For the uninitiated, the glory of the Maratha kingdom ends with the great warrior Chhatrapati Shivaji Maharaj. That his son, Chhatrapati Sambhaji Maharaj, was an equally valiant, fearless and fierce ruler is a fact we are not fully privy to. Thus, on this count alone, ‘Chhaava’, which chronicles the life and death of Sambhaji, is worthy of celluloid attention. After a brief historical introduction in the voice of Ajay Devgn, the film comes straight to the point. Mughal emperor Aurangzeb and his courtiers are celebrating the death of Shivaji. The Maratha kingdom is now well within their grasp. Only they have not factored in the might of Shivaji’s son. Vicky Kaushal as Sambhaji soon appears with his army and his valour is on full display as he vanquishes his enemy in Burhanpur, a domain of Aurangzeb. Clearly, the emperor is enraged and vows to wear his crown only when he hears Sambhaji scream in pain. Can the Marathas defeat the might of the Mughal army? We all know the answer to this question. The point now is how well the director, Laxman Utekar, can take us through it. Until the intermission, the narrative moves at a fast pace. The period setting is right, with grandeur befitting the 17th century in which it is set. Sambhaji is not all brawn, but heart too. Other characters include a maternal uncle, Sarsenapati Hambirao (Ashutosh Rana), a loving and fawning wife Maharani Yesubai (Rashmika Mandanna), and a Rajput braveheart who is a poet too (Vineet Kumar Singh). But the problem is that whenever a Bollywood film is in service of one character, historical or otherwise, it goes overboard in eulogising its hero. Even if well deserved as in the case of Sambhaji, it keeps drumming the fact time and again. The net result is that not only are the other characters sidelined, the hero even when played by an actor of immense calibre like Vicky Kaushal does not get time to truly breathe. One of the early dialogues is, “Hum shikaar karte hain shor nahin”. Yet, the film is loud, with a louder background score (imagine, by none other than AR Rahman).

‘The child is father of the man…’ Whatever William Wordsworth may have meant by that poetic expression, sons and fathers are as inextricably linked as a mother’s umbilical connection binds her to her children. Yet, fathers and sons are always on a tricky terrain, invariably perched on delicate ground, rarely common. “Is he an adult or a child?” — the question pops up from a perplexed son finding it difficult to get a grasp of his father’s whimsical ways. “He is your father, you are the child,” comes the honest reply from his girlfriend. Boman Irani, who has proved his mettle as an actor more than once, now comes with his directorial debut, ‘The Mehta Boys’, where he brings out the tensions immanent in a father-son relationship in the same nuanced manner which has marked his acting. After winning the Best Feature Film award at the Chicago South Asian Film Festival, the film is currently streaming on Prime Video, and is as much about the father-son conflict as it is about love and affection.

Paradise… is that even a place in this world? As the series by the same name takes you into its labyrinths, you actually realise it isn’t the same earth we are living in right now. Yet, it opens like a regular murder mystery. US President Cal Bradford (James Marsden) has been brutally killed in his own house. Like us, you could end up wondering; why isn’t he living in the White House? Well, well, the mystery begins to deepen at many levels. As Special Agent Xavier Collins discovers his body in the sprawling mansion, things begin to unpeel like layers of onion.

When the lead hero, Shahid Kapoor, talks of the relevance of ‘Deewar’, should we pay attention to the subtext? Indeed, ‘Deva’, like many of Amitabh Bachchan’s films as the angry young man, is about a man seething and bristling from within. His fractured relationship with his father (not seen in the film though) too is an important leitmotif. Clearly, the ‘Deewar’ connect is not restricted to Bachchan’s huge cutout alone. But before we touch base with Deva’s vulnerabilities, Shahid Kapoor in the titular part emerges as a heroic figure. He bashes before he speaks, smokes like a chimney, drinks while on duty; in short, he is the quintessential bad good guy. The Kabir Singh syndrome manifests and persists in this police avatar.

