कोर्ट (मराठी): सिर्फ सच...और सिनेमा! सिनेमा और सच के सिवा कुछ नहीं!! [4.5/5]

अगर आप कभी असल ज़िंदगी में कोर्ट नहीं गए, तो प्रबल संभावना है कि आपके मन में कोर्ट की जो थोड़ी-बहुत परिकल्पना होगी, हिंदी फिल्मों से उधार ली हुई होगी। जहां वकील 'तू डाल-डाल, मैं पात-पात' की तर्ज़ पर गला-काट जिरह कर रहे होंगे, मुलज़िम कुशल कारीगरी से बनाये गए बड़े से कठघरे पे हाथ टिकाये बार-बार 'योर ऑनर, ये झूठ है' का जुमला फेंक रहा होगा और जज साहब भी इंसाफ का हथौड़ा 'ऑर्डर-ऑर्डर' की धुन पर बजाने में पूरी तरह मशगूल होंगे। भारत में जहां हज़ारों-लाखों मुकदमे सालों से 'तारीख़ पे तारीख़' का दर्द झेल रहे हैं, कोर्ट में इस तरह के अति-उत्साह, अप्रत्याशित जोश और अविश्वसनीय रोमांच की उम्मीद करना एक तरह से बेवकूफ़ी ही होगी। ऐसा ही कुछ चैतन्य तम्हाणे की राष्ट्रीय पुरस्कार विजेता फिल्म 'कोर्ट' के बारे में भी कहा जा सकता है! यथार्थ के इतने करीब एक ऐसी फिल्म जिसमें बनावटीपन 'दाल में नमक' जितना है, वो भी एकदम सही मात्रा में, न कम-न ज्यादा!

मराठी के जुझारू लोक-गायक, गीतकार-लेखक और विचारक नारायण कांबले [वीरा साथीदार] पर पहले भी सरकार-विरोधी, जाति-संप्रदाय विरोधी और सामाजिक उत्तेजना भड़काने के आरोप लगते रहे हैं पर इस बार उन्हें एक मजदूर को आत्महत्या के लिए उकसाने के इल्ज़ाम में पुलिस ने गिरफ़्तार किया है! दो दिन पहले अपने एक जोशीले गीत में कांबले ने 'इस तरह जीने से तो गटर में डूब कर मर जाना अच्छा' का शंख फूँका था, और आज सफाई-कर्मचारी वासुदेव पवार गटर में मरा पाया गया. बहरहाल, मामला कोर्ट में पहुँच गया है! सरकारी पक्ष की वकील नूतन [गीतांजलि कुलकर्णी] ने दो-ढाई पेज का मुकदमानामा एक सांस में खत्म कर दिया। बचाव-पक्ष के वकील विनय [विवेक गोम्बर] जमानत लेने में असफल रहे. अगली तारीख मिल गई है. नूतन मुंबई की लोकल ट्रेन में पति की डायबिटीज़ और खाने में कम तेल इस्तेमाल करने फायदे बता रही हैं. विनय डाइनिंग टेबल पर अपने माँ-बाप से शादी न करने के मुद्दे पर लड़ रहा है. अगली तारीख पर दोनों फिर आमने-सामने हैं, पर एक अहम गवाह की तबियत ख़राब है! एक और तारीख से यहां किसी को कोई तकलीफ़ नहीं, फैसले की किसी को कोई जल्दी भी नहीं।

गौरतलब हो कि इन सबके बीच मृणाल देसाई का कैमरा थोड़ी दूरी बनाकर, एकदम सांस रोके चुपचाप आपको वास्तविकता का स्वाद चखा रहा है, जैसे आप सिनेमाहॉल में नहीं, वहीँ कहीं एक कुर्सी पकड़ के बैठे हों. फिल्म के एक दृश्य में बचाव पक्ष के वकील एक रेस्टोरेंट से बाहर निकल रहे हैं, कैमरा सड़क के पार से उन्हें देख रहा है, एकदम स्थिर। एक ख़ास जाति के दो लोग वकील साब के मुंह पर कालिख पोतने लगते हैं, फ्रेम में सिर्फ रेस्टोरेंट का दरबान दिख रहा है और बाकी का पूरा घटनाक्रम आप सिर्फ आवाज़ों के जरिये देख पा रहे हैं. बेहतरीन प्रयोग!

