Member Reviews

आम सी कहावत है कि मां-बाप बनने के बाद आपकी अपनी जिंदगी, अपनी खुशी बेमाने हो जाती है। तब बच्चा, उसकी जरूरतें, उसकी खुशियां ही सबसे ऊपर होती हैं। काफी हद तक होता भी ऐसा ही है, पर पैरंटिंग के नए मायने समझाने वाली वेब सीरीज रात जवान है आपसे कहती है कि नहीं बॉस, एक अच्छा पैरंट बनने के लिए अपनी खुशियों की कुर्बानी देना जरूरी नहीं है। थोड़ी मशक्कत जरूर करनी पड़ेगी, मगर आप अपने करियर, खुशियों, बच्चों सबको साथ लेकर भी चल सकते हैं। खास बात यह है कि ख्याति आनंद पुथरन की लिखी और सुमित व्यास (परमानेंट रूममेट्स, ट्रिपलिंग) निर्देशित यह प्यारी सी फील गुड कहानी ये बड़ी-बड़ी बातें बिना किसी लेक्चरबाजी के मजे-मजे में कह जाती है।

In Bella Chowdhary’s world, there’s no such thing as too many bags and in a world of fakes, she is on a path to become a Birkin. But it’s a path that she hasn’t chosen for herself, rather, a tragedy has led her there.

In Taaza Khabar Season 2, there’s little that’s taaza (fresh). There’s ambition, but not enough drive. There are those next big things, but not the smoothest ways forward. A show, often oscillating between past, present and future, lacks the ‘vardaan’ (blessing) of staying afloat - something that, both the series and Bhuvan Bam’s character Vasant Gawde desperately need.

Will the real ‘Jigra’ please stand up? In Vasant Bala’s film, Vedang Raina might be portraying the titular character, but it’s Alia Bhatt, who is the heart and soul of the film. Turns out she is a shield not just for her brother, but also for the movie, even as the revenge thriller rests too heavily on Bhatt.

Agneepath plays on the aircraft entertainment system, that telling scene of a young Vijay Dinanath Chauhan burning down a petrol pump being a visual allegory of a similar incident perpetrated by the protagonist in Jigra a few moments ago. This is just one instance. Throughout the runtime of Jigra, Amitabh Bachchan pops up as idea and inspiration, set-up and syntax. When Satya (Alia Bhatt), caught in a situation which may end in violence, is gently warned: “Abhi Bachchan nahin bann na hain… sirf bachke nikalna hain”, she rolls up her sleeves and says matter-of-factly: “Ab toh Bachchan hi bann na hain”.

Angry Young Men, a three-part series directed by Namrata Rao, is crafted like the many Bollywood blockbusters that its protagonists — Salim Khan and Javed Akhtar — wrote together. Starring their wives, children, colleagues, friends and fans, the series is devoted to not just telling the story of a very successful and almost epochal collaboration, but also to cast them as the best writers Indian cinema has ever had.

Since the arrival of OTT platforms and binge-watching, Indian series have shown a marked improvement in craft and skill at telling fictional stories. But when it comes to mounting real-life stories for OTT, most have floundered, sometimes because they follow Netflix’s formulaic template, and sometimes because of who is telling the story. Delhi Crime, for example, the riveting show on the Nirbhaya rape case, was made with the help of Delhi’s former commissioner of police, Neeraj Kumar, and it naturally made heroes out of cops when it should have interrogated them.

he first few events in Ullozhukku (Under Current), directed by Christo Tomy, happen in quick succession. Life falls through Anju’s (Parvathy) fingers before she can chart a plan. From a wide-eyed sales girl at a textile shop furtively smiling at her lover, she transforms into a bride posing for awkward post-wedding pictures on a backwater boat, her eyes heavy from what was likely a teary night. The film then moves to the old, spacious house of her husband, Thomas Kutty (Prasanth Murali), and his doting mother, Leelamma (Urvashi), in Kuttanad, where time, like a boat engine whirring to a halt at the dock, comes to a pressing stillness.