When you are a young boy, you tend to hang pictures of people in your room whom you admire and love. Whose picture goes up on your wall depends on how old you are. When you are between five and 10, it is normally superheroes like Superman, Batman and so on. Then, as you age beyond 10, posters of superheroes get replaced by real life figures, like sportsmen and male movie stars. Then, at a certain time, normally when you are well into teen years, pictures of female movie stars also start appearing. Of course, it coincides with adolescence and the time when you start developing interest in courtship and romance. The first picture of a female movie star or singer is often of a person who is also your first massive crush. Just like all boys, I went through the same cycle. At one point, pictures of Spiderman and Superman were replaced by that of Arnold Schwarzenegger and Imran Khan. However, there wasn’t any picture of a female star despite me being well into my teens. Then I watched Lamhe. Next day, I remember going to the shop and buying a huge poster of Sridevi Boney Kapoor. I loved the movie and even more than the movie, it’s incredibly talented and beautiful star. Sridevi was mesmerising in the movie and showed exceptional range of acting skills coupled with an amazing diversity of facial expressions. I don’t remember how many times I rented the video cassette (those were the VCR days!) and watched it. During those times, it was the one movie I could never get tired of watching. [caption id="" align="alignnone" width="500"] Photo: Giphy[/caption] I became obsessed with the star and started to watch her older movies also. I watched Chandni, a movie revolving around a love triangle. She was brilliant and outshined both Rishi Kapoor and Vinod Khanna, despite the fact that both of them were also established actors. I loved her in Mr India, which could easily have been called Ms India as she literally stole the show from Anil Kapoor. I was amazed by her acting abilities in Chaalbaaz where she played a double role of women with extremely different personalities. One role was of a docile and timid woman while the other of a strong and extremely confident woman. She played both roles with incredible ease. She was brilliant and looked incredibly pretty in Gumrah too. [caption id="" align="alignnone" width="496"] Photo: Giphy[/caption] Back then I was so obsessed with her that I actually started to dislike Madhuri Dixit, an equally brilliant star and her fierce rival in those days. My close friends of that time used to tease me about my infatuation with her, as in their opinion, it was bordering obsession. I would go to bookshops to browse through Indian magazines like Filmfare and Stardust just to find about box office standings of her releases. [caption id="" align="alignnone" width="600"] Bollywood actor Sridevi and Madhuri Dixit attend Grand Finale of TV Show Jhalak Dikhala Jaa Season 5 at Filmistan, Goregaon, on September 25, 2012, in Mumbai, India. Photo: Getty[/caption] Showbiz stars are incredible as they are perhaps the only kind of people who transcend the borders in an age of hyper-patriotism. Here was a Pakistani lad having a hopeless crush over an actress who belonged to the supposedly “enemy” country. But for me, for that matter for millions of other Pakistanis fans of her, it was of no concern. She belonged to the entire subcontinent. After she got married in 1996, she decided to settle for domestic life and was hardly seen on the big screen. With age, I also got over the level of infatuation which I used to feel for her. However, the affinity remained. After all, you don’t forget your teenage heroes and crushes! With the advent of internet, I would at times Google her name just to keep up with what was going on with her. Since she was not working, most of the news about her consisted of her appearing at some party or the other. I would never fail to notice how gorgeous she continued to look despite being well into her 40s. In fact, with age, she looked better and better. After hiatus of so many years, she made a return in the memorable English Vinglish, in which she again gave a masterly performance. English Vinglish is beautiful story of a house wife who arrives in the US but cannot speak in English, a deficiency which often leads to her family making fun of her. She seeks respect from her family and in the process learns to speak the language. The speech in English she gives at the end was so beautiful and touching. Ironically, the first time I watched the movie was when I was on my flight was when I was coming to the US for my PhD. [caption id="" align="alignnone" width="455"] Photo: Giphy[/caption] All her movies including English Vinglish had one thing in common – she was the central figure. This by no means is a trivial thing as back in those days (for that matter even now) movies used to be completely male-centric and the heroine was just a sidekick, often added for increasing glamour quotient of the movie. This was, however, not the case for Sridevi. All her movies were women-oriented or at least had her in a very strong, central role. I remember Khuda Gawah, which paired her with the legendary Amitabh Bachchan who always used to work in movies which completely revolved around him. However, even in that movie, Sridevi played an equally strong role. I remember one Indian movie journalist wrote,

“Khuda Gawah is a Sridevi movie which happens to have Bachchan in it!”

