Posts Tagged ‘Anushka Sharma’

My Bollywood’s Best of 2015

Posted: July 20, 2016 in MovieTalks
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Half a year is done and I forget to write a blog on my picks from different categories of Bollywood films. I did this last year for 2014 edition. I hope I am not that late as time pass swiftly nowadays. 

Like every passing year, Bollywood’s growth increases worldwide but the quality and standard of the film decreases. Recognition nowadays among the actors is star-power and among the leading actresses is the one with useful skin-shows. Above all you insured to be more successful in this industry if you have a strong background and belong to rich people who are industrialists, politicians, businessmen, military or in same cinematic profession. The unlucky ones have to join parallel cinema with more brain and wisdom among the cast and filmmakers.

In recent years, there has been change in atmosphere as the artists of parallel and entertaining cinema are involved in same projects and work together. Some sensible writers and talented directors work with involvement of more production companies. Some of the films from last year have been highly impressive and these were those which were not eye-catching in box-office collections.

What disgust me was pathetic inclusions in nominations for different categories in their recognized FILMFARE awards. Tragedy is that the functions are not worth and are more focused on high-level tcp ratings. If you notice, many many big names of the industry are absent and are disappearing in years. People have lost interest in FILMFARE because the functions are bias and predictable. Awards nowadays are won not by right and deserving candidates. Forget about winning, when the nominations are announced the viewers go insane because of plenty of blunders.

From below the categories, I will try to speak some lines where I see FILMFARE at huge fault. Like last year’s blog, I will divide the categories in three sections i.e., Music, Technical and Major. My selections are purely my honest selections to what I believe was deserving. Some of the categories do not need details because it is unnecessary. With the name of winners from each category, I will mention other names who deserve to be the other bests. So here I go;

MUSICAL SECTION

BEST BACKGROUND SCORE

SANDESH SHANDILYA (MANJHI: THE MOUNTAIN MAN)

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Other notable works: Amit Trivedi (Bombay Velvet) & Hitesh Sonik (Hunterrr)

 BEST PLAYBACK SINGERS

PAPON – MOH MOH KE DHAAGE (DUM LAGA KE HAISHA)

NEETI MOHAN – DHADAAM DHADAAM (BOMBAY VELVET)

BEST SONG & LYRICS

AGAR TUM SAATH HO (ALKA YAGNIK/ARIJIT SINGH/IRSHAD KAMIL/A.R.RAHMANTAMASHA)

BEST MUSIC

ANUPAM ROY (PIKU)

Other notable works: Amit Trivedi (Bombay Velvet) & Indian Ocean (Masaan)

TECHNICAL SECTION

BEST COSTUME DESIGN

ANJU MODI & MAXIMA BASU (BAJIRAO MASTANI)

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Other notable works: Niharika Khan (Bombay Velvet) & Wafisha Rahman (Manjhi)

BEST PRODUCTION DESIGN

ERROL KELLY, SONAL SAWANT & SHAIRA KAPOOR (BOMBAY VELVET)

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Other notable works: Sriram Iyengar, Saloni Dhatrak & Sujeet Sawant (Bajirao Mastani)

BEST SOUND DESIGN

BISHWADEEP CHATTERJEE (PIKU)

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BEST SCENE

MASAAN

Imagine a boy from extremely poor background, whose ancestors have history of working in profession of burning corpse and a girl from upper caste begin loving each other. And one day, after exchange of a lovely relationship for weeks, he happen to see her dead body in his working site brought to burn the corpse! We don’t see such tragic moments in young love stories like this. It was an intimate scene and full of intensity. There come this scene and the obvious case is more grieving. Vicky Kaushal‘s presentation of agony is unexplainable here. I could not find a HQ video of the scene. I have no doubt this is the best scene shot in any film of the year.

