Tag Archives: Indian Films

My Bollywood’s Best of 2020

Welcome to my world where Sami Naik presents you his annual report about the best things that happened in Bollywood that year. It has been declared that the quality of Hindi-language films has declined due to mainstream commercialism and entertainment which is unfortunately true but believing that quality films in India are extremely less in production, I beg to differ. The prime reason is that the sensible audience has to discover such projects and in the times of streaming services, more chances have increased that a lot of writers and directors, who were not getting the platform, will get offers and earn recognitions from the audience when they release their work. Audience or film critic like me make efforts here by blogging and do justice for people who deserve to be recognized for their quality work.

Since 2014, I have been publishing an annual report into my blog about the Hindi-language film industry of India. The purpose of this report/blog is to inform my fellow cinephiles about the better prospects of filmmaking in the film industry and making them aware of the rich quality of films that either caught the viewer’s attraction and received the deserving praise or unluckily went unnoticed and unrecognized. Following are my previous reports about the best of Bollywood:

2014  2015  2016  2017  2018  2019

My judgments are based on the realistic measures fetched from the films whether those are big or small budgeted, comprised of the ensemble or lesser-known cast. No compromise on quality. Every year, I dig around three dozen potential Hindi films, watch, and judge, pass the reviews and note down the artistic and technical excellence. For 2020, the following 38 films were selected:

Bulbbul, Halahal, Love Aaj Kal, Taish, Anwar Ka Ajab Kissa, Chhapaak, Chintu Ka Birthday, Maska, Choked, Bhonsle, Kadakh, Thappad, AK vs AK, Ram Singh Charlie, What Are The Odds, Panga, Dil Bechara, Sir, Gunjan Saxena, Axone, Yeh Ballet, Pareeksha, Shikara, Kaamyaab, Mee Raqsam, Ludo, Gulabo Sitabo, Chippa, Ghoomketu, Kaali Khuhi, Serious Men, London Confidential, Cargo, Atkan Chatkan, Dolly Kitty Aur Wo Chamakte Sitare, Yaara, Operation Parindey, and Shakuntala Devi.

In addition, I have checked the soundtracks of Ginny Weds Sunny, Baaaghi 3, Shubh Mangal Zyada Saavdhan, Angrezi Medium, and Malang to observe the music department.

Once I am done with all the selected films, I decide by finalizing the works and pick the winner.

SO HOW THIS ALL WORKS??
  1. There are 21 categories that are segregated into three different sections which are musical (5), technical (10), and major (6) sections.
  2. Each category has a winner and ‘maximum’ 5 honorable mentions which are unranked and labeled as ‘Other Notable Works’.
  3. If I require, I will provide short detail in each category.
  4. After finishing with 21 categories, I will write down the total number of nominations and wins submitted in my report as stat fun.

The wait is over…

Allow me to honor Bollywood’s artistic and technical excellence of 2020 according to Sami Naik.


MUSICAL SECTION

BEST BACKGROUND SCORE

AMIT TRIVEDI (BULBBUL)

Other Notable Works:

Karsh Kale (Choked)

Siddharth Mahadevan, Soumil Shringarpure, Qaran Mehta (Ram Singh Charlie)

Gaurav Godkhindi & Govind Vasantha (Taish)

Cyrille de Haes (Chippa)

A.R.Rahman & Qutub-E-Kripa (Shikara)

 

BEST MALE PLAYBACK SINGER

JUBIN NAUTIYAL (PHIR CHALA – GINNY WEDS SUNNY)

Other Notable Works:

Sachet Tandon (Faaslon Mein – Baaghi 3)

Arijit Singh (Hardum Humdum – Ludo)

Darshan Raval (Mehrama – Love Aaj Kal)

Ayushmann Khurrana (Mere Liye Tum Kafi Ho – Shubh Mangal Zyada Saavdhan)

 

 

BEST FEMALE PLAYBACK SINGER

RACHITA ARORA (SUNN SUR JO – CHOKED)

Other Notable Works:

Monali Thakur (Muskurah – Anwar Ka Ajab Kissa)

Suchismita Das (Ratiya – Ram Singh Charlie)

Rekha Bhardwaj (Dori Tutt Gaiyaan – Gunjan Saxena)

Jyotica Tangri (Kol Kol – Taish)

 

 

BEST SONG & LYRICS

MEHRAMA (DARSHAN RAVAL/ANTARA MITRA/IRSHAD KAMIL/PRITAM – LOVE AAJ KAL)

Other Notable Works:

Phir Chala (Jubin Nautiyal/Kunaal Vermaa/Payal Dev – Ginny Weds Sunny)

Humraah (Sachet Tandon/Kunaal Vermaa/The Fusion Project – Malang)

Hardum Humdum (Arijit Singh/Sayeed Quadri/Pritam – Ludo)

Kudi Nu Nachne De (Vishal Dadlani/Priya Saraiya/Sachin-Jigar – Angrezi Medium)

 

 

BEST MUSIC

PRITAM (LOVE AAJ KAL)

Other Notable Works:

Raghav Sachar/Prashant Pillai/Govind Vasantha/Enbee/Gaurav Godkhindi (Taish)

Pritam (Ludo)

Mithoon/Ankit Tiwari/Ved Sharma/The Fusion Project/Adnan Dhool/Rabi Ahmed (Malang)

 