What happens when a hotel management student working at a leading hotel has to juggle between spending time with a sick friend and trying to climb up in a dead-end job? October, starring Varun Dhawan, shows exactly how a stubborn yet loving man would manage this situation realistically. https://www.youtube.com/watch?v=7vracgLyJwI Directed by Shoojit Sircar and written by Juhi Chaturvedi, the film stars Banita Sandhu and Gitanjali Rao alongside Dhawan. The movie, which can aptly be described as a story of hope, narrates the tale of Dan (Dhawan) and Shiuli (Sandhu), who work together at a hotel. Unfortunately, one day a tragedy leaves Shiuli in the hospital; an accident that leaves a deep impact on Dan. Interestingly, though they worked together, they did not share a particularly strong relationship; neither were they good friends, nor did they show any romantic interest in each other. While Shiuli is in the hospital, Dan visits her every day, caring for her and naively hoping she will recover soon. Dan’s support for Shiuli in such challenging times creates a bond of friendship and gives her hope – the hope of survival, and the hope of a lasting friendship. While taking care of her, Dan becomes so close to Shiuli that her family believes he is her love interest. However, despite him clearing their confusion, their doubts remain, due to the extent of his love and concern for her. It is Dan who keeps running from pillar to post to get medicines for Shiuli, and talks to her nurses and doctors about her condition and her progress. Dan even confronts one of Shiuli’s uncles when he complains about the possibility of Shiuli not remembering anyone after coming out of her coma. Defending her, Dan exclaims,

“So what if she doesn’t remember who you are? At least all of you remember who she is.”

What happens when two of the most versatile actors of our time join forces to bring us a family comedy, the likes of which has perhaps never been produced in Bollywood? If you’ve ever asked the universe this question, 102 Not Out is here to answer your prayers.   https://www.youtube.com/watch?v=qrks9Zu0f1w Amitabh Bachchan stars as Dattatraya Vakharia, a 102-year-old man who is obsessed with a 118-year-old Chinese man, Ong Chong Tun Peng, and aspires to break his record of being the oldest man alive. The problem is simple: he has 16 more years to live before he can break the world record. Rishi Kapoor, on the other hand, plays the role of 75-year-old Babulal Vakharia, Dattatraya’s son. 102 Not Out is an unusual story of a father and son, where both share an exceptional relationship. It is interesting to note that there is nothing fancy about this movie. There are no outdoor scenes shot in scenic settings, nor are there any death-defying stunts. There is no thrill, nor is there any mystery. However, what is nestled at the heart of the story is the life of a father and his son who, despite sharing their differences, refuse to leave each other. On the other hand, staying together leads to quarrels, which ultimately provides the spice (and the comedy) to the story. The personalities of both father and son are somewhat opposite. While Dattatraya is high-spirited, frivolous and exuberant, Babulal is quite pensive, and is more gloomy and low-spirited. While both father and son live together and try their best to harmonise each other’s clashing personalities, the story takes a harsh turn when Bachchan decides to send his son to a retirement home. What led him to take this decision, and the impact it has on their relationship, is for you to find out. Though the movie is essentially a comedy, and offers many scenes of comic relief, at the same time it also has powerful scenes that can seem too intense. While the audience will get to see the fun-loving side of Bachchan as Kapoor’s father, they will also see a strict and serious man who did his best to ensure his son turns into a fully functional and responsible adult. The best aspect of this movie is undoubtedly the acting prowess of both Bachchan and Kapoor, who reunite on the big screen after 27 years. Interestingly, even though Bachchan’s character is 102-years-old, he has the heart and the energy of a 20-year-old. To the amazement of audiences, Bachchan shows his young and jovial side in his performance, despite his real age being 75. His on-screen chemistry with Kapoor is also worth mentioning, as the two characters blend together to keep the storyline moving forward. Furthermore, it is the charisma, allure, and appeal of both Bachchan and Kapoor which ensures they deliver their dialogues with perfection and give their best to portray a father and son. In between these two old men and veteran actors is Jimit Trivedi who plays Dhiru, a young chemist who visits Dattatraya’s home quite often. Despite being a stranger to Dattatraya and his son, Dhiru’s caring nature and respect for both father and son helps him create stronger ties with our protagonists. 102 Not Out, based on a play by Saumya Joshi, is a movie with multiple messages for its audience. The first is that one should leave unpleasant memories in the past, where they belong, and instead dwell on the sweet ones that build relationships and make life happy. The other message is conveyed to us through Bachchan’s character, who wants to live each day of his life to the fullest, and despite his old age remains happy and young at heart. On the other hand, Kapoor’s character is always living in the past; therefore, losing out on all the fun life has to offer in the present. The first half of the movie is a bit dull and boring. The story sets in during the first half as the characters are developed and their arc is set. The scenes here can seem a bit monotonous. However, the fun begins during the second half, when both father and son celebrate life in the most unusual of ways. Despite the great performances, after watching the movie you come out of the theatre feeling as if something was missing. And perhaps there was, for even with two veteran actors sharing the screen together, the film does not match the viewer’s expectations. All photos: Screenshots  

