Tag Archives: Sanya Malhotra

Movie Review: Kathal – A Jackfruit Mystery (2023)

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2.5 Stars (out of 4)

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A young police inspector in a small town navigates challenges in her professional and personal life in the comedy Kathal: A Jackfruit Mystery. Writer-director Yashowardhan Mishra gets a lot right in his feature debut, even though the story loses focus as it goes on.

Sanya Malhotra plays Mahima Basor, a police inspector in the small town of Moba. She’s achieved a lot in her short career and her superiors are pleased with her work, but some of the male constables who work under her quietly resent taking orders from a woman.

Further complicating matters is that one of those constables is her boyfriend, Saurabh Dwivedi (Anant Joshi). He supports Mahima’s career success, but his dad refuses to let them marry until Saurabh is promoted to inspector, too.

Fresh off Mahima’s arrest of a notorious gangster, she is assigned an even more important case — find the thief who stole two jackfruits off the tree in politician Munnalal Pateria’s (Vijay Raaz) garden. These aren’t just any jackfruits. They’re a special Uncle Hong variety that pickles exceptionally well.

Everyone except Pateria realizes what a ridiculous misuse of police resources this endeavor is. It’s funny to watch Mahima roll her eyes in the background as the investigation stirs up lingering resentments between Pateria and his son-in-law, which gets everyone else in the family involved.

This is when the story is at its best — as an interpersonal comedy that happens at an intimate scale, in a town small enough where everyone knows each other’s business. For example, no detail of the theft is too small for enthusiastic local reporter Anuj (Rajpal Yadav), who has little other news to cover.

Kathal loses its way when it expands the story beyond Moba’s borders into other villages, and the investigation uncovers more serious crimes. Pateria’s family recedes in importance, which is a shame because the characters and their influence over the town make the movie a lot of fun.

The plot gets diluted as the scope broadens. While the crime at the heart of the jackfruit case is trivial, what it reveals about power and police accountability is not. Same goes for the conflict that arises within Mahima’s relationship with Saurabh.

The introduction of weightier material doesn’t make Kathal any more important of a film. It was important already. Kathal is very close to being a very good movie. But the escalation in its latter stages overextends the runtime and distracts from the characters and a location that made up such an enjoyable, well-defined world.

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Movie Review: Ludo (2020)

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3.5 Stars (out of 4)

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The movie Ludo uses its namesake board game as a metaphor for life, its characters one dice roll away from fortune or ruin. Writer-director Anurag Basu’s black comedy is beautifully made and laugh-out-loud funny.

Anyone who has played the games Aggravation, Sorry!, or Trouble is familiar with how Ludo works. Players from four different colored corners of the game board roll dice, moving their pieces around the board in the hopes of being the first to get all their pieces safely “home.” Basu assigns different characters to the colored corners, and they meet up with one another throughout the story. Right at the center is Sattu Bhaiya (Pankaj Tripathi), a hard-to-kill gangster with ties to all of them.

In the red corner is Sattu’s former right-hand man Bittu (Abhishek Bachchan), fresh out of prison and eager confront his old boss. Bittu charges in after a meeting between Sattu and the yellow corner’s Akash (Aditya Roy Kapur), who needs Sattu’s help removing a sex tape from the internet. The blue corner’s Rahul (Rohit Suresh Saraf) is at Sattu’s hideout as well, having been in the wrong place at the wrong time.

An explosion sets the characters off in different directions. Rahul drives off with some of Sattu’s stolen cash and a cute, opportunistic nurse named Sheeja (Pearle Maaney). Akash also hits the road, joined by Shruti (Sanya Malhotra) the woman from the sex tape who’s due to marry someone else in a matter of days. Bittu’s plan to find a way back into the life of the wife who left him while he was in jail and the young daughter who doesn’t remember him is derailed when he meets another precocious little girl, Mini (Inayat Verma), who needs help faking her own kidnapping in order to get her distracted parents’ attention.

While all this is happening, the characters from the green corner are trying to get out of their own mess. Alu (Rajkummar Rao) has been in love with Pinky (Fatima Sana Shaikh) since childhood, although she never reciprocated his feelings. Pinky turns up with her baby to ask for Alu’s help getting her husband Manohar (Paritosh Tripathi) out of jail, where he languishes, wrongly accused of a murder committed by Sattu.

Director Basu doesn’t judge his characters for wanting what they want, even if what they want isn’t exactly good for them. Alu is the best example of this. He knows his one-sided devotion to Pinky gets him into trouble and keeps him perpetually single, but he’s miserable when she’s not around. Is it so bad for him to not want to feel awful?

Bittu’s story is the most complicated and emotional. He spent six years waiting to get back to his daughter — who was an infant when he went to prison — but she doesn’t know he exists. She thinks Bittu’s ex-wife’s new husband is her father. Spending time with Mini gives Bittu a chance to act in a fatherly role, making him question whether what he wants for himself is really what’s best for his daughter.