TECHNICAL SECTION

BEST COSTUME DESIGN

VEERA KAPUR EE (BULBBUL)

Other Notable Works:

Sachin Lovalekar (Shikara)

Edward Lalrempuia & Karan Singh Parmar (Axone)

Payal Ashar (Ram Singh Carlie)

Darshan Jalan & Manish Tiwari (Kaamyaab)

Veera Kapur EE (Gulabo Sitabo)

 

 

BEST PRODUCTION DESIGN

MEENAL AGARWAL (BULBBUL)

Other Notable Works:

Sonal Sawant (Shikara)

Shamim Khan & Sikandar Ahmed (Bhonsle)

Mandar D. Nagaonkar (Taish)

Meenal Agarwal (Kadakh)

 

 

BEST SOUND DESIGN

SUSHANT H AMIN (TAISH)

Other Notable Works:

Arun Nambiar (Ram Singh Charlie)

Udit Duseja (Yeh Ballet)

Subash Sahoo (Mee Raqsam)

Sukanta Majumdar (Chippa)

Anish John (Bulbbul)

 

 

BEST EDITING

NITESH BHATIA (HALAHAL)

Other Notable Works:

Antara Lahiri (Yeh Ballet)

Priyank Prem Kumar (Taish)

Manas Mittal (Chippa)

Nitin Baid (Chhapaak)

 

 

BEST CINEMATOGRAPHY

JIGMET WANGCHUK (BHONSLE)

There is a scene where Bhonsle is done with the meeting. Bhonsle is fixed in a crowd of 70,000 people during a festival of Anant Chaturdashi. That lengthy scene took six retakes to complete the shot. In all this continuity, Bhonsle becomes a deep muted narration of a revolutionary poet.

The most important consideration for a slow cinema is the camera work which makes the viewers observe the detailing of the smaller portions of the screenwriting. And this is where Bhonsle was very impressive. Visual shots fixing you to the neighborhood like dirty old tableware, a mischief of rats, a loaf of bread near to a street dog, etc are the essentials of adaptable graphics that squeezes you to care this kind of visual bravura.

Other Notable Works:

Avik Mukhopadhyay (Gulabo Sitabo)

Johan Heurlin Aidt (What Are The Odds)

Harshvir Oberai (Taish)

Ramanuj Dutta (Chippa)

Siddharth Diwan (Bulbbul)

 

 

BEST ACTION

IAN VAN TEMPERLEY (TAISH)

 

BEST STORY

DEVANSHU SINGH & SATYANSHU SINGH (CHINTU KA BIRTHDAY)

Axone highlighted the social challenges the Northeast Indian migrants were facing in the capital. Mee Raqsam depicted the fondness of a young girl about a classical dance in a conservative Muslim family and the consequences. Kaamyaab voiced their support for the lesser-known side actors and told an influential story about such an actor who wishes to conclude his career on a memorable note. Ram Singh Charlie gave a painful insider into the circus entertainers and their struggle to survive at an old age after the business is put to halt. AK vs AK was an unusual plot about celebrities taking professional and personal revenge.

But my pick is Chintu Ka Birthday which was astonishingly built on innocent hopes between the screaming agonies of political conflicts. A six-year-old boy wants to celebrate his birthday with his Indian family, and friends in war-torn Iraq in the times when the US military has invaded the country. What is more observing about the story is feeling the agony of one of the great political conflicts of this century through the eyes of the kid who is not even a civilian of that country. That said so, the story indirectly takes you to so many millions of stories of Iraqi children into sparing a thought who wished to live free in those times enough to cut a cake on their birthday.

Other Notable Works:

Avinash Sampath (AK vs AK)

Nicholas Kharkongor (Axone)

Nitin Kakkar & Sharib Hashmi (Ram Singh Charlie)

Safdar Mir & Husain Mir (Mee Raqsam)

Hardik Mehta (Kaamyaab)

 

 

BEST SCREENPLAY

RAJAT KAPOOR (KADAKH)

Many of you have noticed about my film reviews that I concentrate and judge more about the film’s screenwriting. Because it is the most essential part along with the editing which keeps the spirit of the film intact and helps in maintaining finesse.

Halahal, Ram Singh Charlie, Thappad, and Bulbbul, all had the best screenwriting to compel the audience and drive into it. But why I feel Kadakh is the best work from all these? All four films have a story interchanging its parallels whereas Kadakh has time to spend in between the lines of an unusual incident to get a hold of the entire story towards the conclusion. Rajat Kapoor’s screenwriting had smartness of continuity by playing a lively party with well-crafted supporting characters giving the couples a helping hand in a limited time. The audience will feel the misery and stay in the party unnoticed and waiting for the couples’ next steps towards the body lying in the box.

Other Notable Works:

Gibran Noorani (Halahal)

Nitin Kakkar & Sharib Hashmi (Ram Singh Charlie)

Mrunmayee Lagoo (Thappad)

Anvita Dutt (Bulbbul)

 

 

BEST DIALOGUES

BUDDHADEB DASGUPTA (ANWAR KA AJAB KISSA)

Other Notable Works:

Juhi Chaturvedi (Gulabo Sitabo)

Anurag Kashyap & Vikramaditya Motwane (AK vs AK)

Gibran Noorani (Halahal)

Nitin Kakkar & Sharib Hashmi (Ram Singh Charlie)

Rajat Kapoor (Kadakh)

 

 

BEST SCENE

THAPPAD

What else can there be the best scene of the year than the slap? Thappad is Anubhav Sinha’s social drama film centering on a slapping culture generally forced by men as a sign of gender dominance over women. Now we as the audience know that Taapsee will be slapped at some time in the film. The excellence of the slapping scene lies in the whole buildup which makes it so special.