Seeing how eager Hollywood is to immediately turn even mildly intriguing people and events into subjects of elaborate films, it seems peculiar that there hasn’t been any major Queen or Freddie Mercury biopic thus far. Watch the trailer for the upcoming Bohemian Rhapsody – a film that has been in development hell for the better part of a decade, but will finally come out later this year – and it quickly becomes apparent why filmmakers might have been reluctant to pursue such a project: it’s just so hard to do justice to a band as legendary as Queen. After all, there is no denying the role Queen have played in defining what good music should sound like. [caption id="" align="alignnone" width="600"] Photo: 20th Century Fox[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] The movie focuses on the group, and Mercury in particular; spanning the period from the band’s formation till their performance at Live Aid in 1985. However, much about the trailer has polarised viewers. Some are more excited than ever to see the film when it comes out in November; while others are planning to sit this one out. https://www.youtube.com/watch?v=A22oy8dFjqc [caption id="" align="alignnone" width="600"] Photo: 20th Century Fox[/caption] The casting of the lead role is a particular hot topic for debate. Mercury was such a distinctive, incomparable personality that finding the right actor to portray him aptly was clearly no mean task. Some fans are still disgruntled that Sacha Baron Cohen, who was initially set to portray the singer, isn’t playing the part anymore. Having parted ways with the production years ago due to creative differences, it’s hard to deny the eccentric Cohen could have been a good choice for the role. The movie now rests on the shoulders of Rami Malek, an American actor of Egyptian descent who doesn’t exactly bear a striking resemblance to the late British singer, who was of Indian lineage. But there are scenes in the trailer in which his transformation seems very convincing, to say the least. Malek is a talented actor with a lot of charisma, and is likely to deliver a strong acting performance in the role. How well he ultimately fares remains to be seen, but the fact remains that whoever had been cast for Mercury’s role would have been up against a very difficult challenge. [caption id="" align="alignnone" width="600"] Photo: (L) IMDb, (R) Getty[/caption] [caption id="" align="alignnone" width="600"] Photo: 20th Century Fox[/caption] The main bone of contention when it comes to this long-awaited film though, is the apparent reluctance of the filmmakers to discuss Mercury’s sexuality and his death from AIDS. But it’s too early and quite unfair to pass judgment on the entire project based on a one-and-a-half minute trailer. Queen have such a legendary part in rock and roll history that making a perfect biopic about them will surely be a very tricky task. Maybe we should just enjoy Bohemian Rhapsody for what it is – a reminder of the musical genius of a band that gave us some of the most memorable songs of all time, and the celebration of the life of a brilliant singer we lost too soon, but whose voice lives on as his legacy decades after he left us.

I remember watching Robin Hood (2010), starring Russell Crowe and directed by Ridley Scott, with my cousin. We had specifically put on this particular movie because the bow and arrow clad Crowe on the DVD cover looked pretty menacing and we had faith in the actor-director duo which had given us Gladiator. Unfortunately, our expectations came crashing down as the movie progressed. It was a dull affair that dragged for too long. I am never getting those 140 minutes of my life back. This is the reason why I was quite sceptical about another iteration of Robin Hood being produced, because truth be told, there are a gazillion Robin Hood movies out there and not one of them is worthwhile. The teaser trailer for this year's Robin Hood just dropped recently and... meh! The 140-second long trailer, which has more than nine million views on YouTube, shows Robin Hood, portrayed by Taron Egerton (The Kingsman series), shooting arrows in slow motion sequences. The movie also stars Jamie Foxx (Django Unchained, Baby Driver) who portrays Little John, Robin Hood’s best friend and leader of Merry Man, and Jamie Dornan (Fifty Shades series) who portrays Will Scarlet, Robin Hood’s half-brother. Ben Mendelsohn (Rogue One, Ready Player One) plays the Sheriff of Nottingham and Robin Hood’s arch nemesis. Unlike the Scott film, this one seems like a completely different vehicle. Otto Bathurst’s (Peaky Blinders) directorial debut feature film doesn’t seem to run out of high octane action scenes and you see an explosion in almost every frame. The trailer implies that people are still getting to know Robin Hood and that his identity is a secret. Foxx’s John seems like the perfect ally who accompanies Robin Hood in horse wagon chases, while also training and guiding him. There is a romantic angle involved (quite obviously) with Eve Hewson (The Knick) portraying Maid Marian. The movie seems to be bogged down with action sequences and the makers have concentrated on making the film look visually pleasing, which it does, but the plot of the movie seems to have been buried under the explosions, chase scenes and the slow motion sequences. In the end, it doesn’t matter how good the action choreography is and how good the visuals are; if the story is not engaging, the audience won’t be pleased. [caption id="" align="alignnone" width="599"] Photo: Giphy[/caption] I have a strong feeling that this movie will be panned by critics once it releases, and will most probably tank at the box office. It seems we will have to do a lot more waiting before we get a Robin Hood movie that actually delivers on all fronts, because this one promises to be fun but it doesn’t really seem like it will be. As mentioned before, just because a movie has tons of action sequences doesn’t mean it will be an entertaining affair, but again, keeping the Crowe led Robin Hood in mind, at least this one will have some decent action sequences, and who doesn’t like watching Foxx on screen? [caption id="" align="alignnone" width="596"] Photo: Giphy[/caption] Robin Hood releases on November 21, 2018. All photos: Lionsgate