फिल्म को सच्चाई का रंग देना हो तो कलाकारों का किरदारों में ढल जाना बहुत जरूरी है। 'कोर्ट' में पता लगाना मुश्किल हो जाता है कि कौन अभिनेता है? और कौन असली किरदार? अगर आप गीतांजलि कुलकर्णी को पहचानते नहीं तो पहले दो दृश्यों में आप उन्हें कोई असल ज़िंदगी की वकील समझने की भूल यकीनन कर बैठेंगे, जिसे नाटकीय अभिनय का 'क-ख-ग' भी नहीं आता! हालाँकि उनके मुकाबले विवेक गोम्बर थोड़े ज्यादा सचेत नज़र आते हैं, पर 'शिप ऑफ़ थीसियस' के बाद ये एक ऐसी फिल्म है जिसमें अभिनय, अभिनय नहीं लगता, संवाद रटे-रटाये नहीं लगते और फिल्म कुल मिलाकर भारतीय सिनेमा को एक नए मुकाम पे ला खड़ा करती है!

अभिव्यक्ति की स्वतंत्रता पर सत्ता का पौरुष-प्रदर्शन देखना हो या सदियों पुराने तौर-तरीकों और सामाजिक मान्यताओं को आधार-स्तम्भ बनाये बैठी भारतीय न्याय व्यवस्था की जीर्ण-शीर्ण, जर्जर हालत की बानगी देखनी हो तो और किसी कोर्ट के दरवाजे खटखटाने की जरूरत नहीं, बेहिचक चैतन्य तम्हाणे की 'कोर्ट' देख लीजिये! साल की सबसे अच्छी फिल्म, अब तक की! [4.5/5]

MARGARITA WITH A STRAW (A): A heartwarming ‘cheers’ to ‘life’! [4/5]

Cerebral Palsy is a disorder that could damage and affect the ability to move, balance and to walk in a normal posture. Difficulties with speaking or swallowing are also visible symptoms but that doesn’t play down the level of intelligence in brain or the degree of passion in heart. So next time, if you have luck to meet someone having Cerebral Palsy, greet him/her normally. Try not to be abnormal!

Well, that was an FYI. Otherwise; why to discuss, give importance or rather even care to mention something like CP, if you already have plenty reasons to celebrate a better syndrome called ‘Life’. MARGARITA WITH A STRAW is a passionate, moving and inspirational drama that is hardly any normal, regular or ordinary.

Maharashtrian mother [the ever-gifted Revathy] married to Punjabi father is driving a matador van with a sliding platform for her wheelchair-ridden daughter Laila (the exceptionally good Kalki Koechlin). And the daughter doesn’t blink her eyes while showing her middle finger to a traditional Indian saree clad socialite for being shamelessly and insensitively sympathetic to her disabilities. Laila is a rare breed. She is ready to fall for all the cute faces around and boldly explores every bit of her maturing sexuality, first with the emotionless sex-toys to a friend-for-all seasons [Hussain Dalal], Nima- the cute-faced lead singer of her college-band, the supportive batchmate in the university of New York and later, with Khanum [Sayani Gupta]- a rebellious visually impaired lesbian born to mixed parents from Pakistan & Bangladesh.

Shonali Bose’s MARGARITA WITH A STRAW is a delightfully delicious slice-of-life film that doesn’t accept to exploit the empathy ‘normal’ people build up for these differently-abled souls; not for once. And kudos to Bose and her co-writer/director Nilesh Maniyar for keeping that unflinching honesty and unadulterated emotions intact in the script! The highlights in the film are the reflective moments between Laila and her mother especially when the latter realizes about her daughter’s sexual preferences. Meanwhile, Bose gifts us one of the most beautiful characters in Laila who could inject varied emotions in you effortlessly, without making a fuss over it. She smiles, you smile! She cries, you don’t because you know she’ll bounce back the very next minute. Kalki Koechlin is not just there to fill in the blanks. She gives more than what required and transits her soul in Laila. It’s one of the toughest roles ever came to Indian actors, physically and emotionally too, and Kalki makes it look like an expert’s job. Neat, clean and sparkling!

