KJ & His Movies: Enigma and Indulgence

Sitting in Port Blair, there are not many avenues for entertainment except nature.  You do not have swanky malls nor snazzy fast food joints. When you are bored of the beach, the option to fall back on is either head for a movie (at one of the two multiplexes with smalls screens) or for a drink at a watering hole nearby.  I did both over the weekend - watched Rocky Aur Rani Ki Prem Kahaani and headed for a drink at the very affordable and awesome Drifters Lounge.

When it comes to Karan Johar's movies, there are no half measures.  Everything is mounted on a huge canvas.  The rich are screamingly rich, and the educated are snobbishly so.  It applies to his latest offering too.  There is nothing subtle in the movie, 'Rocky aur Rani...', except for the pastel shades of Alia's sarees.  The dominant colour of the movie is red.  Everything is verbalised, either as a dialogue (sometimes even garrulous), or as a song (sometimes they add to the narrative, and at others, they stall the movie).  But, you cannot but enjoy almost every bit of the movie.  I was taken by surprise for its cinematic force.

The movie doesn't take time to bring the hero and heroine together, but what grabs eyeballs is the senior romance - between Dharmendra (as Rocky's grand pa) and Shabana (Alia's grand ma).  There is a further interesting twist too - they both are married to others (while Shabana's widowed, Dharmendra is still wedded to the shrewd businesswoman, Jaya Bachhan, but left without memory after an accidental fall in his youth).  Bringing these two together, as a last resort to restore the memory of his grandfather, gabru Rocky falls for the fiesty Rani.  A loud, moneyed, Rocky and his Punjabi family stand for everything garrulous, garish, and grand.  Alia and her Bengali family is the definition of passive aggression.  Rocky is hardly educated, while Alia is an anchor at a news channel.  

How Rocky and Rani then convince their families to agree to their match forms the rest of the story.  There is nothing new in the story.  It ticks off every box in predictability list.  Introduction of the hero/heroine and setting up their characters.  Rich have no class.  The classy ones are snooty bitches. Every trope is thrown in and some more.  Women not having a voice in affluent household.  A hat-tip to Yash Chopra too through a song in snow - with Alia in (what else but) sheer chiffons.  But the movie doesn't stand out and become watchable for these elements, but for the surprises it introduces even amidst them.  

The movie brings up multiple relevant issues - women and their agency, gender roles, patriarchy, and feminism.  Not as words or concepts, but through characters, situations, and consequences.  Rocky and Rani confront their own inner prejudices before the eventual reunion.  Along the way, Rocky's sister - overweight and rejected by umpteen arranged matches - finds her groove, and stands up for herself in front of her father and granny.  Rocky's mother too discovers there is more to a woman than a good marriage and loyalty towards family.  Similarly, Rani learns love doesn't always happen between two similar people - education or lack of it is no barrier. Ranveer doesn't blanch when Alia says she has had boyfriends before.  Rani's father's choice of profession - a dancer (and hence effeminate/non-masculine -finds respect among those who sneer at first.  Rani's mother learns that snobbery is not class. Ranveer doesn't blanch when Alia says she has had boyfriends before. All these happen over extremely well-executed set-pieces.  The best sequence award goes to the 'Dola Re' reimagined with Ranveer and Tota Roy Chowdhury (playing Alia's father).  It was evident when the entire audience burst into spontaneous clapping at the end of it (a huge surprise it happened in a small town like Port Blair).

Karan has returned to direction after a long hiatus (his last movie, Ae Dil Hai Mushkil, released in 2016; though it was a success, it appeared he was out of depth).  And, the rich, Punjabi setting is his forte, a firm wicket which he doesn't fail to take advantage of, and hits it out of the park.  

KJ has been a less-celebrated pioneer of sorts in India cinema, possibly because every movie of his is a mass entertainer, and not art-house certified.  He broke the taboo and brought homosexuality to the mainstream movies as a producer, first as gags and jokes involving Saif and Shah Rukh in 'Kal Ho Na Ho', and a faux-gay romance in 'Dostana'.  Same-sex love entered common drawing room conversations from here - a feat many may refuse to acknowledge.  He followed up by directing a hard-hitting short in 'Bombay Talkies', and then with an extremely heart-felt 'Kapoor and Sons' by Shakun Batra.  