Vikram enjoying one of the best evenings of his life, celebrating with his friends until that call which infuriates him and makes him verbally come into a rough argument with his colleague. Enters his wife, Amrita, trying to take her man to avoid the scene until becoming herself a scene and then comes a whacker.

Interestingly, she was nowhere involved in this incident. She became the victim and all the party attendees stared at her. Even after the slap, the scene continues to shoulder her in a slow-motion camera work towards her room with the female members of the family shell-shocked.

This slap scene is the core of the film and that part was directed superbly than any scene I have watched last year.

 


MAJOR SECTION

BEST SUPPORTING ACTOR

BARUN SOBTI (HALAHAL)

Barun Sobti was one of the driving forces in Halahal’s excellence. Amongst the other best-supporting roles I have noted below, the only genuine competitor to him was Anurag Kashyap. But Anurag’s capacity as a supporting role was misleading and becoming equivalent to Anil’s leading character despite the plot’s thickness demanding the importance of Anurag’s role as secondary. What makes Barun worthier than Anurag to me is his supporting role justifying in the script and becoming a helping hand to Sachin Khedekar’s role. And Barun gave a realistic look to his role. His body language was more precise to work on the screenplay.

Other Notable Works:

Rajkummar Rao (Ludo)

Anurag Kashyap (AK vs AK)

Pankaj Tripathi (Gunjan Saxena)

Javed Jaffrey (Maska)

Deepak Dobriyal (Angrezi Medium)

 

 

BEST SUPPORTING ACTRESS

MANISHA KOIRALA (MASKA)

Manisha’s terrific performance was penalized to a shockingly shorter period in the film where the leading roles were given to the amateur actors having a tough time running the film on their own. Manisha’s role had the weight, the charisma of the character who went into the skin and displayed rich body language, accent, and physical performance of a typical Parsi woman.

Other Notable Works:

Amruta Subhash (Choked)

Geetika Vidya Ohlyan (Thappad)

Seema Pahwa (Chintu Ka Birthday)

Shradha Kaul (Mee Raqsam)

Sanya Malhotra (Shakuntala Devi)

 

 

BEST ACTOR

KUMUD MISHRA (RAM SINGH CHARLIE)

Surprising, innit? None other than Kumud Mishra. Am I serious? Yes, I am. We have been watching him playing different character roles, most prominently since starring in Rockstar. But expecting to do a leading role? One has to ask the director’s thinking behind considering him for such a physically challenging role. He dropped his weight, he did Chaplin impersonations, he ran driving a rickshaw. And there were moments where Kumud executed so well. That scene where Ram Singh paints his face and gets emotional or when he meets himself and speaks to him, those were the melting points.

There were other actors who did so well like Adil in Pareeksha especially when he confesses his crime, drops my jaws. Sachin surprised me in Halahal. Sanjay did such justice to his role in Kaamyaab. Amitabh with age proved that he still is phenomenal in whatever role he considers to play. Anil Kapoor’s role in AK vs AK was the only tough competitor to Kumud’s as he gave his career’s best performance.

Other Notable Works:

Amitabh Bachchan (Gulabo Sitabo)

Anil Kapoor (AK vs AK)

Adil Hussain (Pareeksha)

Sachin Khedekar (Halahal)

Sanjay Mishra (Kaamyaab)

 

 

BEST ACTRESS

DEEPIKA PADUKONE (CHHAPAAK)

This one was easy for me. No, I am not judging her performance because the makeup was impressive. With this real-life character, Deepika smoked a soul and gave a performance she has rarely given before. She applied a different facial and body language. Notice how she smiles and laughs when she interacts with Amol.

Amongst the best performances I have written below, Deepika’s toughest competitor for me was Taapsee Pannu who had a similar victim card but less severe than an acid-attack which was a face slap. But Taapsee’s most acting minutes in consequences of the incident were gloomy and in despair. More emotional and a little slow.

Other Notable Works:

Kangana Ranaut (Panga)

Saiyami Kher (Choked)

Taapsee Pannu (Thappad)

Sanjana Sanghi (Dil Bechara)

Tillotama Shome (Sir)

 

 

BEST DIRECTOR

RANDEEP JHA (HALAHAL)

On his directional debut, I think Randeep Jha has learned a lot of directional techniques straight from Anurag Kashyap for whom he was assistant director in Ugly, Raman Raghav 2.0, and Mukkabaaz. Because you will see some glimpse of Anurag when you watch this Halahal. I am really impressed with the tone of the film on which the story is developed.

Keeping it to hardly 100 minutes, Randeep Jha wastes no time in building the plot and grows it to further implications. And the most important element which the director misses about the film in India, Halahal gets its deserving technical ending, a fitting conclusion.

