The Kedarnath after-effects

I was so looking forward to Kedarnath (like many of you, I’m sure!). The unabashed Sara Ali Khan, the cutest-ever Sushant Singh Rajput, the mesmerizing Amit Trivedi’s music and an innocent love story centered around all these. This definitely had many expectations high.

But let me confess first. It has been really long since I found myself under the spell of a Bollywood

movie hours after I finished watching it. So, here I’m, enjoying the after-effects of Kedarnath and
ofcourse, sharing it with you lovely people!

Weep buckets and buckets

The first half had me smiling throughout as hesitantly but gradually Mansoor falls for Mukku. But,
the interval changes the set mood just like the unfortunate Uttarakhand floods changed their lives.
You’ll cry with Mansoor and Mukku, you’ll cry for Mansoor and Mukku.

Keep a box of tissues handy. You’ll need them.

Listen to ‘Lag Jaa Gale’ on loop

The classic, ‘Lag jaa Gale’ from ‘Woh Kaun thi’, sung my the evergreen, Lata Mangeshkar has been
used beautifully to echo the essence of innocent, unconditional love. The moment I left the movie hall,
I put my earphones on to listen to this melody, savouring every lyric. Be ready to fall in love with this
song all over again!

Lag Jaa Gale

Wonder how the fuck did they shoot the climax

I know a lot of people are saying that the climax is ditto of Titanic, which I absolutely agree with.
But one cant ignore the magnanimous scale at which the climax is shot/shown. It all seemed so
real and horrifying. I tried hard to get some BTS of the climax sequence but nothing came my way.
If you have pictures/videos of the shoot of the climax sequence of this movie, do enlighten me as
well :)

Start acting like Mukku

Mandakini or fondly called as Mukku, rubs on you like Geet from Jab We Met and Vaidehi from
Humpty Sharma Ki Dulhaniya. She is unapologetically outspoken, takes her stand ferociously and
loves fearlessly. Sara playing this role has left me awestruck, impressed and inspired. Started her
career with a bang!

Fall in love with Mansoor

This boy is the most adorable. Sushant plays this sweet boy who is a little shy, reserved and goes
out of his way to help random people. The goody goody boy whom you would take home to your
parents. And mahnn, the way he blushes! If you still don’t fall for him, I don’t know what you are
made of.

Of course, once you are done reading this, you can find me drooling at his Instagram pictures and

smiling stupidly to self.

Everything and nothing about NFAI

I had marked my calendar for the next weekend to attend ‘A Festival of Films from Israel’ to be hosted by Pune International Centre. Having not much interest in Israeli films (the perception of which changed soon after) what made me look forward to it? The Festival was being held at the NATIONAL FILM ARCHIVE OF INDIA!

TAADD--AAAHHHHHH

Not excited?

(*mockingly) Only movie geeks would get excited to spend their Sundays in a government office filled with movie posters that too when already staying in Pune for a good time now. I would often find myself peeping out of the window staring at the gorgeous building whenever I would pass by it on the Law College Road.

Anyways, so yours truly was that little girl left to explore a candy shop. I was so happy going around the place, taking pictures, looking at the antique movie posters that adorned the shabby walls, peeping into the administrative area and what not. But that excitement was ruthlessly curbed by the watchman who not-so-politely asked me to not click pictures and there I was, sad again.  I managed to sneakily get some pictures though! Less is better than none, right?

This is not the NFAI building, this is the museum that is housed in the NFAI campus. Beautiful, isn't it?

I wish I had a house like this! *drools

Talking about the Film Festival, it was a beautiful bouquet of Israeli films that opened up a new world for me. After kicking myself for missing out on the first 3 days of the festival, I had managed to drag myself to the last day and spent my Sunday in the company of 2 gems.

