shiulu’s mother Vidya (Gitanjali Rao) on how to properly care for her daughter and wanting praise for his contributions (which include hovering over a workman building a ramp for a wheelchair).

Dan’s dedication to Shiuli’s recovery stems from his wanting an answer from her. He uses his obsession as a measure of moral superiority, criticizing her friends for not spending every free moment at the hospital. He can’t understand that they have other obligations — to the rest of their friends and families, and even to themselves — that they must tend to as well.

That’s because Dan’s misanthropy and willingness to ignore his own family leave him with no other relationships beside the one he invents with Shiuli, and he’s willing to sacrifice everything to maintain it. He skips work, stops paying rent to his roommate, and borrows money from everyone with no way to pay it back. He’s mean to hospital staff and other visitors.

But because Dan is the protagonist, his single-mindedness is depicted as positive. The little he does for Shiuli mitigates the rest of his awful behavior. On the rare occasions that he is punished, he fails upward. The movie is determined to maintain Dan’s hero status, in spite of his actions.

All of this is driven by a one-sided devotion. From all indications, Shiuli wasn’t interested in Dan romantically before her accident, and they were barely more than acquaintances. Does she like him hanging around her at all times? If not, she’s physically unable to tell him to leave. Would she want him involved in the minutiae of her healthcare, monitoring things as intimate as the amount of urine in her catheter bag?

In an interview with the Hindustan Times, Sircar said that he and Chaturvedi drew on their own experiences caring for seriously ill parents when creating October. Yet the amount of influence Dan has over Shiuli’s care feels unrealistic. Certainly Vidya knows her daughter better than Dan, thus making her a better judge of Shiuli’s wishes — especially since Dan is neither the one being subjected to extraordinary medical interventions nor the one footing the bill for them. Vidya’s ready assent to Dan’s will reinforces how little agency female characters have in October.

Dhawan is a versatile actor, and it’s nice to see him in a film that requires more subtlety than a loud comedy like Judwaa 2 or Dilwale. Yet, whenever he plays a character who is supposed to undergo substantial emotional growth — be it October, Badlapur, or even Badrinath Ki Dulhania — a woman is always subjected to physical harm in order for him to do so. That’s not Dhawan’s fault, but it does highlight a need for screenwriters and filmmakers to move beyond fridging women as an expedient pathway to male character growth.

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