Tag Archives: Vivaan Shah

Movie Review: Happy New Year (2014)

Happy_New_Year_Poster_(2014_film)3 Stars (out of 4)

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Director Farah Khan knows how to give the people what they want. Happy New Year is exactly what it’s supposed to be: loud, flashy, sexy, and tons of fun.

Everything you need to know about the film’s tone is conveyed in the first five minutes, during which a muddy, shirtless Shahrukh Khan is sprayed clean with a hose. It’s so overt that one can’t help but laugh, while simultaneously being wowed by Khan’s ripped abs.

Khan plays Charlie, a guy who’s been down on his luck ever since his father (played by Anupam Kher) was framed for robbery by Charan Grover (Jackie Shroff), a diamond merchant. Charlie’s chance for revenge comes when Grover publicly announces his plans to transfer some diamonds through Dubai, holding them in a safe at the Atlantis, The Palm hotel.

First Charlie recruits his dad’s old buddies: explosives expert Jag (Sonu Sood) and safe cracker Tammy (Boman Irani). He rounds out the team with Jag’s hacker nephew, Rohan (Vivaan Shah), and Nandu (Abhishek Bachchan), a drunk who’s a dead ringer for Grover’s son, Vicky (also Bachchan). The crew agrees to the job before Charlie tells them the kicker: they have to enter the World Dance Championship in order to get into the hotel.

Even though the plan is for Rohan to get the team to Dubai by rigging the vote, they have to at least appear like a real — if somewhat inept — dance troupe. Nandu recruits Mohini (Deepika Padukone), an exotic dancer, to help them, though she’s kept out of the loop regarding the team’s true mission.

Mohini is the film’s best comic relief. She’s enamored of men who can speak English, so she falls instantly in love with Charlie. Her eyes glaze over when he says something as simple as, “Excuse me,” and a breeze magically appears to blow her hair. During one song-and-dance number, things catch on fire or explode every time she touches him.

Padukone deserves as much credit for her fit body as Khan does for his. She’s in amazing shape, as evidenced by her athletic dance moves in the song “Lovely.”

Director Khan — who also co-wrote the film — goes out of her way to treat Mohini’s bar dancer character with respect, reminding the audience that women choose such professions for a variety of reasons that have nothing to do with a lack of morals. Padukone does a wonderful job depicting Mohini’s resolve and self-respect.

The director’s progressive gender politics come through in the amount of skin she chooses to show as well. In a reversal of Bollywood norms, there are far more shots of Sood’s and Khan’s naked torsos than Padukone’s bare abdomen.

There’s also a nice example in Happy New Year of the difference between a racist character and a racist movie. The WDC’s defending champs hail from North Korea. When uneducated Nandu refers to the champs as Chinese, claiming that “they all look alike,” Charlie immediately rebukes him for it and greets the team in Korean.

On the other hand, the movie uses gay jokes as punchlines far too casually. Explicitly gay characters are costumed outrageously, and romantic overtures from one man to another are always shown as laughable or scary.

There’s also a brief shot in the film that will at the very least be jarring to Western audiences. The hotel vault holding the diamonds is lined by dozens of bodyguards of different ethnicities. The guard next to the door appears to be a white man, and he has a tattoo of a swastika on his right arm. I know that the swastika is a positive symbol in Hinduism, and perhaps the man is Indian. But in the West, the only white men with swastika tattoos are Neo-Nazis. Either way, in deference to international sensitivities, the filmmakers likely should’ve covered the tattoo.

Those issues aside, Happy New Year is exactly the lighthearted fare audiences want from a Bollywood spectacle. The characters are motivated by love for their family and country. Dance numbers feature colorful costumes and pyrotechnics. The talented cast supplies plenty of laughs. Kudos to Director Khan for giving her audience their money’s worth.

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Movie Review: 7 Khoon Maaf (2011)

4 Stars (out of 4)

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Director Vishal Bhardwaj’s movies have always suffered a bit in translation. Whether due to a lack of nuance in the English subtitles or particular regional references that require context, I felt like I didn’t fully experience films like The Blue Umbrella, Omkara or Kaminey.

Not so with 7 Khoon Maaf (“Seven Murders Forgiven”). It’s Bhardwaj’s most universally accessible work yet. It’s perfect in the way of all cult films: not flawless, but giddy, emotionally effective and memorable.

7 Khoon Maaf chronicles the love life of a black widow named Susanna (Priyanka Chopra). The film is based on “Susanna’s Seven Husbands,” a short story by Ruskin Bond. The title itself is a clue that things don’t turn out so well for the men in Susanna’s life.

The story is narrated by Arun (Vivaan Shah), a forensics expert tasked with confirming the death of the serial spouse murderer. Arun explains to his wife (Konkona Sen Sharma) the nature of his relationship with Susanna when she was alive: he was Susanna’s ward, and she funded his education. But the more Arun explains, the more bizarre the story becomes.

Shortly after the death of her father, the wealthy, orphaned twenty-year-old Susanna marries Major Edwin Rodriques (Neil Nitin Mukesh). Edwin has a temper, and he terrorizes his wife and her loyal servants: a butler named Ghalib (Harish Khanna), a maid named Maggie (Usha Uthup) and a stablehand named Goonga (Shashi Malviya).

As Edwin becomes more dangerous, Susanna and her servants decide to get rid of him in a way that looks accidental. Thus begins the deadly cycle of Susanna’s romantic life.

The film is darkly humorous, and a bit perverse at times. Some of the more visceral visuals reminded me of Guillermo del Toro’s films like The Devil’s Backbone and Pan’s Labyrinth, though there are few special effects in 7 Khoon Maaf.

Also reminiscent of del Toro is the pervasive religious symbolism throughout the film. Susanna is a Christian, so hymns pervade the soundtrack, which was also composed by Bhardwaj. Given the number of weddings and funerals Susanna must attend, church is a frequent setting.

Much attention in the promotions for the film has been given to Susanna’s husbands: the rock star (John Abraham), the poet (Irrfan Khan), the healer (Naseeruddin Shah). But all of them, by design, have limited roles in the film.

Much more central to the plot are Susanna’s accomplices, Ghalib, Maggie and Goonga. They evolve from pragmatic problem solvers into a trio of gleeful assassins. The three actors deserve much credit for enriching the film.

Arun likewise plays a central role, aging from a child to a man throughout the film. Vivaan Shah is competent in his first film role, playing a man who watches his patron’s life unravel from a distance — sometimes a physical one but also an emotional distance, due to being much younger than Susanna.

But the success of the movie depends entirely on Chopra, Bollywood’s most ambitious actress, and she does not disappoint. Susanna ages approximately 35 years through the course of the film, and Chopra adapts accordingly. She walks a fine line, making Susanna charming and innocent, and then merciless and deadly.

7 Khoon Maaf is an all-or-nothing film. It either works for you or it doesn’t. Its strangeness will be a turn-off for some viewers, while others will lament a lack of explosive action scenes. But, if you’re in the mood for something a little different, beware: Susanna might just steal your heart.

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