Laal Singh Chaddha narrates his incredible story on the train to the nearby passengers as he travels to meet the love of his life.
Laal Singh Chaddha is the official adaptation of the Oscar-winning film ‘Forrest Gump‘ with Aamir Khan returning to the silver screen after a gap of four years to play the Indian version of Tom Hanks‘ most memorable and one of Hollywood’s iconic roles ever.
So obviously, considering what ‘Forrest Gump’ means to the audience and the reputation it has built for decades being the darling of the global audience, there was immense pressure on Aamir Khan and the crew to put on a show that gives at least half-decent remake of the original classic. Most regrettably, Laal Singh Chaddha stands nowhere close to an average crafted film, forget about being a remake.
It is a classic disaster thanks to Aamir Khan that the mighty collapses right from the beginning when he opens his mouth to speak to the passenger on the train. It is no surprise that the center of satisfaction from the film rests on Aamir Khan’s shoulders. What surprises me is the actor, Mr. Perfectionist, who is well-known for his original takes on some interesting characters he has played throughout his career, is attempting to imitate Tom Hanks in Forrest Gump instead of bringing his own method. And in this process, Aamir Khan is neither convincing the audience nor appealing. And this is one of the major reasons for the film’s box-office failure.
When you listen to his Punjabi accent, it clearly sounds that something is not right. Aamir is certainly not the right choice for a Punjabi character and that was visible in Rang de Basanti. And then the younger version of Laal that he acted, it was like watching Aamir in ‘3 Idiots‘ and ‘PK‘. Same facial expressions and performance. And it is disappointing that an actor known for perfectly adjusting himself to the character has given identical performances in not one but three different films. In the younger version, he looked more mentally unstable than he was as a child. Extreme overacting.
WRITING NEXT TO NONSENSE!
The entire continuity questions the credibility of the screenwriting which is second to nonsense. Spreading humor in a drama for average entertainment is acceptable if executed well. But here, I feel as if the director was confused about how to justify the remake and connect the dots. First, he ridiculed India’s historic timeline to settle Laal’s stupendous journey to legacy. Second, he overstretched the plot and suffocated the audience in an awful second half. And third, the entire film looks like a Google translation.
Laal’s childhood highlights India’s state of Emergency under former PM Indira Gandhi, India’s World Cup winning moment occurs minutes later, and then the Anti-Sikh riots in Amritsar. If you have watched the film with active brains, you will realize that these three incidents occurred in different years. The emergency event happened in the mid-70s, India won the World Cup in 1983 and the riots occurred the next year. So how is the young boy Laal Singh Chaddha not growing for approximately eight to nine years? Or if the director is depicting that all three events happened one after the other which is more silly. In both cases, there is a big hole in the writing.
I must mention the supporting character of Bala played by Naga Chaitanya in his Hindi debut. It must have to be the most annoying character of 2022 or maybe of recent years. Playing the original role of Bubba from Forrest Gump, it was sickening to watch him repeat his passion for undergarments and remake scene-to-scene from the original source.
When you remake an original source, the writing demands a re-introduction on a whole new level of presentation expecting that the writer will come up with a thoughtful story adapting from the original idea. But here, Laal Singh Chaddha shows no intention to play a different beat. Besides adjusting Laal’s life story with the Indian side of historical moments, almost every plot development, almost every scene is straight from ‘Forrest Gump’. And this is one of the reasons why the audience disliked the film. The writer made absolutely no effort in coming up with their own idea to revise the whole plot.
WHAT A MISS!
In order to settle Laal’s life story with some historic moments, the film shows how the local boy of Delhi become a megastar in Bollywood with Shah Rukh Khan playing his own role. It was funny that his iconic arms-stretched-out pose was joked to be inspired by Laal. But what I want to complain about is a big miss. Amongst the three major Khans, the two who have never shared the screen as the lead or starred in the same film are Shah Rukh and Aamir. Salman Khan has starred with both of them in the past. And Shah Rukh and Aamir shared the screen for a few seconds in a cameo in Ashutosh Gowariker‘s “Pehla Nasha“. Despite the fact that Aamir Khan is the producer of this film and roped in Shah Rukh to play a cameo, they still didn’t share the same screen. How idiotic! What a miss!
Yes, ironically there are a few pluses like Satyajit Pande‘s cinematography and Tanuj Tiku‘s background score. A couple of tracks were good too. The makers raised the issue of domestic abuse well. But the biggest plus of the film that impressed me was Mona Singh who played Laal Singh Chaddha’s mother. She was impressive throughout the film. Watch her, particularly in the scene of the riots.