Israeli Gem 1 - Footnote
Footnote is a one of a kind story of a father-son duos’ tryst with academic rivalry. This movie fucked my mind completely. To be honest, I slept off midway for a while. Ohh, btw, it was Israel’s entry to Academy Award in the foreign language category in 2012. You could read more about the movie in this New York Times article - https://www.nytimes.com/2012/03/04/movies/footnote-israeli-film-by-joseph-cedar.html

And if this intrigues you then please do watch the trailer too - https://www.youtube.com/watch?v=3DjUwSr0VFo

Israeli Gem 2 - Lemon Tree
Lemon Tree is the story of a courageous widow who lives on the Israel-Palestine border with her farm of lemon trees. Her struggle begins when her new neighbour and defence minister of Israel decides to destroy her age old family farm because of security issues. It is beautifully harrowing to see human lives change and struggle amidst political turmoil. Regret leaving this one midway as I had to catch a bus back. (kicking my ass for this one too! :P)Watch the trailer here! I’m sure you will love it! https://www.youtube.com/watch?v=e_j1llK3Fco

And, I brought an end to this trip with some hot and spicy, Idli Sambar - my all-time favourite! Ping me if you wish to share your experiences/opinions about Israeli films or anything in general. See ya! 

All time favourite!

Aaiye, 'Gent's Problem' Ki Baat Kare!

Statutory warning: If you do not wish to find yourself avoiding eye contact with your parents/siblings/relatives on your way back from theatre, the solution is simple. DO NOT watch this with them.

The film is a remake of the 2013 Tamil film Kalyana Samayal Saadham, helmed by the same director, R Prasanna. Produced by Aanand L Rai, this film starring Ayushmann Khurrana and Bhumi Pednekar is about a soon to-be-married couple whose marital future seems bleak as the groom suffers from a ‘gent’s problem’. Oops! Did I just say erectile dysfunction?

Couple of days prior to ‘taking pheras’, they TRY (please appreciate the emphasis on the word ‘try’, that is where the film will leave you in splits) to be physically intimate, when the two learn that the groom (Khurrana) suffers from erectile dysfunction.

Ayushmann Khurrana is a cutie as he always is (fan girl alert!!!). 

He steals the show in this particular scene where he forces his baaraat in the dead of the night to re-enter the wedding venue because he didn’t do it right the first time. Not shifting his gaze away from his sulking fiancé for even once, he dances like he owns the place. This definitely stole every girl’s heart away, not to mention his would-be wife’s too as the audience hooted and whistled for the groom as he went on to hold Tauji’s jaw, gesturing him to give his idiosyncratic chummi. He definitely is getting better with each film. His last, Bareily ki Barfi is also a hilarious watch.

From Vicky Donor to Shubh Mangal Saavdhaan, it’s ironic what he has come to.

Hehe :P

Sugundha’s mother (a brilliant Seema Pahwa) is a riot because her personality and character never seem to have any distinctive demarcating line. She is and has always been extremely organic in her portrayal of characters as if they are an extension of her being. She must be declared the Nirupa Roy of this millennium, without much ado.

This particular scene is outrageously hilarious where the bride’s mother is trying to share her experiences about her wedding night. Seems like Seema Pahwa (bride’s mother) and Bhumi Pednekar (bride) exhibit strong comfort in discussing about sex after marriage as we saw them doing the same in 2015 National Award winning film Dum Laga Ke Haisha.

“Alibaba ko Gufa ke ander jana hi hoga” is the bride’s mother’s way of emphasising on the importance of having satisfactory sex with one’s own husband to her soon-to-be married daughter. This analogy evokes laughter throughout the movie. When the same situation is being explained by the bride to her best friend using the analogy of limp biscuits, the best friend is quick to react, “Ab yaar, main life main kabhi biscuit nahi kha paungi”.

Writer Hitesh Kewalya’s script is enhanced by the nuanced performances of all actors. The tone never veers into vulgar. The family members and the conversations they have are familiar, it is what every Indian family has – The bride’s father and his elder brother have a running feud in the middle of a movie about every possible thing – money, who did or didn’t touch feet, who hid what information, arriving late for the mata ka jagrata, who has turned disrespectful and what not. You lift your eyes from the screen and you will find one of them around you. All these characters are to that extent relatable. Brijendra Kala, Seema Pahwa, Anshul Chauhan, Neeraj Sood and Chittaranjan Tripathy are the people to thank for this.

Do go for this one. You will never regret.

Rangoon has been declared a disaster

As I rushed into the theatre and swiftly moved around searching for my seat, it dawned on me that the theatre was mostly empty. Yes; first weekend; Sunday afternoon show; Rangoon. Or let me put it this way: Vishal Bharadwaj’s Rangoon.

A poster of the film. Photo Courtesy: Internet

Getting straight to the point, so that I have enough time to lament before you have the urge to get out of here (much like my thoughts in the second half of Rangoon), the film started off well and was decent in the first half. The audience had hopes that the film is heading somewhere. But hey, Bharadwaj must have thought, “Why not spoil it right here?”