Think music composers of yesteryear and chances are that the name Roshan wouldn’t figure on the top of your mind. For the present generation and even a generation before that, the surname Roshan is but obviously a byword for superstar Hrithik Roshan and, at best, his father-filmmaker Rakesh Roshan. But, as the Netflix documentary ‘The Roshans’ delves into the lives of four men of the Roshan family, all of them of exceptional talent, you learn more than a thing or two about who the original Roshan was. The first episode dedicated to the family patriarch, the late Roshan Lal Nagrath, is a revelation. Not because it unfurls any hidden family secrets, but reminds you how those lilting melodies — ‘Mann re tu kahe na dheer dhare’, ‘Rahein na rahein hum, mehka karenge’, ‘Yeh ishq ishq hai’, ‘Zindagi bhar nahi bhoolegi woh barsaat ki raat’ — you have often hummed came from his musical prowess. There are so many OMG moments. ‘Nigahein milane ko jee chahta hai’, ‘Dil jo na keh saka’… — he composed these, too! The list is endless. As we get over the overwhelming feeling of admiration, also stemming out of our ignorance of not knowing enough about his music, the very first episode turns out to be extremely satisfying.

A film releasing close to Republic Day and starring the new-age Bharat Kumar, the poster boy of patriotism Akshay Kumar, and you enter the cinema halls with a bit of dread. But you are pleasantly surprised both by the storyline and the fact that though the film harks back to the 1965 Indo-Pak war, there is no overt Pakistan-bashing or screechy jingoism. ‘Sky Force’, based on true events — actually the Indian Air Force’s retaliatory attack on Pakistan’s Sargodha airfield — tells the story simply, without too many theatrical excesses. Prior to the release, it has been drawing comparisons with last year’s Republic Day release, ‘Fighter’. However, except for some finely executed aerial action set pieces and dogfights, there isn’t much to compare, both in good and bad ways.

If ‘Paatal Lok’ has been one of your favourite series and you have been all agog waiting for its second season, which has dropped after a long wait of five years, first and foremost, drop the comparison meter. For, the new season is a beast of its own kind, stands firm on its feet and lands with impact and force. Indeed, both Jaideep Ahlawat and Ishwak Singh reprise their parts of Hathi Ram Chaudhary and Imran Ansari. As do a few other actors. It’s still the same murky world of crime and police. Only, showrunner and writer Sudip Sharma charts the not oft-explored territory and takes us to Nagaland without fetishising the beauty of the state. Or its people, who like any other in the country run the gamut of good, bad and ugly and have their own set of compulsions: ‘you kill only when you have no other choice’. And, once again, the heady cocktail of crime, politics, wry humour, action and drama makes for compelling viewing.

Jails are a world of their own making and ‘a law unto themselves’. Time and again, we have been reminded that prisons not only house hardened criminals, but are hubs of crime too. We have often seen the murky life inside prisons through the eyes of the prisoners. But a jailer’s unflinching point of view, listing systemic lapses, is not an everyday insight. Trust filmmaker Vikramaditya Motwane to not only tread a new path each time, but also come out trumps. After wowing us with his period series ‘Jubilee’, now in association with Applause Entertainment and co-creator Satyanshu Singh, he turns his attention to Tihar jail. It’s certainly not a happy place, neither for the inmates, nor for those who try to run it. Since the source material is the book ‘Black Warrant: Confessions of a Tihar Jailer’, written by Sunetra Choudhury and the former superintendent of Tihar Jail Sunil Gupta, for most parts the intense narrative rings true.

Her father died nearly 11 years ago. About the same time, her fiance disappeared from her life and it seems from the face of the earth. And she is no ordinary woman but the dogged Detective Inspector Kat Donovan. Could the plot get thicker? Yes it does, often too thick. Indeed, the story unfolds with much intrigue if not cutting-edge tension. Kat, played by Rosalind Eleazar, is in charge of tracing missing persons. Why she has not cared to find out where her boyfriend vanished is as baffling as his sudden popping up on a dating site. Instead, she seeks the help of her friend, private investigator Stacey Embalo (Jessica Plummer), to track him down, actually do half her jobs, including finding her way into a prison hospital. Stacey’s job otherwise is to nail cheating husbands and wives. Amidst fishing in the woes of failing marriages, she plays agony aunt to Kat and directs her to a dating app.

‘Baby John’ has all the trappings of a mass entertainer, having been produced by Atlee, the record-maker ‘Jawan’ director whose remake of Tamil film ‘Their’ it is. Headlined by a fairly bankable star, Varun Dhawan, who can certainly act, he does try to energise the proceedings. South Indian sensation Keerthy Suresh is making her Bollywood debut and yesterday’s ‘Hero’ Jackie Shroff plays the vilest of vile badman. On the side is the beautiful and talented Wamiqa Gabbi.