Revathy, too doesn’t fail. Her ever-understanding, encouraging and extremely caring mother is a perfect pitch. Watch out for her immaculate performance in front of the mirror in her bedroom where she sheds it all after the day is over [I don’t put spoilers]! Be ready as the heart breaks and bleeds. Sayani Gupta as Khanum adds sparks, sensuousness and susceptibility. The background score is soft and uplifting so is the cinematography. Nice, cool and glittery!

Overall, Shonali Bose’s MARGARITA WITH A STRAW celebrates life, and the overwhelming spirit that never gets affected by anything bad or worse. It also handles some of the issues our society needs to open its eyes and minds to; in a very delectably endearing mood. Order a margarita; for a change, with a straw to taste it for a longer and lasting experience! Say ‘cheers’ to life!! [4/5]                             

BROKEN HORSES: ‘Parinda’ takes an ambitious flight, lands safely! [3.5/5]

Stories bound by love, driven by passion and led by sincerity never fail to connect. Neither did PARINDA, nor does BROKEN HORSES. Vidhu Vinod Chopra’s doorway to Hollywood; BROKEN HORSES is an emotionally charged, confident to the core and a well-made thriller that consciously makes you revisit and relive the filmmaker’s one of the bests in Bollywood PARINDA. So, the million dollar question on you face must be, “Is it a remake?” Let me phrase the answer in a more welcoming and established way. It is an effort to take one’s own highly regarded work to a bigger scale and in a better framework. BROKEN HORSES successfully plants Mr. Chopra in the league of those few technically evolved & resourcefully sound in their art & craftsmanship regardless how different or difficult the medium is.

Set in the outskirts of Mexican Border, the film involves the heartwarming bond between two orphaned brothers. For them, the wisdom-quotes from their childhood still go hand-in-hand in any given situation. If the big brother is taught to protect the younger one, he would never lose his sight of him for once. Meanwhile, the younger one would always let the big one win at the checkers. Jacob Heckum [Anton Yelchin] returns to bring his elder brother Buddy [Chris Marquette] for his wedding, without having any hint that Buddy is now the most-loved killing machine of Mr. Hench [Vincent D’Onofirio]; and the only way out of this deep, dark & dodgy mountain is to blast it inside out. Jacob decides to stay and help to save his brother.

If you have seen and loved PARINDA (…and who hasn’t? I seriously want to know), there are times you feel cheated as why wouldn’t Mr. Chopra has made it clear and upfront that this is an adaptation of his one of the original works. But try to calm yourself down, and you will also cherish the fact that this one is less dramatic, more emotional and made for an unlike set of audiences. Vidhu orchestrates some really delicious scenes to show off great caliber. In one, the shootouts are shown with intercuts of oranges being squeezed and later, being served in a glass to the mobster as the confirmation of the job being done. The cinematography plays with mirror-images, iconic landscapes, the sun-shades and is first-rate.

Film also sees some real-good performances. In Buddy’s simpleton yet childlike vulnerable character, Marquette performs excellently and towers in almost every scene he is in. Be it the emotional family union at dining-table at the ranch or the menacing act at the theatre; he and the contagious grin on his face are just superb. Don’t miss him interacting with the love of his younger brother, Vittoria (Maria Volverede) with an unseen before love and care. Anton Yelchin as the feared and alarmed younger brother is good. So is Maria playing his love-interest! The talented D’Onofirio marks his presence felt with his portrayal of a cool, crafty & convincing villain. Scenes with him corrupting and controlling Buddy’s mind are an interesting watch.

To sum up, doing anything that involves a classic is a bad bad idea. I know the comparisons are inevitable. The element of surprise in the plot also comes late until the well-tweaked climax happens but if you can overlook the similarities between the two, there are chances to notice the ambitious and striving flight the film & the filmmaker take. Impressive debut, Mr. Chopra! [3.5/5] 

DETECTIVE BYOMKESH BAKSHY: Splendid, spectacular & mesmeric! [4/5]

A man goes missing. The detective offering help doesn’t even blink or think before giving out his verdict that it is a possible case of murder. His one of many simplistic theories draws even the son in suspicion. As a viewer, you don’t need much time to realize that he is not your usual ‘unrealistically intellectual’ beast like Sherlock Holmes and is not at all a detective but a detective in making. Dibakar Banerjee’s splendid-spectacular & mesmeric murder-mystery thriller DETECTIVE BYOMKESH BAKSHY! may not be able to flabbergast you with terrific twists and reckless revelations but then, it also never ceases to engage with enticing visuals, imaginatively authentic art-design to recreate the nostalgic period, acquisitive music score, brilliantly written characters and some really well-directed sequences for a cinematic treat.