So Laal Singh Chaddha has all the reasons to terribly fail at the box office and disappoint the audience. This has to be Aamir Khan’s worst performance in ages. He needs to become choosy again about the selection of his films because his recent run has been awful. Those who have never watched Forrest Gump can enjoy this translated version.
Was Laal Singh Chaddha that bad to be rejected in India? I don’t think so. We have watched worse Indian films than Laal Singh Chaddha. Then what happened?
I feel there was a particular hate campaign by the Hindu nationalists of the ruling party on a large scale that played its part. Back in 2015, Aamir Khan expressed his insecurity about living in India in one interview. That circulated before the film’s release.
The ruling party pushed its supporters to share more than 200,000 tweets demanding to boycott film with the hashtag ‘Boycott Laal Singh Chaddha’. That flamed severe hatred and due to this reason, Laal Singh Chaddha earned only ₹58.73 crore in India against a production budget of ₹180 crore.
It is my firm believe that when the producers and the director decides to make a film based on an individual, your account your narration your presentation should be precise especially in a case when the individual has a disturbed life blended with the personal violence, shattered image, serious accusations, drug abuse and complicated relations with the family and friends.
The Indian cinema with many unforgettable celebrities offer scores of background stories which has the required material to translate their lives in the reels. Sanjay Dutt is one such story and when the project was announced, I was excited. But when the news broke that Rajkumar Hirani would be directing this, my court of judgments objected the announcement with a question mark bigger than the one in the headline of the cropped newspaper from the scene.
Because Raju Hirani is known to present the subjects and messages to the viewers with a screenplay which can adjust a well equipped rib-tickling comedy. Munnabhai duology, 3 Idiots and PK worked well with the humor because the stories of all the four films were fictional and flexible enough to bend with a typical Hirani humor.
But Baba’s story is dark, real, serious, traumatic, painful and disturbing. Will Raju Hirani make his first serious film or will his directional artistry of presenting sensitive subjects in a cleverly humorous way, this time on the real subject, will work again?
When the teaser and trailer were released, the presentations didn’t buy me at all. Because the seriousness of the content was glorified and looked entertaining instead of thought-provoking. So I said to myself, let me watch the film first and decide if the biopic justifies.
Now that I have watched on Netflix, I am much convinced to conclude that Sanju is easily one of the worst biographic films I have ever watched. This work is easily Raju’s worst. Raju making Sanju is like Taika Waititi making Thor: Ragnarok.
Sanju is bad, really bad, on many counts. One major reason is that when you watch the film and if you are a good observer, you realize that the motive of this film is to give a visual presentation of Sanjay Dutt by his close friend Raju Hirani concluding “Look guys! he was a bad boy, now he is a good boy, so please forgive him”. Baba doesn’t need to earn his name, people love him, people adore him. He has one of the biggest fan-following among the South Asians on a global stage. So stop being naive and focus on the most sensitive incidents of his life because this film is extremely sympathetic to the actor.
And that is where Sanju disappoints me. The screenplay dreadfully emphasizes on his drug usage and relation with his father than anything. You make a lengthy 160-minute film avoiding many important moments and touching a couple of topics is not a smart move. A director can do a lot of things in a screen time of 160 minutes.
Fine! Sanju has to be a miniseries to focus and touch all the vital portions of his disturbed timeline. Fine! everything cannot be presented in a very limited screen length. The director may have to divide the film into two like Gangs of Wasseypur, or consider sequel or trilogy, or overtake Tamas, LOC Kargil, and Mera Naam Joker to make the longest Hindi-language film ever to justify Baba’s life story. But I am not asking or expecting to somehow show a complete Sanjay Dutt story. At least mention or give the reference of the missing parts.
How disappointing is it to watch only the current wife, Manyata Dutt, but completely ignoring his other two wives? Especially the first one, Richa Sharma, who died of the brain tumor and was mentally disturbed by the rumors of her husband getting married to Madhuri Dixit. Speaking of the latter, Sanjay-Madhuri affair being once the most famous talk of the town got no space in the screenwriting of the film. With this effect, Baba’s eldest daughter Trishala is automatically out of the frame and shows only two young kids from the current wife, Manyata.
It is strange that Baba admits to the biographer to have slept with at least 300 women including the harlots but the director is scared of speaking a few close ones in his life. Neither his off-screen affair with Tina Munim comes to exist nor Madhuri in the film. But a character Ruby is perhaps intermingled to many of his relationships. Ruby is portrayed by Sonam Kapoor in a short role but gives an impressive performance.
