The Tender Bar is a kind of film that has thoughtful elements of good and bad choices, regrets and lucks, learning and yearning, and goes deep to understand why life always entreats you to move on. This film is a subtle approach for a coming-of-age film to fix the equation of a generational attitude towards learning. With a credible narration, remarkable scenes, powerful dialogues, and an astonishing screenplay by William Monahan, The Tender Bar beautifully reflects on our own life and somewhere do we see ourselves there and agreeing with most of the points most of the major characters speak.
The Tender Bar also reflects on a disturbing childhood and we all audience can relate to the incidents happening in the film. The detailing of this film is done with meticulous care, even the shorter portions have your memories boxed somewhere like the elders smoking or using curse words in front of a child, grandpa farting, parents threatening, mama persuading to join the ranks of a certain institution, a conversation with a fellow passenger on the train, etc.
The Tender Bar bites to harsh realities and also hints you to some people who will always be truly yours, your guide, a parental figure under whose guidance you learn a lot of deal. The film is about accomplishing your targets, fulfilling your dreams, falling in love for the first time. The film is about keeping your mom happy after what she has been through.
The technicalities of this film are just excellent. Brilliant direction by George Clooney and he must get the deserving nomination for the Best Director in the Oscar, really fitting soundtracks, and magnificent performances by Lily Rabe, Tye Sheridan, and Ben Affleck. The latter definitely deserves a nomination for Best Supporting Actor. Good to see Ben Affleck back in shape.
The Tender Bar is based on Pulitzer Prize-winning writer J. R. Moehringer‘s memoir of the same name easily the best coming-of-age film I have watched since Call Me By Your Name.
In early 2000, Shahryar Khan was appointed the chairman of the Pakistan Cricket Board (PCB) and it was to my usual bitter disappointment that once again, the committee decided to elect an individual who had no experience in the field of cricket. In those times, I came to know that he was a diplomat. He couldn’t tolerate the situation of Pakistan cricket after that infamous Oval test and Younis Khan’s refusal of captaincy. A decade later, Shahryar Khan was appointed the chairman again.
Back in 2017, when Shahryar Khan left the position as the chairman of the Pakistan Cricket Board, I was googling him and found out that he was born in Bhopal. I further discovered that besides sports and a political career, he is an author. And one of the titles of his book that stroke the cord was the name, The Begums of Bhopal.
Being an ardent book reader and history aficionado, I gradually paced up digging about why a Bhopal-born octogenarian in Pakistan wrote about the wives of Bhopal. My eyes widen when I found out that Shahryar Khan belongs to some royal family who ruled Bhopal state for 241 years. But the most riveting part was that out of 241 years, his four female ancestors ruled for 107 consecutive years.
After understanding such a ravishing part of history, my honest feeling was that after learning so much about history, I was an ignorant fool not to have an inch of enlightenment about this. And it is a sad part, most of us have lost the hunger or enthusiasm to learn about one of the oldest civilizations. There is so much treasure of knowledge and the history of Bhopal is just a branch of it.
Curiosity bore so many questions about the book. The two most critical questions were that how come the Pathans ruled a state for more than two centuries where the Hindus dwelt in the majority? How come not one but four ‘Muslim’ ladies ruled a state in nineteenth-century India for more than one hundred years?
A brief introduction, nine chapters, an epilogue, and some drawings, appendixes, and some assessments of this book enrich you with the most precious detailing about the state’s history. Thanks to British India Office Records that preserves many scores of letters, documents, drawings, photographs, and history books that maintain the accurate information about the history of yore. Plus, dozens of books also assisted in shaping a proper history guide.
AN AFGHAN IN BHOPAL
The foundation of the princely state was laid by the traveler from Tirah, Dost Mohammad Khan of Mirazi-Khel clan of the Orakzai tribe when he joined Aurangzeb’s army and soon took control of Malwa, the region where the Gonds and the Bhils were the original and indigenous inhabitants.
Dost began to provide protection and made his presence stable in the region. In a few years, he persuaded his clan in Tirah to move and join him. As a result, fifty of his clan people along with his father, five brothers, and his wife Mehraj Bibi traveled from Tirah to Berasia. Thus, the Mirazi-Khel tribe became the pioneer settlers of Bhopal and were called the Barru-kat Pathans of Bhopal. With the steady progress of the Bhopal village that turned into a city, Dost became the first Nawab of Bhopal.
