मंटो: तीखे सवाल, जरूरी फिल्म! [3.5/5]

सआदत हसन मंटो उर्दू अदब के सबसे सनसनीखेज अफसाना-निगार (लेखक) तो पहले से ही माने जाते रहे हैं, इधर कुछेक दशकों से उनकी शोहरत नयी पीढ़ी के पढ़ने-लिखने वालों में ख़ासी बढ़ी है. मंटों की जिंदगी पर बनी नंदिता दास की ताज़ातरीन फिल्म ‘मंटो’ देखते वक़्त, सिनेमाहॉल में मेरे ठीक पीछे एक महीन आवाज़ उभरती है, “ओह, आई लव मंटो.” मुझे नहीं पता, सा’साब (उनकी बीवी सफिया उन्हें फिल्म में अक्सर इसी नाम से पुकारती हैं) के लिये इन मोहतरमा के इस ‘क्रेज’ की ज़मीन क्या है? असल जिंदगी में उनके बाग़ी तेवर, दुनिया को लेकर उनका अक्खड़ रवैया या फिर उनकी कहानियों में गाढ़े सच्चाई की डरावनी शक्ल? या कुछ और? खैर! वजह जो कुछ भी हो, मंटो की अहमियत जेहनी तौर पर आज भी उतनी ही पुख्ता है, जितनी तब, जबके वो खुद जिस्मानी तौर पर दुनिया में, दुनिया भर से लड़ने-भिड़ने को मौजूद रहे थे.

कम पैसे देकर कॉलम छापने वाला प्रिंटिंग-प्रेस का मालिक मंटो (नवाज़ुद्दीन सिद्दीकी) को मशवरा दे रहा है, “घर जाईये, लिख कर कल ले आईयेगा.” मंटो बोतल से शराब गले में गटकते हुए फरमाते हैं, “20 रूपये के लिए मैं तुम्हारे दफ्तर के दो चक्कर लगाऊँगा?” जबान की हद साफगोई और तेवर में तलवार की धार लिए मंटो दोस्तों के बीच बैठे-बैठे साफ़ कर देते हैं, “अगर मेरे अफसाने आपको बर्दाश्त नहीं, तो फिर ये दुनिया ही नाक़ाबिल-ए-बर्दाश्त है”. मंटो से रूबरू कराने के लिए नंदिता उनकी जिंदगी का एक छोटा सा हिस्सा ही परदे पर जिंदा करती हैं. आज़ादी से कुछेक साल पहले की बम्बई, और आजादी के ठीक बाद का लाहौर. पहला हिस्सा वो दौर है, जब कहानी लिखने वाले अपने किरदारों की तलाश में जिंदगी के अंधेरों से टकराने में मशरूफ़ रहते थे. कृशन चंदर और इस्मत चुगताई (राजश्री देशपांडे) के साथ बम्बई में कॉफ़ी पीते हुए मंटो इस्मत आपा के ‘लिहाफ़’ के आखिरी हिस्से को ‘मामूली’ होने के लिए कोस रहे हैं. फ़िल्मी पार्टियों में ख़ास दोस्त श्याम (ताहिर राज भसीन) के साथ व्हिस्की के पैग टकराते हुए मज़ाक में के. आसिफ से उनकी नयी फिल्म स्क्रिप्ट पर राय देने की फीस मांग रहे हैं. वहीँ जद्दन बाई (इला अरुण) बेटी नर्गिस के साथ महफ़िल की शान में, अशोक कुमार (भानू उदय) के कहने पर नज़्म सुना रही हैं.  

...मगर जल्द ही मंटो साब का उनके अपने शहर मुंबई से नाता टूटने वाला है. चारों तरफ बस ‘हिन्दू-मुसलमान’ और ‘हिन्दुस्तान-पाकिस्तान’ का शोर है. सा’साब दो-दो टोपियाँ आजकल अपने साथ रखने लगे हैं, हिन्दू की अलग, मुसलमान की अलग. ‘जब मज़हब दिलों से निकल कर सिर पर चढ़ जाए, तो कोई कुछ और करे भी तो क्या?’. लाहौर की गलियाँ तो और संकरी हैं. उनकी कहानियों को कटघरे में खड़ा किया जा रहा है. उन्हें ‘अश्लील’ होने के इल्जामों से नवाज़ा जा रहा है. मंटो साब से लिखा नहीं जा रहा. लिखें तो भी क्या, खून-खराबा, क़त्ल-ओ-गैरत और इनके बीच घुटता इंसानियत का दम? शराब कम से कम शरीर तो गरम रखती है. एक कहानीकार के तौर अपनी जिम्मेदारियों और आस-पास की सड़ांध मारती दुनिया के दोगलेपन के बीच पिसते मंटो साब के तेवर मंद पड़ने लगे हैं, मगर कौन कह सकता था कि 70 साल बाद मंटो के सवाल आज भी उतने ही तीखे लगेंगे?  