Other Notable Works:

Vikramaditya Motwane (AK vs AK)

Devashish Makhija (Bhonsle)

Nitin Kakkar (Ram Singh Charlie)

Anubhav Sinha (Thappad)

Safdar Rahman (Chippa)

 

 

BEST FILM

AK vs AK

And now the final winner!!! Six films were in my mind. And after closely observing all of these works, I believe AK vs AK is easily the best film of 2020. AK v AK is about real-life celebrities, director Anurag Kashyap and actor Anil Kapoor, who were not destined to work with each other in the past, and at some event, they throw themselves into a heated argument resulting in a professional enmity. Anurag takes his revenge by kidnapping Anil’s daughter Sonam Kapoor and films his struggle to find her.

This is the funniest kidnapping you will watch in any Indian film. You are watching something you have never experienced. This mockumentary-style cat-and-mouse mystery chase is a blend of suspense, black comedy rich with entertainment.


Other Notable Works:

Halahal

Bhonsle

Ram Singh Charlie

Thappad

Chippa

 


MULTIPLE WINS & NOMINATIONS
WINS NOMS FILMS
3 7 Bulbbul
3 7 Halahal
2 3 Love Aaj Kal
2 9 Taish
1 2 Ginny Weds Sunny
1 2 Anwar Ka Ajab Kissa
1 2 Chhapaak
1 2 Chintu Ka Birthday
1 2 Maska
1 3 Kadakh
1 4 Choked
1 4 Bhonsle
1 6 Thappad
1 7 AK vs AK
1 10 Ram Singh Charlie
1 Shakuntala Devi
1 Baaghi 3
1 Shubh Mangal Zyada Saavdhan
1 What Are The Odds
1 Panga
1 Dil Bechara
1 Sir
2 Angrezi Medium
2 Gunjan Saxena
2 Malang
2 Axone
2 Yeh Ballet
2 Pareeksha
3 Shikara
3 Kaamyaab
3 Mee Raqsam
4 Ludo
4 Gulabo Sitabo
6 Chippa

(Most of the images used in this blog are produced from the web sources inserted in the image.)

Thank you for reading my annual Bollywood honors report. I will return with a new report next year. Share your opinion below. Stay safe.

 

My Bollywood’s Best of 2019

I cordially welcome to my 6th annual Bollywood honors report.

In the past three decades, I have observed that many showbiz platforms, especially the most prestigious Filmfare, do not do much of the justice with their Hindi-language films with their ultimate decisions about the nominations and wins. So, many ‘good’ work doesn’t get the credit.

Since 2014, I have been publishing an annual report on my blog about the Hindi-language film industry of India. The purpose of this report/blog is to inform my fellow cinephiles about the better prospects of filmmaking in the film industry and making them aware of the rich quality of films that either caught the viewer’s attraction and received the deserving praise or unluckily went unnoticed and unrecognized. Following are my previous reports about the best of Bollywood:

2014  2015  2016  2017  2018

My judgments are based on the realistic measures fetched from the films whether those are big or small budgeted, comprised of an ensemble or lesser-known cast. No compromise on quality. Every year, I dig around three dozen potential Hindi films, watch, and judge, pass the reviews and note down the artistic and technical excellence.

For 2019, the following 35 films were selected:

Gully Boy, Jaoon Kahan Bata Ae Dil, Badla, Bala, Chopsticks, Thackeray, Sonchiriya, Soni, Kesari, Hamid, Batla House, Bombairiya, Article 15House Arrest, The Accidental Prime Minister, Photograph, Laal Kaptaan, Upstarts, Mardaani 2, Saand Ki Aankh, The Fakir Of Venice, The Tashkent Files, Mission Mangal, Ujda Chaman, Mard Ko Dard Nahin Hota, The Body, Mere Pyare Prime Minister, Ek Ladki Ko Dekha Toh Aisa Laga, Super 30, Chhichhore, Posham Pa, The Sky Is Pink, Section 375, Manikarnika, and Kabir Singh.

Once I am done with all the selected films, I decide by finalizing the works and pick the winner.

So how this all works?

  1. 21 categories are segregating into three different sections. These sections are musical (5), technical (10) and major (6) sections.
  2. Each category has a winner and ‘maximum’ 5 honorable mentions which are unranked and labeled as ‘Other Notable Works’.
  3. If I require, I will provide a short detail for the category.
  4. After finishing with 21 categories, I will write down a total number of nominations and honors submitted in my report as stat fun.

The wait is over…

Allow me to honor Bollywood’s artistic and technical excellence of 2019 according to Sami Naik.


MUSICAL SECTION

BEST BACKGROUND SCORE

PETER RAEBURN (PHOTOGRAPH)

Other Notable Works:

Benedict Taylor & Naren Chandavarkar (Sonchiriya)

Andrew T. Mackay (Hamid)

Benedict Taylor & Naren Chandavarkar (Laal Kaptaan)

Karan Kulkarni (Mard Ko Dard Nahin Hota)

Mangesh Dhakde (Article 15)

 

BEST MALE PLAYBACK SINGER

B PRAAK (TERE MITTI – KESARI)

BEST FEMALE PLAYBACK SINGER

SHREYA GHOSHAL (GHAR MORE PARDESIYA – KALANK)

 

BEST SONG & LYRICS

AZADI (DIVINE & DUB SHARMA – GULLY BOY)

To be honest, I decided the winner between the three best songs of 2019 unsurprisingly from the same film; Doori, Apna Time Ayega, and Azadi. All three songs were the outcry on social problems and rebel rage. Azadi was the one I felt the best with much deeper commentary.

