JAZBAA: Not all Greens are good! [2/5]

The reason behind a remake can be disciplined into more than one intention or culpable justification. Recreating the success story at the box-office now in your favor [HUM AAPKE HAIN KOUN…! tops the list] is one. Blessing the original with a new perspective to instate your radical creative expression [DEV D could be the most genre-defining example] is other. Meanwhile, some choose to be unapologetically lazy to create anything at their own. Calculatedly, Sanjay Gupta’s JAZBAA is a lethal combination belonging to each one of the above given grounds but unintentionally it proves to be one of those lame efforts that make the original look a classic while it wasn’t. JAZBAA is nothing but the return of a ‘stuck in his own world’ filmmaker who believes more in styling their actors than in making them dive into the characters they are playing on-screen, to a great deal of depth.

Looking at the vital components in the plot, Korean thriller ‘SEVEN DAYS’ was a perfect film destined to be remade by Sanjay Gupta at any given time. Tainted characters, twisted plot and the dark world of crime to deal with; Gupta has always a ‘green’ eye for such vulnerable subject. Criminal lawyer and a single-parent Anuradha Verma [Mrs Rai Bachchan] never minds taking false cases from evidently guilty clients as only they can afford her services and not the innocent ones. Though we rarely see her best foot being put forward in the court scenes, the tag of being an advocate with 100% success record is forced-feed to us very conveniently. One day, her daughter goes missing and now the abductor wants her to take the case of a rapist and murderer [Chandan Roy Sanyal] and bring him back alive from the death ropes. Anuradha has a ticking bomb in her hands that makes her run, jump and chase to save her daughter. Suspended corrupt cop Yohaan [Irrfan] is the only helping shadow by her side.

Sanjay Gupta with Robin Bhatt doesn’t feel any shame in lifting clues and cues from its original Korean film. While the original has managed to stick on the plot as a plain crime thriller, Gupta does make an effort to make it socially relevant film by raising the burning issue of rapes in India. He makes his characters speak about it. He ends the film with stats and facts about the issue. And this was the only addition apart from the veteran Kamlesh Pandey’s verbal punches but the way Sanjay Gupta deals with it; I think it declines more on the ‘exploitation’ side. Gupta gives you all shiny and well-styled characters that wear sunglasses even at the darkest places on earth, show off their ‘killer’ attitude through the cheesy one-liners that could easily get turned into a cheap ‘Whats App’ picture message and cry out so loud you would start feeling sorry more for your eardrums than her pain. Here, even the most insignificant characters treat you as the punching bag in their drawing room and keep throwing at you heavily philosophical lines about life, death and what not.

Aishwarya Rai Bachchan in her comeback shows magical sparks in her presence on screen like the way she always has in her. No matter how intense or depressing the scene is, you could never turn aside your eyes from appreciating her flawless beauty. You can count the same a negative in a performance based role like this. Irrfan plays it ultra-cool and takes away all the claps and whistles every time he talks something utter meaningless yet massy lines. Shabana Azmi is as melodramatic as she could be yet her being in the frame itself brings more credence, power and life altogether. Jackie Shroff, Atul Kulkarni, Abhimanyu Singh and Chandan Roy Sanyal are wasted.

In an interesting scene, Irrfan beats a guy when he asks for his right not to be arrested by a suspended cop. Irrfan makes it clear then and there that it is no Hollywood film but a Bollywood one where anything can happen. JAZBAA could have been a good thriller if the melodrama, styling, obsessively done color-correction and uninspiring background sound would have not shadowed the more significant aspect of the filmmaking i.e. honest storytelling. Wait till it premiers on TV and you might enjoy the latest addition in Bollywood’s ‘Khan-brigade’ with all the required swag; Irrfan! [2/5]             

BANGISTAN: Satire turns sad, silly and superficial! [1.5/5]

Handling satire on current social, political and religious sentiments is never an easy job, at least not as easy as reviewing (bashing; in other word) other’s films. With BANGISTAN, noted film critic Karan Anshuman sneaks into the other side of the business now where he’s all open to face the shots he’s been taking at till now. And I stand in full salutation for him choosing a subject which is more than relevant in today’s times. We desperately need to develop our abilities to laugh at some of the most serious issues in our lives. Satires act like catalysts in trial of that exercise. Sadly, BANGISTAN promises a lot on that front but misses the target by large. Some serious smart writing, sincere efforts and unambiguous intention are all you need and not a buffoonery plot, chaotic climax and pretentious performances to save the day. Here Mr Critic disregards what he’s been preaching all his life.