नंदिता न सिर्फ 40 के दशक का बम्बई और लाहौर बड़ी ख़ूबसूरती से परदे पर रौशन करती हैं, बल्कि उतनी ही समझदारी से मंटो की असल जिंदगी और उनकी कुछ मशहूर कहानियों की दुनिया के बीच का फर्क मिटा देती हैं. ‘ठंडा गोश्त’, ‘खोल दो’, ‘तोबा टेक सिंह’ और ‘दस रूपये’ जैसी कहानियों के बीच मंटो अपनी असल जिंदगी से चलते-चलते कुछ इस तरह दाखिल होते हैं, मानो उनकी भी जिंदगी उतना ही अफसाना हो, या फिर वो तमाम अफ़साने उन्हीं की जिंदगी के कुछ और सफहे. पाकिस्तान और भारत दोनों ही देशों में मंटो की ज़िन्दगी और उनकी कहानियों पर आधा दर्ज़न फिल्में बन चुकी हैं, पर नंदिता अपने ‘मंटो’ को जिस दिलचस्प और रोमांचक तरीके से परदे पर पेश करती हैं, हर दृश्य आपको बांधे रखने में कामयाब रहता है. इसमें कुछ हद तक नंदिता का वो प्रयोग भी शामिल है, जिसमें वो छोटे से छोटे किरदार के लिए भी जाने-पहचाने चेहरों का चुनाव करती हैं. यही वजह है कि फिल्म में आप जावेद अख्तर, दिव्या दत्ता, चन्दन रॉय सान्याल, तिलोत्तमा शोम, पूरब कोहली, रनवीर शौरी, नीरज कबी, परेश रावल, गुरदास मान, ऋषि कपूर, इला अरुण, विनोद नागपाल, शशांक अरोरा जैसे दर्जन भर कलाकारों को देख कर चौंक जाते हैं.

‘मंटो’ में नवाज़ुद्दीन सिद्दीकी अपने उसी जाने-पहचाने अंदाज़ में हैं, जहां उनकी मौजूदगी किरदार पर हर पल हावी होती दिखाई देती है. उनके मंटो को याद करते वक़्त शायद आप के ज़ेहन में जो चेहरा उभरे, वो सिद्दीकी की पिछली फिल्मों के किरदारों के इर्द-गिर्द ही हो, पर इसका ये मतलब नहीं निकला जाना चाहिए कि उनसे ‘मंटो’ करते वक़्त किसी तरह की कोई गुंजाइश बाकी रह जाती है. फिल्म के आखिरी हिस्सों में वो थोड़ा उंचाई तक जाते ज़रूर हैं, पर मंजिल दूर ही रह जाती है. स्वेत/श्याम फिल्मों के मशहूर अदाकार सुन्दर श्याम के किरदार में ताहिर परदे पर अपना करिश्मा ख़ूब बिखेरते हैं. रसिका दुग्गल मंटो की पत्नी सफिया के किरदार में जान फूँक देती हैं. इस्मत चुगताई बनी राजश्री और अशोक कुमार बने भानू उदय पूरी तरह रोमांचित करते हैं.

आखिर में; ‘मंटो’ हालिया दौर में एक बेहद जरूरी फिल्म है, जो कुछ ऐसे चुभते सवालों के साथ आपका ध्यान खींचती है, जिनका सीधा सीधा लगाव देश, देश में रहने वाले लोगों, उनकी आवाज़, उनकी आज़ादी और साथ ही, देश और धर्म से जुड़े ढेर सारे कुचक्रों से है. सच्चाई क्यूँ न कही जाए, जैसी की तैसी? मंटो हिंदुस्तान-पाकिस्तान, हिन्दू-मुसलमान और श्लील-अश्लील जैसे दायरों में कैद हो सकने वालों में से नहीं थे. इस फिल्म को भी ऐसे किसी भी दायरों से अलग कर के देखे जाने की जरूरत है. [3.5/5]                      