Another strange application is Baba’s friendship with a Gujarati New Yorker (based on his real best friend, Paresh Ghelani) to an extent of his being a major supporting role bigger than his father’s in the film but ignoring the popular jigarship with Kumar Gaurav, the actor and friend who risked his acting career and fame requesting his actor-father Rajendra Kumar to give his friend Sanjay Dutt the role of his brother in Mahesh Bhatt‘s Naam. Result? Sanjay Dutt’s good time in acting career began from this film. This Kumar Gaurav is someone about whom Baba once admitted to shedding his blood for him if required. A friend who is even the husband of his sister Namrata has no mention at all.
And Jim Sarbh‘s Borat look-alike character. It was an important role but I wonder if the director forgets to bring him back in the frame after he speaks to the biographer to check Kamlesh. His role ends pretty prematurely.
Only Baba’s father, Sunil Dutt, is the center of attraction from the entire Dutt parivar. Paresh Rawal plays the senior Dutt’s role which is quite an odd choice. Neither the personality nor the voice of Sunil Dutt reminds you of Paresh Rawal. Paresh Rawal’s role wasn’t close to the senior Dutt but was similar to what he did in Paa. Aamir Khan was offered Sunil Dutt’s role which he refused because of Dangal’s shooting. Paresh and Aamir both were bad choices. In fact, it is hard to find someone like Sunil Dutt to play that role. Surendra Pal perhaps. Unfortunately, there are no heart-melting scenes of the onscreen father-son to take back, neither the seaport scene nor the magic-hug scene.
Baba’s sisters hardly spoke any dialogues in the film. The mother-son onscreen chemistry is shockingly overlooked. Manisha Koirala playing his famous actress-mother Nargis has to be the only satisfying selection in the entire casting. Not only Manisha does resemble but even acts like Nargis so well and alas, she is there for only a few minutes.
At least 1993 Bombay bombings made it into the script among the traumatic incidents of Dutt’s life but even here, Raju Hirani was not interested to go deeper in details and tell us about Sanjay Dutt’s connection with Abu Salem or any terrorist involved in the tragic incident.
BAD USE OF WOMANIZING HUMOR
It is quite bizarre to observe how womanizing is taken so light because it is a sympathetic script based on Baba to clean his image. If this film was based on a notorious criminal, the confession of completing a triple century on the bed would have dropped a nuclear weapon on the viewers. On the contrary, when Baba confesses, Manyata chuckles and the biographer is impressed and it looks way odd for entertainment. Not only this, Baba’s one-night stand with his best friend’s girlfriend hardly makes any sense. This incident is true as per Paresh Ghelani but the portrayal of a well-cultured Gujarati girl shy of wearing a nightie for her man at Baba’s house suddenly turning into Venus bold enough to shamelessly expose her skin to Baba and show a willingness to make out with him looked overdramatic. From Sita to Monroe in 40 seconds, a typical Bollywood u-turn for the viewers! And what is this five-minute sequence even doing in the film in the first place? Was this sequence relevant?
These 160 minutes could have been better utilized or reduced if Raju Hirani would not have pulled a Taika Waititi. Needless and forced humor damaged the screenplay. Not only Gujarati girl scene, many irrelevant scenes like a sleepy politician, over exaggerating Tripathi’s Bapu-Sanju comparison, hospital scene with the death of Ruby’s father, Ruby’s change of heart over her favorite animal, Sanju’s scenes with Bandu Dada also made it in the cut.
RANBIR KAPOOR AS SANJAY DUTT
Now about Ranbir Kapoor as Sanjay Dutt. See, the first matter of fact is to admit that if there is anyone who can play Baba’s role is Baba himself because finding an actor to play him is most likely unworkable. So the selection of Ranbir for the role is by far the closest a director can think of because Ranbir naturally carries two exceptional qualities of Baba. One is height and the other is the voice.
No offense but sometimes I feel if Ranbir is Baba’s son more than Chintu‘s. Ali Asgar has to be Chintu’s son. Anyway, the struggle over being Baba has to be tougher because on the screen we do see Ranbir giving his best Sanjay Dutt impression as much as he can. Height and voice naturally helped Ranbir. The rest was the bravura of the makeup and styling artist whoever he/she was.
Let’s not say if this is Ranbir’s best performance to date because I believe his performance in Rockstar and Barfi was far superior to this. Because it is all about the execution of the role. Ranbir’s presentation of pain and grief in Rockstar is more compliant than in Sanju. His role in Barfi was more challenging and handicapped.