This Eid, whether you’re waiting for the guests to arrive or are dragging your family to meet relatives who live out of the city, whether it’s your first Eid after marriage or you’re a pro at it by now, whether you seek distraction for the kids so the adults can relax, or want to unwind after a long day of hosting, I’ve got you covered. All you need is a playback device with enough storage (or bandwidth) to hold (or stream) these highly recommended fun flicks. Here’s highlighting the top 10 Hollywood and Bollywood talkies of the last 20 or so years for you to re-watch this Eid with your family. The list includes a WWI (why watch it) feature to assist you in making your own playlist this Eid. Or just for rest of the vacations. 10. Up (2009) https://www.youtube.com/watch?v=pkqzFUhGPJg One life is nearing its end and another is merely beginning, but both are searching for things found closer to home. This is the premise of an instant classic that was nominated for both, Best Picture and Best Animated Feature at the Oscars. Offering wisdom and fun for all ages, the five-minute married life sequence at the beginning of the film alone sets it up as a short story within a short story within a short story, and will instantly tear you up. A bit like Arthur C Clarke’s A Recursion in Metastories. https://www.youtube.com/watch?v=F2bk_9T482g WWI: It’s for parents who are together so they can be grateful their kids won’t turn out like Russell, and for parents who aren’t together so they can be repentant their kids will forever be seeking validation and love from strangers. For kids, it offers sage advice: protect what matters in life. 9. Taare Zameen Par (2007) https://www.youtube.com/watch?v=F-PAI2HnQUo Film is an opportunity to not only entertain but also educate. Aamir Khan goes a step further here and attempts to change mindsets, while reinstating the lost glory of teachers. WWI: Parents frequently forget what it’s like to be a kid, while kids rarely understand studying is a part of life and not life itself. Here is your chance to reflect upon this fact while flashbacking to the last few moments of All Izz Well from 3 Idiots (2009). 8. Ta Ra Rum Pum (2007) https://www.youtube.com/watch?v=SiOKSjsp75Q It’s a shame when films have to dress up as masala mixes so they can find financing when they’d rather be inculcating good values. If you can sit through the first 40 minutes of this riches-to-rags-and-back story, you’re guaranteed to fall in love with the family of Rajveer “RV” Singh (Saif Ali Khan). And kids will learn a thing or two about bringing up good parents! WWI: If you feel like the soul of an emperor trapped inside the body of a white collar worker, this film is for you. Offering a crash course in the perils of mishandling finances, this film should have the entire family swearing off irresponsible spending while focusing on things that bond a family together. 7. Matilda (1996) https://www.youtube.com/watch?v=XuyElRs_48Q Every child is born a genius – until we put him or her in a school. That’s what I thought until I watched Matilda… and then I started believing it. WWI: Because then (hopefully) you’d want to read the book it’s based on. And you’d realise how bright your kid was until he/she started school and became like everyone else. Because the educationists are in cahoots with the capitalists, and it’s the job of the former to produce workforce for the latter. But that’s a conspiracy theory. And I digress. 6. Main Hoon Na (2004) https://www.youtube.com/watch?v=7fRLWoyLFBk Chip away the action, the romance and the song-and-dance, and what you have left is a brother looking out for his brother. Yes, it’s a mishmash of great films that precede it. Yes, it requires you to stretch your imagination further than you care to. Yes, it is still a fun film to nibble at. WWI: All family films are about braving the odds and sticking together, and this one isn’t any different. Plus you get to watch Sushmita Sen in all her glory one last time, before her screen presence fizzled out forever. 5. Koi... Mil Gaya (2003) https://www.youtube.com/watch?v=IBpZH-CFgZ0 Kids love adults acting like kids. What they love even more is befriending aliens. This flick chews up Steven Spielberg’s ET the Extra-Terrestrial (1982) and Saeed Rizvi’s Shani (1989) – Pakistan’s first science fiction film – and regurgitates the leftovers to spawn a film series the subcontinent can call its own. WWI: For a career-best performance by Hrithik Roshan. And for inadmissible documentary evidence that women can be smitten by “developmentally disabled” men. 4. Jumanji (1995) https://www.youtube.com/watch?v=DvQ-PGUr6SM Robin Williams will always be remembered for his endearing charm and his ability to make his characters so real you could almost touch them. In perhaps his least-remembered performance, he shines as a man-child who has done his growing up locked inside a board game. WWI: For the fun, the surprises, the screams and the collective family lesson – don’t start what you can’t finish. 3. Coraline (2009) https://www.youtube.com/watch?v=LO3n67BQvh0 Show me a child who’s happy with his or her family, and I’ll show you Coraline. One of the smartest scripts, the slickest executions and a supremely satisfying denouement turns this film into an eternal family favourite. WWI: If after watching this you’re not going to have a discussion with your kids about appreciating what they have and setting realistic goals, then better skip it. This film is dark for a reason; its intention is to guide you towards the light you have to find, and the light you have to bring. Everyone’s light has to be different. Warning: This film is not for kids to watch without parental guidance. 2. Andaz Apna Apna (1994) https://www.youtube.com/watch?v=fd_w7Qw8biU Question: What do you call a film you’ve watched so many times you’ve lost count? Answer: Andaz Apna Apna After spending three years in the making, the film flopped at the box office but gained the status of a cult classic upon its release on VHS (ever heard of that?) With Rajkumar Santoshi at the top of his game, the film is a master class in character development (or lack of it), pacing, dialogue, situations and bringing back the golden days of Indian music in style. WWI: Are you kidding me? Do you even have to ask? 1. A Series of Unfortunate Events (2004) https://www.youtube.com/watch?v=fccho1IyX8Y Here’s a secret: the reason this list exists in a reverse alphabetical order is because I wanted this film to top it. Why? Because on the cursory level, it may appear to be a dark, brooding tale of orphans trying to find a family, but it is, in fact, a temptation towards accepting who you are, who your family is, and making the best out of what you have. It is about using your wit and grit to fight the Big Bad World. It is about validating the opinion that when hope is lost, all is lost. So never lose hope. Never give up. WWI: Have you been listening to anything I’ve been saying? So go set up your TV screens and prepare to binge!