मुल्क: ‘इस्लामोफ़ोबिया’ से ग्रस्त हैं? आज ही देखें. [3.5/5]

तेज़-तर्रार पुलिस ऑफिसर दानिश जावेद (रजत कपूर) शहर के मुस्लिम-बहुल इलाके में छिपे एक आतंकवादी को मार गिराने की नीयत से अपनी टीम के साथ आगे बढ़ रहा है. साथ ही, मुस्लिमों की आबादी पर तंज कस रहा है, “इतने बच्चे क्यूँ पैदा कर लेते हो?”. उसी रौ में बहते हुए एक सिपाही बोल पड़ता है, “अरे, साहब! इन लोगों का ऐसा ही रहता है.”, ये भूलते हुए कि उसके ‘साहब’ खुद भी एक मुसलमान हैं. ऐसे ही एक पूर्वाग्रह से ग्रस्त दानिश खुद भी है, जब बात आतंकवाद को मुस्लिमों से जोड़ कर देखने की आती है. अनुभव सिन्हा की ‘मुल्क’ देश में बढ़ते धार्मिक उन्माद, साम्प्रदायिकता और आम जन के मन में पल-बढ़ रहे पूर्वाग्रहों, कुतार्किक अवधारणाओं और आपसी भेदभाव को कटघरे में खड़े करते हुए, कुछ बेहद जरूरी और कड़े सवाल सामने रखती है. हालाँकि अपनी बनावट में फिल्म थोड़ी पुराने ज़माने और ढर्रे की जरूर जान पड़ती है, पर ‘मुल्क’ अपनी बात जोरदार तरीके से कहने में ना ही कमज़ोर पड़ती है, ना ही डरती-सहमती है.

कैसे साबित करेंगे आप, अपने मुल्क के प्रति अपनी वफ़ादारी? खास तौर पर, जब आपका नाम मुराद अली (ऋषि कपूर) हो, या फिर बिलाल अली (मनोज पाहवा), जिसका बेटा शाहिद (प्रतीक स्मिता बब्बर) आतंकवादी गतिविधियों में लिप्त पाया गया है. कैसे साबित करेंगे कि 1927 में बना मुराद-मंजिल आपका घर नहीं, देश-विरोधी गतिविधियों का ‘अड्डा’ है? ...और ये और भी मुश्किल हो जाता है, जब आप की देशभक्ति पर सवाल उठाने वालों की आँखों पर पहले से ही ‘धर्म-विरोधी’ काला चश्मा चढ़ा हो. ‘हम’ ऐसे हैं और ‘वो’ ऐसे; अलगाव की इस गन्दी राजनीति का हिस्सा धीरे-धीरे ही सही हम सब बनते जा रहे हैं. ‘मुल्क’ कम से कम हमें झकझोर कर जगाने की कोशिश तो करती ही है.

‘मुल्क’ अपने पहले हिस्से में बहुत सारा वक़्त बनारस की जानी-पहचानी गलियों में धार्मिक सहिष्णुता के ठहाके लगाने में बिताती है, जहां वकील मुराद अली अपनी 65वीं सालगिरह पर परिवार और दोस्तों के लिए खुद मटन-कोरमा बना रहे हैं. पड़ोसियों में शामिल घोर शाकाहारी मित्र भी कबाब चख रहे हैं, हालाँकि आप अच्छी तरह जानते हैं कि ये सारा सेट-अप जल्द ही टूटने वाला है और तनाव का माहौल पलक झपकते ही सारे रिश्ते चकनाचूर कर जाएगा. ‘हम’ और ‘वो’ की न दिखने वाली खाई जल्द दिखाई भी देगी, साथ ही और गहरी भी होती जायेगी. पाकिस्तान भेजने की पेशकश दीवारों पे इश्तेहार की तरह छपेगी और माता के जागरण का लाऊडस्पीकर जानबूझकर मुराद-मंजिल की ओर ही मोड़ दिया जाएगा.