And hence, it went for a downfall right after interval. Climax is unbelievably stupid and clichéd. Kangana is in her elements, had a lot of scope to perform because of her character and does pretty well too. Shahid did pretty well too with whatever his character allows him. Pataudi Saheb is decent but does not have enough scope to perform. Few supporting actors like the one who plays Zulfi (Julia’s makeup artist), are brilliant. All that stayed with me, even after the movie ended, were the songs. 

Shahid Kapoor as NAwab Malik in Rangoon.
Photo Courtesy: Internet

Watch it but just once for Kangana’s flawless portrayal of Julia, Shahid’s calibre as an actor, the soulful songs and because it is Bharadwaj. In fact, it is his weakest film till date. It was not bad but could have been brilliant seeing the star cast and the script he had in hand.

The narrative was heading nowhere after a point. And not to forget, the VFX is third rate. In the climax there is this scene where Pataudi Saheb is walking on a tight rope and another where he slits a British officer’s throat. These two scenes are horrible; much like the arrow scenes in Ramanand Sagar’s Ramayana. But that was decades back. Technology has advanced since then, I guess.

What needs to be realised in this moment of disbelief is the fact that a film with a subject like Rangoon should never have expected to be a runaway hit overnight. Apart from people’s expectations, the film has hurt its distributors, gravely. The film has just touched the 15 Cr mark in its first weekend, at a snail’s pace. This figure is not a happy one since the investments are huge and the film budget is big. With the negative word of mouth and sad reviews that the film is generating, it is certain that it won’t be able to break even. Rangoon will go down in the history of Indian cinema as a classic example for investors to invest wisely.

A still from the film. Photo Courtesy: Internet

But this analysis of the problem is just the tip of the ice berg. The cracks in the film could have been avoided, had the production house (Viacom 18) had a strong control on where the money is being put and a well thought through plan of whether the same subject could have been made in a tighter budget. Films like NH 10, Badlapur and Neerja are shining examples of small budget films doing wonders at the box office, entirely because of their strong content. The profit these films made was later shared by the makers and the lead actors of the film. This method of wisely putting in money reduces the risk of incurring heavy losses in case the movie bombs at the box office.  

A still from the film. Photo Courtesy: Internet

The situation seems to be extremely gloomy with Rangoon being declared a disaster after its first weekend. 

Salaam Bollywood

“Insecurity is an overwhelming emotion in any creative profession. In the film industry, it is more so. Film stars are peddlers of emotion and, therefore, there are more emotional wrecks in the film world than in any other place. 
There is shame and scandal, exhibitionism and eccentricity, but there is also energy, a fatal attraction about the world of cinema that is obsessive. Once you've been a part of it you feel incomplete without it.”

The lines were these; refreshingly insightful and holding tight to my flinching concentration. Looking back, I still cannot fathom what made me put my hands on a book lying so aimlessly on a random library desk in college. Searching desperately through the endless neatly stacked books, the frustration was getting onto my nerves. Since time memorial, I had been contemplating to get my hands on another set of books which was not available to me there. And then suddenly, my gaze fell on it.

Photo Courtesy: Internet

Salaam Bollywood by the veteran film journalist Bhawana Somaaya, has proved out to be more than just a 250 page book for me. I can declare with much pride that those 250 pages can be equated to two decades of enriching, life changing journey in the film world I embarked on when I first read the foreword written by Bollywood legend Amitabh Bachchan. Somaaya, within a matter of days has brought to my knowledge the little and the big ‘dramas’ of the Hindi film world which had always left me puzzled, pumping up my curiosity pressure.

Fortunate enough I have been, to have read the same book which the author herself had gifted the veteran journalist and also my college’s honourable director, Dr. M.V. Kamath. It is her homage to the film world wherein her awkwardness as a newbie film journalist to her immaturity as an editor has been accounted. It also narrates her encounters, sweet as well as bitter, with film actors of all types which taught her innumerable lessons about the way of living in a glamorous world, if not one.