The messages on patriarchy, gender, and women's agency may not resonate with the purists (of either cinema or concepts), but I am certain this is a great beginning where a common person gets to understand a different point of view, and without resistance.  Everytime the concepts of patriarchy or feminism are uttered, it somehow brings out the worst among cis-gendered men (and conformists).  This movie steers clear of it and yet brings out their effects so well.  Of course the entire movie is implausible - but there also lies its ability to make people relate to it.  In a very entertaining way. It never gets too real to unsettle the viewer.  

There sure are drawbacks in the movie.  It's overlong - they could have cut the length by at least 15 minutes (just eliminate those songs, dammit).  Jaya Bachhan's performance is one-note, very caricature-ish, and possibly her worst-ever.  Alia has done these acting chops before and does not bring anything new to her role. Her dance moves need a lot of improvement too.  Music by Pritam is pedestrian.  These though are minor hiccups when compared to the movie's entertainment quotient, extremely an competent Ranveer, and other supporting cast led by a very graceful Tota Roy Chowdhury.  The scene-stealers though are the vintage Dharam and Shabana.  Every time they appear on screen, they consume everyone around them.  Add to this, the excellent use of old melodies, especially the ever-hummable beauty, 'Abhi Na Jaao Chhodkar' by Jaidev.  

I was hesitant to watch this movie.  Not a crazy fan of KJ's style of movie-making (hated his Kuchh Kuchh Hota Hai), nor a fan of Ranveer.  But, they trumped the naysayer in me with this offering.  I totally recommend watching it; it is sheer joie de vivre.  

The Fifth Note

I am a big fan of movies - and movie music.  I live on humming melodies from the 70s and 80s from Kannada, Telugu, and Hindi (and also some Tamil and Malayalam songs that I have learnt).  Many times I am tempted to write about movies and music on to my blog, but hold myself back thinking that if I start on that, most posts of mine would be on those lines alone.  But, then you can't resist forever.  So, here comes one on my favourite theme.  

One morning, a couple of weeks back, I stepped into the terrace with my cup of tea, humming the peppy number, 'Ek Main Aur Ek Tu..'.  Don't ask me, 'Who sings this number first thing in the morning?' I generally wake up with some song on my lips.  Sometimes (or many times), I even happen to be singing in my dreams, or even all through my sleep duration. a few days ago, I even woke up from sleep because the same song was playing in my head all through.  As I was humming, I was checking out news on the internet.  I discovered that it was RD Burman's birthday.  'What a coincidence!', I thought to myself, to wake up with his song on his birthday.  

I have for long been wanting to pen my thoughts about RD Burman - or Pancham Da as he was popularly known - for a long time.  Since that day, the desire increased exponentially.  I thought about the songs I love the most, many of the anecdotes I have read and heard about RD, how his musical influences on others, and so on.  But, writing about him wasn't easy.  Possibly, a million others have already written enough, and I wasn't going to add anything new to it.  So, I will primarily stick to writing why RDB is important to me.

RDB was instrumental in me developing interest in listening to Hindi film music.  As a young kid in a small town in Karnataka with no knowledge of any language beyond Kannada, I heard this song, 'Tere Bina Zindagi Si Koi' and it stayed in my head - not the lines but just the word, 'Shikua'.  I, as someone who was about 7 that time, imagined it to be some person's name.  It is another matter that it took me more than two decades from then to know what the word meant (and it wasn't the name of a person).  Cut to late 1990s, and I had cracked the Civil Services and found myself in Faridabad for training amidst a predominantly North Indian trainee officers.  When I reported there, I possibly could cobble up a few sentences in Hindi to survive - ask for food, get a transport from Place A to Place B, and nothing more. But then, I learnt Hindi pretty quick (patting my own back of course) and was able to hold some conversation in that language soon enough.  What helped me in this journey was watching Hindi movies and listening to Hindi film music (and I was also introduced to the world of Ghazals then).  Pancham da played a significant role here too.  I was asked by aficionados among friends to listen to the music of 'Ijaazat' (meaning 'permission'; I didn't know it back then).  I heard and appreciated the tunes, but the lyrics (by Gulzar) were another matter.  The song 'Katra Katra' was interpreted by the new learner (me) as, 'Life is full of dangers (katra) when you have two sisters (behne do)'!! I must admit I have come a long way from then.  Learning what Gulzar wrote for those songs composed by RDB has only made my Hindi strong.  