एक लिहाज़ से पुराने ढर्रे का ये ड्रामा फिल्म के हक में ही काम करता है, क्यूंकि दूसरे हिस्से में आप को कोर्ट की उस अहम कार्यवाही का गवाह बनना है, जहां किरदारों के आरोप-प्रत्यारोप के बीच अक्सर आप खुद को, इन तमाम सवालों पर अपनी सोच के साथ कटघरे में खड़ा पायेंगे. मुराद अली की बहू (तापसी पन्नू) का नाम लेने में खुद जज साब (कुमुद मिश्रा) एक बार को अचकचा जाते हैं, ‘मोहम्मद आरती’ या ‘आरती मोहम्मद’? हिन्दू है, और मुराद अली की वकील भी. सरकारी वकील संतोष आनंद (आशुतोष राणा) जनमानस को संतुष्ट और खुश करने वाली मुस्लिम-विरोधी दलीलों से खेलना ख़ूब अच्छी तरह जानता है. उकसाने, भड़काने और तालियाँ बटोरने में माहिर है.

मुख्य किरदारों के तौर पर ऋषि कपूर और तापसी पन्नू की अच्छी अदाकारी के साथ, फिल्म में उनकी मौजूदगी भले ही ज्यादा वक़्त के लिए हो, पर अपनी छोटी सी भूमिका में ही आपको मन भर द्रवित कर देते हैं अभिनेता मनोज पाहवा. फिल्म के आधे हिस्से तक तो लगता है, मानो पूरी की पूरी फिल्म उनकी ही हो, उनपे ही हो. बड़े भाई मुराद अली के सामने अपनी गलतियां बयान करते वक़्त, पुलिस स्टेशन में ज्यादतियां सहते वक़्त, शाम की दावत के लिए 10 किलो और मटन को लेकर भाई से मोल-भाव करते वक़्त, मनोज अपने पूरे शबाब पर होते हैं. रजत कपूर, कुमुद मिश्रा और आशुतोष राणा अपने किरदारों के साथ बखूबी इन्साफ करते हैं. राणा अपनी भाषाशैली के दम पर एक अति-राष्ट्रवादी वकील की भूमिका में आपकी नफरत हासिल करने में खासे कामयाब रहते हैं.

अंत में, ‘मुल्क’ के जरिये अनुभव सिन्हा आतंकवाद, साम्प्रदायिकता और असहिष्णुता जैसे मुद्दों पर खुल कर बोलते हैं. कुछ इस बेबाकी से कि फिल्म के आखिर में निर्णय सुनाते वक़्त जज साब की आवाज़ में उनकी अपनी बेचैनी, तल्खी और विचारधारा साफ़ सुनाई देती है. मुराद अली को सलाह देते वक़्त जज साब कहते हैं, “अगली बार कोई अगर आपको आपकी दाढ़ी के लिए सवालों के घेरे में खड़ा करे, तो उन्हें चुप कराने के लिए भारत के संविधान का पहला ही पन्ना ज़ेरॉक्स करा कर रख लीजिये, काफी है.” अगर आप भी ‘इस्लामोफ़ोबिया’ जैसी बीमारी से ग्रस्त हैं, तो आपको ‘मुल्क’ हफ्ते में कम से कम दो बार देखनी चाहिए. दवा थोड़ी महंगी जरूर है, पर घोर असरदार!  

KAPOOR & SONS (SINCE 1921): Perfectly Imperfect! [3.5/5]

It seems Bollywood has learnt its way to deal Indian families in films the way it should be. Chaotic, dramatic, relatable and real! With Shakun Batra’s KAPOOR & SONS (SINCE 1921), even Dharma Productions have come a long way. Forget Karan Johar’s all elite, genteel and heavenly prosperous families melting & merging patently into the equally overwhelming interiors inspired by latest interior design magazines! The characters here, in Shakun’s world, don’t really chew their words before spitting them out. On the contrary, they are loose out in the open to grind each other’s peace unabashedly. Backed up by good writing and even better direction skills, KAPOOR & SONS (SINCE 1921) marks the arrival of a totally fascinating and utterly dysfunctional ‘on-screen’ family you would love to see more of it.

In a picture-perfect locality of Coonoor, a 90-year old grandfather [Rishi Kapoor in his prosthetic best], out of boredom, is practicing his forthcoming event of death. The rest of the family hardly pays any attention to his gimmicks, until one severe heart attack takes its course of action sincerely. The grandsons are flying down from abroad. The family reunites but there’s nothing what it looks from the outside. Everyone in the family has something to hide, lie and complain about. The husband [Rajat Kapoor] has financial crisis eating his head. The wife [Ratna Pathak] suspects him of adultery. The elder son [Fawad Khan] is a successful novelist carrying unbearable mass of being his parent’s perfect son. The younger one [Siddharth Malhotra] accuses them for not being equally warm to him. And then, there is an inevitable chaos of inter-personal issues in the family that declines to settle down.