The time when Rishi Kapoor sternly told Neetu Singh,” Once you are a Kapoor, you are not stepping in the studios.” ; the time when Shabana Azmi was ready in a random saree and a ponytail to get promptly hitched to the highly acknowledged lyricist and writer, Javed Akhtar, one fine evening; the time when little Bebo howled endlessly on the sets of one of Bachchan’s films when a fight sequence was being filmed after his fateful accident in the early 1980s; the time when a shy and young Aamir Khan stood nervously outside Dimple theatre where his debut film was being screened; the time when Smita Patil slipped into coma in the arms of Raj Babbar; the time when Dharmendra was teared between his two homes after his marriage to Dream Girl, Hema Malini; the time when Smita, all of 31 and Raj Kapoor’s death got me teary-eyed. I cried as though I was witnessing everything in front of me...and countless other anecdotes.

From the depressing times when Sarika and Kamal Hassan’s relationship was under constant scrutiny to the happy times when Sarika announced her pregnancy to Hassan in Ooty; from the tiring times when Smita would frequently fall ill to the jubilant times when she first fed her baby in spite of feeling feverish; from the celebratory times when Dimple Kapadia returned on the sets to complete the last schedule of Bobby as the superstar Rajesh Khanna’s wife to the worrisome times when she used to leave him every second or third day: the late 70s, 80s and 90s was one roller coaster ride.

Photo Courtesy: Internet

Towards the end, the author also raises many fundamental questions such as why doesn’t the Cine Artists Association (CAA) hold frequent get-togethers and recreation clubs for older artists of bygone era? Why they are not appreciated for their contribution when they are alive rather than remember them only when they become history? Why the CAA couldn’t send a representative to India’s first ever heroine Devika Rani’s funeral in Bangalore? There are glorious moments but then, if you try catching a closer look, lay the flaws as well.

The book was a time machine for me, transporting me into eras I always wanted to see. 

Mandi - Reminiscing old school Hindi cinema

When I was asked to pen down a research paper for my final year project, Shyam Benegal’s much acclaimed movie, Mandi instantly came to my mind sans any clouds of hesitation or doubt. The movie, somehow, holds a very special place in my heart. The piece that is going to follow is something that I wrote almost a year back. Republishing it for the blog has been at the back of my mind ever since. The article will largely attempt at analysing the characters, dialogues and narrative of the film.

A poster of the film. Photo Courtesy: Internet

With a runtime of 162 minutes, Mandi (Marketplace) covers the issues of Indian hypocrisy, female oppression, class oppression, political manipulation, human trafficking, and corruption with rare humour, hard to find in movies addressing heavy issues. Benegal’s style of filmmaking is very intelligent and compelling as is evident from his movies such as Bhumika, Nishant, Ankur, Antardwand, etc. Every character, whether small or big, is crucially important to the plot of the story. One cannot do away with any character as each character adds another layer of meaning to the story, an important feature of parallel cinema. It is very refreshing to view film where no one particular dialogue, sequence or character is without layers. It’s a film heavily loaded with multiple layers of indications, both superficial layer and deeper layer. This makes it very interesting to study a film like Mandi.

The storyline

Mandi (Market Place) is a1983 Hindi movie boasting of an ensemble cast of almost 15 actors who later went on to make national and international mark for themselves. Shabana Azmi(Rukmini Bai), Naseeruddin Shah(Tungroos), Smita Patil(Zeenat), Ratna Pathak(Baby), Om Puri(Ramgopal), Soni Razdan(Nadra), Saed Jaffery(Mr. Agarwal), Kulbhushan Kharbanda(Mr. Gupta), Gita Siddharth(Shanti Devi), Amrish Puri(Baba Khadag Shah), Neena Gupta(Basanti), and introduced Ila Arun and Harsh Patel(Policeman). Based on the Urdu short story Aanandi by writer Ghulam Abbas, the film revolves around Rukmini and the brothel she runs in the heart of a city, an area, Mr. Gupta and Mr. Agarwal wish to convert into a mall. The film is a satirical comedy on politics and prostitution with the underlying themes of human trafficking, Indian hypocrisy, manipulation, lobbying, etc. 

Following is a short clip from the movie.  

Awards

The film won the 1984 National Film Award for Best Art Direction. It created waves around the world with it being selected at Indian Panorama at Filmostav, Bombay 1984, and it also got invited to the Los Angeles Exposition (FILMEX), the Hong Kong International Film Festival 1984, and London Film Festival 1983.