RDB's songs have been the most remixed, re-sung, re-used, re-hashed and so on.  Who doesn't remember 'Bangle Ke Peechhe', featuring Shefali Jariwala, or 'Chhadti Jawani Meri Chaal Mastaani', featuring Negar Khan.  These songs, both composed by RDB, resulted in a spate of new music videos featuring old Hindi hits.  That's how I was introduced to his peppy music, and became his fan. Everyone - even the younger generations - has hummed 'Chura Liya Hai Tumne Jo Dil Ko'.  We all have lost count how many times the song has been remixed (including one version by Asha herself).  There are many new music directors who have admitted to being influenced by him. Jatin-Lalit, and Vishal-Shekhar, to name a few.  

All that and more can wait, as I am just here to enlist his most liked numbers from among the songs I have heard over the years.  I must confess that I haven't heard the music of all those 300 plus movies he composed for.  Nor do I make a claim that this list is the most definitive.  It is just what I have loved.  I possibly might also write why these numbers as I go on to enlist them.  The list largely is random but for the No.1 ranking song.  

1.  Dum Maro Dum (Hare Rama Hare Krishna), Asha Bhonsle

Ever since movies and music evolved, rarely has a number captured the emotions and angst of an entire generation like this song.  And, to this day it stays as catchy, hummable, and relevant.  It is said that Dev Anand chose to use a truncated version of the song in the movie because he felt the song else would overpower the entire movie. Everything about this song - the guitar chords, the lyrics, and the singing - blend perfectly.  Asha has never sung with such gay abandon ever. With this a new star was born - Zeenat Aman!  I am not a fan of the other enduring song from the film though, 'Phoolon Ka Taaron Ka'; I cringe when I hear this.  

2.  Tere Bina Zindagi Se Koi (Aandhi), Lata Mangeshkar & Kishore Kumar

Arguably, 'Is Mode Se Jaate Hain' is a better song - optimistic, and uplifting, and based on a raag; even the interludes are better.  And, the singers are the same too.  But, because 'Tere Bina..' was the first song I ever was drawn to (without even knowing it's a sad song) it wins over the other number.  Also, pathos has a stronger hold over a man.  Possibly the rumour that the movie was based on Mrs Indira Gandhi, the then PM, resulted in the movie not winning a National Award for music.

3.  Raina Beeti Jaaye (Amar Prem), Lata Mangeshkar

Every song of the movie, 'Amar Prem' is a gem.  To choose one (I am limiting my selection to one song from a movie) was made difficult because  I love every song from this movie.  'Chingari Koi Bhadke', and 'Kuchh To Log Kahenge', are equally alluring.  And, same applies to 'Bada Natkhat Hai Yeh'.  SD Burman possitlby sang his best.  However, Lata's rendition of the chosen tune made all the difference. It is another matter that I do not particularly like the film that focuses on deifying an all-suffering woman (a masochist's wet-dream), and it certainly has not aged well.  

4.  O Mere Dil Ke Chain (Mere Jeevan Saathi), Kishore Kumar

This song is an earworm.  Once you hear, it never leaves you.  You keep humming and humming again.  It is the kind of song that bothers you in the sleep too.  There is another equally brilliant number from the same movie where Kishore yodels to perfection ('Chalaa Jaata Hoon'), but this song wins over for its sheer longevity.  

5.  Tere Bina Jiya Jaaye Na (Ghar), Lata Mangeshkar (& Kishore Kumar)

This is not only one of the seminal movies in the career of Rekha, and RD Burman, but possibly also in the Hindi Cinema itself.  Rekha possibly looked her best ever in this movie (and also won a Filmfare for her sensitive portrayal of a rape survivor).  Another movie where every song shines like a diamond, and yet RDB didn't win any award for this score.  Connoisseurs of music might prefer either 'Aajkal paaon zameen par', or 'Aapki aankhon mein', but my pick is different.   It is largely influenced also by a quirky fact.  My best friend, CDL, sings this so well and so mesmerisingly - and I would pester her to sing this often during our training days.

