Movie Review: Batti Gul Meter Chalu

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Film: Batti Gul Meter Chalu

Date: 21.09.2018

Director: Shree Narayan Singh

Writer: Vipul Rawal-Sidhartha Singh-Garima Wahal

Cast: Shahid KapoorShraddha Kapoor, Divyendu Sharma, Yami Gautam

Music: Anu Malik, Rochak Kohli

There are many ways to describe director Shree Narayan’s Batti Gul Meter Chalu.

You can call it a love story, a story of friendship or a story of a movement supported by the entire city.

Set in the beauteous Uttarakhand BGMC addresses the issue of fluctuating electricity and inflated bills and how the common man struggles with these pressures without help from the establishment.

SK (Shahid Kapoor), Nauti (Shraddha Kapoor) and Tripathi (Divyendu Sharma) are childhood friends who make an effort to spend quality time together despite their individual careers.

SK is a lawyer who has short cuts for every problem. Nauti is a local designer who runs her own shop while Tripathi has recently invested in a Printing Press.

The first half of the film is about their bonding, adventures, some challenges and some mishaps. Tripathi is worried sick when he gets an electricity bill of 1.5 lakhs and by the time he complains about it the amount escalates to 54 lakhs in the following months.

The story really begins in the second half when the usually laid back SK decides to fight against SPTL, a privatized electricity company and becomes a hero.

The positives are one, the locations – the quint city perched on the hills amidst nature. Two, the issue of availing electricity to the remotest region and finally the message that it’s important to fight a cause, not important that you win!

Without attempting to the film is gender sensitive.  So we have Sushmita Mukherji as the cricket fan judge and Yami Gautam as the public prosecutor.

Shraddha Kapoor lives with two single women (mother and grandmother) without restrictions and makes her decisions at home/ work and in love.

The negatives: are primarily the length (close to three hours), the pace (takes too long to come to the point); the sutradhars are annoyingly invasive and a waste of screen time and the climax unfortunately overstated.

It is unconvincing that friendship can suddenly turn obsessive and some questions posed by Shahid to Shradha remain unanswered.

The film is a big break for Dwivedi Sharma and a new image for Shraddha Kapoor who pairs with Shahid for the second time. All of them speak the dialect effortlessly. Yami Gautam who played a victim in her last film Kabil plays a prosecutor but the film finally belongs to Shahid Kapoor- who is the first rate in his comic timing and restrained in the emotional moments, there are many shades to the character and Shahid has you addicted to SK!!

Director Shree Narayaṇ last time combined a social message with entertainment called Toilet Ek Prem Katha. This time he addresses another relevant issue – electricity.

Batti Gul Meter Chalu is long, a tad preachy but it is worth it for Shahid Kapoor.

I rate Batti Gul Meter Chalu with 3 stars out of which half star is reserved only for Shahid Kapoor.

Bhawana Somaaya

 

Movie Review: Manto

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Film: Manto

Date: 21.09.2018

Writer-Director: Nandita Das

Cast:  Nawazuddin Siddiqui, Tahir Raj Bhasin, Rasika Dugal

Background Score: Zakir Hussain

Editor: Sreekar Prasad

 

We have watched many biographies and many films on the partition but what makes writer-director Nandita Das’s biopic on Manto special is that it’s a biopic on a writer and that the film focuses on the most tumultuous four years in the writer’s life and that of the two countries he inhabits – India and Pakistan.

Manto is a widely read short story writer in Bombay who pens scripts for movies and disrupts shooting if changes are made in his script without approval. He also writes columns for newspapers and disconnects with editors who ask him to tone down his columns or negotiate on his fees.

He refuses to be a part of the Progressive Writers Association but relishes the company of other radical writers like Ismat Chugtai over endless cigarettes and whiskey pegs discussing burning issues.

Superstar of silent cinema Shyam dotes on the writer but as violence engulfs the nation there is a crack in their friendship and Manto makes the difficult decision to shift to Lahore, Pakistan but his heart aches for his friends and as time goes by, he is unable to find takers for his controversial writings.

His addiction to alcohol leads him to disaster but the great thinker even in abject poverty will not compromise on his writing.

Manto is lovingly cast and that stalwarts like Vinod Nagpal, Javed Akhtar, Rishi Kapoor and Paresh Rawal appear for a single scene speaks of their faith in the filmmaker.

Diligently researched and delicately designed the film travels you across two countries and many heartbreaks, gives you insights into Manto’s personal and professional relationships, his anger, empathy, pride, and pain.

From fiction to reality and back to the characters that consume Manto’s imagination Nandita Das weaves a seamless narrative of stories within stories skillfully conceived by an extraordinary man who in the worst calamities remained unbroken in spirit!

There are innumerable images that haunt you long after the film is over…The handwritten papers signed with Parker pen and sometimes pencil, the empty trains, desolate platforms of vintage India, the old media offices and the crowded bars filled with smoke and agitated conversations.

Innumerable moments that bring a lump to your throat…. When Manto shares that he would like to remain indebted to Bombay, when Shyam arrives in Pakistan and when Safia finally breaks down pushing the swing for her daughters.

Nawazuddin Siddiqui lives Manto with alarming honesty and Safia/Rasika Dugal and Shyam/ Tahir Raj Bhasin are the perfect foil for the volatile maverick.

