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Reviews
Rann (2010)
Rann
This is a 2010 release from Ram Gopal Varma (RGV). After being premiered at the Toronto film festival it gat a normal release in India in January. Commercially it did not make waves and got a rather quiet burial having grossed only Rs 12 Crores. A deeper look at the plot of the film and its treatment will perhaps throw some light into the reasons thereof.
Rann deals with the often talked about theme of the politician media nexus. We have Ashok Malik, the upright owner of the struggling news channel India 24X7 who holds all the tenets of an ethical media close to his heart. His US educated son Jai returns and in true dynastic tradition moves in to inherit the doting father's business. His bête noire is the owner of the rival channel run by Amrish Kakkar, himself an ex-employee of India 24X7. In his ambition to turn around his channel and win the race to be number one, Jai sells his soul to the devil - Mohan Pandey the ruthless politician who will stop at nothing to achieve his ambition of becoming the Prime Minister. In this mission Jai is egged on by his businessman brother in law Naveen. The twists and turns show the dirty tricks politicians indulge in, fake news and even created news being reported by the media, emotional manipulation of a doting father by his ambitious son, and the final denouement through an expose by a greenhorn reporter, Purab.
The casting is superb - we need not say anything about the acting prowess of the established stars Amitabh Bachhan (Ashok Malik), Paresh Rawal (Mohan Pandey), and Rajpal Yadav (who does a cameo as a TV anchor with a flair for dramatics). They live their roles with effortless ease. The ladies in the film are there purely for decorative purposes - including an accomplished actress like Gul Panag who looks pretty, dimples and all. The surprise packages are Mohnish Behl who is very convincing as the ruthless rival media baron and Sudeep who effectively portrays the mental trauma of the ambitious but morally ambivalent Jai. It unfortunate that a talented actor like Mohnish has had so few opportunities to exhibit his talent. Riteish Deshmukh as the young idealist who sees Ashok Malik as a role model brings the right balance of eagerness and disillusionment to his role of Purab. However, the director does go overboard by caricaturing him as a sweater wearing and motorbike riding common man's reporter; his stylish flat gives the lie to his 'modest' pretentions! Also the scenes of his tailing Jai in full view of his rear view mirror are rather amateurish. Having said that, one should take nothing away from the tight editing which keeps you interested right through the 137 minutes of the movie.
Rann is right down the alley of RGVs iconoclastic movies questioning and even perhaps subtly justifying today's politician's morals - which would perhaps put even alley cats to shame. While talk of paid media, fake news and media politician nexus is passé in today's context, when we consider that this movie was released in early 2010, it is eerily prescient. It is so easy to relate to the events of today and even believe that the riots, scams and exposes, and the empty rhetoric of voluble politicians which we hear of on a daily basis are the paid handiwork of one party of the other - there are no saints in the business of politics - ably aided and abetted by a self-seeking and greedy media.
No surprises here that this movie would not have found too many friends among the political class or the media houses who very often 'create' the success or failure of movies.
I would go with three and a half stars out of five for this wakeup call from RGV.
Dangal (2016)
Top effort from Aamir Khan
DANGAL
It is easy to classify Dangal as just another feel good movie – but it goes way beyond that. Much has been written about the story line which does not bear repetition; the unfulfilled dreams of a champion wrestler who feels cheated of an opportunity to seek an international Gold and glory for the country due to circumstances, who seeks to fulfill them through his offspring.
Where the Dangal experience becomes different is in the nuances and narration of the story. The reaction of a dejected Mahavir Singh Phogat (played by Aamir Khan) to the complaint by the villagers after his daughters beat up a couple of boys is one of surprise and elation – the real 'aha' moment for him when he realizes a Gold medal is a Gold medal, whether won by a girl or a boy. The natural resentment of the young girls to the harsh discipline imposed by the ambitious father is played out charmingly through the pranks and scheming of the siblings. The odds which are stacked against girls getting into a typically 'macho' sport like wrestling, starting with a conventional mother who refuses protein rich non vegetarian cooking at home to snide comments from the audience who wait to see how the girls will dress to wrestle against boys are emphasized without using high drama or decibels but with telling effect. The underplaying of the politics and harassment of women sports persons and stressing only on the inflated egos of the national coaches at the National Sports Academy keeps the focus strongly on the sport and ensures that the audiences are not distracted from the main story.