Other Notable Works:

Doori (Ranveer Singh/Javed Akhtar/Divine/Rishi Rich – Gully Boy)

Apna Time Aayega (Ranveer Singh/Divine/Ankur Tewari/Dub Sharma – Gully Boy)

Ghar More Pardesiya (Shreya Ghoshal/Amitabh Bhattacharya/Pritam – Kalank)

Ve Maahi (Arijit Singh/Asees Kaur/Tanishk Bagchi – Kesari)

Tum Hi Aana (Jubin Nautiyal/Kunaal Vermaa/Payal DevMarjaavan)

 

BEST MUSIC

ANKUR TEWARI & VARIOUS ARTISTS (GULLY BOY)

Other Notable Works:

Amaal MallikMithoonVishal MishraSachetParamparaAkhil Sachdeva (Kabir Singh)

Arko Pravo Mukherjee, Tanishk Bagchi, Jasbir JassiChirantan Bhatt, GurmohJasleen Royal (Kesari)

Pritam (Kalank)


 

TECHNICAL SECTION

BEST COSTUME DESIGN

DIVYA GAMBHIR & NIDHI GAMBHIR (SONCHIRIYA)

Other Notable Works:

Manish Tiwari (Hamid)

Arjun Bhasin & Poornamrita Singh (Gully Boy)

Niharika Bhasin (Photograph)

Maxima Basu (Laal Kaptaan)

 

BEST PRODUCTION DESIGN

SUZANNE CAPLAN MERWANJI (GULLY BOY)

Other Notable Works:

Subrata Chakraborty & Amit Ray (Kesari)

Nikhil Kovale (Article 15)

Rita Ghosh (Sonchiriya)

 

BEST SOUND DESIGN

ANTHONY RUBAN (MARD KO DARD NAHIN HOTA)

Other Notable Works:

Anish John (Laal Kaptaan)

Kunal Sharma (Sonchiriya)

Anirban Sengupta (Badla)

 

BEST EDITING

MANAS MITTAL (THE SKY IS PINK)

Other Notable Works:

Charu Shree Roy (Chhichhore)

Monisha R. Baldawa (Badla)

Nitin Baid (Gully Boy)

 

BEST CINEMATOGRAPHY

SHANKER RAMAN (LAAL KAPTAAN)

Other Notable Works:

Tim Gillis & Ben Kutchins (Photograph)

Ewan Mulligan (Article 15)

John Wilmor (Hamid)

Ravi Kiran Ayyagari (Posham Pa)

Jay Oza (Gully Boy)

 

BEST ACTION

ANTON MOON & SUNIL RODRIQUES (SONCHIRIYA)

Other Notable Works:

Parvez Sheikh & Lawrence Woodward (Kesari)

Amin Khatib (Batla House)

Abdul Salaam Ansari (Laal Kaptaan)

Eric Jacobus (Mard Ko Dard Nahin Hota)

 

BEST STORY

AIJAZ KHAN & RAVINDER RANDHAWA (HAMID)

Yes, it has to be Hamid. People tell me that Bollywood doesn’t make good films. The point is if Bollywood is coming up with quality stories, yes. That is the other thing if viewers are ready to accept or not. Article 15 raised the equality issue and Upstarts was a much-needed push for the people who create a startup with dreams of building it big. Section 375 was a courageous effort of depicting a misleading part of feminism and Photograph was a situational drama about the meeting of two very different people. While Gully Boy was about the struggles of the street rappers.

Hamid is a completely different plot than any 2019 film I have watched. Hamid is an impressive, heartbreaking and emotional story about a 7-year-old kid in Kashmir who has lost his father and his relatives comfort him that his father has gone to Lord to do some work. Desperate to meet his father again, he quests for some source to speak to God in all innocence.

Other Notable Works:

Zoya Akhtar & Reema Kagti (Gully Boy)

Anubhav Sinha & Gaurav Solanki (Article 15)

Ritesh Batra (Photograph)

Udai Singh Pawar (Upstarts)

Manish Gupta (Section 375)

 

BEST SCREENPLAY

KETAN BHAGAT & UDAI SINGH PAWAR (UPSTARTS)

I am much focused on screenplays whenever I watch a film. The entire film can drop your emotions wherever the screenwriting falls flat. It is a very essential part of filmmaking. People hardly know about this film and astonishingly is the best screenwriting against many excellent writings of 2019 for me.

Let me tell you why. In almost 120 minutes of the screen time, writers Ketan and Udai (who is also the director) tell you about some friends who think about creating a startup and convincingly fit all the phases of business cycles. The film neither runs in haste not goes slow. The pace is neutral and the story easily grows on me. It is not easy to tell all the business phases in precision in given limited screen time. And that is why for me, the screenplay of Upstarts is the best.

Other Notable Works:

Manish Gupta & Ajay Bahl (Section 375)

Ritesh Batra (Photograph)

Anubhav Sinha & Gaurav Solanki (Article 15)

Zoya Akhtar & Reema Kagti (Gully Boy)

 

BEST DIALOGUES

VIVEK AGNIHOTRI (THE TASHKENT FILES)

I don’t know if anyone will agree with me but this film actually had the most contrasting dialogues than any film last year. A young journalist gets an assignment to solve the decades-old mystery about the assassination of the former prime minister of India, Lal Bahadur Shastri. She gets a place in a committee to dig into this matter where different kinds of intellectuals sit and argue.