The film finds its base in a fictional land where two religious radical groups are at warfare to gain supremacy. You don’t need those visible hints to guess that we are looking at our popular Hindu-Muslim extremists. Smartly, both the group-heads are being played on screen by the same actor [the dependable Kumud Mishra in double role]. Two sides of the same coin? Get it? Meanwhile, there are Shankaracharya [Shiv Subramanium] and Imam Saab [Tom Alter] secretly working towards peace, love and harmony between the two communities. Now, the radicals are planning to make a big shout at the international religious summit to be held in somewhere in Poland. The hardcore halfwits chosen to bomb the Peace convention are Praveen Chaturvedi [Pulkit Samrat] and Hafiz Bin Ali [Riteish Deshmukh].

BANGISTAN starts with a bang and showers hints of satire in almost every scene, dialogue and frame but runs out of impressive ideas and additions soon after the successful take-off. The Islamic extremists are seen cursing America’s policies against them sitting in an American fast food joint named FcDonalds. Well and good! The two chosen activists with switched religious identities and orientations for a fool-proof operation fights for each-other’s religious convictions is too quite exciting but soon, it gets stretched over its limits. And then comes, the all preachy, pretentious and predictable climax where all this ‘laugh and think, and laugh again’ satirical efforts ends in the melodramatic way of finishing it off so that you can go home and not die there.

Another big letdowns are the performances; Riteish Deshmukh is some relief and considerably ‘at it’ for the most parts. Pulkit Samrat doesn’t even try to get out of the impression that he is acting only to impress or imitate Salman Khan. Jacqueline Fernandez is credited here as ‘in a special appearance’ and that doesn’t mean she is doing anything special to the film. Chandan Roy Sanyal is good. Aarya Babbar is funny at places. Veterans Kumud Mishra, Shiv Subramanium and Tom Alter don’t disappoint, though are there only for few scenes.

At best, BANGISTAN is one of those incalculable films in which good cinematography, better production-design and scenic locations lure you to stay idle in your seats till the lights go on. Otherwise; even in its 2 hours of modest duration, there are times when you start questioning your sense of judgment about the film, and not about the extreme religious sentiments the film supposed to hit on. Sad, silly and superficial! [1.5/5] 

KAANCHI: Average mash-up of uninspiring Events! The old Ghai is missed! [2/5]

It is said that once Charlie Chaplin entered a Chaplin look-alike contest and came second in impersonating himself, now that’s an excellent example of compliment for the artist. But if the showman Subhash Ghai wants to make a Subhash Ghai film and ends up making it look like some hardcore fanmade job, it doesn’t leave much scope for any admiration. His latest KAANCHI is a strictly average mash-up of uninspiring events lifted and borrowed mostly from his own works in the past.

KAANCHI tells us about a simple, straightforward and bold girl from some remote village in Uttarakhand [Ghai’s new discovery Mishty], who doesn’t think twice before standing up against the injustice. When a corrupt politician [Mithun Chakraborty] and a rich businessman [Rishi Kapoor in a Malya inspired character], the brothers-cum-partners in crime join hands to grab an illegal land-deal, Kaanchi’s love-interest Binda [PYAAR KA PUNCHNAMA fame Kartik Tiwari] takes the torch to bring them out in the light. Meanwhile, the infatuated son and worthy successor of the evil forces has lusty intentions towards Kaanchi. The fate has worst for her in its kitty but it’s the undying determination that makes her constantly move forward in this fight against injustice.

With a strong likeness of TAAL and PARDES in visual representation and the happening of the events in the film, there is hardly any scene that is not seen before on screen. It is clearly evident that Ghai still lives and breathes in the same world he was in 10-15 years back. No signs of evolution registered! The sights of villagers singing and dancing in chorus on a big community ground having tricolors in their hands are so so done to death. There is no escape for you from watching our leading lady seducing the villain to acquire some important information kept in a micro SD card and if that doesn’t prove to be the cause of death of your interest in the film, you will have to witness another baddie kidnapping family members of the other side. Am I in 2014 or transported in 70’s Bollywood??