BEST EDITING

A.SREEKAR PRASAD (TALVAR)

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BEST CINEMATOGRAPHY

NIKOS ANDRITSAKIS (DETECTIVE BYOMKESH BAKSHY)

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Other notable works: Avinash Arun (Masaan) & Rajiv Jain (Manjhi)

BEST ACTION

BADLAPUR

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Other notable works: Titli & Detective Byomkesh Bakshy

BEST SCREENPLAY

JUHI CHATURVEDI (PIKU)

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BEST DIALOGUES

JUHI CHATURVEDI (PIKU)

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BEST STORY

KANU BEHL (TITLI)

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Other notable works: Jeethu Joseph (Drishyam) & Harshavardhan Kulkarni (Hunterrr)

MAJOR SECTION

BEST SUPPORTING ACTRESS

KONKONA SEN SHARMA (TALVAR)

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Konkona don’t need any introduction. Open her filmography and you will find dozens of impressive roles she has played in her acting career. Talvar is another addition in her CV. She along with Neeraj Kabi displayed one of the best supporting performances in recent years and guess what, she wasn’t even nominated in Filmfare for this category.

Other Notable Performances: Shefali Shah (Dil Dhadakne Do), Tabu (Drishyam), Shivani Raghuvanshi (Titli) & Huma Qureshi (Badlapur)

BEST SUPPORTING ACTOR

NAWAZUDDIN SIDDIQUI (BADLAPUR)

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The year 2015 was remarkably a year for best male performances in supporting roles. Title was a trinity of performances between three brothers. Anil Kapoor developed his skills playing role of angry father in Dil Dhadakne Do. Neeraj Kabi brought all his theater experience in Detective Byomkesh Bakshy and Talvar. Vicky Kaushal turned out to be one of the most promising newcomers in Masaan. Karan Johar was the surprise package in Bombay Velvet and Ashraful Haque did superb job as Manjhi’s father in his final film.

But above all it is the actor in his heydays who is building a very strong career making his name in almost every film. Nawazuddin Siddiqui in Badlapur is someone you would like to hit and slap as much as hard you want. He gives a lot of energy to his villainous role and don’t even feel bad for the guy who lost his family. His character has shades and changes color like chameleon. He and Varun, the two leading actors of the film are two sides of the coin begging for mercy.

Other Notable Performances: Karan Johar (Bombay Velvet), Amit Sial/Ranvir Shorey (Titli), Vicky Kaushal (Masaan), Anil Kapoor (Dil Dhadakne Do), Ashraful Haque (Manjhi), Neeraj Kabi (Talvar)

BEST ACTRESS

RICHA CHADDA (MASAAN)

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It wasn’t a year of extraordinary performance by the leading actresses. Then Richa Chadda happened. She is Devi Pathak in Masaan who was caught with him by the police in the hotel for obvious reason. Then her struggles begin to make a life of herself by switching jobs but cannot afford a payment of hefty bribe the policemen ask her and her father for the video they made in hotel. It was tough to decide the winner but then I decided that Deepika for Piku was the closest and second-best to her.

How rude and disgusting that such performance wasn’t appreciated enough to be nominated in Filmfare for the same category. More to a mockery, Kajol and Sonam Kapoor were gifted places in the category for Dilwale and Dolly Ki Doli whose performances were no where in comparison to this.

Other Notable Performances: Besides Deepika Padukone for Piku, Anushka Sharma did a terrific job in Bombay Velvet as Rosie the Jazz singer. She performed impressive facial expressions in numbers like Fifi and Dhadaam Dhadaam. Then there is Bhumi Pednekar (Dum Laga Ke Haisha) who gained 30kg for the role of an overweight wife and made a stunning debut, was also ignored by Filmfare in the category. And why should I not count lil’ Harshaali Malhotra! 8-year-old child actress made promising debut as Munni in Bajrangi Bhaijaan and was the only shining moment in the whole ridiculously garbage film. At this tiny age, she showed a character and discipline of emotions on a dolly face.

BEST ACTOR

NAWAZUDDIN SIDDIQUI (MANJHI)

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It will be a sin to overlook such astonishing performance. It will be a mockery to consider it only one of the best performances. His star is shining brightly in recent years but this performance need an author to release a book full of praise. I hardly have seen actors reaching closest to the perfection like J.K.Simmons in Whiplash or DiCaprio in The Revenant worldwide but in India, it is hard to bring that so much in the artistry to present a character what Nawaz did in portraying Dashrath Manjhi.

Nawazuddin’s title role of Manjhi is full of life. You want a father or a husband, you want a man of his principles or determination, you want an example of sacrifice and hardship and last but not the least you want to see a man who broke the mountain to honor his wife he loved the most in entire life – there you have all superbly defined.  