In the 19th century, Bhopalis faced the toughest times when Scindia of Gwalior and Bhonsle of Nagpur along with their army strength of 82,000 sieged Bhopal. Dost’s great-grandson Wazir Mohammad Khan successfully led the defense of an army strength of only 11,000 that included the Rajput allies, Sikh mercenaries, and the Pindaras of Tonk. I took a special interest in the detailing of this siege because this was the most important battle in their history where the lives of Bhopalis and the fate of Dost’s family and legacy were at stake. I have written a separate 2-part blog about the Siege of Bhopal that you can read here:
A decade after the Siege of Bhopal began the rule of female rulers of the Bhopal dynasty starting from Wazir’s daughter-in-law and 5th Nawab Ghous Mohammad Khan’s daughter, Qudsia Begum. The arrival of women’s rule to the state turned the fates of Bhopalis as the state began to progress and Dost’s legacy continued to influence.
Amongst her vital contributions as the state leader was buying lodges in Makkah and Madinah for Bhopali pilgrims, and employing David Cook to construct a pipeline to provide her people free drinking water. She provided funds from her personal account to construct a railway station.
When Qudsia’s daughter Sikandar Begum took control and became the second begum to rule, she left no shades of their golden legacy behind but gave more reasons to believe why the begums of Bhopal were to be trusted as their supreme leader.
In Sikandar’s era, postal service started, a police force was formed, and constructed a treasury and a mint for the local production of coins and currency. Sikandar also constructed a hospital and a few dispensaries and invited Hakeems from all the states to settle down in Bhopal. To transform the royal household into religious intellectuals, Sikandar invited Yemeni scholars to teach them Arabic, Hadiths, and the holy book of the Quran. When it comes to her religious contributions, Sikandar introduced Majlis-e-Shoora that passed 134 laws during her reign.
Sikandar holds the distinction for working for harmony between Muslims and Hindus by constructing mosques and serais for them. She also appointed an Accountant General who would check the waste and corruption. Urdu became Bhopal’s official court language, previously it was Persian.
THE BEGUMS: SHAHJEHAN & SULTAN JAHAN
The third begum Shahjehan, Sikandar’s daughter, brought more reforms into the system. The postal and police services that were initiated in her mother’s reign, were modernized. The revenue system was improved. Shahjehan also constructed a jail, a dam, and a proper arsenal for the state’s artillery.
Shahjehan’s daughter and the last Begum of Bhopal, Sultan Jahan faced a lot of challenges when she sat on the throne. Only 40,000 rupees were left in the treasury to run the state. Bhopal’s political system was on a razor edge and the economy was compromising thanks to her step-father Siddiq Hassan whose incompetent leadership resulted in social and economic corruption and despite sharp criticism by the British, Shahjehan preferred to defend him.
Sultan Jahan’s era was the symbol of promise and in the first ten years of rule, she built hope, faith, and future for her people. Despite being very religious and conservative, Sultan Jahan brought educational reforms, liberalism, and modernization to Bhopal.
Sultan Jahan improved systems in taxation, irrigation, agriculture, armed forces, police, jails, judiciary, and public works. She initiated municipality elections that upgraded sanitation, hygiene, and supplying tax-free water. In her era, Bhopali women found their voice in Begum. They were encouraged to join the Bhopal Ladies Club. The technical institutes were opened to teach them embroidery, handicraft, and needlework. She became the first chancellor of Aligarh Muslim University that helped in raising the bar for education, especially for girls.
Four ladies from Dost Mohammad Khan’s bloodline ruled the state for over a century and laid a solid foundation of discipline, faith, courage, commitment, integrity, and self-belief. We do not find any such example of political dominance and ideal leadership where women ruled keeping the peace between people of different faiths, stayed loyal with the British, and brought numerous social, political, and economic reforms in political history.
My book review will be incomplete without mentioning the Bourbons of India, the French connection to the Bhopal Dynasty; the descendants of high-born nobleman Jean-Phillipe de Bourbon de Navarre. They were the superior loyalists to the dynasty for generations that fought and defended a few battles and supported them at every cost.
MY FAVORITE LEADERS
Amongst all the leaders of the dynasty written in the book, my favorite leaders were Mamola Bai, Qudsia Begum, Wazir Mohammad Khan, and Sultan Jahan Begum. I found them more distinguished and their leadership more propelling because they all encountered challenges and tackled them successfully.