Shakun Batra scores most of his marks in the first half only where he introduces the all messed-up characters in the family one by one in a particular scene. Shakun gives us many delightful moments in the rest of the film but this one single scene never loses its impact on you. He hits the right note almost every time there is a conflict in waiting to take over the drama. Unfortunately, the comic elements don’t make you feel as satisfying. Shakun tries roughly everything from some ‘below the belt’ gags performed comfortably by the actors to some harmless yet discouraging ‘potty’ jokes. The plot dealing with real human behavior especially in the relationship of the brothers keeps you hooked till the very end. Siddharth playing the younger one sees Fawad- the elder one as his competition but the moments in which they share their warmth in the relationship are enough to celebrate. The writing constantly works against falling into the pit of predictability, despite some melodramatic approach towards the climax.

Alia Bhatt brings with her a certain kind of energy, innocence, humor and vivacity in spirit of the film. She excels in her introduction scene while playing almost herself and in one emotional sequence which is a complete letdown by comfortable writing but has Alia as a winner. Rishi Kapoor’s shameless, blatant and brash grandfather act is one of the most enjoyable. Ratna Pathak and Rajat Kapoor are a worthy addition to the cast providing a solid support throughout the film. Siddharth and Fawad both look incredibly charming on screen but Fawad steals the show with his strong hold in the moments where he has to express and expose his soul.

At the end, KAPOOR & SONS (SINCE 1921) is a family saga very distinct and dissimilar from Karan Johar’s typical design of Indian families. It’s not perfect. It’s not ideal but it’s real and relatable in its guts and will. I wish Shakun had finished it in same zeal and madness he had taken the start. Even then, it’s like one of those joint family photographs where not everyone is at his best but still, you would like to keep it with you. [3.5/5]    

ALL IS WELL: All is rubbish. A total waste! [1/5]

Good news for all the complainants who don’t waste a chance to criticize Bollywood for being irrational, illogical and unreasonable! Here comes a film that does bother to give you enough reasons to explain what’s coming next and why it is there in the film! Even then the film in question ends up being a strong contender of ‘the silliest film of the year’ trophy, I don’t really wonder why. Picture this; an NRI [Abhishek Bachchan] stops at a roadside dhaba on Chandigarh-Solan highway to feed his family a good meal after a much hurried and hassled drive. The man at the counter is charging him some 5 thousand rupees for 4 people’s meal which is not even served or consumed yet. The poor guy doesn’t carry cash. To save him from the embarrassment, the local dancer [She was the reason for the hiked price] offers him a dance with her in exchange. What comes next is the item number by Sonakshi Sinha heavily supported by the Jr Bachchan. C’mon, even a Rakhi Sawant won’t do it for the said amount!

The problem with Umesh Shukla’s ALL IS WELL is its lazy ambition to become another Priyadarshan movie where cartoonish characters will do anything [banging head on the wall, rolling over one and other, slapping each other] to make you laugh and just laugh in every scene; the plot could anytime allow actors to participate in a nonsensical chase and then, end it all in a wedding-mandup where glycerin [the most-overrated chemical to make you look serious actor] will have a separate counter at the food-court. Though the story is not at all bad for a family entertainer, the emotions get silenced by the screeching dialogues and awful performances.

Bhajanlal Bhalla [Rishi Kapoor] runs a bakery that has hardly any incoming income to run the family. In fact, it is more of a bone of contention between him and his wife [Supriya Pathak Kapoor]. The son Inder [Abhishek Bachchan] fed up of the regular domestic verbal clash has moved abroad to make it big in his singing career. He’s back after some 10 years and the catch is the money he could get to finance his first album by selling the bakery. Sounds simple? Wait, we’ll make it as twisted as any Priyadarshan movie. Add a local slapstick gangster [Mohammad Zeeshan Ayyub] & cops will come by design, a secret box of good fortune to run after and a powerful lady with her army [Seema Pahwa with complementary Bugs Bunny teeth] will definitely be coming into scene and lastly, our heroine who’s all set to give her Shaadi a miss ‘cause she loves someone else. Enough to complicate!