6.  Maine Poochha Chaand Se (Abdullah), Mohammed Rafi

Abdullah had one of the most ordinary albums by Burman Jr's standards, but for this song. It was like finding a bottle of champagne among a load of cheap wine.  Also, it is one of the last few movies Rafi sang for before his untimely demise (July 1980).  Hardly any singer can ooze romance the way Rafi did, and this song stands testimony to that.  They lyrics are not great, but the music and singing elevate the song.  When I heard the song, I had imagined a lot about how this could have been picturised,- a hero imagining his muse, driving an open jeep in deserted lands - but was terribly disappointed to see how it really was.  

7.  Piya Tu Ab To Aaja (Caravan), Asha Bhonsle (& RD Burman)

Helen-Asha-RDB make this number a cracker! Can there be a Top-Gaane list of any music director and not have a song that featured Helen? Next to impossible.  Caravan was another album that had stupendous music, each tune outdoing the other.  Also, Lata, according to me, has sounded utterly sensuous in, 'Chhadti Jawaani Meri' vis-à-vis any other song she has sung (including the celebrated but boring 'Aa Jaane Jaan').  

8.  Humen Tumse Pyar Kitna (Kudrat), Parveen Sultana

One song, same movie, two legendary singers belting it in their inimitable styles.  Kishore appeals to our emotional self, and Parveen Sultana to our soul itself. It couldn't be made anymore difficult to choose.  Those who aren't from the generation may not even have heard Parveen Sultana's classically rendered version. I hum the Kishore version because it surely is easier (music-wise); if I try Ms Sultana's version, I'll be bruised badly.  This movie also had a sweet romantic track in 'Tune O Rangeele Kaisa Jadoo Kiya'. 

9.  Baahon Mein Chale Aao (Anamika), Lata Mangeshkar

When I imagine Lata's singing, it is generally about her perfection, her technical knowledge of the sur, and how pitch perfect she sounds in any rendition, even in her later years.  But, she singing this playful, teasing number is a revelation, maybe something only RDB could extract.  

I also have a cute story about this song to narrate.  At a Ghulam Ali concert, attended by Lata ji too, the ghazal maestro was requested to sing this song.  And, he obliged only to create magic.  Just that this story is untrue.  Instead it was the renowned duo of Ustaad Imtiaz and Riaz Ali, that have sung it, and needless to say it's fabulous.  Lata's rendition is like a soothing balm, while the one by the ghazal maestros is like a heady cocktail.  Listen it here:

https://www.youtube.com/watch?v=WsFEDcrFF3Q

10.  Hai Agar Dushman Zamaana (Hum Kisise Kum Nahin), Mohammed Rafi and Asha Bhonsle

If there is one qawwali that I love forever, it is this ('Humen to loot liya' and 'Tere Mehfil Mein Kismat' come close second).  The energy in the singing, and the music, and the entry of Zeenat Aman that raises the bar to the stratosphere, everything about it is spectacular.  I can't ever get tired of listening to this, whenever I need a bit of lifting up of my mood.  This movie - a musical - had songs galore, one better than the other.  Mohammed Rafi even won his (only) National Award for 'Kya Hua Tera Waada' (though I consider this song as one of his ordinary renditions, a scream-fest; there are hundreds that are better).  I would have chosen the medley song too as one of Pancham da's best but for the 'Mil Gayaa Humko Saathi' bit, a straight lift from 'Mama Mia' of Abba.  

11.  Naam Gum Jaayega (Kinaara), Lata Mangeshkar & Bhupinder

It takes just one song to make someone immortal, and even if Bhupinder had not sung any other song before or after, his name would have been etched in the film history forever just by this beauty.  It also shows how well Gulzar and Rahul Dev Burman understood each other and regularly created outstanding songs and music.  The credit to make two pieces of wood to act - Hema and Jeetendra - should also go to Gulzar! 

12.  'Pyar Humen Kis Mode Pe Le Aaya' (Satte Pe Satta), Kishore, RDB, Bhupinder, etc.

There are melodies and then there are soulful melodies, and then some extremely oddball compositions that stand out.  This is Burman Jr at his screwball best.  The composition and the singing, plus the background music all add to make it a number to remember.  It certainly leaves anyone who hears it with a broad smile, and there hardly is another song that could parallel this effect.  