It is Calcutta of 1940s. Japanese are constantly trying to snatch the control over the city from the British. Chinese drug mafia wants to make it a world drug capitol. The young ones are fighting for freedom. The ‘newborn in business’ Byomkesh Bakshy [Sushant Singh Rajput] is trying to prove his theory of missing man’s murder for his forced client Ajit [Anand Tiwari]. He is the same who joins Bakshy later as his sidekick or subordinate. The connecting threads lead him to a powerful politician, his sultry & seductive mistress [Swastika Mukherjee], an intimidating dentist-cum-Japanese tutor and a kind and obliging [Neeraj Kabi of ‘SHIP OF THESEUS’]. For the most parts, Bakshy is only seen finding links between two loose ends. For times, when we all are modified to watch razor-sharp detectives seeing it from miles and acting against it in an electric-speed; there is hardly anything in the plot you would describe as ‘extremely surprising’ but the ambiguity in the air never goes missing.

DETECTIVE BYOMKESH BAKSHY! is stylishly shot gorgeous looking film where everything you see is fabricated, but how aesthetically and inventively! This is the world nowhere close to what we have seen in Doordarshan’s Byomkesh Bakshy series. The case-to-be solved here also doesn’t have limitations of being just another family affair. Dibakar Banerjee takes it on a bigger canvas to make Bakshy’s first case the biggest of what we have seen before. His Calcutta is nothing but a painting with brilliant art-design powered with nostalgic posters on wall, ‘approaching vintage status’ ambassador cars, man-pulling rickshaws on streets and Bata leather shoes for instance. In one momentous shot, we see camera following Bakshy-Bakshy bumping into a stranger-camera following stranger-stranger bumping into the man following Bakshy and then again camera getting back on track to follow the man; all this exercise through the windows of an ambassador car. See it, and you won’t miss it.

With subtle and deadpan humor, film is a delightful watch. When at a drug-making company’s office, Bakshy jokes about him providing blood-sample that it is a must for every candidate before the job-interview, we see the whole lot of young candidates disappearing like a Jeannie. In another just after the blood-bathed climax, Ajit instructs his home-servant to make some tea as the police can visit the crime-scene anytime soon. Though Sushant looks very much in skin of the character, it’s the supporting cast that excels in the performance-sheet. Anand Tiwari as Ajit is a spot-on. Neeraj Kabi makes his act a balanced yet exceedingly outshining one. One more significant contribution one can’t ignore is the outstanding music score by Sneha Khanwalkar. My first move after the movie got over was to put the album on my playlist.

At the end, Dibakar’s DETECTIVE BYOMKESH BAKSHY! is like a strong and effective opium intake once taken you will sure get addicted to it, sooner or later. Expect the unexpected while watching it but don’t forget, even Bakshy is a man with many drawbacks. Don’t expect him to beat goons single-handedly. Watch it for being one of the most magnificent looking films of simple nature and nostalgic feel. [4/5]           

FAST & FURIOUS 7 : Not a Fab-watch but a Fan-watch! [3/5]

There is hardly anything that has some sorts of ‘ground-connect’ in James Wan’s FAST & FURIOUS 7, neither cars nor the plot! Still, this time it ain’t just about being fast. Following the frenzy trends of the franchise; you don’t actually need to demand inventive ideas of thrilling action, high-octane sequences of car chase, thumping explosions that could wreck the whole city down including the most beautiful skyscrapers or even the glam-dolls clad in their barely-there shorts. It’s all there by design but what gives this ride an evocative momentum is the emotionally charged-up underlying melancholy coming from the fact that one of the members in the gang, Paul Walker is not there with us anymore. And James Wan brilliantly treats and tweaks it with the help of his brothers to make it a worth ‘bid adieu’ for the star; and for the fans too.  