Before the 19th century witnessed Bhopal being ruled by four ladies, Mamola Bai was the first significant woman in Bhopal’s political history. She was a Hindu but first, she was the wife of the first Nawab Yar Mohammad Khan, and Dost’s daughter-in-law, who ruled the state for 50 years. She faced a tough time from the opposition who was Yar’s own brother Sultan who wanted to sit on the throne. But she invoked Islamic legitimacy in favor of Yar’s son Faiz against the claims.
The British Empire’s connection to Bhopal state began with Mamola Bai when she warmly welcomed General Goddard in 1778. Abdul Qadir Jilani’s direct descendant Pir Ghous Ahmad Shah Jilani formally declared her Rabia Basri II, the author’s mother Abida Sultan held the custody of the formal attestation of this declaration.
The point where Qudsia Begum impressed me the most was when she unveils her burqa in front of all the family members, contenders to the throne, qazi and mufti, and reads her husband’s will. These were the times when Dost’s male descendants were fighting for the throne and then, this 19-year-old Qudsia, pregnant with her second child, announces her regency and begins the century-old era of women’s dominance over the state.
The dazzling aspects of Sultan Jahan Begum lie in her leadership that turned the fates of the Bhopalis, especially women. Plus, she cleaned the mess made by her step-father Siddiq Hassan who made a lot of damage in corrupting the economic and political situation of the state.
But my favorite amongst all the leaders of this Bhopal dynasty is Wazir Mohammad Khan, the true defender of the state. He is the one who protected the state falling in the hands of the Marhattas, twice. Once, Wazir along with Ambapani’s Jagirdar Kuli Khan with 1000 tribesmen defeated Sironj governor’s General Bala Rao Anglia of Gwalior, Raghuji Bhonsle of Nagpur, Pindara Amir Khan of Tonk with 40,000 force. And the second time, he courageously defended Bhopal’s siege against Marhatta’s heavy army force of 82,000. The four Begums would have never led the state if Wazir’s gallantry never existed.
The Begums of Bhopal guarantees history check and authentic detailing because of the four vital factors. One is that Shahryar Khan had his mother Abida Sultan’s library in hand that preserves books, documents, and rare manuscripts. Two, he had access to the British library where he scoured through confidential reports about the state by the-then British civil servants.
Three and the biggest factor that distinguishes this book from any history book a historian may have written in the past two centuries is that Shahryar gained direct knowledge about his ancestors through his mother’s tape recordings that recorded her impressions of the state’s history as related to her by her grandmother Sultan Jahan Begum, the fourth and final Begum of Bhopal. On the tape, the grandmother, old civil servants, and family members spoke in detail about their time and even recalled the time of Sikandar Begum’s golden era when she ruled Bhopal in the mid-nineteenth century.
And four, the book discourages to be quintessential or overpraise the pride of his ancestors. The book refuses to deceive the readers by exaggerating the details of their greatness of being the most ideal of all Bhopalis. The book highlights the state’s leadership that went in good and bad hands. The book stamps an unbiased history of centuries-old rulership where the author details the rights and wrongs of Bhopal’s leadership in safe and unsafe hands.
The golden example of the book’s historical authenticity is writing about one of his ancestors who sold his rank and Bhopal’s fate for his comfort and pleasure, Ghous Mohammad Khan, father of the first Begum of Bhopal, Qudsia Begum. Then there was Siddiq Hassan, the third Begum Shahjehan’s second husband, whose leadership in Bhopal raised questions in Bhopal and the British.
The author also holds no tolerance in courageously detailing the clashes in the royal family, complicated mother-daughter relation between Shahjehan Begum and Sultan Jahan Begum. The author was also not shy of speaking about the speculation of a romantic affair between Qudsia Begum and Shahzad Masih. Qudsia Begum disallowing to transfer her power of authority to her son-in-law is also spread in pages. The point of highlighting all of this is that the author pens the history of his ancestors in an impression that the Bhopal state and its people went through changes in the period of the leadership of their dynasty that resulted in good and bad outcomes. People lost their lives in their battles but also trusted for the reforms they made.
The author neither shows any pride nor does he write any respective names as his relatives but he broadly commentated their stories. You will not observe any page where he calls his relatives in person but rather speaks their names. He mentions himself in the epilogue but only writes his name. The preface is the only part where the author personally speaks and writes ‘I’.