13.  'Chhoti Si Kahaani Se' (Ijaazat), Asha Bhonsle

No RDB list can be complete without a composition from the movie, 'Ijaazat'.  The coming together of Rekha and Gulzar was rather late in the day; they should have collaborated much earlier.  Of course, it is Anuradha Patel that had the best role in the movie.  Each tune can make you teary-eyed for days, and happy simultaneously.  There can hardly another blend of music, words, and rendition going so well together ever.  Most people would pick 'Mera Kuchh Samaan' as their favourite, RDB did a masterclass by setting the prose to tune.  It won two National Awards; one each for Gulzar and Asha Bhonsle.  But then I haven't always gone by what the most popular opinions are.  This song is simpler, but as deep.  And, makes you tear up as much too, both with joy and sadness.  That this movie's music didn't win an award is a travesty!

14.  Ek Din Bik Jaayega (Dharam Karam), Mukesh

This song makes the list sheerly on sentimental reasons.  Mukesh didn't sing too many songs for Rahul Dev.  And, most of them were sung past his prime and didn't sound great (to me).  Except for this melody.  This song is joyful, fast, has all elements that make Mukesh's singing stand out.  Plus Raj Kapoor.  Maybe that's the reason Mukesh gave his all to this song.  

15.  Chunri Sambhaal Gori (Bahaaron Ke Sapne), Lata and Manna Dey

This song from one of the earliest movies of RD Burman, is a harbinger of the things to come.  His experimentation in composing, the pauses, the percussion, everything.  One can even see the influences of Salil Choudhary in this tune, and how RDB then stands apart.  Also, Manna Dey's mellifluous singing.

16.  Bin Payal Ki Cham Cham Karti (Saware Wali Gaadi), Suresh Wadkar

Even though Burman composed music for a horde of movies in the mid to late 80s, many of them bombed, resulting him later losing work to other, more successful music directors.  Needless to say, Burman's music even in most of these flop movies was doubtlessly successful ('Zamane Ko Dikhana Hai', 'Zameen Aasmaan', 'Shakti', to name a few).  Even when the movies were successful, rarely the credit went to RDB (Arjun, Parinda).  This movie - starring Sunny Deol and Poonam Dhillon - also was a flop, but the music is heavenly.  Suresh Wadkar sings this tune like a dream and you are transported to the world of fairies.  

17.  Yeh Zameen Gaa Rahi Hai (Teri Kasam), Amit Kumar

Amit Kumar sang many of his chart-toppers for Rahul Dev, and after the maestro passed away in 1994, he largely withdrew from singing in movies.  While there are many songs of Amit that I love (including those that he sang for other music directors), this song in particular displays his quality of singing the best.  I truly wish he had sung the songs of '1942: A Love Story' instead of Kumar Sanu.  

That concludes the list.  No reason why there are 17 numbers and not 10 or 20 or 15 or 25.  There are hundreds of other songs that vie for attention, and I had to stave them off.  I consciously have avoided including tracks that were influenced by other tunes from elsewhere and that's how 'Chura Liya', or 'Mehbooba Mehbooba', do not make the list.  If you still find any song that I have inadvertently included that has a marked influence, do let me know.  The reason I took over a fortnight to compile the list also was that I didn't want to put one up in haste.  I mentally sang almost every song I know of Pancham Da, before making carefully a written list of around 50, and then further whittled them down to these 17.  It was not easy to eliminate songs like 'Aanewala Pal', 'Raat Kali Ek Khwab Mein Aayi', 'O Hansini', 'Piya Baawari', and more.  But, I did, largely based on my own whims and tastes.  Let me know if you like these numbers.  Also, tell me the numbers that you would have included in the list and why.  It is always the story behind selection of each song that is interesting, and not just the song itself. 

Like many other bright luminaries of cinema, RD Burman too died young - and died dejected.  There are many music directors that have made indelible impressions in the history of cinema in India. Roshan, Madan Mohan, Ilayaraja, AR Rahman, Jaidev, Hamsalekha, C Ashwatth, and so on.  Some well known, and others not so much.   Pancham stands at the forefront, not just because of his tunes, but because how he influenced many generations after too.  