About Shyam Benegal

Shyam Benegal. Photo Courtesy: Internet

Shyam Benegal is a noted film director whose work is central to and instrumental in giving shape to alternative cinema/ new cinema/ Indian new wave/ parallel cinema/ realist cinema. The synonyms are endless as described by endless no. of film critics. Satyajit Ray is considered to be the father of this school of filmmaking which dates back to 1950s. Later, film makers like Ritwik Ghatak, Mrinal Sen, Mani Kaul, Girish Karnad, Adoor Gopalakrishnan, Ketan Mehta, Girish Kasaravalli and Shyam Benegal carried on the legacy. These filmmakers aimed for a social change and strong commentary through the use of films. The term ‘parallel’ cinema suggests a genre which runs alongside (not literally) the mainstream cinema which is your commercial cinema. Benegal has always been known to make films centred on strong female characters, be it Rukmini and Zeenat in Mandi or Urvashi in Bhumika or Zubeidaa from Zubeidaa. He was awarded the Padma Shri in 1976 and the Padma Bhushan in 1991. 

Three shots that shook the entire nation - Rustom

Three shots. Just three shots. That was all that was needed to jostle the nation one fine morning of 1959. The Blitz broke the news to the world with the above headline and continued to carry the news for another three years. Such was the uniqueness of the events; such was the charm it carried that the whole nation keenly followed what was to unfold.The story is from a fairly young and independent India all of 12 years old, the times when Mumbai was still called Bombay and the practice of a bench of jury giving out judgements was still underway, unlike today, where a single judge pronounces the fate of a case. 

The front page of the Blitz newsmagazine that broke the news. Photo Courtesy: Internet

A young Parsi had shot dead another man for having to refuse to marry his wife after having a brief affair with her. The man in question was KM Nanavati, an honest, nation-loving naval officer. The case was one of its kinds, for more reasons than one. The first thing he did after shooting his wife’s lover was to surrender. Surprisingly, the man managed to attract huge crowd support. It is said that the print media played a pivotal role in painting Nanavati as the hero and maligning the lover’s image. This led to the Jury members being influenced (allegedly) by public opinion shaped by the print media.

The front pages of Blitz, the newsmagazine which closely
followed the case for 3 years. Photo Courtesy: Internet

The crux of the arguments thrown by the lawyers was to figure out whether Nanavati shot the lover in the ‘heat of the moment’ or it was a pre-planned, well-thought through murder that was staged. Nanavati was found not guilty by the Bombay sessions court. The case took its course and was reopened in the Bombay High Court and then Supreme Court in the coming three years. The case was a landmark in bringing about important changes in the Indian Judicial system.

A poster of the film. Photo Courtesy: Internet

Akshay Kumar-starrer Rustom, that hit the theatres last weekend, is based on this infamous incidence, but at the same time exercises its creative freedom to the fullest. A lot of details and sequences in the film are tampered with along with the central characters’ names. For example, Rustom (played by Akshay Kumar) fights his own case in the court without a lawyer which did not happen in real life. Nanavati had a lawyer defending him. The prosecution was led by a young Ram Jethmalani back then.

The media influence in shaping the public opinion is evidently shown with Kumud Mishra killing it with his portrayal of a Parsi middle-aged man, running a leading weekly. The tampering with the story line makes it confusing for the viewer to comprehend what exactly unfolded. Akshay Kumar delivers a fine and believable performance as a Parsi naval officer who dots on his wife. Atif Aslam rejuvenates your life with his soul stirring voice in his romantic renditions. 

 

Having an extremely powerful and interest invoking case at hand and an actor of Akshay Kumar’s calibre to bring it across on screen, the film still fails to keep you hooked for long, unlike the promising trailer which had sent my expectations skyrocketing. 

                                          

But, as they say, there is always a silver lining to every cloud. As far as the weekend goes, go for Happy Bhag Jayegi. You won’t regret.

Nil Battey Sannata - A fun watch

Apeksha repels even the thought of studying mathematics much like how mosquitos repel mosquito repellents. Apeksha is a spirited and fun-loving, 15-year-old girl for whom waking up in time for school is an everyday struggle. Her hardworking mother, Chanda, played by Swara Bhaskar, dots on her and has a sole aim in life- to get her daughter work towards one. Chanda is appalled when she discovers that her daughter too thinks of working as a maid when she grows up, just like her mother.

A scene from the film. Photo Courtesy: Internet

What are we talking about?