So for this kind of political thriller, the dialogues require a terrific momentum of an intellectual conversation, history talks, rumors, blames, heated arguments, bold and bullet criticism, and I believe Vivek Agnihotri nailed it. Impressive dialogues were the main reason that the loud performances of such an ensemble cast doubled the worth of this film.

Other Notable Works:

Manish Gupta & Ajay Bahl (Section 375)

Sumit Saxena & Ravinder Randhawa (Hamid)

Piyush Gupta (Chhichhore)

Anubhav Sinha & Gaurav Solanki (Article 15)

Aadish Keluskar (Jaoon Kahan Bata Ae Dil)

 

BEST SCENE

BASANTI DON’T DANCE (SUPER 30)

This may be unpopular or unexpected choice after watching all the films of 2019 but I found this 8-minute shot one of the best things ever happened in Bollywood in recent years.

This is when teacher Anand Kumar orders his students to perform a street act outside the school for 20 minutes strictly in English without uttering a single Hindi word. The next day, the kids strive out in front of the scores of students and get an outrageous response. The spectators roar to leave and the performers refuse. In repetition, the performers somehow finds the way to extend the act by giving an unexpected entertainment for which they didn’t prepare for. The beauty is that Basanti Don’t Dance naturally happens without the teacher’s instructions with the help of the spectators and angry response by floor beatings.

This crazy segment was deep, dark, bizarre and a remarkable commentary of class divisions. This was an astonishing presentation of a mind-blowing provocation against classism. Ganesh Acharya’s superb choreography and powerful performances by those youngsters gave that lengthy sequence a distinguished quality of filmmaking.


 

MAJOR SECTION

BEST SUPPORTING ACTOR

VISHAL JETHWA (MARDAANI 2)

Not MC Sher from Gully Boy? I am afraid not. I admit it was, without any doubt, a wonderful performance on his debut but my opinion is that it is the popularity of the character and the performances leading to his favor, especially in the awards function. Tremendous confidence in the role he played but there weren’t many minutes to invest for acting than the focus was on his performance. I think Murad’s other friend Moeen had a much sensible performance.

Another factor that the readers must understand is the comparison with the other supporting roles. There were other actors last year who I believe certainly did better than Siddhant. In my mind, two were the closest in this honor, Deepak Dobriyal, and Vishal Jethwa. Deepak’s case was highly physical and Vishal’s case was mental. Deepak has the experience, Vishal is a 25yo debutant whose incredible villainous role in Mardaani 2 caught our attention. Vishal’s facial performance and killer eyes brought horror in the script and gave a memorable performance which will certainly remind anyone of Ashutosh Rana’s earliest success in Dushman and Sangharsh. Imagine, both Dobriyal and Jethwa were not nominated in this category in Filmfare!

Other Notable Works:

Vijay Varma (Gully Boy)

Ranvir Shorey (Sonchiriya)

Manoj Pahwa (Article 15)

Deepak Dobriyal (Laal Kaptaan)

Varun Sharma (Chhichhore)

 

BEST SUPPORTING ACTRESS

AMRUTA SUBHASH (GULLY BOY)

Other Notable Works:

Rasika Dugal (Hamid)

Farrukh Jaffar (Photograph)

Pallavi Joshi (The Tashkent Files)

Anjali Patil (Mere Pyare Prime Minister)

Mahie Gill (Posham Pa)

 

BEST ACTOR

RANVEER SINGH (GULLY BOY)

I never thought Ranveer will ever impress me but one thing was for sure that his energetic charisma can get the use of better promises. He needs a director who can develop his acting potentials and here we are. Zoya picked the right man for the role. Ranveer is naturally the perfect Gully Boy.

An escapist and socially furious Murad is lost in the troubles from his domestic life and love affair. Addicted to his passion, he raps his social commentary and inclines towards the changes in the coming times.

Other Notable Works:

Ayushmann Khurrana (Article 15)

Talha Arshad Reshi (Hamid)

Anupam Kher (The Accidental Prime Minister)

Hrithik Roshan (Super 30)

Akshaye Khanna (Section 375)

 

BEST ACTRESS

BHUMI PEDNEKAR (SAAND KI AANKH)

I don’t know how did Alia Bhatt win Filmfare in this category. Technically, Alia’s role in Gully Boy is more of supporting as the film is completely centralized on Ranveer as Gully Boy. More bizarre was Bhumi not being nominated for her performance in Saand Ki Aankh but won the critics award.

Anyway, why Bhumi? She plays the role of an old villager and the portrayal is spot on. She brilliantly gets hold of the Haryanvi dialect and superbly adopts the mannerism of an old woman. Observe her walking style, rage, facial expressions and all funny scenes with Taapsee. This is Bhumi’s best performance to date and I found her to be the most impressive in executing her role. 

Other Notable Works:

Rani Mukherjee (Mardaani 2)

Vidya Balan (Mission Mangal)

Sayani Gupta (Posham Pa)

Priyanka Chopra (The Sky Is Pink)

Taapsee Pannu (Badla)

 

BEST DIRECTOR

SHONALI BOSE (THE SKY IS PINK)

This was a difficult decision. The tie was between Zoya and Shonali. Why I chose latter is because she took a very sensitive subject to its utter depth and also directed a few shots which hit straight to the heart like the couples arguing over transplant in the hospital, Aditi’s first mental collapse, Niren falling on his son’s lap and crying and many more. Shonali had a tough time in developing the characters due to different time periods.