When it comes to emotions, this actor has no boundaries to express. A facial performance is very vital in acting and keen learners of theater always win the performances. He easily is the best actor for last year.

In three words – Shandaar! Zabardast! Zindabad!

Some readers may get confused of not picking Manoj Bajpayee for Aligarh. Let me clear, the reason I omitted is because the film is released in India this year in February. The closest to this competitor was hugely/heavily ignored Shashank Arora for Titli.

Omission of Nawaz for Manjhi from the last Filmfare Awards easily is one of the most shocking blunders in their history. How disgusting and utter disappointing is to see the genuine winner not included in the nominations but Salman Khan and Shah Rukh Khan for Bajrangi Bhaijaan and Dilwale respectively! This shows the standard of Filmfare nowadays and ridiculous selections by the judges of these panels.

Other Notable Performances: Shashank Arora (Titli), Sanjay Mishra (Masaan), Amitabh Bachchan (Piku) & Varun Dhawan (Badlapur)

BEST DIRECTOR

SRIRAM RAGHAVAN (BADLAPUR)

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Yes he is and I am not surprised. A silent and dark tale of two characters hanging on different corners eagerly waiting to leave a mark on each other. It is about making an extraordinary film from an ordinary script. We have watched films when the leading actor loses the one he loves and plans to take revenge. Same goes here but with same story, it easily distinguishes from other films of the past thanks to Sriram’s directional artistry. 

What propels you is the building of intensity on Raghu (Varun Dhawan) when he loses his wife and child in very first scene. The rage factor of Raghu is where he work out, the way he beat or hit few characters by hammer is violent and loud to your ears. With time much to offer, Sriram builds the leading character very well. He is excellent on bringing the best of the leading performer as he did with Urmila in ‘Ek Haseena Thi‘ and Neil Nitin Mukesh in ‘Johnny Gaddaar‘. 

Other Notable Performances: The closest competitor to Sriram is Shoojit Sircar for Piku. Meghna Gulzar for Talvar was surprise package. I found Anurag Kashyup‘s direction for Bombay Velvet very very impressive as the film was hugely rejected by the viewers. Neeraj Ghaywan was also fantastic keeping a balance between two different stories in Masaan.

BEST FILM

PIKU

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Piku (Deepika) plans a trip to Kolkata with her dad (Amitabh) but none of Rana’s (Irrfan) cab drivers are available. So Rana decides to serve them and the real fun begins. This is a freshly-baked comedy-drama film with mehfil-loot performances by main actors. Father-daughter chemistry is terrific and the characters development is right on spot. 

Piku is a beautiful slice of life or your favorite cup of coffee, a mind freshener giving your energy an extra-boost because the flow of the film builds on you. A combination of brilliant story, screenplay and dialogues make this very-original film exciting for the viewers and can be repeatedly watched. 

Other Notable Films: Masaan, Talvar, Titli, Manjhi, Bombay Velvet, Hunterrr, Drishyam and Badlapur.

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Dil Dhadakne Do​ is aquatic soap-opera comedy movie and compressed version of the high-society based tv serials hugely focusing on doubts, gossips, raising eyebrows, open-mouths, bedroom phenomenons, legalities of relationships…

Plot? Unmarried husband/wife Kamal Mehra (Anil Kapoor) and Neelam Mehra (Shefali Shetty) plan their 30th wedding anniversary on cruise trip. Host Kamal Mehra is a businessman of a bankruptcy-knocking company and is planning to bond their son Kabir Mehra (Ranveer Singh) with daughter of his fellow business colleague to boost business and personal relationships but the next generation family friends have their say as few among them have complicated relations. Very interesting plot innit? *standing ovation*

PLUSSES:

 

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1) Performances are first-rate. Mehra quadrangular family is amazing. All the four members of Mehras; Anil, Shifali, Priyanka and Ranvir have produced scintillating performances. It is hard to pick one or two of the best among them.

2) 30-year dry marital veterans, Mr. and Mrs. Mehra are the best on-screen chemistry to watch. Amazing timing of conversations between them.