Ranbir with the gifted height and voice had strong assistance of makeup, styling and costume designing helping further to assume him Baba. But after all the tools and despite carefully adopting Baba’s mannerism, Ranbir reminds Ranbir.
There is one really intense scene in the jail when the pot overflows. Baba loses patience and gets emotionally disturbed. He repeatedly knocks the door while the water touches his feet. This is the time when I wait to see how Ranbir as Baba loses his patience and go maniac. But then the scene ends and moves two months later?!?!
It is not that the film is completely nil. Being a biopic, it do has some accuracies like Baba ticking all the drugs while filling the form, trying to commit suicide, the judge clearing him from terrorism, hiding heroin in his shoes while traveling with his sisters, Nargis dying a few days before Rocky‘s premiere, Tabu giving Filmfare Award for Munnabhai MBBS etc. Makeup, styling and costume designing are also top notch.
But then so many technical mistakes like chronological inconsistencies over most of the vehicles used in different timelines. Look at the KFC chain behind Baba during his struggle to reach New York. That is the current branding philosophy of the chain applied. That scene is from the 80s and KFC branding philosophy was extremely different back then.
Unnecessary tracks stretch the length and the background score is extremely ordinary. Leaves me towards Raju’s direction which I believe is the weakest of all the films he has directed. The story and the screenplay don’t buy me at all.
The filmmakers have to decide if the Indian cinema is ready for biopics. And when I say biopics, that means an honest and accurate biopics. Another point which comes to my mind is that the director must believe that a biopic can win the audience even without being concerned to entertain and box-office results.
I must appreciate that Ranbir did his best being Baba. He is a very talented actor. I am sure if project Sanju would have gone to the right man, may have pulled the right strings.
Since I became a blogger writing sporadic pieces, I have given my opinion for most of the movies I have watched. There was a time when I used to watch Hindi movies with utter passion but now I hang my glasses. With the calendar year passing by, my rate of watching Hindi-language movies have fallen drastically low now. Reasons are many but majorly what is lacking in nowadays Hindi-movies is a material which make you invest your time quality.
Bollywood still in its second decade of the century majorly lacks stories on which a perfect screenplay can be implemented and put to work. Quality of acting is not sublime and no matter how good the music sounds, the worse are the lyrics. Every beginning of the year, Bollywood and its pundits, moviegoers and viewers are focused on the most prestigious movies award, FILMFARE. Unfortunately, Filmfare also do not justify most of the awards and have richly fallen under the good-pockets and well-known showbiz families.
In the last five years, I have noticed a slight change in movie production companies introducing new faces or encouraging some deserving talents and publicizing their image and promoting their movies on a high scale. In 2014, contrary to my expectations, I have watched some good movies. I chose almost 25 movies from the list of Hindi-language movies of last year from Wikipedia, which helped me increase my options of deciding to pick a promising movie. Some were disappointing but some were exciting.
Today in this blog, I present to you my Bollywood’s best of 2014 from most of the categories I have scrutinized. This is the first time I am blogging for Bollywood and will also publish for Hollywood in near future. I will discuss most of the categories if not all and mention some noteworthy names related to that category. The categories are under three different sections. So here I go;
There are two prominent features in Dedh Ishqiya which give you detailed texture – dialogues and costumes. Most of the shooting was done in Mahmudabad Palace near Barabanki. As per the script, the ancient Urdu era was revitalized with royalty. So this adds major concern with the two aforementioned features. Payal Saluja (Raanjhanaa, Ishqiya, Maqbool) has done fantastic work with costume designing and her first marks will raise your eyebrows when the attendees will gather at the royal party in Begum Para’s Haveli. Excellent dress-work on Naseeruddin Shah and Huma Qureshi and most impressively on Madhuri Dixit.
Ashim Ahluwalia offers a close look at the C-grade pulp Hindi cinema of the eighties which used to make cheap horror-porn movies. It is a bold movie with an independent theme where the director exposes backstage dealings behind the curtains and problems in shooting such movies in the past. With such a script on the floor, all that matters to make the movie so special is costume and production design. If this movie proved its worth on global cinematic village, then full marks to aforementioned designing work, both projected by Tabasheer Zutshi.
