Tag Archives: Priyanshu Painyali

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: 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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