Nil Battey Sannata is a slang for a good-for-nothing person. It is a Hindi language film about a mother-daughter duo, caught in the cob webs of poverty and everyday struggles. Apeksha’a rhetoric question to her mother, “Do you even have the means to educate me beyond high school?" is hard-hitting. Why should simple necessities of life like education be a privilege for some people?

Scenes that you must not miss on

There is a school assembly scene wherein the school’s principal, Mr. Srivastava, is picking on late-comers and punishing them. Simultaneously, he is silently gesturing to the other students, to stand still during the national anthem. Did you just undergo a déjà vu episode?

It is characters like that of the school principal which act as litmus test for actors. Pankaj Tripathi does an applaud worthy work and has acted it out with nuance, without being a buffoon. His portrayal would leave you smiling from ear-to-ear for his knack of connecting with the masses. Remember all those silly teachers from back school who till date tickle you with their quirky antics as you reminisce the good old days?  

In one of the scenes, Apeksha’s classmate talks about mathematics being fun and how he enjoys playing with numbers. Through this scene, a very interesting life lesson can be derived: Enjoy whatever you do, life would invariably turn out to be fun and not a burden. Try doing that with education!

A still from the film. Photo Courtesy: Internet

The bigger picture

The story tries to reinforce the importance of education in being self-reliant and the value it brings into one’s life. It is light-hearted, easy on the eyes and mind, and heart-touching.  

The best feature about cinema of this kind is that it dares not to be preachy and articulates its message without breaking into a song and dance routine every now and then. In fact, the songs are fun and incorporated well into the script.

Ashwiny Iyer Tiwari’s maiden, simple and fuss-free attempt at bringing out a heart touching film is worth applauding. The movie is finely shot with minimal characters and is intricately detailed. When I got to know that it has been produced by Aanand L Rai, my expectations spiked. Well, when a filmmaker like him backs a project, be assured you will not be disappointed. And with Nil Battey Sannata, he has successfully dodged a bouncer.

Conclusion?

Easily relatable and fun to keep the kids engaged with, go watch the film for a fun ride down the memory lane.

Sairat: Simplistically beautiful, tragically relevant

Searing. Wild. Innocent. Naïve.

Archie and Parshya’s love for each other is all of the above. Set in a remote village of Maharashtra, their love story is all that Bollywood has explored and over explored since its inception. Archie is the apple of her family’s eyes and belongs to the high caste, Patil, household. Her father is the influential legislator of the village. She is confident, unapologetic, and knows how to ride a bike and tractor, unlike the other village girls. 

A still from the movie. Photo Courtesy : Internet

Parshya, on the other end of the societal spectrum, belongs to a lower caste family, in which, his father does fishing to sustain them and his younger sister helps their mother with household chores. Parshya is a bright kid, a poet at heart, capable of making his cricket team win single handed, and good with studies. His father has high expectations from him as he orders him to find a white collar job, lest he end up fishing like his father. 

It’s love at first sight for Parshya, but in no time Archie reciprocates. And therefore, starts their whirlwind romance, filled with slow motion sequences, magic weaving poetic songs, few fights and more tears.

‘Yad Lagala’ should be declared the romantic anthem of this year. It is a beautiful rendition expressing how the flutters of first time. You have to witness the magical moment when Parshya and Archie are dancing at a party to ‘Zingaat’. The crowd in the theatre goes crazy and they break into a jig as if this is the greatest and only joy. Such is the magic of music and movies, transcending every barrier.

Parshya is absolutely adorable and is sure to leave many young hearts racing.

A still from the movie. Photo Courtesy: Internet

You can trust Nagraj Popatrao Manjule to deliver the best and hard-hitting climaxes to a movie. Interesting bit of information: Manjule is also in front of the camera this time. Try spotting him. *winks

They say the essence of emotions gets lost in translations. But, seeing the records the movie is breaking at the box office in terms of revenue it is generating (the movie saw a nationwide release on 29^th April 2016 and is still going strong in theatres) and analysing its impact on a wide range of audience, the saying has been proved wrong with this one film.

Nonetheless, it is not better than his first film as a director, Fandry (I highly recommend. Please do a favour to yourself and watch it.). Maybe, that is because the storyline is a little predictable. Having said that, I would also like to honestly admit that Manjule effortlessly and successfully keeps the audience hooked.

It is a finely done piece of art that brings to the silver screen the tragic and harsh realities of our ignorant society.  

