Member Reviews

Drawing inspiration from Dharma Productions’ own film Gumraah (1993), which was itself influenced by the miniseries Bangkok Hilton (1989), Jigra features Alia Bhatt in the lead role of a prison-break drama. The original source material was not particularly strong; in the earlier film, Sanjay Dutt portrayed a hero rescuing his beloved Sri Devi from a Hong Kong prison, whereas in this adaptation, the narrative shifts to a brother-sister dynamic where the sister must save her brother.

The year is 1997. The setting is Rishikesh. It’s a time just before mobile phones, when DVDs were still predominant. Writer-director Raaj Shaandilyaa’s film opens with a shoddily executed computer graphic of a train hurtling towards a forlorn man on the tracks. This is the eponymous Vicky, played by Rajkummar Rao. It’s much like Rao’s year which has been speeding along strongly, but will eventually have to come to a halt. Unfortunately, the Rao train has been derailed by this most unintelligible 152-minute-long romantic comedy that is built around a slim plot line.

The clock’s ticking for Satya (Alia Bhatt) in Vasan Bala’s Jigra. Her brother Ankur (Vedang Raina) is on death row in an island nation called Hanshi Dao (a fictitious version of Singapore), and she’s just gotten news that the date of his execution has been expedited for an attempted jailbreak. What was supposed to happen in a few weeks, will now happen in a few days. We see her face computing all possible ploys as fast as she can, and then deciding on a plan of action. It’s not going to be pretty, an accomplice warns, but she’s already made up her mind. The accomplice backs out, telling Satya that she’ll be on her own. “I never said I was a hero. I’ll understand if you don’t wish to join me,” she says, “but don’t get in my way.”

The best part of Black is how it reels you in right in the first ten minutes. The film starts in 1964. There is a couple eloping with the help of a friend (Vivek Prasanna). It is raining like crazy. Their journey is briefly interrupted by a vehicle in the ditch. This vehicle carries a marble statue of a guardian angel. There is thunder and lightning. Soon enough, this friend, who has sinister intentions, hears two gunshots. He rushes in to ask the couple what happened? Cut to black. Literally. The title credits pop up, and we are in 2024.

Three childhood friends and stay-at-home parents Avinash, Radhika and Suman come to terms with adulthood, marriage and parenting in a metropolis, dealing with one blow after the other. While Avinash is in no mood to return to work soon, Radhika is in two minds about taking up a job. Suman, content with motherhood, struggles to take a stance for herself.

Citadel, an independent spy agency, is wiped out by Manticore, a powerful syndicate that’s desperate to take charge of the world. Diana, an undercover Citadel agent, works as a mole in Manticore. She forges an unexpected rapport with Edo Zani (the heir of Manticore Italy), who is keen on taking the mantle from his father Ettore, grooming himself to be a capable leader.

Telugu cinema has consistently portrayed stories where protagonists embody middle-class values — from Needi Naadi Oke Katha and Middle Class Melodies to Middle Class Abbayi (MCA) and The Family Star. Interestingly, Dil Raju, the producer behind two of these films, also backs Janaka Aithe Ganaka this week. The Sandeep Reddy Bandla directorial, starring Suhas, aims to acknowledge and appreciate the bread-winners of middle-class households, in the guise of a courtroom drama.