Member Reviews

One of the chief things that emerges from this four-part mini-series on the Roshans, is that, despite being part of so many memorable films via music, direction, production and performance, their contribution to Hindi cinema was not celebrated enough. Part of the pleasure of watching this kind of show is the straight-up access: apart from the Roshans themselves — Rajesh, Rakesh, Hrithik and close family — everyone from Shatrughan Sinha, Shah Rukh Khan, Sanjay Leela Bhansali, Karan Johar, the Akhtars, Javed, Farhan and Zoya, Abhishek Bachchan, singers Asha Bhosle, Suman Kalyanpuri, Sudha Malhotra, Usha Mangeshkar, Kumar Sanu, Sonu Nigam, and several others are all here, speaking about their relationship, professional and personal, with the Roshans.

Reunions are always bittersweet. And then there is Sudip Sharma’s idea of a reunion. In the new season of Paatal Lok, Hathi Ram Chaudhary (Jaideep Ahlawat) first catches sight of his old pal Ansari (Ishwak Singh) at a morgue. Ansari was once his junior at their inconsequential Outer Jamna Paar police station. Now, though, as a hotshot IPS officer working the big cases, he commands respect. Hathi Ram stands off and stares, resisting contact. A team-up is imminent, but the morbidity of the setting makes it poignant. The Hathi Ram-Ansari friendship is our anchor in Season 2. Created by Sudip Sharma, the first season of Prime Video’s crime series was a pandemic hit—a grim, coruscating procedural, kaleidoscopic in its scale and scope, picking up hot-button topics like caste violence and Islamophobia. The second season is subtler and less combative, subduing commentary in favour of human relations. At times, it becomes a touching meditation on male bonds. When Hathi Ram’s name comes up during a briefing, Ansari corrects his higher-up that he is not an ‘SHO’, just an ordinary inspector. He isn’t being cruel or conceited, just realistic about their differing vantage points.

A Real Pain, starring Eisenberg and Kieran Culkin as cousins, is exactly the kind of film you imagine if Eisenberg and Culkin played cousins. It’s funny, awkward, edgy, poignant, light, chatty, alert, minor-key and Sundancey (an adjective for the brand of tragicomic American quirk that the snowy festival loves to showcase). There are echoes of the uptight mom and no-filter teen from the actor’s directorial debut, When You Finish Saving The World, in the uptight David (Eisenberg) and the free-spirited-but-troubled Benji (Culkin). Family man David and drifter Benji head to Poland to process their Jewish heritage through a guided Holocaust tour and, more importantly, visit their late camp-survivor grandmother’s childhood home. As in most movies, it’s the interiority of the oddball journey that matters.

In Emergency, Kangana Ranaut plays Indira Gandhi who plays Kangana Ranaut. Let me explain. Ranaut performs as the former Prime Minister of India when the politician is flawed, cruel, paranoid, a nepotism hire, power-hungry, guilty, and the mother of Sanjay Gandhi. Her voice becomes high-pitched, uneven and shaky in these parts. But Indira Gandhi seems to perform as Ranaut when the woman is defiant, patriotic, headstrong, resilient, reverential towards the opposition (Janata Party leaders Jayaprakash Narayan and Atal Bihari Vajpayee), and the mother of the nation. Her voice becomes firm, furious and confident in these parts.

A beloved political leader from Nagaland is found brutally murdered in Delhi. The timing is dubious. It’s on the eve of a landmark business summit between the ‘mainland’ and the ‘margins’: The central government is primed to invest thousands of crores into the development and tourism sector of Nagaland. Protests break out in Kohima; conflicts erupt between the slain man’s loyalists and the rebel factions against this soul-selling deal. The case is given to ACP Imran Ansari (Ishwak Singh), fresh from topping his IPS batch. The optics are irresistible: A Muslim officer must lead an investigation into the killing of an unprotected guest — an Indian outsider — in the capital. If things go wrong, Ansari is a readymade scapegoat. Meanwhile, jaded protagonist and Ansari’s ex-boss Hathi Ram Chaudhary (Jaideep Ahlawat) continues to bat in the minor league. He flirts with the idea of quitting, but an inconspicuous case of a missing husband puts him on a collision course with the high-profile investigation. Most officers are expected to do their job, but Hathi Ram is destined to do his duty.