GO. WATCH. DHANAK.

“There are few films which feed your soul. They make you happy, they inspire you and most importantly, they reaffirm your faith in human relationships. Nagesh Kukunoor's latest venture, Dhanak, is one such film.”

-     www.rediff.com

After a LOT of struggle over the weekend, I managed to get a ticket for myself of the small- budget film, Dhanak. I was glad that a film like this, with no ‘big names’ (crowd-pullers), was running houseful in almost every theatre I tired getting a ticket.

I hugely rely on two things before I set my heart to watch a movie: my instincts about the film, and the other, on the vibes it gives me. Being such a sensitive movie-watcher, I felt a little disgusted with the crowd that was coming in to watch, Dhanak. Here is an excerpt of the conversation my fellow viewers where having, right at the start of the film.

Sunday evening. Movie hall. Huge crowd trickling in as others are settling. The starting credits of the film rolling on the screen.

Next to me, in the first row, a family of 2 adults and 3 kids are sitting.

Adult 1: Ye kaunsi movie hai?

Adult 2: …….

Adult 1: Hero kaun hai ismein?...Kya naam hai movie ka? Kya??! Dhanak? Wo kya hota hai?

Not to blame anyone, but a little research would have not hurt! Feeling pity for them and a little disappointed, I decided to concentrate on the film running ahead.

I have faced this dilemma many times. Movies that touch your heart are so difficult to put into words. Masters of the pen can only translate into words what masters of film making translate on the screen. And in that regard, I feel extremely disappointed with myself.

In Pari’s quest to get her younger brother vision back, the kids are out on a mission to tell everyone that the world is really not such a bad place to live. The best part is the brother-sister’s heart-warming chemistry. Not for a second will you doubt these earnest performers.

Every day, on the way to school, they flip a coin to decide whose turn it is — Salman Khan or Shah Rukh Khan. Pari and Chhotu, with their whole heart, worship their respective heroes. He to Salman and she to Shah Rukh. They have blind faith on their heroes, so much so that, after the coin decides whose turn it is, both banter about the superior special powers of their favourite star and then, as they start walking, the story session begins. This sequence in the movie is purely priceless.

A still from the movie. Photo courtesy: Internet

It’s hard not to feel for Chhotu. It’s hard not to feel for Pari’s concern for her younger brother. Their innocence will make you laugh and cry at the same time. They argue and fight daily. But, Pari’s only support is Chhotu and his is Pari.

The way the two kids (Chhotu was 8 years old and Pari was 10 years old when, in 2014, the movie was shot) have been directed, speaks volumes of what expertise the filmmaker, Nagesh Kukunoor, has.

There is a particular scene where Chhotu and his new found friend are playfully stuffing jalebis in each other’s mouth. Krrish Chhabria nails it as Chhotu in this particular scene. What a star performer!

The still from the film where Chhotu nails it. Photo Courtesy: Internet

The album of the film can be pitched to be the richest of the year, so far. Tapas Relia, who has earlier worked with Kukunoor on Lakshmi, delivers a colourful soundtrack that is majorly folk but with a contemporary twist.

Yet another rendition of the classic ‘Mast Kalandar’ with a twist of promoting world peace and compassion for fellow humans, will be the ear-worm from the album, it refuses to leave you mind even afters after you have left the theatre. I found it to be one of the most engaging versions of the song. Actor-musician Chet Dixon rap-sings in this one along with Devu Khan Manganiyar's ethereal voice.

A still from the film, featuring Chet Dixon. Photo Courtesy: Internet

You know that feeling of contentment that overwhelms you when your favourite singer finishes singing your favourite song. The experience is soul-touching and is cherished for long. That sense of gratitude. That sense of satisfaction. Dhanak was one such experience for me.

Films like these need to be encouraged, to reach multiple theatres and be watched by millions of people. It is a film which stands for everyone to have child-like innocence, spread peace, love, optimism, compassion and practice the art of humanity.

Amidst generating headline-hitting curiosity, I know, most of you must have already savoured the bigger release of this weekend, Udta Punjab, but this humble and soulful story of a brother-sister bonding, deserves all your love and attention at the movie theatres.

A delight for every humane heart, this is a must-watch across all age groups.

PS: Not to miss Suresh Menon in a little but soul-stirring performance.  

A still from the film, featuring Suresh Menon. Photo Courtesy: Internet