Magnum-opus Bajirao Mastani, magnificent in grandeur and splendid in variations…  

Friday, December 18, 2015

Verdict: 3.5 /5

One of the most truthful attempts to make a kind of cinema like this, where every frame is like a painting, detailing is like once you sit inside the theatre you can feel the medieval era. Mr. Sanjay Leela Bhansali is so clear about every frame that sometimes he himself gets carried away with the grandeur, he has constantly repeated the same images rather than intensifying the oodles of emotions. This is definitely not a brutal portrait, but flawless soothing type of goody-goody paintings all around.

This is a story of one of the most intense warrior of all time, framed as a great lover after watching Mastani in the row of saving Bundelkhand. Don’t see this film as a politico-romantic drama but for Mr. Bhansali’s romanticism and I was dragged so much so that felt smothering sometimes, nevertheless this film has shown the Director’s endeavor all the way and the final product is worth a watch for sure. A Maratha Peshwa who worked under Sahu the chatrapati, fought 41 battles and never lost one, he was not just great but more than what portrayed in the film.

There are volleys of brilliant moments, actually propelled me to live in the created world of Mr. Bhansali but I was little disappointed with his obsession with water and pond, Introductory shot starts with the water, then after every pronouncement of love is in the water front then emotions swells inside the pond and so on, after interval Bajirao Mastani looks as writer doesn’t have another engaging plot, what they want to show is already been told before its endpoint. My main objection with this trail is the character development of Peshwa Bajirao who lost all his heroism just for his love, it was just pity for me to watch him struggling with hallucinations, basically I started believing at the end that he is non-competent warrior and at various stages I felt that his own premise was not under his control, although he was angry, disturbed and feeling miserable in taking decisions and nobody is listening. How could this be possible for a Man of Steel I don’t understand?

In terms of performances, this is the film of Ranvir Singh and he gave full justice to that, although there are Deepika Padukone and Priyanka Chopra but when they appear in front of him they vanishes like ghosts. I am impressed with his Marathi accent which multiplies his par excellence performance which will definitely be remembered for years to come, Deepika Padukone as Mastani is natural, attractive and virgin, Priyanka Chopra was impressive as Kashi Bai but not at her best. Music was little melodious but surely not like Devdas and dimly reminds us of Aishwarya and Madhuri. Climax was funny and so stretched, where our protagonist is battling with his helplessness. The heavy personality like Peshwa Bajiro should be told as a warrior in 1st place and lover in 2nd.  

But all my above critical brawls show that this is a worth to watch film. Go for a glorious work of art. 

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Dilwale is the all time low of Rohit Shetty’s series…  

Verdict: *1/2 /5

Literally it’s a most dangerous attempt to manage the same statues as a film maker, it’s not just about to serve a stale food all the time but, it’s about getting addicted to take audience for granted. This time Mr. Rohit Shetty did the same, after getting some success for his non-deserving flicks, he is adopting the most grievous method to platter again a movie in his name. People may or may not be educated enough to understand complex cinema but one thing is very clear that when story teller choose the path of good film making where entertainment is not just taken as a tool but it is a part of film narratives where joy will also be entertain but in our Industry it becomes an usual drive without having a guilt that after putting so much effort and money we are still in the search for particular formula.

What a waste of time and money for people who were waiting eagerly for Kajol and Shah Rukh Khan duo, I am taking it as a betrayal to all Fans who are imagining that something interesting must be coming but it is bothering and it is suffering.

Kaali is a gangster, helping his father to spread his business in Bulgaria but without rivalry how is it possible to,so another entertainment element is here as Kabir Bedi whose empire is on stake due to Kaali so Mr Rohit Shetty gives small twist to the narratives and rest is all predictable turns which leads us to very pathetic, non-engaging film.

All the brilliant casts are totally clueless of their performances, everybody is looking at each other for their nods but this far imaginative flick has various other elements like Sanjay Mishra, Boman Irani and Mukesh Tiwari but all looks as a joke…

I am regretting so much after watching this… it’s a fiasco… 

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Pan Nalin established a parallel world through Angry Indian Goddesses…  

Friday, December 4, 2015

Verdict: 3 /5

Just like every pore is not similar to another, each mind has different source of thinking, even my fingers are not akin to each other but does these developments are just a root cause of discriminations between the society. We are divided into caste,creed and race but the most disgusting of all these are the inequality of gender because it’s common in every cast, creed and race although we all are discussing so widely about this issue but the changes are still not evident in the most of the social institutions, their walls are much stronger than the voices. Amidst of all these woefulness Pan Nalin sets-up an analogue of women which is not only similar of male world but every motion and emotions are identical, in spite of they being treated very badly by the times, which itself is very explanatory that how much inferiority fear Is actually prevailed in the psychic of male that they conspire this whole world with tricks where Venus is mint as a donor and Mars is like exploiter. There are so many things needs to be tackled in sensitive way but female revolution is important because we all know these facts that when society becomes anarchic it should be countered with the revolution. In Angry Indian Goddesses basically I missed this argument, unlike its name this film is again a mixture of routine life of female who are ambitious, bold, spirited yet lonely dealing with day to day life.

Film opens with seven free spirited women from different milieus coming together in a verdant of Goa for their friend’s wedding which is very confined and everybody is clueless about the groom and this mystical formation explores this film in various directions but the problem is it's preachy narratives which disturbed me thoroughly. This is definitely not a film like Pan Nalin’s Samsara or Valley of Flowers where inner-conflicts races against the outer attractions. Angry Indian Goddesses are definitely not different from any other feminist film, but this joins the league of same makeover.

All the girls are perfectly fitted in their character, very convincing but I am seeing female in much literal way of anger. They are not confined as saviour but as a winner who dictates the term.

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