For an Alzheimer patient, a doctor suggests, “Inko jitna khush rakh sakte ho, rakho!’ Isn’t it a ‘prescription for all’ statement? The female protagonist [Asin] believes in the signs from the universe so much that you would pick up an orange over an apple from the fruit basket and she might tell you she had saved it for her would-be-husband and now, you have to marry her. ALL IS WELL is full of such irritating, intimidating [to make you leave the theatre] and disgusting elements but what hurts you the most is watching talent like Supriya Pathak Kapoor being wasted utterly. Smriti Irani was cast in the same role earlier. I am not sure at what circumstances Supriyaji accepted the role but it is never to match her caliber. All the stars in the rating given to the film in this review must go to her as the compensatory allowance. Mohammad Zeeshan Ayyub is the only one who looks constantly trying to make it work. Rests all are either average or forgettable.

Overall, Umesh Shukla of OMG-OH! MY GOD fame fails miserably to impress. He was probably too confident to see the film’s flaws. With no offence or any disrespect to Alzheimer patients, I think sometimes you need a serious illness to forget something bad happened to you in life. ALL IS WELL takes you in that unfortunate mental zone. Save yourself, if you can! [1/5]  

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]   

BEWAKOOFIYAAN: A film too easy to celebrate its existence! [1.5/5]

Every creation of art; be it of a pure commercial aspect or for the approval of one’s inner conscious, needs to have a motive, a reason behind its very existence. Sadly, YashRaj Films’ BEWAKOOFIYAAN doesn’t show any sign of having it. I tried looking for it, genuinely. In fact, it is one of those rare romantic comedies where you find the contagious essence of romance missing from the air. All you take out from this dull, unexciting, blatantly too easy love-story is disappointment, exhaustion, drowsiness and a sense of doubt on your sensibility as why did I make the decision to bet my money on it at the first place.

Just before getting sacked from his well-paid job in the airlines sector, Mohit [Ayushmann Khurrana] had enough convincing reasons to make his life a big blasting party. A never complaining girlfriend Mayera [Sonam Kapoor], well almost; promotion in the job, brand new car and a Gold ranked credit card with massive credit-limit! Life is smooth, fast and lavish. Until comes his soon-to-be father-in-law [Rishi Kapoor, the only relief] in the scene; a strict retired IAS officer having close connections with Home Secretary and the head of Police in the state. No prizes for guessing, the love-story takes the much expected turn to be on the ‘Meet the parents’ route. As if it was really manageable, Mohit is jobless due to recession hitting the aviation industry. Next is the potholed ride to impress the father and keeping the love alive between two.

Directed by Nupur Asthana, BEWAKOOFIYAAN is a big let down for Habib Faisal who adeptly has been a pillar in the writing for DO DOONI CHAAR, BAND BAAJA BAARAT & ISHAQZAADE. The wit, rust and textured appeal to the lingo is not a complete miss here but not sharp enough too to create some stimulation. It is a film that runs at a certain pace and forgets to take off. The only part that manages to pull my attention to add some novelty to the part is where Mayera bursts in complain over Mohit for doing her bit of ‘sacrifices’ to not go shopping for a new pair of sandals since his ‘jobless’ status. It is funny but more than that, it has a connecting authenticity to Sonam’s character. I was looking for more of this kind.

Performances here are absolutely average at the most. Sonam’s role of a less crabby-all supportive girlfriend has some unseen flares but with her limitations, it goes for a toss. Ayushmann too is very constrained in terms of exhibiting his emotions. Though, he does seem comfortable in comic parts. If anyone here is really much more than what one expects, is the inimitable Rishi Kapoor. His energy, his aura and his gifted ability to slip in the characters he plays is terrifically tranquil even in such shaky circumstances. Some relief!