Footnotes

The career of Rajesh Khanna soared on the back of RDB music in his movies; similarly, Kishore bounced back and became the most sought after singer thanks to Burman Jr.  Some interesting nuggets about Pancham Da may not be known to many.  Let's start with his pet name.  It emanated because of his crying! The story goes that he always ended up crying sounding like the fifth note of Indian Music ('Pa', 'Pancham'), and hence the moniker.  The title of this write-up alludes to the same.  

Even though he composed music for over 300 movies, he never won the National Award for Best Music Director.  It feels surreal; not even Amar Prem, or Ghar, or Ijazat could claim that honour, despite possibly being arguably the best albums of those years.  Or, some of his best known numbers were influenced by outside music (Western, Arabic, etc) - it is also said that he was reluctant but gave in to the pressures of the Directors/Producers.  'Chura Liya', and 'Mehbooba Mehbooba', and 'Dilbar Mere Kab Tak Mujhe', are examples of such songs in his repertoire.  

'Queen' Review: Kangana All the Way!!!

My first impression on seeing the trailers of ‘Queen’ wasn’t positive.  ‘The same Punjabi music and the same nach-gana.  Hasn’t Kangana done this already in ‘Tannu Weds Mannu’?’ I wondered.  But my partner – a big Kangana fan - had already warned that we’d watch the movie no matter what and I was bracing myself for a terrible outing.  Until Friday morning.  Almost everyone was singing deliriously on how good the movie was and I wasn’t yet convinced.

 ‘Queen’ (directed by almost-first-timer, Vikas Behl – he co-directed ‘Chillar Party’ that won the National Award for the Best Children’s Movie a while ago) opens with the chatter on the impending marriage of Rani, a bholi-bhali Punjabi kudi from Rajauri Garden, Delhi with Vijay, engineer working in London.  Love-cum-arranged marriage between children of two friends.  And, Vijay (Rajkummar Rao) develops cold feet over marrying a ‘behnji’; so he calls it off a day before the ceremony leaving Rani crestfallen.  The girl – who’s dreamed on for long to go on a ‘phoren’ honeymoon – decides to take off on her own to the European destinations – Paris and Amsterdam.  On this journey, egged on by her grandma’s words over the phone (‘agar TV hi dekhna that toh idhar hi dekh sakti thi; Paris jaane ki kya zaroorat thi?’), a chance-friendship with a very hippy VJ (Vijayalakshmi, a half-Indian hotel staff in Paris) and a resolve-forming encounter with a thief, and her very ‘awakening’ sojourn of Amsterdam, Kangana morphs from a self-pitying douche-bag to someone who opens up to the idea that there’s life beyond shaadi, pati and pyar.  And, as she sheds her inhibitions - and even takes a ‘selfie’ in satin and sends it to Vijay – her ex-beau rediscovers his ‘mojo’ for her and launches his search for her to win her back. 

‘Queen’ belongs to the genre of movies that are about the protagonist’s self-discovery and coming-of-age – like, ‘Wake Up Sid’, ‘Zindagi Na Milega Dubara’ and ‘English Vinglish’.  And, the story is not completely hatke.  But what sets it apart, along with the quirk of Rani who wants to go on her honeymoon even though the wedding gets cancelled is the treatment to the subject.  Also, this is the equivalent of the bromances that we're seeing of late! Never OTT, never in-your-face, a sparkling script and screenplay, subtly witty and natural dialogues (oh yes, Kangana has co-penned them!), and some real foot-tapping music (including the suddenly-rediscovered-and-trending-mightily ‘Hungama Ho Gaya’).  The parting scene of the movie best symbolises how understated the entire stuff was!

And, of course every person who’s part of the cast has delivered amazingly.  Rajkummar Rao as the self-centred, cocksure fiancé is convincing and anyone else would possibly have reduced the role to a caricature.  Lisa Hayden as the Parisian Indian is a revelation – a just amalgamation of seduction and warmth.  Even the bit part players – dadi, the motley friends of Kangana in Amsterdam, her parents and ‘motu’ brother – are lovely, believable and endearing.  Finally, it’s an out-and-out Kangana’s show who appears in almost every frame.  The best compliment that could be paid to her is you forget it’s Kangana and think of her as a plane-Jane Rani for almost the entire movie – and root for her in every scene.  Be it when she’s crying inconsolably at the Café when her beau calls off the marriage or when she innocently is picking up souvenirs for her family at a sex toy shop or advising Lisa not to sleep around with everyone or not getting that the jokes are on her several times, she’s absolutely marvellous. 

