Movie Review: Badla..brilliant but unoriginal

 


For those who missed the facebook update, I saw this movie on Friday itself and the intention was to put the review shortly after. Since then, though, I've been procrastinating.

To clarify, Badla is what would have otherwise been a brilliant watch - it has a great plot, good progression and twists and turns that keep you guessing till the very end. The performances by the leads, Amitabh Bacchan and Tapsee Pannu are really good as well. The problem then? Only the little matter that this is an 'official re-make' of a Spanish movie - The Invisible Guest. And so much of a re-make this is - that the entire setting, plot, dialogues, characters, even screenplay and props - everything is simply the same as the original. I hope you see now where the frustration and hence procrastination came from. Add to it the fact, that this is now the second time a classy director like Sujoy Ghosh has done this (he did it first with Te3n) and its a worrying trend.

At this point, I am not sure what to praise - because all the appreciation I have is actually deserved by The Invisible Guest. So while this review will still be about Badla - the real credit for most of the good stuff goes to the Spanish original - which by the way, is readily available on Netflix.

Those who have seen the trailer of the movie need not fret - you don't know everything that happens and there are plenty of surprises in store. In fact, the opening moments of Badla cover most of what you've seen in the trailer. The story is king here and it will hold your attention throughout the runtime.  In fact, this is one of those where the plot gets so convoluted that you have a tough time keeping up with what's happened and why, while still watching. In fact, in the second half, there are multiple points where you feel you now finally understand what happened and yet, the script has more tricks up its sleeve.

In terms of the act, Amitabh Bacchan is too much of a veteran to find this kind of role challenging. That said, he seems a little too smug and patronizing given the character he plays. He could really have played it down a lot more. Taapsee Pannu on the other hand, is surprisingly emotive, standing her own even in the same frame as Amitabh in some scenes. Still she doesn't really sink into her character. An inspired though short performance is that of Amrita Singh who comes across as really genuine.

I would've really liked to praise the direction. The presentation is tight and slick. There are some  scenes that would've been a great directorial touch. Unfortunately, its all simply picked up from the original. There are some sad attempts at forced humor that slows down proceedings at the wrong time, but these moments are thankfully brief.

To clarify on my stance though, I have no issues with 'official re-makes' of such brilliant plots being made - in fact, I'd encourage it. But to get this from a stalwart director like Sujoy Ghosh - is just distressing. You expect him to make the next Kahaani - not make these kind of re-makes instead - we already have Abbas Mastaan for that.

As an unusual case then, while I really liked the movie and would highly recommend a watch, I do so with a lot lesser enthusiasm. Of course, if you know Spanish or are okay with subtitles, I'd much more highly recommend The Invisible Guest.

Movie Review: Luka Chuppi...hides a few good laughs

Yet another case where the movie's biggest enemy is its own trailer. If you've seen the trailer of this simple, fun and light hearted comedy you know exactly what to expect and that's a pity because it would be so much more fun if you didn't. While the trailer's jokes felt forced and out of place, the movie does manage to hide a few laugh simply by how the plot progresses, the situation's develop and how its characters react.
Its to its credit that Luka Chuppi never takes itself too seriously. While it deals with a contentious matter, it does so in a light hearted, almost casual manner. There is more focus on the setting, the backdrop, the background chatter and the side acts. The writing is both good and bad. The good bits simply sparkle and the bad could be worse enough to make you cringe. Its like that little kid you don't expect much from and just when you are about to give up on them - they turn around and surprise you. You'll hardly expect to do so, but you'll be roaring with laughter in a few scenes and its those moments that make this one more enjoyable than you would expect.

If the movie doesn't do a lot more than it could, its because of its leads and under-written characters. Karthik Aryan and Kriti Sanon are average - their chemistry never really sparks and it doesn't help that their characters aren't well developed either. Most of Kriti Sanon's dialogue delivery seems put on and an effort save for one emotional scene where she appears a different actress altogether. Karthik Aryan may be doing well, but he's always seen as 'acting' and never a natural for the part. Its the side acts that make this movie more fun - especially Pankaj Tripathi who showcases amazing versatility in his rather colorful character (both literally as well as figuratively). Aparshakti Khurana is the other bright spark - he has all the best lines and plays his part particularly well.

The songs are just about average and a hindrance at most times. It helps that they are short, few in number and don't slow down the progression. Of special mention though, is the clever use of music from old comedies as background music to the more comic moments in this one. There is a bit of understated, social commentary - but it also, especially the treatment of the movie's climax, seems all in service of the plotline and the laughs than in terms of sharing a message or being preachy.

Despite a wafer thin plotline, average performance by its leads and an underwhelming climax, Luka Chuppi does end up being more fun that you'd expect it to.Its not a must watch like a Badhaai Ho or a Bareilly ki Barfi but also not a bad way to spend time at the theaters this weekend.