3) Ranvir-Priyanka bro-sis dual is very natural and ideal bond to watch. Both offer very fantastic emotional support to each other, and the strength of their bond during complicated situations is the best thing to watch.

4) Dialogues are naturally flexible and approves that Farhan Akhtar is inherited with powerful writing from his father. Let me prove my point with two entirely different situations. One is the funniest vomiting scene which will LYFAO and the other is highly intense family ice-breaking conversation in medical center. Both are dramatically insane in mode of situations and timing of emotions but the dialogues in both the scenes will make you feel.

5) Dog as narrator is a very catchy innovation. Aamir Khan as Pluto the dog is a wonderful narrator and thought-provoking dialogues are written by Javed AKhtar.

MINUSSES:

1) Running time of this movie is 2 hours and 50 minutes. I repeat, 170 minutes. Exactly!!

2) Unnatural choreographed and very uninspiring songs.

3) Over-exaggeration of family relationships. Too lengthy Priyanka/Rahul Bose moments. So many parivar conferences.

4) Unusually one of the most ridiculous Final-Ten-Minute conclusion of any BIG movie.

5) Too many family sagas and none of them well-defined. Alright Mehra family is the central figure but the supporting connections all sank with absolute collapse e.g., the characters Noorie, Rana, Amrish uncle (Farhan’s dad) and even a promising character of Manoj Pahwa‘s Vinod was cut too short.

6) Farhan Akhtar’s potential role turn out to be a special-appearance jukebox. A richly deserving plot-pacing device enters the screen extremely late and instead of bring close to conclusion, expands the melodrama with his affair with Priyanka and exaggerates.

There are two highly speaking points from the fictionally existing plot which indirectly focuses on very serious issues:

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1) Dog’s autobiography: Pluto the dog is loyal pet of Mehra family. The dog is the narrator of movie where it watches the events happening in its surroundings and delivers/confesses the moral, emotional and social differences between a mute animal and a social animal.

One of the best writers in Bollywood, Javed Akhtar has penned dialogues for Pluto the dog and from Amir Khan’s voice, not only his remarkable dialogues are social satire but multi-dimensional in all walks. Pluto is a philosopher who separates his identity and differ with opinions he revolves around. That is the most impressive element of the movie.

2) Clash of Ideologies among the Generations: A tussle is hustled among the ranks not only in Mehras, but all the invitees of cruise trips where the chemistry of two generation ages to an extent. Oldies are backbiters and gossipers, high-society conservatives and admins of relationship conundrums. Contrary, their children i.e., the new generation or the new breed of friends and cousins have a different taste of humor and better understanding of complicated relationships among them.

The parental control among the Mehra pair is limited to the extend where financial benefits of business is involved. A folked up 30-year married life has a huge but bad impact on both brother and sister which mentally blocks their wish list towards the reality. Like I mentioned above, the highly intense scene in medical center between the Mehras is an ice-breaking emotional breakdown of the whole movie where all four desperately fall on heated argument.

Zoya Akhtar is a highly talented director from a richly talented family of acting and literature. But this movie is below par as compared to her previous two movies. DDD is no match with Zindagi Na Milegi Dobara. The Mehras, dialogues and pluto’s narration makes the movie attractive but the plot do not justifies or appeals the movie length of almost three hours. Could have done better.

Ratings: 7/10

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Once upon a time, an unknown creature from other gola comes to a great nation with many cultures and religions on a research mission. Why did he choose India?? Probably because it is a Bollywood movie and good Aliens always come to India as compared to US.

Dropped on earth in Rajasthan full naked. Nope that is not T-800, that is an alien with no name, no language, but is going to trace the life of earthlings. He wears green remote stolen by a thief who runs away to Delhi.

His super-strength is that he can see the whole life history of a person whose hands he touch which helps him adapting the local life easy. His research mission turns to remote mission as he crosses different shades of life among humans from Rajasthan to Delhi.

With the passage of time, he is named PK. PK’s quest reaches no boundary as he confronts with different people of different faiths and beliefs and in all this trauma, the alien meets a news reporter Jaggu and details his account. No not Jackie Shroff, Jaggu is nick name from Jagat Janani. Jaggu finds PK very interesting and plans to bring him on media where he opposes local godman, Tapasvi Maharaj who actually has his remote.