Other Notable Works:

Ajay Bahl (Section 375)

Ritesh Batra (Photograph)

Anubhav Sinha (Article 15)

Abhishek Chaubey (Sonchiriya)

Zoya Akhtar (Gully Boy)

 

BEST FILM

GULLY BOY

What other film wins this honor than Gully Boy? There is no strong competition. There do are excellent films as mentioned below but none comes close to this. Gully Boy is the outcry from the slums of Mumbai where Murad is stuck in his tense domestic life and for escapism, tries to focus on rapping and does the social commentary.

Gully Boy, from all sorts, was a unique cinematic achievement where the voice of a lower-middle-class common man was whispered and the struggle of street rappers was depicted. I wish Gully Boy had made to the final round of the Academy Awards for the foreign-language category because this film was the most potentially acceptable film from all standards to reach the Oscar.

Gully Boy is full of energy and covers a few significant aspects like parent abuse and child labor. The story, screenplay, and dialogues are so carefully worked that the film easily grows on the viewers. Then the characterization also goes in favor to apply on remarkable writing. Some very impressive characters in the support develop the plot. The brilliance in the musical numbers does the rest.

Other Notable Films:

Sonchiriya

Hamid

Article 15

Upstarts

Section 375


 

MULTIPLE NOMINATIONS
NOMS FILMS
15 Gully Boy
10 Article 15
8 Sonchiriya
8 Hamid
7 Photograph
6 Laal Kaptaan
6 Section 375
5 Kesari
3 Mard Ko Dard Nahin Hota
3 Kalank
3 Badla
3 The Sky Is Pink
3 Chhichhore
3 Posham Pa
3 Upstarts
2 The Tashkent Files
2 Super 30
2 Mardaani 2
1 Marjaavaan
1 Kabir Singh
1 Batla House
1 Jaoon Kahan Bata Ae Dil
1 Mere Pyare Prime Minister
1 The Accidental Prime Minister
1 Saand Ki Aankh
1 Mission Mangal

 

MULTIPLE HONORS
HONORS FILMS
6 Gully Boy
2 Sonchiriya
2 The Sky Is Pink
1 Photograph
1 Kesari
1 Kalank
1 Mard Ko Dard Nahin Hota
1 Laal Kaptaan
1 Hamid
1 Upstarts
1 The Tashkent Files
1 Super 30
1 Mardaani 2
1 Saand Ki Aankh

Thank you for reading my annual Bollywood honors report. I will return with a new report next year. Share your opinion below. Stay safe.

Zaira Wasim And The Collision Of Understanding

Is it a drop of blood from a disgrace or did I confuse a phrase? In no time, an alarming wave of emotion twists the fate and admittance or riddance of false feelings dictates the change in remedies. Was I wrong before, am I right now or vice versa? Anyway, I hereby announce that I quit from my piece of Neverland and discover a new America of hope. Yikes, the worlds of pious and Godless Freeville collide over my early retirement. Run Zaira Run…

I don’t realize why I wrote the above paragraph. Maybe it is making any sense or maybe not. But the news spiced all over breaking the guitars and sitars across India over the young secret superstar, Zaira Wasim, waving her final goodbyes to the social media spectators before she sailed into the religious cruise ship. We are not aware of the coordinates of this voyage but the eyebrows of the observers have been raised as if she has eloped with her boyfriend for good.

Many questions have been raised over her professional departure, numerous people have shared their opinion, and many have criticized her explanation about quitting on her Instagram account. So I thought, why shan’t I jump into this crazy center of the jury and advertise my blog. Perhaps, the readers may find my opinion interesting.

Ok, so here is the peanut butter on your toasted bread. Zaira Wasim posted an announcement on Instagram that she is quitting the showbiz with a lengthy explanation which, after reading and observing, I have understood that she has considered the profession as a path of ignorance ‘for her’ which she feels is misleading and distancing herself from her faith. Zaira perhaps feels that this line of profession is taking her somewhere else from where she cannot return and maybe the Lord will be extremely unhappy of her supposed-to-be wrongdoings. Therefore, Zaira decides to leave this line of work so that she can focus on her religion/faith. Maybe in the future, she does something different than showbiz which won’t distract her from practicing her faith.

WHAT MADE THIS NEWS SENSATIONAL?!?!

Hmm… Most of the popular leading Indian actresses have taken early retirement or temporarily disappeared due to their marriage. I am not remembering if any ‘well-known’ Muslim woman in the Indian film industry quit for her religion. So many well-known actresses from the Muslim background made their name in the industry but neither their work nor their faith was a hindrance.

Zaira’s popularity in the mainstream Bollywood was broadly speaking especially after her fabulous performance in Secret Superstar. She worked in two films and on both the occasions, she shared the silver screen with none other than Aamir Khan. Aamir even went on to state about her that she is the best female actor in the film industry which was an extremely bold statement. With such a reputation, Zaira’s breaking ties from her work for her faith came as a shock.