Movie Review: Gully Boy...hard, bahut hard

By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=59541095

If you are wondering about the title - its inspired from the film - to describe great rap that is truly worthy of appreciation. I couldn't think of a better line to describe this movie. Much like the supreme writing of Ranveer Singh's rap content - writing a review for a movie like Gully Boy requires careful thought. Its not something you can simply pen down and be done with. You need to do it justice. It needs to make its mark. The world needs to see it for what it is - no frills, just raw emotion. Its not just a rags to riches story - its something more. Its not just the struggle of an artist - it goes deeper than that. At the surface, sure that's that the movie. But when you linger, when you see a lead actor pull off near perfect, inner turmoil - with just the right amount of restraint. And then - simply unleash on that mic - well, that's Gully Boy for you.

Its time for the apple to fall - Gully Boy isn't the greatest movie ever to grace the silver screen ever, as everybody at Berlinale is touting it to be. But yes, its pretty damn good. Undoubtedly, amongst the best movies of 2019 (which to be fair, has just begun) and arguably amongst the best you'll get to see this year. So book your tickets right away if that's the verdict you've been waiting for. However, be cautioned - its not simply a thrill ride - at 148 minutes its a deliberate slow burn, not in a haste to tell its fairly predictable story. Also, it has some pedestrian side plots and a bold choice for an ending. But I'd still put it very much in the must-watch category.

A lot of what Gully Boy is, is to do with the man at its center - Ranveer Singh. Though his appearance, still doesn't make him look like the Dharavi residing, slumdog who can't even fathom being a millionaire, in spirit he is exactly that. His circumstances, the insults, the deep scars on his psyche, his day to day struggles are all very real. And Ranveer pulls it off like a veteran. Playing a rapper itself is no mean feat but playing such a character with complex emotions and a boiling rage within showcases his talent. Its not only the rap, which he pulls off particularly well, but in his more quieter moments - the quiet determination, confidence and even retaliation where he wins over hearts. While the camera doesn't focus on him nearly as much as he deserves it, debutante Siddhant Chaturvedi is one of the most natural acts you'll get to watch. Its astonishing that this is a debut - it really is - Mc Sher kills it. Its hard to believe this guy is the scrawny teenager who plays the child prodigy in the Amazon Prime series Inside Edge. Alia Bhatt isn't particularly challenged with this kind of role, given what she has pulled off in the past, but she is more than noticeable. Her child like quality is in full bloom here and given her particularly maverick character - it adds particular dimension to it. Her struggle is understated but still very much present.

Zoya Akhtar is in fine form and the directorial touches are subtle yet very much there. The background chatter, the scenes where the sounds fade out and the silence is deafening as the message hits home are all very well done indeed. A lot of thought has gone into the side act as well, especially their characters and their own struggles. As the audience, Zoya makes it easy for us to be judgmental from a distance, but doesn't leave it at that. No she takes the camera into their lives, their homes and their grim realities, eventually forcing us to reflect and ponder, be more thoughtful about our perceptions. One can argue that the movie could've been shorter on runtime but I don't think it should've been at the cost of those slower, lingering moments.

The music, all rap and there is plenty of it, plays its beats really well. Its the sign that something's about to give, a revelation is about to happen and in its element, when things are in full aplomb. As much the background score as the songs - the music is as much a character as Ranveer himself. Its not all great beats though. There are a few side turns that the film could've and should've completely avoided. In a world full of struggles there are too many good Samaritans - not sure how true to life that is. And then there's the ending - which am sure will have its critics. But those are niggles.

In a world of pretentious, over the top cinema - Gully Boy is something real. From the markedly unglamorous introduction of its protagonist(s) to the slums of Mumbai, to the rap itself - its all sincere, original and very fresh. Hats off to Zoya Akhtar to have taken up such content and given it such careful treatment. Gully Boy makes his mark and leaves something with you.

Movie Review: Spiderman: Into the Spider-verse..a refreshing new dimension

Despite being an ardent Spiderman fan, this one originally did set the spidey sense tingling. After 3 different origin stories for 3 different Spidermen - I felt like the multi-verse is already established. On top of it, this one's animated and not even based on Peter Parker. Some guy called Miles Moran who I have no clue about. And yet, I wandered into the halls, that too into IMAX. Having seen it though, its a lesson that pre-conceived notions can be real dangerous. Had I listened to them, I might've swung past and missed out on a thrilling, original and refreshing treat.