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.

जेल एक ऐसी जगह है, जिससे हर कोई दूर ही रहना चाहेगा। यही वजह है कि जेल की भीतर की दुनिया के बारे में लोगों को कम ही जानकारी रहती है। हां, कई फिल्मों में जेल में होने वाली दबंगई, खराब खाना, बारिश में सोने की भी जगह ना मिलने जैसी चीजें जरूर देखने को मिली है, लेकिन विक्रमादित्य मोटवाने की नई वेब सीरीज ब्लैक वारंट जेल की दुनिया की स्याह सचाई को इतनी गहराई से दिखाती है कि आप इसमें खोते जाते हैं। एशिया की सबसे बड़ी तिहाड़ के जेलर सुनील कुमार गुप्ता और पत्रकार सुनेत्र चौधरी की इसी शीर्षक से लिखी किताब पर आधारित यह सीरीज जेल के भीतर होने वाले भ्रष्टाचार, जेलर-कैदी के रिश्तों, उनकी जिंदगी के साथ-साथ अस्सी के दशक में फांसी पर चढ़े चर्चित कैदियों की कहानी भी दिखाती है।

बॉलीवुड में इंसान और जानवरों के प्यार, दोस्ती और वफादारी पर ‘हाथी मेरे साथी’ और ‘तेरी मेहरबानियां’ जैसी यादगार फिल्में बनी हैं। हालांकि, वक्त के साथ इन बेजुबानों के साथ इंसानी रिश्तों की कहानियां कम होती गईं, पर अब डायरेक्टर अभिषेक कपूर इस कड़ी को आगे बढ़ाते हुए फिल्म ‘आजाद’ लेकर आए हैं, जिसका केंद्र एक घोड़ा है। अपनी फिल्मों से फरहान अख्तर, सुशांत सिंह राजपूत और सारा अली खान को बॉलीवुड में लॉन्च करने वाले अभिषेक कपूर इस फिल्म से भी दो नए चेहरों, अजय देवगन के भांजे अमन देवगन और रवीना टंडन की बेटी राशा थडानी को पर्दे पर उतार रहे हैं। फिल्म में इन दोनों नए एक्टर्स, खासकर अमन ने आत्मविश्वास भरी अदाकारी से खुद को लंबी रेस का घोड़ा साबित करने की बढ़िया कोशिश की है।

Fateh marked Sonu Sood’s directional debut as well as his first all-out lead action role. The film attempts to talk about social issues as well as presents a hero with a bad boy image but has good intentions. With easy and comic dialogues the film does have much to offer to easy-going audience and can be relatable despite the action-heavy extravagant plot. Sonu Sood also gets a chance to show off his charm but his stoic demeanour works for him more. The film kicks off with an action packed scene where Sood walks into a room full of gangsters working for the cyber mafia and takes them down effortlessly. Though the scene is long it does brings one of the best action sequences in the film. Sood looks effortless during the action sequences even when the camera is slow to track the movements. The plot however takes a flashback as Sood is taken down recalling his life and his mission.

The Kangana Ranaut directorial is a fictional account of Indira Gandhi’s personal life experiences as a daughter, wife, politician and a woman of the nation. Led by Kangana in the leading role, the film does take creative liberties but impresses with writing that provides full-circle moments and character-focused direction. It is important to emphasise that the film is not a biopic or documentation of the real political personality but fiction an account of her life. The makers before the film began emphasized the film is based on two books. Emergency begins with Indira’s childhood and how she was inspired by her grandfather’s vision and understanding of Indraprastha, a play in ancient Indian history and its equivalent Delhi in today’s time where a constant struggle remains for power. Since childhood Indira focuses on winning the big battles and the same remains throughout her political career. The film also gives glimpses of her personal life her little interactions with her husband and her children through flashbacks and presently as her career progressed. The first half feels rushed as the story progresses through her political career with only a few incidents in the foreground. From the death of her father, her feeling betrayed by him to taking control of the party.