Based on the harrowing memoirs of David Sheff (Steve Carell) and his son Nic Sheff (Timothée Chalamet), Beautiful Boy chronicles the bittersweet real life story of a father trying to help his troubled son overcome an addiction to methamphetamine, something that threatens to bring ruin to both their lives. The official summary describes the film as,

“A heartbreaking and inspiring experience of survival, relapse and recovery in a family coping with addiction over many years.”

“Ladies and gentlemen, presenting the star of jhankar orchestra, Fanney Khan!”

“I could not become Mohammed Rafi. I will surely make you Lata Mangeshkar…”

Dhadak is an adaptation of the celebrated Marathi film Sairat, based on the deep but doomed love story of two youngsters who, because of their class differences, have to pay a heavy price for being together by the hands of political and societal tyrants. https://www.youtube.com/watch?v=TIE92mUvSsw The basic plot of Dhadak plays out the same way as the original, where Madhukar (Ishaan Khattar), a lower-caste boy, and Parthavi Singh (Janhvi Kapoor), an upper-caste girl, fall head over heels in love with each other. Parthavi is evocatively a fearless, boisterous and spoilt daughter of a Rajasthani political kingpin, while Madhukar is the shy son of a restaurateur who falls madly in love with her. The caste differences between the couple are an inevitable thorn in the path of their scarlet romance, yet the lovers choose the path of fighting the battle for their love to triumph and go against their parents will, as well as the norms of their society and culture. By choosing the path of elopement, they hope to live their fantasies and romance freely, but are unaware of the bitter realities and tragedies that await them. The story is engaging and appealing because like Sairat, the premise surrounds a love facing the ruthless pressures of society. But contrary to Sairat, it does not portray the gravity with which the caste atrocities, clashes and prejudices were brought to life on the landscape of cinema by Nagraj Manjule. As it was speculated before, Dhadak has trivialised the morass of caste and class divisions, as it merely skims the surface of it.  Sairat lured the audience through the popular genre of a Romeo and Juliet inspired forbidden love story set against a rural setting. It was a commercial and mainstream film replete with song and dance sequences, however, the naturalism, realism, honesty and depth of the art-house narrative were not compromised. It revealed the unpretentious yet audacious and trenchant currents and tones of life-threatening conflict that the beleaguered lovers become a victim of. Despite inconsistencies in the narrative when compared to its source material, Dhadak convincingly portrays the blossoming of love and the predicament that follows after their love is discovered.  Since Dhadak is a remake, comparisons between the two films are inevitable. And when compared to Sairat, Dhadak is undeniably synthetic and sporadic, as it is too polished and glossy. The screenplay is insipid, the script scattered, and the film misses out on the penetrating and daring plot of the original. It is devoid of rawness and simplicity, while the projection of extravagance is blatant. As it did when the trailer dropped, Dhadak once again disappoints and fails fans of Sairat. But when taken out from the roof of its inspiration, Dhadak has an appeal and allure of its own. It manages to enthral the audience to a degree, as the focus on the plight and ordeal of the lovers remains and stirs the right emotions in the audience. Following Sairat’s template from scene to scene, Dhadak stands on its own with its own impact and charm. As far as acting is concerned, Khattar’s vigour and enthusiasm as a newcomer comes across, and he does a decent job. Kapoor is beautiful and radiant, but her dialogue delivery is mostly stilted. The acting of the lead pair is nowhere near the performance delivered by the actors of Sairat, particularly Rinku Rajguru, who received a National Award. However, they do manage to be convincing enough for Parthavi and Madhu’s romance to come across as real, heartfelt, innocent and pure. Director Shashank Khaitan definitely could not step out of his “Dulhania” mode, with his third film entailing a lot of visual likeness to his earlier films. In Dhadak, the fashion quotient remains high and the scenes have been shot very aesthetically, but it is also Khaitan’s best film thus far, as it delves into the dark realities of life. The film has some spectacular cinematography by Vishnu Rao, who brings out the landscapes of Udaipur artistically and successfully on celluloid. It sure is a spectacle of grandeur and splendour with beautiful sets, costumes and makeup creating a world of fantasy (in the first half), while the pleasing background score is on point and fits into the momentum of the scenes. Additionally, Ajay-Atul’s soundtrack – which consists a set of mellifluous songs like Zingaat, Pehli Baar and the title song Dhadak – is delightful and catchy. https://www.youtube.com/watch?v=qWnzMwT6SKo Despite its flaws and failings – mainly its lack of depth and intensity – Dhadak has the power to ring effective, continuous beats in the hearts of people. In an attempt to differentiate the film from Sairat, it glorifies and glamorises its way through issues, which is a clear injustice. Nonetheless, the film effectively thrills the audience as it brings a typical Bollywood mainstream and commercial cinematic experience, with its humour, visuals, emotions, and brimming freshness, along with a naïve yet compelling romance between Khattar and Kapoor. Overall, Dhadak is a visual treat that will appeal to many eyes and hearts, if not minds. Even with the way the film leads up to the climax, it creates palpable suspense and tension. For those who have not yet seen Sairat, this film will undoubtedly be entertaining and captivating. Thus, Dhadak deserves a recommendation, because it is quite a spectacle for people who crave entertainment. All photos: Screenshots 