Into the Spider-verse defines breaking new boundaries. It feels less like a movie and more like a comic book brought to life. In a sense, it redefines animation. Sometimes, its not even easy on the eyes and yet it doesn't feel out of place. The comic panel styling is simply too cool. The story itself, doesn't feel like a wearied re-hash of the known origin story. In fact, the movie is pretty conscious of its protagonist's elaborate history and makes quick work of its own re-telling. Rather, it lingers on some of the more interesting and fresh moments. The writing is great and the story runs (literally) at a frenetic pace. Much like the superhero himself, there is no time to catch a breath - this even when Miles hasn't discovered his spidey powers yet.

The plot is set amongst the most complex constructs yet. However, it doesn't harp on convincing you that this stuff is possible or even how it is achieved. A lot of peripheral stuff is simply assumed. The second half gets a little more goofy with too many 'Spider-men' from too many dimensions and the movie loses some of its steam. It does pick up quickly thereafter though and moves to a thrilling climax. The writing is classy and some of the lines are really witty. Its one of the few movies, where I actually wished there were subtitles, because am sure with its pace, I've still missed stuff.

I would however, recommend that you don't watch this one in IMAX. The 3D is less busting out of the screen and more on showing depth beyond the window screen. To put it simply, its hardly there and the giant screen that it is, magnifies every pixel of the artwork. Especially given the animation styling given to this movie, it can be too much magnification and I could often see entire rows of pixels bunched together, which was distracting. A lesser screen might actually give a fuller experience.

I would highly recommend you watch it though. If for nothing else, the audacity and boldness of vision and the kind of animation that translates on screen. I am actually hoping this starts off a new trend with more content being developed in this comic panel like format. Spiderman - Into the Spider-verse, breaks new ground with its new dimensions and singular animation style and is a hearty welcome back to a new, refreshing version of the webslinger. Don't miss it.

Movie Review: Badhaai Ho..calls for all manner of celebration

While the central premise in and of itself is funny, there is little else that Badhaai Ho could have offered from a plot perspective. However, the way the movie is packaged and presented, coupled with wonderful performances from the entire cast (especially the older folks), elevate what would've been an ordinary movie to a celebration that stays with you long after its final moments.

You may be familiar with the central premise after watching (or at least hearing about) the movie's trailer. What you won't get from that though, is the extent to which that premise is milked at various points in the movie - each time bringing laughs and at no point outstaying their welcome. That and the most apt use of background score to convey its more comic moments, Badhaai Ho holds your interest through the movie and never feels forced or stretched. Never taking itself too seriously, the movie slowly makes its way into your heart and firmly rests there.

You constantly get the feeling that post this the movie will run out of content, but surprisingly it makes enough for its 2 hour runtime to feel a breeze and also give that warm, fuzzy feeling - most movies can only hope for. To add to the joy, there are virtually no songs and while the 'badhaaiyan bibi tenu' strain plays off in the background every now and then, its just that line and there isn't a pause in proceedings.

There are moments in this movie that lift it to new levels - the wonderful bond of eternal love  between a husband and wife even after they are technically now labelled as parents, Indian family values that every kid should aspire for and also the very Indian family squabbles and chatter that I am sure most would relate to. There are other subtle moments that happen in the background or in conversations - again portraying a message but not quite spelling it out.

If the presentation is good, its starcast is what lifts the movie further. Its real leads are not Ayushmann Khurana and Sanya Malhotra but rather the older pair of Gajraj Rao and Neena Gupta. In fact, the movie's best moments are the (often subtle) exchanges between these two. So much so, that when the movie focuses on the younger love story it seems forced and even out-of-place. Neena Gupta in particular is in vintage touch as she perfectly pulls of a restrained yet impactful performance. She owns every scene she is in and is a delight to watch. Equally restrained, yet no less endearing is Gajraj Rao with his quiet mannerisms. Ayushmann too is going only from strength to strength and puts in another convincing performance with Badhai ho - not trying to steal the show but playing the perfect foil to the older couple. A surprise package is Surekha Sikri as the Dadi of the household, who has many more lines than you would typically expect and is explosive, playing the typical grumbling elder in the house, who is blunt to the hilt.

When I saw its trailers, Badhaai Ho was not a movie that I was all that enthusiastic about. It seemed too wound around its central premise and it seemed like all its funny moments were captured in the trailer itself. As it stands though, Badhaai Ho is a sweet bundle of joy that I am more than happy to announce the arrival of. Go catch its delivery in the theaters.

Movie Review: Andhadhun...a whole array of notes

Ever since I learnt of the movie's title being a play on its chief protagonist - a blind pianist, Andhadhun was on my hit-list of movies to watch out for. Add to it the fact that this one was directed by Sriram Raghavan, a director who excels in making things racy and pacy, it promised to be a lot of fun. For its first half, Andhadhun is actually a masterclass in film making, rarely striking a false note. Its the second half that has some jarring tones that take it from quirky to bloody dark yet manages to redeem itself by the end. All in all, Andhadhun is unlike anything you are likely to witness in a movie hall.