Bachchan’s performance when he’s playing Bittu the Gangster comes off as more pouty than menacing, but he’s terrific as Bittu the Dad. Little Inayat Verma is impossibly adorable, and she and Bachchan are so much fun together. Yet we know their relationship is only temporary. Almost all of Bittu’s options will leave him brokenhearted.

Given Pankaj Tripathi’s recent track record of stealing virtually every movie he’s in, Basu wisely put Tripathi in the middle of things from the start. His character’s introduction — dramatically exposing his inner thigh to pull a gun from a leg holster — is perfection. After the cute pairing of Bittu and Mini, Sattu is part of the film’s second best partnership. While he’s bedridden, Sattu forms a friendship with no-nonsense nurse Lata Kutty (Shalini Vatsa), one of the few people he can’t intimidate. It’s unexpected and delightful.

To keep his dark comedy from becoming too dark, Basu amplifies its other elements. Bright colors differentiate the storylines, but they also cheer up even violent scenes. Character closeups feel a little closer than normal. The excellent soundtrack and score by Pritam are prominent in the mix, setting the tone overtly. Ludo is loud, both aurally and visually, but it feels just right.

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Movie Review: Shakuntala Devi (2020)

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3 Stars (out of 4)

Watch Shakuntala Devi on Amazon Prime

Director Anu Menon’s Shakuntala Devi — based on the life of the woman nicknamed “The Human Computer” — opens with a note: “Based on a true story as seen through the eyes of a daughter, Anupama Banerji.” Rather than organizing the narrative as a sequential depiction of the highlights of Shakuntala’s career, the most pertinent episodes of her life are woven into a story about the challenging relationships between mothers and daughters. Events in Shakuntala Devi jump between time periods and settings, the earliest being Shakuntala’s childhood in Bangalore in 1934 and the latest being London in 2001, when her daughter Anu threatened to file criminal charges against her over unfair business practices.

When Shakuntala was around five years old (played by Araina Nand), her family realized that she had a unique affinity for numbers, solving complicated equations entirely in her head despite having no education of any kind. (Scientists and Shakuntala herself were never able to fully explain how her arithmetic abilities worked.) Her father Bishaw (Prakash Belawadi) made little Shakuntala the poor family’s breadwinner, putting his pig-tailed daughter onstage to solve math problems submitted by audience members. Local shows around Bangalore turned into performances elsewhere in India, before Shakuntala finally moved to London on her own.

Though her anger at her father for depriving her of a normal childhood and education was always apparent, Shakuntala — played as an adult by Vidya Balan — harbored a simmering contempt for her mother (played by Ipshita Chakraborty Singh) for not standing up to Bishaw on her daughter’s behalf. That resentment drove Shakuntala to become rich and famous and informed her own style of parenting — and not necessarily for the better.

Anu was born from the marriage of Shakuntala and Paritosh Banerji (Jisshu Sengupta), a government employee in Calcutta. Their relationship developed after Shakuntala was already internationally acclaimed, having added a magician’s showmanship to her performances. She tried being a stay-at-home mom for a while, but soon the road beckoned. She took young Anu with her, assuming that a life of travel would make the girl into an independent explorer like her mother. That’s not how it worked out.

Being disappointed by men is a recurring theme in Shakuntala’s life. Whether it’s their frustration at not being “needed” by her or, as in the case of Paritosh, a refusal to give up his job and follow her on the road, her paramours’ commitment to traditional gender roles only hardened her resolve to break them. Yet the film is clear that Shakuntala shared equally in the blame for her failed romantic relationships. She never found a way to integrate her career and home life. She also hated to lose, which led to young Anu being used as a pawn in the war between her parents.

As Anu grows up, we see how Shakuntala’s stubbornness and inability to compromise impacted their relationship. Anu (Sanya Malhotra) turns out to be just as stubborn as her mother and is determined to be nothing like her, just as Shakuntala was determined not to be like her own mother. Through conflict — including the above mentioned criminal charges — Shakuntala and Anu come to some important realizations about accepting our loved ones for who they are and learning to see our parents as more than just our parents.

Malhotra has the challenge of playing Anu when she is a married woman, but also when she’s a young teenager living in London. As a teen, Malhotra’s performance risks being overshadowed by her unflattering (but authentic) early 1990s attire. She’s more effective as Anu grows up and is forced to truly reckon with her mother as an adult.

If the goal was to portray Shakuntala Devi’s best and worst qualities, they couldn’t have found a better performer than Balan to do so. Balan makes Shakuntala feel like someone you’d love to know but hate to live with. She’s also effectively portrays Shakuntala across multiple decades.

From the vantage point of 2020, the idea of going to watch someone solve equations on stage sounds quaint, but Balan imbues with her character with such charisma and flair that she successfully translates Shakuntala’s appeal for a contemporary audience.

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Movie Review: Pataakha (2018)

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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 sung by his wife, Rekha, the sexy song is brought to life onscreen 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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