Romantic comedies are judged best by the youngsters in love, provided it does have some blazing romantic scenes, an exploding chemistry between the lead, hardcore emotions and some good laughs to make their time together a pleasurable experience to cherish. Deeply dejected in my heart and with all my guts gathered at one, I announce that BEWAKOOFIYAAN lacks most of the above. Watch it on DVD, if you must! [1.5/5]   

BESHARAM: It is not so bold & shameless but a shameful out-dated entertainer! [2/5]

In a scene where Ranbir Kapoor, playing a car-thief named Babli, tries to escape by tying up an ageing police inspector, played by his off-screen father Mr. Rishi Kapoor, with a bedsheet and refers him as ‘mota! dharti ka bojh!’ [Fat man! The useless burden on the earth!], you laugh, of course; but not at the situation, not at the forceful wit lines throw at you but for the very fact that they both share a father-son relationship in real life. The pun was intended and achieved! I wish if the same goes with the most of jokes in Abhinav Singh Kashyap’s second directorial venture BESHARAM. I seriously wish…

In a lifted paper-thin storyline that’s no indifferent from the bollywood hits of 60’s, 70’s and of 80’s to some extent, Babli [played by super-charged Ranbir Kapoor] is an orphan who masters in stealing posh cars. No prizes for guessing that he contributes most of his hard-earned money to the orphanage for the welfare of the kids and now wants to leave all this for his love of life Tara [newbie Pallavi Sharda in her full-fledged debut]. Meanwhile, the Law enforcers dressed as Chautala duo [absolutely adorable Rishi Kapoor & ravishingly charismatic Neetu Singh Kapoor] and the lawbreaker Hawala-king Bhim Singh Chandel [Jaaved Jaffrey in a delightful surprise package as a grim-faced villain] both are waiting for him to settle the final score. What waits for you in the store is anything but a breathless, mindless, action packed climax!

With his first the fearless ‘DABANGG’, Abhinav impressed all of us with a style of unseen fresh writing and a solid hand in well developed characterization but in this shameless ‘BESHARAM’, it’s only the writing that lets him down. You are never out of sight as what will come next. In swear to be bold and blatantly unashamed, all he could come up with a few dialogues here and there that talk about ‘fart’ & ‘shits’ in literal. In the screenplay, songs come back to back as if either you are watching a musical or a ‘Chitrahar’ on Doordarshan.

Film, if even for once, could be pronounced as watchable, it would be the performances. Ranbir Kapoor alone has his charm to run shows houseful. Though there is not much to surprise, he is confidently there to stand tall. Pallavi Sharda is good but I don’t see the promise to bring something fresh on screen with her typical looks. Amitosh Nagpal as Ranbir’s friend does create some cackling moments. Rishi Kapoor too has been exploring an impressive second innings in Bollywood with his notable selection of films but I could never stop my heart beating at a speed of a bullet train whenever I had my privilege to watch Ms. Neetu Singh Kapoor setting screen on fire with her spontaneity and marvelously aging beauty!

At the end, it is a film that will be under scrutiny because of the expectations people have from Abhinav Singh Kashyap’s being the Captain of the ship and the track-record he has set with ‘DABANGG’. Alas! We have to wait for another to judge his potential better, as of now BESHARAM is bold, shameless & funny in parts; but for the most, it is a formulaic forced entertainer that is filled- loaded & packed with all the masalas of Bollywood potboilers we have been watching from ages. And this is probably not the best time to serve ‘run of the mill’ stale meal. An average entertainer and a big disappointment! Watch it if you really have to! [2/5]

SHUDDH DESI ROMANCE: Unconventionally romantic at heart & freshly matured in nature! [3.5/5]

At the very start, when Tara [Debutant Vaani Kapoor] in her wedding-mandup finds out that her would-be life partner Raghu [Sushant Singh Rajput], arranged by so-called concerned relatives, has been fled away out of his fears of being committed to just one in life, all you expect is a melodramatic break-down but hold your horses because Maneesh Sharma’s unapologetically graduated romantic comedy SHUDDH DESI ROMANCE rejects and revolts to be conventional in any manner. So, Tara doesn’t collapse but seeks comfort in a chair nearby, sheds the fake traditional attitude and asks casually, “koi thanda pila do yaar? (Can I have a cold-drink, please?)”.

SHUDDH DESI ROMANCE is a refreshing take on how the concept of marriages in our today’s society has been tainted and tarnished with phony-bogus customs that don’t allow it to be modified and adoptive towards the changing practicalities & priorities of individuals and social relevance. Film also unhesitatingly and constantly talks about the idea of the up-and-coming culture of live-in relationships in the incredible India.