There are some stuff that jar too.  The cinematography is pedestrian.  Even Paris and Amsterdam look ordinary here.  And, indoors are uniformly dull and boring.  Also, some of the scenes are so clichéd you know what’s coming from miles away – like the cookery challenge to Kangana.  And, easily the movie could have been trimmed by another 10-15 minutes even though you don’t ever get bored.  But, then these are minor things that only a critic cribs about.  Just don’t miss this.  Go watch it to celebrate the woman/women in you or in your life! This certainly is one of the best 'coming of age' movies made on a woman and would stand out in 2014 among the best of the lot. 

Movie Review: 'No One Killed Jessica'

For a movie without songs, heroes, or the routine song-dance sequences, and for one based on real-life tragedy, ‘…. Jessica’ is pretty long – runtime of 2 hours and 20 minutes.  You notice that only once the movie’s over.

Arguably, Jessica Lall’s murder has bagged maximum print-space and eye-balls in the post-liberalization era.  Her case created the new vigilante media as we see it today in the country (albeit for a good cause).  Jessica’s has been one of the few moments when Indians collectively have come together in the recent years to fight a system that needs to be put into an ICU.  It is also one of the few cases where high-profile people have been finally brought to book (even as many other cases languish, despite media’s hyperventilation). 

When a movie was announced based on this episode I honestly was certain that it was only to cash in on the hype.  I wasn’t ready to believe the movie would be any good.  The promos didn’t help the cause either.  Rani mouthing dialogues laced with cuss words only made me think that the woman’s desperate.  But, watch the film, I did. 

The movie could well become an example for other Indian directors who want to make movies based on real-life drama.  Especially since MOST Indians (who ultimately end up watching this movie) knew almost every detail of the murder, the botch-up, the mistrial & the triumph of the evil and the final – much celebrated – victory.  So while the first half traces the tragedy, the initial trial and release of the perpetrators of the crime, the second half creates the story of a feisty, story-hungry journalist who single-handedly turns the case around and helps bring the culprits to the book through sting operations,  involvement of the public through marches and candle-light vigils and appeals to the Highest Authority in the Country and so on. 

The movie’s a winner because of performances.  Not a single false note by the leading cast.  Rani doesn’t bat an eyelid (nor do you sense any trace of inhibition in her voice) when she spews choicest gaalis (either in English or Hindi).  And most times they don’t seem to be added deliberately (barring one notable sequence when in flashback Jessica’s shown mouthing some, unconvincingly and needlessly too). No “My family’s been victimized; mujhe meri behen chahiye” speeches by the anguished Vidya (though I wish she was a little more fleshed-out than just being sad throughout).  Rajesh Sharma as the corrupt cop with a conscience is brilliant.  Barring a few dramatic court sequences (where the counsel for the accused is shown putting undue pressure on the witnesses) the movie flows like a calm river. And, they’re ably supported by a wonderful background score that lifts the movie a few notches.  The new girl as Jessica is very pretty too. The editing and cinematography are largely competent. 

There are flaws of course.  It’s a pity though that most of the other characters are uni-dimensional, un-fleshed and hence cardboard-like.  Rani's smoking's affected and Vidya's styling is atrocious.  The suave Manu Sharma’s been converted into a desi-dehati wide-eyed caricature (for God knows what reasons – to me it reflected a class bias).   You guffaw when you see it, but it still belittles Sikhs in the only scene they’re in.  Candle-light vigils happened in the Jessica case and the same was copied in ‘Rang De Basanti’ but here it’s shown the other way round.  Also, not much importance has been given to the styling of the people.  They remain the same through the years, over change of time and fashion.  And, most importantly, the credit for reigniting the case goes to Tehelka but in the movie it is NDTV that hogs it.  That’s a great disservice to Tehelka and its team.  I sincerely wish this was not done. 

Go see the movie.  Don’t flinch at the dialogues though!

'Rajneeti' - A Review

Welcome to Azaadnagar, the imaginary city that reflects ‘India’ in Prakash Jha’s Rajneeti. It’s modern – has international airport, discos, malls and girls wearing miniskirts. It’s backward beyond belief too – oppressive leaders, slums and poverty plague it. It’s regressive. The daughters are traded for political mileage. It’s gruesome – pitched political battles result in copious bloodletting and gore.