Fanney Khan is a remake of the 2002 Belgian film Everybody’s Famous, and is the story of a father who leaves no stone unturned when it comes to fulfilling his daughter’s dreams. https://www.youtube.com/watch?v=uxLR6529mdw Prashant Sharma aka Fanney Khan, played by Anil Kapoor, is an orchestra singer who was famous in the 90s, but now in his 50s he drives a taxi for a living. He dreams of making his talented daughter Lata Sharma (Pihu Sand) a huge singing sensation, and is willing to do anything to help her attain the stardom he couldn’t achieve for himself. Although Lata does not have the ideal body type to easily become a pop diva – an obvious obstruction in the way of her goal – Fanney does not let despair undermine this dream and is unaffected by what people say. Thus, Fanney and his friend Adhir (Rajkummar Rao) kidnap Baby Singh, a popular singer played by Aishwarya Rai Bachchan, and what follows shows the astonishing lengths Fanney is willing to go for his daughter. As a parallel narrative, we see Adhir and Baby’s love story stemming out from a Stockholm syndrome type situation. Lata is talented, but at the same has a realistic approach, unlike her father. She is pragmatic, and thinks stardom is not just based upon sheer talent but requires a full package, where a star needs to be appealing to eyes and not just the ears. For her, Baby is the template for a star, as Baby is not only an amazing singer but is equally beautiful, glamorous and a style diva. The film aptly mirrors the established notions regarding stardom and success in show business, but the way it unfurls makes it seem like a lazy version of the original film. It fails to capture the ‘dark comedy’ essence of its inspiration. The narrative is out of tune, the story is lacklustre, and the treatment of the film itself is convoluted. Hence, the willingness to remain suspended in disbelief is highly essential to derive pleasure from the inconsistent arc in the plot. Certain portions of the film are stretched out and slapdash, but Kapoor’s acting and his unbelievable endeavours for his daughter along with the overall emotional tides of the film are engaging enough to keep the audience enchanted. Despite the film’s irrationality and illogical storyline, it abounds as a typical Bollywood escapist film that delivers hard-hitting moments of fun and intense emotions. Heartstrings are surely pulled, particularly when the film gains momentum towards the climax. Kapoor is brilliant as Fanney, as he provokes empathy in the audience despite the burden he places on his daughter to fulfil his dreams. There is integrity in Kapoor’s acting and character, and he is believable as a parent who will go to extreme lengths for his child, especially as his daughter deals with her own struggles. Embroiled in the expectations of her father, her weight, and the constant shaming and discouragement from those around her, Lata can come across as an annoying teenager at times, who is habitually rude towards her father. Although Lata’s character seems shabbily written, Sand has authentically portrayed the role and makes the audience genuinely empathise with her character as she is shamed for her body and underappreciated for her talent. The fantastic Divya Dutt is plausible as Lata’s caring and loving mother and Fanney’s affectionate wife. She justifies her role as the voice of reason and of a mother who is protective of her daughter because she is scared of the compromises that hurdle the path of stardom, while also believing that becoming a star is not everything that matters in life. Although the incredibly talented Rao is largely underutilised, however, his character’s helplessness with his new girlfriend, his comical moments, his heartfelt camaraderie with Fanney as well as his fascination with Baby make his presence felt on screen. What makes Fanney and Adhir loveable is their innocence and good-heartedness, even when they take the criminal route and engage in vain attempts to scare Baby. Bachchan is among the weakest links in the film, as she does nothing more than looking beautiful. Her character does not have much to offer, and Bachchan also fails to exude the vibrancy one would expect from a star like Baby, which would surely have given her an edge. Fanney Khan is Atul Manjrekar’s directorial debut, and he could have done better. He clearly loses hold as far as the continuation of scenes and the plot in general is concerned. Amit Trivedi’s soundtrack is also a clear disappointment, as ironically no song is catchy enough or worth-listening to in a movie about music. The film rides on the enduring power of love, sacrifice, struggle, optimism and firm belief in one’s dreams. The sound lesson resonates well with the people that no matter what the hardships and obstacles are, one should never give up on their dreams. The most important message the film delivers is that talent is what gets you across; one’s physical appearance has nothing to do with achieving one’s dreams. As long as you have faith in yourself, you have what it takes to succeed. By the time the film ends, it seems more like a fairy-tale that is rooted not only in unrealism but in a highly concentrated melodrama as well. However, because of the overindulgence of emotions, certain impactful scenes and the endearing honesty of a father’s love, the film definitely has the ability to entertain masses. All photos: Screenshots 