Its best to go 'blind' if you don't know anything about this movie yet. Saying anything gives something away so I'll be extra cautious here. The first half is pure bliss. A brief introduction to its characters gives way to seemingly slow proceedings but you can't help but feel something is about to give. There's a startling revelation early in the game, making you wonder what more the movie could have in store. However, there's plenty of thrills to be had. The setup and proceedings in the movie will have you glued with breathless anticipation, not quite sure what to expect next. Joyfully that's the entire first half. Within that you get the trademark Sriram Raghavan nod to old hindi cinema as well as to Beethoven. So much happens in the first half that you wonder if there's enough for the second act. There are moments here and there that would simply get lost if you aren't paying attention. The movie doesn't rely on blaring background score to make its impact - an offbeat piano note does that just fine. 

While the second half also has enough packed into it, the direction it takes, brings it down relatively, especially with the high standards the initial setup creates. There's still that sense of anticipation, of taking unexpected turns in a zig zag journey but the melody feels off. The piano doesn't play as much, the notes don't always feel right and while it gets much darker in tone, it moves farther away from the stuff that made the first half so perfect. Its the final flourish that ends the movie on a high note and you emerge from the hall still quite satisfied.

There are a handful of songs and for a movie with such beautiful piano melodies, they are a complete letdown. In terms of the act, Ayushmann Khurrana pretty much gets a dream role and he pulls it off really well - probably one of his best performances so far. Its only in the few scenes of high strung drama that his dialogue delivery suffers a bit. Tabu is in fine form and while she starts off subtle and barely visible, she makes the movie her own especially as her delectably complex character gets revealed. Radhika Apte does okay in her relatively smaller role.

However, this is totally a director's movie. All the actors are mere puppets, brought in and out to tell an engaging story. Despite the unexpectedly dark turns it takes and its less savoury second half, Andhadhun is a fine melody, that expresses itself well across the octave and gives us a memorable watch.

Movie Review: Manmarziyan..can't make up its bloody mind

If you sense frustration after reading the review title, it delivered the desired effect. Yes, frustration was exactly what I felt after 2.5 hours of a pedestrian storyline that simply can't make up its mind on which characters should be together, why they deserve to be so and what the characters want to do or be in the first place.

With Anurag Kashyap at the helm I was hoping that the age old love triangle would be given a fresh or unfamiliar twist. Forget unfamiliar, what I got was suspiciously close to old wine in a new, sex-fueled bottle from an early Bhansali movie. In comparison to this one, that made more sense (and that's saying something, coming from some one who is decidedly not a Sanjay Leela Bhansali fan).

The movie starts off fresh and unabashed about its pyar as well as fyar (if you do end up watching, you'll know what this means). Vicky Kaushal is barely recognizable in a very unlikely avatar whereas Taapsee tries her best to pull off the brash and loud-mouthed rebel. There is no background to why these folks are the way they are, what are their motivations and aspirations. There are a few trace instances here and there but mostly you are left to piece together things yourself about them.

A lot of the chuckles in the movie (not unlike previous Anurag Kashyap offerings) are to be found in the background chatter - the complaining siblings, the relatives' remarks and the parents frustration and confusion regarding their offsprings. However, unlike his other offerings, which had a solid mainstream flow as well, Manmarziyan has the characters pretty much doing the same dance over and over again.

The storyline is predictable to a fault and while you look for some interesting twists to put things in a new light - they never actually come. When they do, they make little sense and just look like an attempt to find some way to head things off, all the while showcasing the new indecisive generation at their confused best, or rather, worst.

A lot in this movie depended on its main cast of characters. Of those, it is Vicky Kaushal who shines the most in a very different avatar - barely recognizable in his new look. Not only does he look badass but despite a flashy yet shallow character, he makes Vicky (also the name of his character) a little more fleshed out than what the script would have provided. Taapsee Pannu has the strongest role of the lot and her delivery is a bit of a mixed bag. She clearly struggles at first in terms of the Punjabi accent, high strung dialogue delivery, but soon becomes more comfortable with her character. There are some moments where she is brilliant though and overall she just about pulls off a tough act. Abhishek Bacchan (in his comeback film) has the least role of the 3. In fact, he is barely visible in the first half. His needs to be more of a restrained performance and he sticks to the part.

From a director's perspective, there are some subtle messages - a critical view on the established traditions and their place in modern day society - if you really pause to reflect, you might catch them but there isn't any overt commentary on them. There are umpteen number of songs (more parallels to Bhansali than I would've hoped) and while some are melodious, the movie feels more like a bad musical with songs popping up every now and then, many of which do nothing to move the painfully slow narrative forward.

To my mind, I don't think this one's worth a visit to the theaters - baaki your marzi.