‘Rajneeti’ traces the fortunes and upheavals that take place in a political family with elections around the corner. It boasts of one of the best ‘performers’ cast in recent times – Nana, Manoj Bajpai, Ajay Devgn, Atul Kulkarni and Ranbir Kapoor (and not to forget the glamour quotient in the form of the reigning diva Katrina and the latest ‘firang import’, Sara Thompson.

I had waited to watch a movie for a long time. After weeks and weeks of bad movies – including the much hyped Kites – I was almost certain I’d like watching Prakash Jha’s ‘Rajneeti’. I didn’t wait to read the reviews this time. I booked the tickets – along with three other friends - and expectantly went out to watch.

There was a huge publicity for the movie; I’d seen that NDTV too had aired a program featuring Prakash Jha, Ranbir Kapoor and Katrina Kaif (interacting with a studio audience apart from the anchor of the show). There was much animated discussion about how Katrina’s role was based on Sonia Gandhi (foreign origin, political entry after husband’s death, etc). And about the influence and inspiration of the Mahabharata.

‘Rajneeti’ is not inspired by/from Mahabharata alone. It draws hugely from ‘The Godfather’ of Mario Puzo. The characters of Ranbir and Arjun Rampal are straight lifts out the novel – the outsider, erudite younger brother who gets ‘reluctantly’ sucked into the game of politics is clearly Michael Corleone and the hot-headed, blood-lusty elder brother is undoubtedly ‘Sunny’ Corleone and they don’t resemble either Bheem or Arjuna from the Mahabharata. And, surely neither the character of Katrina Kaif (‘Draupadi’ purportedly). Even the plot to begin with is a straight lift from the novel than anything original or Indian.

But Manoj Bajpai is ‘Duryodhan’ and the challenger to the more charismatic politician Rampal. Nana Patekar is the political think-tank a la Krishna. And, Ajay Devgn is ‘Suraj’, influenced by the character of Karna (sans all his attributes of sacrifice) – the half-brother of Arjun and Ranbir.

The movie largely is fast-paced and doesn’t allow you to get bored even when it is predictable in the first half at least. Some of the scenes are riveting. Especially the one where Arjun Rampal meets the corrupt SP for revenge. However the movie suffers because there is NO political intrigue. Each hurdle faced by the politicians has a single/simple solution: ‘Bump off’ the obstacle (nee person). So heads roll like nine-pins on a Chinese checker board. Post interval the proceedings become very predictable. The climax tries out the epic battle of the Mahabharata where all the tormentors are vanquished but it leaves the viewer wondering if it’s really possible – even with the kind of connivance we see in our politics! Also it is difficult to accept the ‘Arjun Rampal-Ranbir’ duo as the Pandavas who are wronged. They are as sinful, dark and cold as their rivals. One can’t sympathise with them. The biggest weak-link of the movie are its lead stars – Ranbir Kapoor and Katrina Kaif. Both do not suit their roles and have little to contribute in the form of well-oiled performances. They are a huge disappointment together. Katrina is a disaster especially after she becomes the politician.

What saves the movie are the performances by Nana Patekar (ultra restrained and turns out one of his best ever performances), Manoj Bajpai – who converts a uni-dimensional role to his advantage and Ajay Devgn (dependable as usual). The editing is crisp, the background score adds urgency to the atmosphere and the movie is largely devoid of romantic interludes in the form of songs (which is a huge saving grace as the movie time runs almost to 3 hours).

In his efforts to make the movie resemble the Mahabharata Prakash Jha loses grip over the proceedings. The stereotypes in the movie make you cringe too. Like the woman politician who’s willing to do anything (read, sleep with anyone) for a ticket to contest. That politics is in blood (entry of Ranbir and Ajay Devgn’s rise as the leader despite from a Dalit background), the oh-so-servile-and-happy backward classes (working for the political families). Watch it, only because it’s much, much better that what’s been dished out over the past 10 odd weeks.

P.S. The movie easily qualifies to have been titled, ‘Love, Sex aur Dhokha’. There’s lots of it. And, each time a couple has sex the woman invariably becomes pregnant. The strike rate!