Nandita excels in portraying the predictable as special so freedom by midnight is fireworks in the sky watched from Manto’s bedroom window and poetry/songs stumble quietly into the frame when Manto’s mind brims over with memories.

The only minus is the pace and the mood because even though there are flashes of the family man, the writer’s life is clearly devoid of color or cheer and after a point, the melancholy overwhelms you and perhaps that’s the intention of the filmmaker.

The first and the last scene stay with you for a long, long time…

Sensitive and achingly sincere Nandita Das at no point underestimate her audience and communicates with Manto devotees on a level she finds herself.

I rate the full of intrigue Manto with 3.5 stars.

Bhawana Somaaya/ @bhawanasomaaya

 

 

Evening Shadows (Day 1429)

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Today is Shaban Azmi’s birthday and the actor has stuck her neck out to support a film that brought tears to her eyes.  Evening Shadows was the opening film at the Lonavala International Film Festival 2018 held at Triose Plaza attracted a houseful audience comprising media, students and general public.

Post the screening a visibly emotional Shabana revealed that watching the film has made her into a better human being and she feels that the film should be presented as a family drama so that everybody watches it. “I hope that a big studio will embrace this film because it has all the potential of becoming a successful release at the box office”.

Azmi starred in the controversial Fire directed by Deepa Mehta, says that Evening Shadows is presented with sensitivity, honesty, and tenderness.

Director Sridhar Rangayan is over joyed that his film has made an impact on the actor and is all geared up for the film’s theatrical screening on Sept 13th at Cinestudio Theater in Connecticut, USA. “This is a first step in distribution for the film and we hope there will be many more successes”.

Before USA the team stops at Hong Kong for the film’s premiere at the Hong Kong Gay & Lesbian Film. The film has already won 3 awards and has been an Official Selection at 35 international film festivals.

The film is also scheduled to premiere at Chicago South Asian Film Festival supported by the local South Asian LGBTQ group Trikone.

@bhawanasomaaya

Ganesha makes no discriminations (Day 1428)

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In Mukul Anand’s Agneepath/1990, the underworld don hails from a small village called Mandva and it’s been a family tradition to bring the idol home. The film featured Amitabh Bachchan in a dramatic climax where he is stabbed by his enemies amidst excited crowds bidding farewell to the deity at the seashore.

In Satya 1998, the hero is exposed amidst the festival, dragged on a noisy street dramatically shot by Ram Gopal Varma.

The ten-day celebration exudes boundless energy. In cinema, it has portrayed myriad moods – pathos, triumph, drama and in some instances, courage. In Dil toh Pagal Hai /1997 Aroona Irani gifts identical silver idols to Shah Rukh Khan and Madhuri Dixit who are unable to express love for each other.

In My Friend Ganesha a little child bonds with the deity and keeps him a secret from his parents. In the remake of Don Shah Rukh Khan dances a robust number on the streets and in the new Agneepath Hrithik Roshan and Priyanka Chopra dance and dabble in color to celebrate the elephant lord.

In Bajirao Mastani it is an occasion for Peshvibai Priyanka to invite Mastani to join the celebrations and since it is a Sanjay Leela Bhansali film it is also an opportunity for the two women to dance in navvari.

Mumbai will be going crazy for the next ten days and after that, it will be time for the Goddess to come home.

@bhawanasomaaya

Ganesha fulfils wishes (Day 1427)

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In Takkar, the villains hide the temple treasures inside the idol and hopes to escape with the loot, but the trio heroes – Jeetendra, Sanjeev Kumar and Vinod Mehra sing ‘Murti Ganesh ki, andar daulat desh ki…’ and expose the villains.

In 1981, Filmwala’s Kalyug was among the early films to portray the immersion procession in all its glory. The film’s hero Shashi Kapoor is driving home and gets caught in a traffic jam. The chaos on the street reflects the turbulence in his heart beautifully captured by director Shyam Benegal.

Ajanta Arts’ Dard Ka Rishta 1983, supposedly inspired by Sunil Dutt’s personal life, delved on a young girl’s obsession with the elephant God. Baby Khushboo is in a coma but hears echoes of the Lord coming home. To fulfill the dying girl’s wish, her father brings the idol to her hospital bed and she dies in peace.

To be continued…

@bhawanasomaaya

Ganesha in Hindi cinema (Day 1426)

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Ganpati festival is a busy time for the film fraternity because a lot of them bring the deity home. Salman Khan, Rishi and Ranbir Kapoor, Ekta Kapoor, Nana Patekar, Shilpa shetty, Sanjay Leela Bhansali, Anil Kapoor, Raveena Tandon, Padmini Kolhapure, Sonu Nigam, as long as Rajesh Khanna and Sunil Dutt lived they never missed bringing Ganesha home.

At public pandals decorated all over the city singers like Shankar Mahadevan, Sukhwinder Singh and Anup Jalota are invited to perform live before the deity and celebrities from all walks of life are invited for a special darshan of Lalbaug ka Raja. For all the attention film folk’s shower on the Elephant God, the deity has limited presence in our movies and it is difficult to think of ten memorable scenes projecting the God of wisdom on the big screen.

I will try and recap some moments and on top my mind is Humse Badhkar Kaun/ 1980 that told the story of families living in a colony and collectively celebrating the festival. The haunting number ‘Devaa ho devaa…’ singing paeans to the Lord proved a chartbuster and is even today chanted at all the pandals.

To be continued…

@bhawanasomaaya