Deckard Shaw [Jason Statham] enters as the big bad brother of Owen Shaw [of and from the sixth installment of the franchise] seeking vengeance from the gang responsible for putting his kid-brother on death-table. The gang is busy getting their lives on track when the terror knocks their doors. Before they could even smell it, Han is killed in Tokyo and Hobbs [Dwayne Johnson] is sent to ICU. Toretto [Vin Diesel] with Brian [Paul Walker], Letty [Michelle Rodriguez] and others has to join hands with Mr. Nobody [Kurt Russell] to take down this almost ‘impossible to track’ baddie. Their hope lies in a hacker named Ramsey [Nathalie Emmanuel] with a ‘track it all’ software. Now, fill this unhygienic and regular storyline with as much earth-shattering explosions as you could, head-on-head car collisions and hard-to-digest gravity-defying stunts [in one, Diesel slams his car into three high-rise buildings of Abu Dhabi, piercing one after the other and making it the most incredible stunt in the skies].

FAST & FURIOUS 7 stays true to its genre. Luring men with the glamorous speed-machines and sensational beauties in bikinis! The plentiful of thrillride scarcely gives you enough time to think over the logical explanation lacking largely in the plot. The villain here is often described as untraceable but then, he is there in every frame without actually having any cover to his existence. The gang can perform free fall car-stunts from any given altitude and can escape safely without having a noticeable scar. Meanwhile, the world’s most celebrated cities are being turned into trashbins after grave blasts and there is no sign of alarmed populace. Anyways, who would notice and why if the adrenaline rush required and promised is there intact?

Film surprisingly gets into emotional mode several times, breaking its successful modus operandi for past six offerings; mostly when Paul Walker gets himself into a death-defying stunt [The actor lost his life in a speeding car-accident similar to the movies in this franchise]. And then, this ‘one last ride’ ends in the highly touching sequence where Paul Walker’s character gets recreated with computer-graphics and his two of brothers of similar inherited looks. Beautifully conceived tribute to the star! Watch it for being exciting, exhilarating and emotionally more involved. If not a fab watch, it is sure a fan watch! [3/5]

P.S. : Indian actor Ali Fazal of 3 IDIOTS fame can also be seen in an evident cameo. It feels great to see him sharing screen space with Vin Diesel and Paul Walker.

HUNTERRR (A): Not all great foreplays ensure great climaxes! [2/5]

The stage/bed is set. Nicely decorated with all flowery elements, scented in the most arousing aroma and with dimly lit intense mood-making ambient! Charming players [more than you can imagine but essentially and effectively three in this case] have taken their pre-marked place. So far so good! You have all the control over the most before the drum rolls and the game begins; still no one can guarantee an orgasmic climax or even a smooth ride to make it a satisfying s-experience. First timer Harshvardhan Kulkarni’s ‘coming of age’ sex-comedy HUNTERRR is exactly like any love-making situation; you never know which side the camel will sit. Foreplay is just foreplay. It can’t replace the final act, no matter how skillfully it is being performed. Contrary to the myths, the extensive length doesn’t always ensure great pleasure. You may slower the pace, withdraw your force at regular intervals but the rhythm has to be there…and HUNTERRR lacks it. It is one of those failed sex-adventures where you were all set to lose yourself but it never happened the way you imagined.

Mandar Ponkshe [Gulshan Devaiah] has always been a sex-addict all his life. He’s been hunting ladies of all sorts since his young days. A college girl, an unhappy housewife in his building, a passionate sex-lover; the list is countless. But at 40, this is the age when he must get settled. His all ‘grown-up’ uncle-look is killing his charm. Tripti [Radhika Apte] - a modern girl who can unhesitatingly confess all her past affairs is his last bet to start a fresh. Can he put it on risk by telling her about his irrepressible compulsion to hit on any possible bait in saree, skirt or denims? Or will he be able to tame this wild animal in him for everyone’s good?

HUNTERRR promises not to be in the league of regular adult-comedies with lewd double-meaning dialogues and the objectification of women with their body parts shown on screen in the most abusive manner but at the same time, couldn’t hold itself from portraying its women characters as the dumbest class on earth. They can be easily fooled and brought to bed by any average looking-certainly ‘not so smart in his tricks’ guy. Why on earth there was not a single female who could bring him beneath her? Yet, some sequences sure work well with a catchy retro-feel soundtrack [Bappi Lahiri and Altaf Raja’s tracks are perfect to recreate the era] and an authentically designed middle-class settings playing the believable quotient in the final mixture. The young days in the plot are potent and fun. The characters are very much from the neighborhood.