The performances of the female cast is outstanding; Sakshi Tanvar who is better known for her role in the TV serial Kahani Ghar Ghar Ki plays Mahavir's quietly supportive but strong wife adequately. The Phogat sisters played by Fatima Shaikh and Sanya Malhotra bring the right balance of emotion and natural exuberance of youth. A very special mention needs to made of the young lad who plays their young cousin Omkar (whose grown up role is played by Aparashakti Khurana) who is brought in by Mahavir as the first sparring partner for the girls when they are initiated to the sport; he is in complete awe of his Chacha Mahavir but as a rather unlikely wrestler takes a lot of spills and beating in the process of helping the girls realize their métier.
Aamir always brings something special to his home productions. As the emotional, temperamental and obsessive father and coach he walks the thin line between being a tough coach and a doting father. Without going over the top, he maintains his authority over his children with no screaming or third degree methods; however, there is never any doubt about who the boss is! Another masterpiece from him.
The real test of a biopic is the ability to sustain audience interest when you know what follows next. Director Nitesh Tiwari has kept up just the right momentum through the movie to ensure that we look forward to every stage of the movie in spite of knowing what to expect. Perhaps the contrived climax scene and the prolonged early training scenes could have been constructed better; but then this is really nit picking on an otherwise exhilarating movie. After starting the movie with the National Anthem thanks to our Supreme Court, finishing it too on screen with the anthem at the medal ceremony was a master stroke which make sure that you leave the theater on a high!
Bajirao Mastani (2015)
Worth watching
Bajirao Mastani has to rank among the better historical movies in recent times.
The love story of Bajirao and Mastani is not as well known as those of Laila Majnu, Sohni Mahiwal or Heer Ranjha in the Indian folklore. Sanjay Leela Bhansali (SLB) sets out to correct this wrong and does a pretty good job of doing so. This movie is said to have taken over 12 years from conception to delivery. During the intervening period SLB directed Black, Saawariya, Guzarish and Goliyon KIA Raasleela Ram Leela. The experience gained in making these movies has stood him in good stead and shows in BM. True to his reputation, SLB has delivered grandeur on a plate in his latest offering.
Watching Bajirao Mastani on the big screen is like being in the middle of a battlefield. Outstanding cinematography and special effects provide a surreal experience to the viewer, whether it is the battlefield scenes or the scenes set indoors in the Shaniwar Wada fort. Colorful costumes and classic choreography add extra charm to this period drama. The story of the Maratha warrior Bajirao Peshwa and his second wife Mastani does not bear repetition – this has been converted into a highly watchable movie by SLB with some artistic liberties taken in the translation of real to reel.
Ranveer as the Peshwa is credible and brings life and energy to the role. He is equally at ease as a superb warrior in the battle scenes as well as the hapless and lovelorn human being torn between the first and second loves of his life and his domineering mother. Priyanka Chopra as Kashibai, his first wife is outstanding. Playful as well as strong, she steals the show in a superbly underplayed role. The disappointment was Deepika's Mastani. In a tailor made role, she appeared to be sleep walking through many scenes. No doubt, she did a great job in the battle scenes, but when it came to emotional scenes where she confronts her bête noire Radhabai (Bajirao's mother) or fiercely protects herself and her son from attackers she appears stone faced. Certainly one expected a lot more from 'Piku'. The surprise element is Tanvi Azmi's Radhabai – just as we all loved to hate Gabbar, so did we hate Radhabai on the screen; a true test of an effective portrayal of a negative character.
As far as casting goes, one wonders if an exchange of roles between Priyanka and Deepika would have worked better – but then the Ranveer Deepika 'chemistry' also would have had a bearing in the final decision. In an ideal scenario, I would have loved to see Nana Patekar as Bajirao and Rekha as Mastani with Shabana playing Kashibai. All in all, a highly watchable film – even though it drags at times, the cinematic values hold your interest.