I began to read The Begums of Bhopal back in March 2018. The knowledge was so driving that I began to prepare notes and draw myself the lineage of the princely state. Although, the drawing is there in the book, but for me, it was helpful to update all the lines with the completion of chapters I read. This book made a lot of reading intervals due to my own mid-life crises. But with a strong will, I have finished reading this book by the end of 2021.
The beauty of reading this book is that you grow with the timeline from Dost Mohammad Khan’s arrival in Malwa in 1707 to Hamidullah Khan’s succession of the throne in 1926. It is like if you are watching the American television show Roots and following Kunta Kinte’s descendants. This book deserves a television series with an extremely huge production budget, and I wish if this ever happens. Because this part of history needs to be told.
To all the readers who seek knowledge about the tareekh-e-Hindustan, The Begums of Bhopal is a part of it. A lot of information about India’s ancient history has not reached the internet; that makes me think that there is still a lot about the past to reach us. Gain it, treasure it, before all these cannons go further missing.
In a very advanced future, Cameron Turner (Mahershala Ali) is in the last phase of his life because he is dying from an incurable disease and leaving behind his wife Poppy (Naomie Harris) and a kid who have no knowledge of his illness. Dr. Scott (Glenn Close) strongly recommends replacing himself with his clone that will keep his family away from the grief. A proposal that sends Cameron further in a state of perturbation.
My problem with the film is that such a limited plotline is stretched to 112 minutes of the screen time which makes this slow-burn more on nerves. There is no doubt about the film being better than average with a quality casting and Mahershala giving a splendid performance. But the plot is so small that the film basically does no favor in screenwriting. A story like Swan Song deserves its place in a sci-fi episode of some television drama; speaking of which reminds me of Black Mirror. This Swan Song is an authentic Black Mirror episode.
Swan Song is thoughtful and questions you about your existence that is predicted not to be that long and you have to leave your family behind. If a human clone is an answer to eradicate or lower the level of grief in the human race, where will it end? How will you bear to be replaced and decide not to inform your family about the development? Your nature of death cannot delay but the distress upon your family can be reduced. Science further finds solutions and discovers the answers somewhere in the universe but the dying human cannot wait in queue for the last train to heaven as the emotions get restored in the clone to please his/her family. Thou shalt not covet!
Mahershala Ali will break your heart, burn your vehemence and make you extremely impatient. Swan Song is your typical sci-fi diet that should be watched alone in a dark room so that you theorize and digest the deep understanding about dramatizing the clone situation.
For me, as a huge tennis fan, who was blessed to watch this beautiful sport on television since 1992 and was lucky to have watched many great legends since then, I do understand the contribution of the William sisters who dominated in tennis for more than a decade especially Serena. Therefore, a film about them became necessary to watch. But for me, the surprising factor was that the film was centered around their father Richard Williams so I assumed that the real-life story has to be that compelling to focus on him rather than his daughters. I had never known the backstory before they became the legends and now after watching the film, I am touched.
King Richard is basically about a crazy-a** visionary paterfamilias who had, believe it or not, devised a 78-page plan about his two daughters to transform them into highly successful tennis stars, wait for it, even before they, I mean Venus and Serena, were born. Yes, there is a father who wrote a success story even before bringing them to the earth. How insanely willful, confident and determined will he be?!? The film shows his strict personal and sports discipline and training about his daughters, how he shapes their careers, and what difficulties, racial problems, and Compton’s rough life does he face during all that time.
The biggest plus about the film is that about 90% of the screenplay, the incidents, and the important events are all historically accurate making you trust the presentation. The film is majorly plotted from Richard Williams’ autobiography Black and White: The Way I See It. Therefore the film is compelling and the pace keeps you attentive to the continuity, especially in the middle of the film.
Will Smith for his leading role as Richard Williams is considered highly certain to take the Best Actor award at the upcoming Oscar function. Honestly, to my surprise, the performance wasn’t really that wow to consider him one of the best from 2021. I have watched better performances from Will before, most significantly The Pursuit of Happiness was a far better performance than this. He didn’t meet any challenging segment of performance in the entire film, besides the scene where the Child Protective Services enter their house. In fact, it is Jon Bernthal‘s supporting role of Rick Macci that has me taken aback. The usually tough-guy image of Jon is completely switched to a friendly ever-smiling softhearted coach and I cannot believe how well did he perform this. This performance is quite different than he usually does.