From the moment I watched Karwaan’s trailer, I knew this was a movie I had to watch at any cost, and there were a couple of reasons behind my excitement. https://www.youtube.com/watch?v=IUCeN7kelXs Firstly, it starred the extremely talented Irrfan Khan. You know you’re in for something new when a heavyweight like Khan is involved, and with this being his first release since his battle with cancer, it made it all the more special. Secondly, Dulquer Salman, a famous Malayalam actor, was making his Bollywood debut through this film. Thirdly, the movie revolves around a road trip, and I have never heard of a road trip that wasn’t fun. The movie starts off with Avinash (Salman) being informed that his father has passed away in a road accident and his body has been sent to be collected, but due to a mix up, Avinash ends up with the wrong body while his father’s body ends up with the wrong family. Avinash, along with his friend Shauqat (Khan) and Tanya (Mithila Palkar), the granddaughter of the woman whose body was wrongly delivered, embark on a journey to deliver the right body to Tanya’s mother and collect the body of Avinash’s father. Trust me, it’s not as confusing as it sounds. Obviously, the journey isn’t a straightforward one, as it involves many detours and mishaps that make this road trip more fun. At its core, Karwaan is a heart-warming movie which will not only tickle your funny bones, but will also leave you looking at life from an entirely different perspective. I suppose it would be fair to compare Karwaan to Zindagi Na Milegi Dobara, minus the beautiful European locales but plus Khan, who in my opinion is more entertaining here than Hrithik Roshan, Abhay Deol and Farhan Akhtar were combined. Khan’s Shauqat is an old fashioned lad who volunteers to bring his own van to help Avinash, but he doesn’t seem to be fond of the many detours he is forced to take. In one scene where Avinash says yes to picking Tanya up from her college when asked to do so by her mother, Shauqat shows his reluctance by saying,

“Bhai maiyat main romance mat kar.” (Brother don’t do romance at a funeral)

“Ae mohtarma yoon na sharma, main aashiq hoon koi creep nahi. Ae husan pari, oh don’t worry, meri shayari bhi ziada deep nahi.” (Hey girl don’t be shy, I am a lover not a creep. Hey beautiful, don’t worry, my poetry isn’t that deep)