In the most colorful city of Jaipur, Sushant plays a tourist guide-cum-fake rented baraati in marriages, romantic at heart but confused youth who probably takes up everything half-heatedly and leaves it in the middle for something else coming in way. To continue this further, he leaves Tara on his wedding-day, to be settled later with Gayatri [The vivaciously emotive, confident and natural Parineeti Chopra] as her live-in partner. The gigantic commitment issue strikes again and this time, it’s Gayatri who makes the move first. In times of dejection & despair, Raghu bumps into Tara who now doesn't want any commitment for life. The biggest question is with Raghu if he does really know as where to go.

SHUDDH DESI ROMANCE pleasantly surprises at many levels including the opening montage having Ati-random shots of couples romancing in the by-lanes,  parks, crowded markets, monumental areas and where not! The lingo characters speak hardly sounds written. Jaideep Sahni is the man who sure deserves applause for being realistic to the core. There are at least 4 sequences where characters indulge themselves in a conversation happened earlier in an exact manner with same set of dialogues but you would not consider them a repetition, I bet. On the direction front, Maneesh Sharma shows an upper hand in amalgamating the lively colors & culture of Jaipur and plausible characters with their mental predicament. He upholds the narrative in such way that if not a laugh-out-loud gag, a constant smile sure finds its place on your face throughout.

Sushant, after his confident début in KAI PO CHE! keeps your expectations alive. He is an actor restricted by looks but vast in potential. Parineeti Chopra is excellent and a talent to watch out for. Can anyone be so sure and effortless? Really? Well, she is. Vaani impresses. And then, there is impeccably adorable Rishi Kapoor. If anyone who really knows how to rediscover himself with changing times, it’s him. Treat to watch!

SHUDDH DESI ROMANCE sure puts you off with a few lazy moments and could have easily have been shorter by 10-12 minutes but at the end, it is a decisive effort that doesn't believe in taking routes that have been traveled to death. Be attentive and you could enjoy nuances and dialogues where the age-old traditional concept of marriage and our double-faced society is smacked-slapped & spanked by characters who consider live-in a more relevant option to discover love. Unconventionally romantic at heart & freshly matured in nature! Don’t miss it. [3.5/5]

D-DAY: drought of a good thriller still haunts Bollywood [2.5/5]

Every time a terrorist attack happens in any part of our country, the conversation among common people & the ‘on serious note’ panel discussions on TV get heated with mostly unrequited-unresolved demand for the exile of the most wanted criminal, reportedly residing now in one of the posh cities of our neighboring country.

We all have wanted that much-awaited extradition for ages, and God only knows if that would be possible ever in the future but for now, Nikhil Advani’s sincerely executed yet flawed-Bollywood at heart-taut thriller of high promises D-DAY offers a ‘dream come true’ fictional story line, largely getting built up on ‘would have been-should have been’ conditions applied.

Taking cues from real incidents, in-depth functioning of intelligence agencies & the earnest psyche of undercover agents, where an impressive first half suggests it being an intelligent, well researched, on real locations espionage drama with four Indian secret agents starting off their mission to get Goldman [the man in pink shades modeled on the Dawood Ibrahim, played by immensely likeable Rishi Kapoor] back to India, the second half pointlessly falters with focusing more on the masala; Bollywood is known to plant whenever they start lacking on gripping plots. So, we see emotional urges taking over obvious astuteness, regular tiffs between the team, hard-to-believe successful escape plans and an unfeasible end that totally is to please & blow away audience’s various sentiments regarding this national issue sounded more like a personal war for every countryman. Get your hands ready for claps when see that happen what if only on screen!

Advani’s premise is very appealing-very mass attracting. The execution part is also thoroughly intended and incessantly belongs to the likes of any docu-drama shot in the crowded lanes of Karachi. Narrative pattern that includes timelines of the events on screen to make it look documented effort, works in favor. Special mention to the ‘Alvida’ song for its bloody beautiful visualization, literally! On the acting front, Irrfan does his part with sheer honesty. Watch out for him in heartrending scenes with his family. Arjun Rampal, Shruti Haasan & Huma Quareshi is standard. But if we are talking about performances par expectations, Rishi Kapoor as stylishly dressed Don, Aakash Dahiya as fourth player in the operation and Shriswara as Irrfan’s affably adorable wife top the list. Chandan Roy Sanyal is a complete waste.

At the end, this thrilling operation that had all the means to finish the long-awaited drought of a good thriller miserably could not meet its desirable end, thanks to its own flaws that lie in the high octane drama & a forcibly commercial end in the second half. A troubled case of wasted opportunity! [2.5/5]