Although I find the film very touching and impresses me with its being accurate, unfortunately, there are some strong issues that drop this real-life sports drama at loose ends. Let me explain to you why. The film focuses on Richard Williams as a dedicating father but does not touch on his ‘other’ issues like his role in business, his past marriages, and his fatherly role for the other daughters. Venus-Serena chemistry is horribly lacking. Despite the fact that the father prioritizes career of Venus over Serena, there is no sign of emotional breakdown between the sisters. Their being besties, even in such difficult changing times, look flat, no changing gears. The other daughters were completely extras and hype girls, absolutely no sign of their role as sisters. There should have been some detailing about why the parents preferred to focus more on Venus and Serena than the rest of their children. Maybe the film misses all these points deliberately because the William sisters are the executive producers.
But it is not like if Richard Williams is depicted as the holy father with no indication of making wrong choices. There are heated exchanges of him with his wife where we discover his dark side. The film shows his anger and stubbornness. His controversial decision to pull his daughters out of the junior tennis circuits is dramatized in a way that looks like his father did make a wrong decision about their careers and lives.
But the message of the film is conveyed to the audience. The cinematic portrayal of this father and his dedication and building two legendary careers from the courts of Compton was highly paramount.
What introduction should I give about this stupendous adaptation? I mean during the entire drama, I was searching for words to describe this film. How must I pass my judgment about this film? How can anyone imagine William Shakespeare‘s tragic play with such credulous care? Joel Coen! The first time you directed without your brother and what have you done?
Yes, I have more questions in my mind. How can a film balance the aesthetics and methods of theatrical presentation so accurately? How come a Black Macbeth becomes so acceptable to us? Is this because he is Denzel Washington? Or the selection of a Black actor for a white Macbeth really clicked and really hummed the ever-running identity politics campaign.
Macbeth was my first proper reading after my school life. I don’t remember if there were any non-white characters in the play so pardon my memory. But I am not complaining, I am questioning if the character identity should be altered for the sake of voicing for the global campaign of identity politics. And I fully praise Denzel Washington’s performance, he took the mantle of the character and delivered splendidly.
Going black-and-white made the visual artistry more amicable to literature and I think The Tragedy of Macbeth has paved the way for looking at the Shakespearean works in tremendously different parallel. I have watched Sir Lawrence Olivier‘s Richard III performance especially the ”Now is the winter of our discontent” scene and now after watching this, I can just imagine him doing the same number in this parallel and it looks more stunning.
If any of Sir Lawrence Olivier or William Shakespeare was alive, he would have been proud of Joel Coen’s execution and understanding. This film is up for many Oscar nominations, most importantly for cinematography, production design, score, costume design, direction, and Denzel’s performance. Easily be one of the best films produced in 2021.
A struggling composer and playwright Jonathan Larson (JL) is reaching 30 but still knocking the doors of the industry to listen to his pieces and grab the opportunity. This film centers around his hardship and personal account of his dedication that was becoming questionable due to not meeting his mark. The film is about JL’s stressful and collapsing sparks of a musical journey before “Tick, Tick… Boom!” happened.
The film, by all means, is an exceptional musical drama where Andrew Garfield is at the heart of the film. He resurrects JL and displays a powerful performance. Maybe the film won’t be praised that much if Andrew was not picked to play the best performance of his career. We may have another musical case in Andrew surely reaching to the Oscars just like Riz Ahmed last here and I won’t be surprised if he wins it. Let me tell you why – facial performance! Just marvelous. Look at him, just look at him when he has to work on the note and electricity is cut. Or when he has an argument with Susan that leads to breaking up. Even his acts in most of the songs were so energetic, especially that crazy number with Vanessa Hudgens was crazy.
The screenplay was the other plus and such fabulous writing was possible due to extensive research on JL’s works. Director Lin-Manuel Miranda and Tony Award-winning writer Steven Levenson got access to his works at the Library of Congress that built most of the script. And this is why this musical drama looks distinguished from the other projects.
While their research helps in shaping a story close to JL’s work there do are damages on the accuracies. Also, the first thirty minutes are too musical to watch. Overall, I think Miranda’s debut as director deserves praise for doing a musical that wasn’t stereotypical but on the aesthetics of JL’s works which I mean is an observer can have a clear idea that this is how JL would have wanted to direct his Tick, Tick… Boom.
For thousands of years, the group of immortals called Eternals have defended planet earth from the unnatural species of predators called Deviants. But in the present day, one of the Eternals finds out that the deviants still exist and they need to assemble to complete the unfinished business once and for all.