Performances are a relief. They make you stay in the game though the ‘too much’ back and forth narrative style takes all the fun and excitement out of this cheesy looking film of great promises. Sai Tamhankar as the sensuously attractive housewife is perfectly cast. She is expressive, impressive and talented enough to pull it off like no one else could have. Radhika Apte is all about how confident, bold and clear Indian women are today. She brings an effortless and comforting performance yet a very radiant one. And then, the hunter himself! Gulshan’s charming looks and impenitently impish-scheming & teasing body language do it the way it should be. He may not be the typical hero with qualities to die for but sure there’s something in him inexplicable that makes you go with him all the way from start to end. He gives strong shoulders to rest this comparatively weaker film.

HUNTERRR also tries to speak for domestic sexual violence and new finds in modern age of marriages like compatibility and trust but it is all just some words at touch & go. Overall; it is not a sleazy but lazy, long but loose and ‘not so satisfying’ session. There’s always a next time and a more suitable position to try! [2/5]                 

NH10: Raw, real and ruthless! Anushka leads the way!! [4/5]

The female protagonist has been put in a situation where every door knocked for help is an added danger to her life; this is not some breaking news for a Bollywood thriller. We have witnessed our leading ladies running after one possible hand of help turning ugly to another many a times and even rising from dust to stand at her own (Rekha is my personal favorite in such given stricture] against all odds. But when Anushka Sharma, calm and cold as corpse, with an iron-rod in her hand sits and lights a cigarette while watching her challenger crawling with a broken leg, this easily becomes ‘my’ moment to cheer for the invincible human survival instinct and all the women empowerment slogans coined just for the sake of it. This is raw. This is real. This is never seen before.  

With a powerfully violent, gritty and dark NH10; Navdeep Singh of MANORAMA SIX FEET UNDER returns to his deep-rooted den of atmospheric crime thrillers where the landscape speaks the language of ruthless nature of criminal mind and the characters don’t even need dialogues to express their anger, anxiety and agitation. Meera [Anushka in a ‘would die for’ role] and Arjun [Perfectly cast Neil Bhoopalam] is your regular career-focused, party-loving couple from Gurgaon- the emerging city of hopes seen working on laptops at their side of the same bed. A perfect holiday at a private villa in the outskirts is planned. It’s Meera’s birthday. A day-long road-trip on highway has started. Beware; even a small brawl can land you in the most brutal nightmare of your life. This is no bright-lit Gurgaon. This is the dark lawless badland where ‘killings’ are an ‘honor’ to the power man upholds. Of course, there is no looking back!

The plot of NH10 is never unforeseen; in fact you can predict the twists and turns miles before reaching at the end of the road but the undertones used to shake your souls and shiver your guts are very much surprising. The headlines of honor-killings might have raised your eyebrows till the time it’s on your screen but this is like abducting you from your drawing room and throwing in the deserted land of crimes done in the name of cast, creed and culture. A sister is poisoned by her brother [Darshan Kumar from Mary Kom] for loving and marrying boy of same ‘Gothra’. One gentleman in uniform enlightens, “Social norms should not be broken. Never! Try to drive on the wrong side of the road and accidents will happen.” Heartbreaking! Nerve-wracking! And a threatening state of real India-rural India!!

NH10 marks the arrival of a new Anushka Sharma. The pouting glam-doll sheds her comfort cover and brilliantly plays the carter of the long and hard-pressed angst of Indian women. Every time she screams at her opponents, she doesn’t scream for herself but all the women been ever in such circumstances. She is the answer to every sexiest and stinking remark made ever on any women out there, and the most powerful and the most influential one. The top-slot in the list of year’s best performers has already been taken. Bravura performance!

In others, Neil Bhoopalam supports well. He boldly shifts from charming guy next flat in the apartment to the fearing-frightened soul shaken by the harsh reality and the evil face of society. Though Darshan Kumar doesn’t have much to do in length but still manages to chill your bones with sinful looks. Can’t miss out on Deepti Naval for her surprise cameo!

On the whole, NH10 is a ride to hell. A hell every one must visit, admit and act against it. It is sure not a film best described with words like ‘flawless’ and ‘extraordinary’ but these expressions will fit in well in admiring and approving Anushka’s performance. The last act alone is like a winning shot you would want to put on ‘repeat’! [4/5]