Viewing the trailer of Nandita Das’s Manto was a great pleasure, especially since prior to seeing Sarmad Khoosat’s biopic of Saadat Hasan Manto released in 2015, I had not seen its trailer. Comparisons of Das’s version with Khoosat’s trailer will seem inevitable, even much-needed, given what the respective directors and main actors are trying to prove in a short span of less than three minutes, if the trailers are to be believed. https://www.youtube.com/watch?v=QFbUei2DDhc https://www.youtube.com/watch?v=7chqbd-05Q4 Das’s Manto, played by Nawazuddin Siddiqui, comes across as an iconoclast and a rebel right from the opening scene of the trailer, where Manto is shown to be in the dock facing an obscenity trial. The trailer shows him both in the Bombay of 1947 and the Lahore of 1948. We get to know that the major characters in Manto’s stories were women, particularly prostitutes. There’s a bit about his family life, a few scenes with his wife Safia, and an especially moving scene where Manto’s yet-unborn son Hamid (who passed away in infancy) is addressed by the writer, who hopes his child will be born in independent India. [caption id="" align="alignnone" width="625"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] We are also shown scenes of the independence of India and a scene from the writer’s famous Partition story, Toba Tek Singh. The overall impression of the trailer gives a very positive image of Manto, who despite his problems remains a rebel, iconoclast and a champion of freedom of impression. This impression is established at the outset, with the aforementioned opening scene showing Manto in the courtroom, and is reinforced at the end by a rendition of Faiz Ahmad Faiz’s famous poem, Bol. [caption id="" align="alignnone" width="600"] Photo: IMDB[/caption] Anyone familiar with Das’s work and artistic vision can see how, in Modi’s India – where strict curbs on freedom of expression have been instituted, exemplified by attacks against and assassinations of prominent intellectuals, journalists and students – such a message would best be exemplified through the person of Manto. Interestingly, there is little depiction of Manto’s alcoholism, which eventually claimed his life, or his time spent in a mental asylum. [caption id="" align="alignnone" width="600"] Photo: IMDB[/caption] On the other hand, having seen Khoosat’s film twice, and reviewed it as well, the trailer of his film unfortunately paints Manto as a victim. It is certainly intense, but the overall effect leaves a negative perception of Manto in the viewer’s mind. [caption id="" align="alignnone" width="625"] Photo: Screenshot[/caption] Manto is shown to be addicted to alcohol, with the opening scene itself showing the bottle, and then repeatedly shows his greater demand for it at the cost of his family life, his squabbles with Safia, as well as his treatment in the mental asylum, all reinforcing an image of Manto as a victim. Khoosat’s trailer has more of an emphasis on glamour, with some of Pakistan’s most bankable stars cast in the film, and the trailer makes it a point to give more screen time to Khoosat, Saba Qamar (playing the legendary singer Noor Jehan) and Nimra Bucha. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDB[/caption] The most interesting thing in Khoosat’s version was Manto’s humzaad (alter ego), played by Bucha, while both directors make use of Manto’s notorious short story Thanda Gosht. The haunting soundtrack from Khoosat’s film Mehram Dilan de Mahi is missing from Khoosat’s trailer, while Das incorporates a musical rendition from Faiz strategically in the film, towards the end. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] One way in which Khoosat’s trailer redeems itself is how it showcases Manto’s family life, showing him with his daughters in a way Das’s trailer does not. However, unlike Das’s trailer, in Khoosat’s film we learn more about the various glamorous Pakistani actors than we do about the poor writer himself. Also, Khoosat shows Manto wearing rubber shoes and riding a cycle – which he never did in his real life – so perhaps a little more research was needed on Team Khoosat’s part. Team Das was based in India, thus did not have access to the same proximity of resources, yet the trailer correctly shows Manto riding a tonga, and wearing the fashion of his time. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] I would say Siddiqui has played Manto with greater empathy and aplomb, while the way Khoosat played Manto was melodramatic, hysterical, and not very impressive in the final analysis. Khoosat’s film was the by-product of a 25-episode serial later broadcast on television, and thoroughly glamourised the film, showcasing its various stars. Das’s film, on the other hand, has no such baggage. It appears she has banked more on portraying the real Manto and extracting performances from a cast perhaps not as glamorous as Khoosat’s, but has definitely put in more effort in producing a convincing performance of Manto’s life and times. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Although Das’s direction remains to be seen when the film is released in late September, having the benefit of hindsight from watching Khoosat’s film, I hope that both Siddiqui and Das will do justice to Manto in a way Khoosat was unable to. If only a film could be judged by its trailer!

The trailer release of Simmba has fans incredibly excited, and it seems that this Rohit Shetty-Ranveer Singh collaboration will end the year for Bollywood on a high note. Simmba, starring Singh, Sonu Sood and Sara Ali Khan, has been directed by Shetty, who has given us films like Chennai Express and Dilwale.  The trailer begins with Bajirao Singham (Ajay Devgn) narrating the story of an orphan, Simmba (Singh), who aspires to one day become a corrupt and dishonest police officer. Simmba is later shown as a bribe-hungry hoodlum who believes that in order to live an ideal life, corruption is indispensable. As a police officer, he has no qualms when it comes to indulging in offences and assisting goons in exchange for money. However, when a woman he thinks of as a sister is raped and killed, Simmba goes about a major transformation. He then becomes an honest cop and decides to spend the rest of his life punishing culprits, as and how he deems fit. The flamboyance and effervescence of Singh as Simmba is remarkable and he delivers a power-packed performance by exhibiting just the right amount of enthusiasm. Most importantly, he doesn’t seem artificial and justifies the antics, humour, fierceness and fearlessness of his character flawlessly. Moreover, he seemingly projects both the bad and good side of Simmba and the abrupt transformation of his character with ease. Without a doubt, Singh appears to own the character effortlessly. Furthermore, Sood is effective as a local don and Siddhartha Jadhav is effective as a police officer, both making their presence felt in the short trailer. Both actors appear to complement Singh’s acting beautifully. The film also stars Sara, Saif Ali Khan’s only daughter. Sara plays Simmba’s love interest in the film, but according to the trailer, she isn’t given much stage time and Singh alone enjoys the limelight. Her presence as far as the trailer is concerned may appear insubstantial, but one cannot deny her striking looks and the potential she seems to possess. Simmba is loosely based on the Telugu film Temper, and ever since the release of Simmba’s trailer fans cannot help but compare the two. The two-minute, 54 seconds trailer is replete with suspense, anger, action, vibrant visuals, lavish sets and celebrations. Another highlight is the appearance of Devgn in the beginning and at the end, which has not failed to arouse peoples’ interest. Simmba seems to be a typical Shetty film that portrays a larger-than-life world. Composed of action sequences, fistfights, flying cars, wide shots, whistle-worthy dialogues and a star-studded cast, it promises to be an action-packed masala entertainer for cinema lovers. Though the film has nothing new to offer and the plot seems to be a reinvented version of what people have already seen, this high-octane action flick is jam-packed with heroism, and the idea of dauntlessly fighting against the injustice and oppression in society will surely appeal to the general public. Simmba is all ready to hit theatres on December 28, 2018. Make sure you’re ready for this paisa vasool (your money’s worth) entertainer! All photos: Screenshots