I haven’t read about Eternals in comics, so this film is the source of whatever the director felt to make the use of Jack Kirby‘s creations. So on paper, Eternals, I believe, are the strongest group of superheroes in the Marvel Cinematic Universe. And the group being socially diverse makes sense as the celestial picked his team to find deviants around the world.
A recent winner of the Oscar for Best Director, Chloé Zhao, was roped to work on this MCU project that brought a lot of challenges for the production. Because an Oscar-winning director for a superhero project becomes hyper-interesting as the audience expects the comic-book film to be a well-written and fine productional craft. And then the cinematography, visual effects, and Ramin Djawadi‘s score are other plusses giving a boost to the motive of the story.
But I am looking at the bigger picture. Into its fourteen years of existence and twenty-sixth film in line with the greatest cinematic universe ever, how important is this film for the future? Zhao’s direction does bring new breathing and way of observing a Marvel film but I guess despite having the magnitude of her quality presentation, the plotline is neither apt nor the screenplay is compelling.
If a viewer with a bird’s eye has to scale down a 156-minute film, he/she will certainly realize that there is something really wrong with the film. Let me try to point out why Eternals is not even close to being considered an average film.
One major blemish about the film is the introduction. This group of immortals is new to the audience and we have no idea how they were ever created. A Star-Wars-style intro text is not enough to accept them the way they are. Yes, the intro text emphasizes that they were needed but how these people ever become Eternals, there is no backstory. Instead, we travel time with them and observe how they protect some ancient civilizations and empires from deviants. I felt the dramatizing of old times was taken way too seriously and lost the meaning between the lines. Two of the Eternals are shown to develop a romantic interest in Babylon in 575 BC. Next scene? They are getting married in 400 AD in the Gupta Empire. The same amount of time would have been taken in dramatizing the intro text.
Another factor that ‘may’ have not worked with the audience is that Eternals is very quintessential to MCU aesthetics. They are so close to perfection and lacks human sympathy that was found for almost all the Marvel superheroes in the previous films. Seeing them fighting and killing the deviants straight from the start without knowing their whys and hows makes the purpose bleak.
The middle part of the film is a dead soul. The audience can easily give his/her popcorn to the person on the other seat and leave the theatre giving up. Amongst the team, Sersi (Gemma Chan) was easily the least favorite of all the characters, and she was chosen to lead the group. In the cast, I need to know why such established actors like Salma Hayek and Angelina Jolie were part of this project. Especially Jolie, what a terrible waste! Even Kit Harrington is not utilized.
There is no villain in the film. Fine, it is not compulsory to have a villain in a superhero film but the story has to be much captivating; the grip of the screenplay was loose. Eternal is a confusing experiment in which the director struggles to plot the film in a non-linear style and attempts to apply forced humor out of nowhere to keep the audience somehow happy. As the film tries to find its zone of compliments with such an excessive time, the film loses its transmission and drops flat.
(Before I commence passing my review, I would like to inform the readers of the future that the show is judged after watching the first two seasons. To date, the third season has been announced.)
After fifteen years of television dominance and winning eight Emmies, Mitch Kessler (Steve Carell) is fired by the UBA Network when the news breaks of his being responsible for multiple incidents in sexual misconduct. His on-air partner for fifteen years, Alex Levy (Jennifer Aniston) faces difficult challenges to maintain her professional stature as the show struggles to retain its domination on the American viewers. And during all this, the network hires a shocking replacement of Mitch in Bradley Jackson (Reese Witherspoon), an outspoken field reporter whose creative ideas do not match with Alex. Thus, starts a very interesting phase of the news network.
Apple TV+‘s The Morning Show is the epitome of excellent writing about corporate corruption, abuse of power, sexual misconduct, and the struggle of women empowerment. This phenomenal piece of writing reminds me of Aaron Sorkin‘s, the audience is fully sold to watch the sensationalism of the making of news programs. The functioning of the news network is detailed with meticulous care.
One of the highlights where the show surpasses the quality of presentation is giving a proper dramatization of female employees working under the same roof after one major controversy bombs the reputation. TMS is picturized in the time period of America’s socially most critical period that is the rise of the MeToo wave in the first season followed by the global pandemic in the second season. Therefore, the show heavily focuses on the impact of the MeToo movement on this news network and the mental challenge the employees have to face after Mitch is fired.