NATURE OF ACCEPTANCE IN DIFFERENT CULTURES

In my opinion, the news is also shocking because of the culture an Indian film industry brings to this secular country. People belonging to different faiths (either they practice their faith or not) work together and contribute. So it is hard to digest/accept the fact that a Muslim personality in this showbiz can quit at her career peak for the religion. Now take an example of their neighbors. Pakistan’s showbiz is mostly populated with Muslims so if someone quits for a religious purpose, most of the people accept. Famous Pakistani actress, Sarah Chaudhry, left showbiz at her peak to practice her faith. No one had an issue with it.

SHOWBIZ AND PRACTISING FAITH

Most of the observers have taken Zaira’s Instagram explanation very severely. She opened up pretty much like her working in an environment that interferes her faith on a consistent level, or her relationship with her faith being threatened, or leading towards a path of ignorance, etc. which all sounds like if showbiz is a hellfire where the people of Islamic faith should not step in.

Generally, it is not easy to practice their faith in the showbiz especially Muslims. We have a few Muslim cases where they have practiced their faith to some extent and stayed in showbiz. But it is not easy for most of the Muslims. And this is a girl in her late teens.

Let’s assume, Zaira comes from a background where the family performs their religious and professional duties on a daily basis as for example if she prays 5 times a day or let’s assume say 3-4 times, how is she going to pray that much on daily basis being in showbiz? Then her line “working in an environment that interferes her faith on a consistent level” perfectly fits. We have to go deep and understand about a Muslim woman in showbiz instead of passing judgment over her statement.

DID SHE APPEAL TO DISSUADE SHOWBIZ?

The most important part for the reader/observer is to understand before reacting over her Instagram message. Many are arguing because they think this is a silly reason. But what the readers are forgetting or not understanding is that this is her part of the story, she is addressing her problems on the platform. She is resting her case in front of the viewers and giving the reason for her announcement of quitting.

Did Zaira suggest anywhere that the people of her faith should not step in this line of work? NO.

Did Zaira discourage the readers/observers that the people of her faith will meet the same fate as hers if they enter this industry? A big NO.

Is Zaira rallying/protesting/voicing for the Muslim community to boycott the film industry because of above-mentioned reasons? NO, NO, NO.

Then why are people making it an issue or digging controversy in it? Did she advice/request the Muslim community to stop watching films or listening to the songs? No, right?

Yes, it is a piece of big news because no one at her height of showbiz career leaves for her faith in India so the media can run this story but why is the news triggering many people? Why is her reason unfortunate or regressive for some readers? Whatever she has decided, it is a personal matter.

WHERE IS RELIGIOUS FREEDOM OR WOMAN’S FREEDOM OF DECISION NOW?

In this point, I will try to raise some questions similar to her case to give a better understanding instead of surrendering in state of confusion.

Now, in the wake of this feminism wave for some years, most of the people have advocated individual freedom and liberty. People even voice that the woman or generally us humans should make decisions about their personal lives and faith. We have the right to decide what and how should we practice in our faith. It is about religious freedom. No?

So here my observation complains because I just don’t understand why people make objection when the decision about liberty or freedom is made. If a woman wishes to wear a veil or hijab why do most of the observers start to believe that she has been forced to cover her head? Maybe she has made her choice to wear a veil or hijab or maybe she feels more protective. Same case with Zaira. If she has made the choice that she will leave this line of work and focus on her religion because of whatever reasons then why many observers think that she has been forced or brainwashed? Why don’t they accept that she has made her choice? Where is the freedom of making your own choice now?

People speak about woman’s freedom and the woman herself advertises her liberty especially when she leaves Iran, Afghanistan or Saudi Arabia. But what if she likes or prefers to stay/live there. That is also her freedom of choice. We are no one to dictate her then. Why do most have to apply or assume if she has been forced to live there or wear a veil or hijab by her father, brother or husband? Now, how quick was Anupam Kher to believe that something assisted Zaira to take that decision when she gave her explanation?

TWO MUSLIMS AND THEIR PERSPECTIVES

New Delhi: Actress and Trinamool Congress (TMC) MP Nusrat Jahan at Parliament House during the Budget Session, in New Delhi, Tuesday, June 25, 2019. (PTI Photo/Manvender Vashist) (PTI6_25_2019_000100A)

Many people in their defense are comparing Zaira and bringing the example of local MP Nusrat Jahan who being a Muslim sports sindoor (red dot on the forehead of Hindu married woman) and mangalsutra (a sacred necklace to be worn by a Hindu married woman). She is married to a Hindu and the Muslim clerics have issued a fatwa (legal opinion by a jurist on a point of Islamic law) against her.

Now the defenders against Zaira’s will states that being a Muslim, Nusrat Jahan can adopt the culture or tradition of other faith but Zaira feels discomfort to continue her work due to her faith being threatened. In my opinion, Nusrat is free to sport sindoor/mangalsutra or adopt any Islamic/non-Islamic culture or tradition if she wishes to. The same case with Zaira too, if she wishes to quit showbiz for religion then she is free to do. Both are Muslims, both are from the same film industry, both are from the same country but both have different perspectives in their lives. Not all are equal and have the same choices, right?  


I don’t have many words to type upon this case any further. All I can say is that we are no one to dictate or instruct what a person should do. Zaira surely had thought to somehow work this career out for long and perform religious responsibilities. Just like most of the people in sports have to give up their education to focus on their game, Zaira also gives up one between the two. If Zaira has made the decision, I wish her all the best wherever her decision takes her to.