On the performances, the new find Mishti looks fresh and a stunning treat for camera lenses and viewer’s eyes. About acting, all I can say is she’s confident but a long way to gain other’s in her. Kartik impresses in his comparatively shorter role. Rishi Kapoor and Mithun Da do it with ease, since that come with the experience they have but their roles will not be much of an unforgettable experience. If anyone who really gets into the skin of the character, it is Chandan Roy Sanyal as a corrupt cop-turned-good helping soul to Kaanchi. He brings life to every frame he’s in.   

Talking about a Subhash Ghai Film and not mentioning its music? Now, that’s another shame. Ridiculous lyrics [one goes like, “Tu mushtanda tu sexy, tu chalti phirti taxi"], lackluster tunes and a totally average album!! I wish you could watch the weirdest medley of the year titled as ‘Kambal ke neeche’ where Mahima Chaudhary makes a special appearance! It’s hard to sit through such idiocy in times where we intent to talk about changing times and still go back to old formulas for safe way of entertainment.

To put this in short, KAANCHI is a 2 hour 30 min long missing report where we see all our hopes to find glimpse of the Subhash Ghai style of filmmaking die sooner or later! Disappointing!! [2/5]   

PRAGUE: Go with no expectations and you might come out going ga-ga over it! [3.5/5]

Prague is one beautiful city with spectacular world heritage sites and astonishing architectural monuments of all sorts. Being a crucial location for catastrophic World War II events, the city itself has a mysteriously spirited feel to it. Look at those sulking mutilated figurines to be reminiscent of the tragedies happened long ago or that ‘bone chapel’ seeking peace and humanity in middle of countless human bones…& you will know that no other setting can be so appropriate than this enigmatic city of Prague when it comes to paint down the complexities of human mind that deal with harsh reality and even harsher world of imagination and hallucination simultaneously.

Ashish R. Shukla’s PRAGUE is an awe-inspiring mind-bending psychological thriller that stands out from many efforts in the recent past. Weaved in an innovative narration style, film focuses on the life of a promising architect in search of peace of mind, love and redemption!

Chandan [Chandan Roy Sanyal in a tailor-made role with an applause-worthy performance] is in love with Shubhangi [confident Sonia Bindra]; his perfect soul mate seems to be but nothing is as it seems. Seeing is misbelieving. And as Chandan happens to see his dead friend Arfie, guiding in his most of decisions and beliefs in life, another ‘always-on-weed’ ‘high-on-life’ friend Gulshan [Kumar Mayank in an impressing look and characterization] is found under same sheet with Shubhangi. Story takes a leap when Chandan is in Prague for his ambitious monumental project on World War II victims. This time, a gypsy Girl [Ellena Kazan surprises with her ability to act besides just looking ravishing] finds a place in Chandan’s heart but to his wildest fear makes a come back as Gulshan. Rest is how what you see is far from what you believe.

PRAGUE is an independent film and carries off that tag very confidently. It persistently involves itself in creating freshness in its approach. So, besides that visually stunning picturesque camera work and the edgy-crispy editing hands, there is also the skillfully layered writing that keeps you on your toes either with interesting narration style [story goes back & forth to interlink happenings and divided into chapters to keep focus on the highlighted part] and the aromatic suspenseful twists & turns in the tale.

The plot here doesn’t leave much scope to create perplexity in viewer’s mind because of lesser number of characters than fingers in your hands. And the characters are also real, simple, straight yet complicated in their own way.

Film if belongs to anyone solely, it is Chandan Roy Sanyal who outshines everyone else in the frame. Here is a talent that has never been explored to its maximum and demands much more than skinny supporting roles. Watch him in emotional scenes where he is struggling to manage his connect to relationships in both the world…in real & in hallucinated one.

I am sure you haven’t heard of it much before its release, but for one who believes in experimental cinema that dares to break league and norms…this is a huge huge pleasurable surprise of the year. PRAGUE is trippy, witty, confident, engaging, innovative, astonishing and an exhilarating psychological ride you must take for a mind-bending experience and to trust the fact that this is the best period of indie cinema in India. Go with no expectations and you might come out going ga-ga over it. [3.5/5]

Special Note: Do not go if you don’t know what the term ‘Indie film’ stands for!