In the same given period, TMS successfully decorates the professional rivalries in both upper and lower levels and daily political games between the network biggies. The parties, the glamour, the pride, the ego, the insecurities, etc. are all crafted with command. Employee love affairs, professional secrecies, work ethics, and heated arguments are credibly natural.
I think the recently concluded second season, despite superb writing and direction, is drier than the first season to some percentage due to lack of potential continuity. Mitch/Stella and Bradley/Laura takes a lot of minutes and are not even the core concerns of the main subject. The only plus about the writing of the second season is the build-up of the global horror that knocked the American life – the coronavirus. All the related content writing about the upcoming pandemic really breaks the buzz.
If the audience observes at dramatizing of employee relationships and scuffles, this will remind you of USA Network‘s Suits. Another excellence is handling the tragic events of the California Wildfire and the Global Pandemic magnificently. The productional dynamics and dramatic changes in the continuity are so compelling that the viewers can easily go into the heart of the show and grow in it.
And why not? The show is blessed with a potentially favorable cast of Steve Carell, Jennifer Aniston, and Reese Witherspoon in the lead, with the splendid support of Billy Crudup, Mark Duplass, and Karen Pittman, giving powerful performances. The Green sisters of Friends, Jennifer and Reese, were not only reunited but also became the first actors to be paid $2 million per episode.
There are numerous intense and brilliant argument and speech scenes. And this is what the audience wants, make a show blended with a favorable cast, fabulous writing, hot topics, hard-hitting dialogues, all orchestrated under a supervision of a thoughtful team of directors.
TMS has an interesting plotline, an exciting setup of aesthetics, a wise application of dark comedy, a very sound direction to build our enthusiasm for the show. And holds a lot of promises for the next season; and like me, I am certain that all the TMS fans are wishing that the new season happens this year instead of another two-year gap.
Qatil Haseenaon Ke Naam is a Pakistani anthology miniseries produced by Zee5. It is a fictional setup in Lahore about the survival and struggle of ordinary women in a male-dominated society. For female viewers, this show is a podium of mahogany because the content drives a lot of zeal for depicting women tackling tough situations ahead. There are moments where insecurity hurdles and put to insult.
The show is pretty noir, visually creative, and blended with dark elements of black mysticism and fantasy that compels the audience to rope into a crony portion of absolutism. I do not say that hell is installed over women. There are a few women here with power or authority. But basically, Qatil Haseenaon Ke Naam is about women breaking stereotypes in a culture where she is not equal to men.
I like the use of hatred and angst nipped by a backstory. The second and the fourth episodes based on Nurse Kanwal and Massey Ma respectively are quite better than the rest but the former meets an absurd conclusion.
The performances are average. The soundtracks are interesting and the poetry is used in the screenplay pretty well. And speaking of the screenplay, I think the non-linear pattern of presentation really begins to grab the interest at the halfway mark. Because first, I felt that the show will end up depicting six different stories but no, the writer connected the dots.
I think the Pakistani shows are meeting their desired content on a platform as the general audience raises criticism over the drastic change of elements as they were not used to such bold dramatizing. But I feel this is a good start for Pakistan on any platform. The norm of traditional soaps needs to break and start working on the stories that will attract the audience. Before this, Zee5 financed another Pakistani show, Churails. Both the shows are female-centered using almost the same pattern. So I am expecting a Pakistani show from ZEE5 with a different plotline.
The show is directed by Meenu Gaur who is known for directing a Pakistani film, Zinda Bhaag. Qatil Haseenaon Ke Naam is a one-timer artistic social commentary on women’s injustice.
Les Quatre Cents Coups (The 400 Blows) is a genuine storyteller. An apology never heard never accepted. A dark sickening life insisting to walk away from everything.
A young lad Antoine Doinel is a confused puppet in Paris of the 1950s. His parents argue and fight, his teacher punishes and complains. He studies but he cannot make his mind. One day he is so disturbed that he quit home and school, and begins stealing.
This 1959 French film is directed by François Truffaut. The best aspect of the film is the tendency, the aptness, the realism of human behavior. The portrayal of characters and their character descriptions are extremely rich and marvelous (especially Antoine’s parents).
This easily is one of the best writings in European cinema due to the fact that ‘The 400 Blows’ was one of the earliest films of the French New Wave uprising. Legendary filmmakers like Akira Kurosawa and Satyajit Ray have considered the film as one of their favorites.