PK is a comedy-drama movie produced by Vidhu Vinod Chopra (Parinda, 1942: A Love Story) and directed by Rajkumar Hirani (Munnabhai series, 3 Idiots). This is their 4th collaboration as producer-director with all movies achieving huge success with sky-touching box-office collections. With brilliant promos and strong marketing, casting the brand itself Aamir Khan, well-publicized lip-enhancing story of Anushka and cameo of Raju’s ‘Munnabhai’; PK already was a smashing hit before its release and had promised to become India’s all-time highest grossing movie ever to date. By 1st of January, 2015, PK had already crossed Dhoom 3 with ₹264 crore in India and ₹492 crore worldwide in just 13 days. 

There is a tremendous depth of take-a-look over the nature of funny asylum. Filmmaker Raju and screenplay writer Abhijat Joshi once again put a load of questions in viewer’s mind like the duo did in the past. They used Gandhi’s philosophy and thesis in a country of a forgotten leader in ‘Lage Raho Munnabhai‘, then took an individual’s brain and heart to break the silence over richly disturbed educational and employment system in ‘3 Idiots’.

Now the writers plot a more common root of religious beliefs and ritualities. India is globally an economic and financial booster among many great nations with a population exceeding over a billion. With that fact, languages and religions play a prominent part in nation-building. But with all social and moral justifications, PK the alien discovers the richness of deception among the majority. That deception comes from their godmen who multiplies their so-called religious business by deceiving those who follow God but not holy books.

PK is an object by a thinker applied on one sector of earth and called ‘research mission’. The flow of script paces towards his various ideologies over a confused state of ‘Call’. In a confound world; PK is disturbed, confused and frustrated to whom shall he call for help when you need. That is the greatest depression of 21st century when a human is effed by state’s politics and law enforcement, and civil war among people of different faiths (sometimes of same faith but different sect). Sect?? yes sect – where school of thought among same people differs and that is what happened in movie as few seconds of Shiite’s Ashura were picturized.

Even India is just an example, godmen are everywhere and people are tremendously tweeting those nuts. PK/Tapasvi scenes are very thought-provoking, specially their last segment of on-air talk show is worth listening. Not only religions but mental understanding between people of two nations are superb. The Indo-Pak affair among larka-larki in Belgium is short on-screen but of prominence.

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Minuses? Every movie has, so has PK. Background score has no ears to seduce, songs are way flat. In fact script never demanded songs but being a commercial Hindi movie it is a financially must. Two of the songs ‘Love is a waste of Sperm’ and ‘Chaar Kadam’ already develops heard-before feeling.

I might have less knowledge of internet as I fail to understand the continuity of a video call from house of Jaggu’s father to Tapasvi Maharaj’s center. But more massive error was the talk show which schedule to on air 6pm in Delhi but when calling Jaggu’s lover Sarfaraz in Pakistan, it is day over there.

Plusses are many. Screenplay has already been detailed above as the director has superbly executed the script. Director brilliantly manages to shot highly sensitive religious aspects of the movie in satirical way. Thank God bottle of Vines never reached masjid :P Make-up and costume designing was very creative, PK’s weird match of dressings were well-explained and the over-usage of vehicles sketch a sharp contrast of India’s huge concerns over non-stop population or HIV aids (just another small thought over writer’s flow of ink on paper).

I really don’t see Sanjay Dutt’s heavy-duty on cameo of that prominence. Anyone could have played that role. He surely was picked to bring Munnabhai back to some circuit. I am majorly surprised that this time Raju put Boman Irani in such a minor role as compared to other notable roles in previous Raju movies. Anushka gives life to her Jaggu character and Saurabh Shukla‘s Tapasvi role is just another highlight of his superb CV.

Aamir Khan as PK proves yet again why is he called the ‘Perfectionist’. He goes naked, dresses weird, adopts what he breath. Saying in short, he customise and smokes the role in very AK way. He is an absolute showstopper who will entertain you in the whole movie. His facial expressions have no full stop on limits, the Rajasthani dialogue delivery is remarkable.

PK is a must watch movie, not because it is an Amir Khan movie but also it appeals you to understand. The message has social and religious issues but vehement.

Ratings: 8.7/10

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