Tag Archives: Shakti Kapoor

Movie Review: Shimla Mirchi (2020)

2 Stars (out of 4)

Watch Shimla Mirchi on Netflix

Sholay director Ramesh Sippy’s Shimla Mirchi spent five years on the shelf before it found a buyer, but the content feels even more dated than that.

The romantic comedy stars Rajkummar Rao as Avi, a grumpy single guy who’s been dragged along on his family’s annual vacation to Shimla. His mood changes when Naina (Rakul Preet Singh) sprints by him, fresh from a photo shoot at her friend’s bridal boutique. One look at Naina’s heaving bosom and toned abs, and Avi is in love.

It is important to note that, in Shimla Mirchi, “love” happens the instant a man sees a beautiful woman. It is also important to note that a woman’s most lovable attribute is her torso, hence why Naina wears crop tops almost exclusively throughout the film. Avi is frequently shown ogling her bare waist, because he’s in love.

Avi’s problem is that he gets tongue-tied whenever he tries to tell a woman that he loves her. (Could the problem be that his instinct is to introduce himself to women he’s never met with “I love you” before “Hi, I’m Avi”?) He takes job at Naina’s cafe in the hopes of getting to know her better. When he still can’t muster the courage to speak up, he writes her an anonymous love letter.

Naina’s not interested in her own beau, but she sees the letter as an opportunity to cheer up her mom, Rukmini (Hema Malini), who’s lonely after her husband Tilak (Kanwaljit Singh) left her for a younger woman. Naina readdresses the love letter to her mom and has Avi deliver it — leading Rukmini to believe that Avi is her secret admirer.

The high-concept story by writers Kausar Munir, Vipul Binjola, and Rishi Virmani yields a number of cute moments, as when Rukmini stops her dance practice to sneak after Avi, bells around her ankles jingling whenever she moves. When Naina realizes that Avi is way overqualified to work as her handyman, she jumps to the wild and funny conclusion that he’s involved in a nefarious international plot that inexplicably begins with the takeover of a small cafe in Shimla.

There’s a nice relationship between Naina, Rukmini, and Tilak’s mother (Kamlesh Gill), who lives with them. Naina has cut off contact with her father, and even his own mother thinks he’s a jerk. They want Rukmini to rediscover her sense of self-worth, and the film doesn’t even hint at trying to reunite the family.

Yet even the best elements of the film are good, but not great. The acting is fine, if uninspired. The story is cute but forgettable. Shakti Kapoor plays the quirkily-named Captain Uncle, who exists to move the plot along when the writers couldn’t think of a better way to do so.

Then there are the elements that make Shimla Mirchi seem like it came out of a time capsule. The mistaking of lust for love and the objectification of Naina’s body are the worst examples. Captain Uncle makes some racist jokes about East Asian languages. Avi has a friend, Jude (Tarun Wadhwa), who rotates through a series of indistinguishable white girlfriends who don’t speak but are always wrapping themselves around him. He ditches the last one when he spots a pretty Indian girl in Desi attire and immediately falls in love with her (naturally).

Shimla Mirchi feels like the product of a filmmaker who started his career back when times were different. When objectifying women was the norm. When you could crack racist jokes because there was no internet and few people outside your intended audience would watch your movies. There’s nothing outrageously offensive in Shimla Mirchi. It just doesn’t feel current.

Links

Movie Review: Gunda (1998)

GundaEntertainment Factor: 4 Stars (out of 4)
Quality: 0 Stars

Buy the DVD at Amazon

Gunda was brought to my attention by a reader named Harry in the comments about my review of Boom, a movie I considered to be so bad that it’s actually good. Turns out Boom has nothing on Gunda: the ultimate So Bad, It’s Good movie.

Director Kanti Shah’s Gunda is a B-movie with blockbuster aspirations. By failing to allocate the obviously modest budget for optimal use, the quality of every aspect of the movie suffers. As a result, not a single component of the film bears even a hint of competence. And that’s what makes it so great.

To call Gunda a revenge movie is to underplay the role revenge plays in the story. It’s the whole plot! Someone kills a member of someone else’s family or entourage, which precipitates a retaliatory murder, which precipitates another retaliatory murder, and so on. That’s it. That’s all the story is about.

The presumptive lead character, Shankar (Mithun Chakraborty), doesn’t appear until about twenty minutes into the two-hour-long movie. By that point, there have already been five murders committed at the hands of warring dons Bulla (Mukesh Rishi) and Lambuatta (Ishrat Ali). Also by that point, Lambuatta and the man who hired him to kill Bulla are dead, making their inclusion in the movie totally unnecessary.

Unnecessary, but not worthless. Lambuatta is my favorite character in the film. He repeatedly shouts Bulla’s name while hanging out on an airport tarmac. Why an airport tarmac? Who knows?

Lambuatta provokes his own death when he rapes and murders Bulla’s sister. More accurately, Lambuatta rips open her shirt in public, killing her. In Gunda, rape — or the PG-rated, fully clothed version presented — is always fatal to the woman. Always.

Shankar enters the story when he stops one of Bulla’s goons from fleeing the police after committing a murder, prompting Bulla to “fix a date” for Shankar’s death. But first, Shankar and Bulla have to kill off everyone else associated with the other party.

Bulla merits a place in the American cultural lexicon as one of the greatest villains of all time. He pronounces every line of dialogue with an extended enunciation of the last syllable. He and his crew are prone to speaking in couplets that make no sense when translated from Hindi to English. Take Bulla’s catchphrase, for example:

“My name is Bulla, and I always keep it open.”

I read somewhere online that Bulla may be indicating that he’s not wearing underwear, but who the hell knows? Does it even matter? It starts to sound pretty awesome after the thirtieth time he says it.

The majority of Bulla’s scenes are shot with him and his femmy brother, Chutiya (Shakti Kapoor), sitting two-feet from the camera in the living room of their mansion. There are only a handful of sets in the whole movie, most notably Bulla’s living room, the airport tarmac, a quarry, and a dock. All of them are apparently located right next to one another.

The rest of the scenes are shot in public places, usually in parks or in the middle of busy streets. A fun drinking game would be to take a drink every time a bus tries to plow its way through the middle of a shot or is forced to skirt around a huge crowd of spectators.

Shoehorned in between all the revenge killings is a romance of truly awkward proportions between Shankar and Ganga (Verna Raj), who navigates the world with a pair of basketballs stuffed in her bra. Shankar and Ganga engage in several stiff, goofy dance numbers in which the then 51-year-old Chakraborty appears to be actively trying not to dance.

Scenes go on far too long, especially the dance numbers. Much of the film can be fast-forwarded through, but I found something charming in the relentless dullness of many of the scenes.

Many of the events in the second half of the film are beyond ridiculous, and it would be a shame to spoil them for those new to Gunda. The less prepared one is for this movie, the better. I will point out that the climactic battle in Gunda — which, again, takes a really, really, really long time — is one of the best, wackiest things I have ever seen. Ever.

And then the movie just ends. It’s brilliant.

Links