Member Reviews

“You don’t know what you’re getting into,” warn half-a-dozen faces – an assortment of builders, cops, politicians, media colleagues. Similarly, be warned, you don’t know what you’re getting into, if you switch on writer-director Kanu Behl’s ‘thriller’. Loosely patterned on the daylight murder of real-life investigative reporter J Dey of Mid-day in 2011, Behl and co-writer Ishani Banerjee manage so much incoherence that the only takeaway is of a man flawed by contrasts.

In our autograph books way back in school, a favourite verse was, “East is East, West is West. When they meet, it’s the best.” Bandish Bandits makes the same point, embellishing it with blended, mood-elevating music. There’s usually an ambience-fatigue when a fresh premise goes into a second season and struggles to say something new. Kota Factory, Mirzapur, Undekhi and Aarya are prime examples of ambience-fatigue.

The second season of the Prime Video series Bandish Bandits opens in Jodhpur, three months after Radhe (Ritwik Bhowmik) has been crowned Sangeet Samrat. In the previous season, battle lines were drawn between rival gharanas represented by Radhe and his grandfather Radhemohan (Naseeruddin Shah) on the one side and Radhemohan’s estranged son Digvijay (Atul Kulkarni) on the other. With the passing of the patriarch, the responsibility for the Rathod gharana rests on Radhe’s shoulders. Radhe is also contending with new and confusing feelings after Tammana (Shreya Chaudhry) walks away from their fusion band Bandish Bandits, and her relationship with him, to find her own voice.

अक्टूबर, 2023 में आई और बेहद सराही गई विधु विनोद चोपड़ा की विक्रांत मैस्सी वाली फिल्म ‘12वीं फेल’ को देख चुके दर्शकों को अगर यह बताया जाए कि यह फिल्म तो कभी बननी ही नहीं थी तो उन्हें कैसा लगेगा? आप को यह जान कर भी हैरानी हो सकती है कि इस फिल्म को इंडस्ट्री के पांच बड़े निर्देशकों ने यह कह कर ठुकरा दिया था कि भला यह भी कोई कहानी है, इसे कौन देखने आएगा? लेकिन यह फिल्म बनी और ऐसी बनी कि जिसने भी इसे देखा, इसकी तारीफ किए बिना न रह सका। इसी ‘12वीं फेल’ के न बन पाने और आखिर बन जाने के संघर्ष की कहानी दिखाती है ‘ज़ीरो से रीस्टार्ट’-कुछ इस अंदाज़ में कि आप फिर से प्रेरित होते हैं और आपका मन इसकी और विधु विनोद चोपड़ा की पूरी टीम की तारीफ किए बिना नहीं रह पाता।

The first season of ‘Yeh Kaali Kaali Aankhein’ became an addictive watch in the way it bent one of the oldest genres in the book: being an obsessive lover is not just a male prerogative; women can do it just as well, if not better. It made up for all its nods to hoary Hindi movie heavies who lived in palaces overrun by armed goons, governed by old-style off-with-their-heads villainy.

Hindi movies have played with fire several times before. Those with long memories will remember such films as the 1980 adventure ‘The Burning Train’, which may have picked up inspiration from an earlier Hollywood blockbuster ‘The Towering Inferno’, but those who fight the flames at the risk of their own lives, have never been in the limelight.

The face-off between tradition and modernity, past and present, the strict rules of gharana-and-parampara vs doing-your-own-thing, which were the key notes of the first season of ‘Bandish Bandits’, are back again in the second. As are many of the actors, reprising their roles, along with new faces, as the story takes off from where it left off, back in 2020.

Crime reporter Joy Bag (Manoj Bajpayee) is not the kind of journalist we see too often in Hindi movies. His favourite accompaniment is his rucksack, as he goes about criss-crossing the city on his bike, in search of the latest story. He’s been doing this for a while, because he talks to his seniors like an equal, but at heart he will always remain a scrappy newshound who likes nothing better than chatting up shadowy contacts over cups of cheap cutting chai, which he prefers to the pizza his wife serves at unwelcome parties at home.

Two early scenes in Despatch provide a foretaste of the complexities that are about to assail the life of crime reporter Joy Bag (Manoj Bajpayee). In the first, he returns home from a long day at work to find wife Shweta (Shahana Goswami) merrily partying with friends. One of the guests, drunk to the gills, tries to forcibly feed him a pizza. Joy snaps and storms out of the house.

You know, it sometimes feels like films don’t quite appreciate the promise of their premise as much as we do. Miss You, for instance, teases a fascinating idea: a man forgets a significant period of his life after an accident—how does this affect his love life? It’s not exactly a groundbreaking premise; memory loss is a well-worn trope. But within this framework lie rich possibilities: repercussions on relationship dynamics, explorations of vulnerability, and the bittersweet beauty of rediscovery. We see this potential, but the frustration is in the film’s failure to do so.