Other Notable Works: Subrata/Amit (Haider & Dedh Ishqiya)
One of few impressive factors from Imtiaz Ali‘s road movie is Alia Bhatt, ARR’s background score, attractive locations, and sound design. The Rahman-Resul musical duo has proved the winner most of the time and also has an unforgettable achievement of bagging Academy Awards for Danny Boyle’s Slumdog Millionaire. Although A.R.Rahman was off-color with average tracks but the sound designer was in full form.
Aarti Bajaj was the first spouse of Anurag Kashyap and is a regular movie editor for Anurag Kashyap and Imtiaz Ali movies. She is very responsible for their successful movies. The beauty of moviemaking lies in editing and my pick is Ugly. Ugly has a lot of turns, the script will fold you and different characters will puzzle you. Body smashing in a traffic accident in the same frame was pretty unnatural but the next scene of interrogation in the police station is very realistic. For me that was one of the best scenes of 2014, the reason is it was almost a 7-minute interrogation scene. Normally such scenes bore you but the editing is so marvelous that the scene grows and boils in your nerves. The way the Indian police take the case so light is fantastically shot and well-acted. Besides, scenes of driving, phone calls, searching and beatings, and many more brings a true color of translating fiction into reality. Wonderful editing!
Other Notable Works: Aarti Bajaj (Highway) & Sanjib Datta (Mardaani)
Sorry if anyone feels this pick is offensive. I don’t have that level of enthusiasm for supernatural, unrealistic, and larger-than-life action movies of the Indian movie industry. A lot of rage and fury, tortures and scorcher, gunshots and beatings. Ugly gives you a powerful display of action.
It was tough for me to pick the movie with the most outstanding screenplay. Yes PK deserves this credit. This pair Hirani/Joshi is enjoying the booming period of scripting one of the best movies viewers have witnessed since the last decade. Under Vinod Chopra Films, they have scripted the Munnabhai series, then 3 Idiots, and now PK. Every aforementioned movie has a message, a rising voice towards the system transforming to roar over changing the system. Being comical in nature, their scripts marvelously have touched almost every viewer’s heart to fully accept the nature of the movie. Every time their movies successfully inspire us with their trend-setting catchy dialogues. PK is no less than a revolution.
Both writers introduce an alien in the country of religions, hundreds of languages, and cultures. He misses a gadget and in quest loses his edge and adapts to the local language. Meanwhile, he suffers a colossal hindrance towards different religious ways of breathing life. With the flow of the script pulling the strings, the screenplay brilliantly develops characters to assist the alien to meet an end. Just another golden egg in their basket! Take a bow, guys!
Other Notable Works: Rajat Kapoor (Ankhon Dekhi) & Homi/Kersi (Finding Fanny)
ANURAG KASHYAP (UGLY)
Natural!!!! very very lively and natural. No matter if that is a sick Shalini, tortured Chaitanya, opportunist Siddhant, or furious Shoumik; dialogues are not on paper but well expressed on lips. The viewer/listener will never feel an inch of unoriginality of conversation. As more there is intense, the more the dialogues burn you. The best examples are the 7-minute interrogation scene as mentioned before and where Shoumik sends Rahul to the prison where Chaitaniya is imprisoned and eating food. Wonderful job Keshyup sir!
Other Notable Works: Vishal Bharadwaj (Dedh Ishqiya) & Rajat Kapoor (Ankhon Dekhi)
Ok, the readers perhaps or surely will raise their eyebrows over this selection hehe but I am free to pick what I find more deserving. Many of you haven’t seen this movie and I promise you that the movie itself is below-average. But what attracts me the most is its story which is quite thought-provoking
Yeh Hai Bakrapur is a low-budget social satire based on the rural parts of India who blindly follow their faith. One small kid loves his goat and he doesn’t want it to get sold but his poor family has no solution to repay the debt. One young man who loves the kid’s sister comes with a brilliant plan with the goat by painting the name ‘Allah’ on the goat’s skin which makes the entire gaoonwalay fell in ultimate impression and belief that the goat is an angel and will be a sin to sell or sacrifice it. This rural blind faith following sketch is the bitter truth and a daring dilemma that speaks a lot of depth about the deception and extreme trust over something. Unfortunately, the direction was painful which bombed a very scintillating subject.
She is my automatic pick. One of the finest actresses in Hindi cinema always adapts the skin of the character. She has played many different roles and in Finding Fanny, she maintains her rhythm. Dimple is Mrs. Rosalina “Rosie” Eucharistica, the self-appointed ‘Lady’ of Pocolim and mother-in-law of Deepika’s character Angie. She is over-proud for nothing and her nose touches the clouds. Some terrific screenplays ease acting gurus to add another highlight in their CV. A brilliant display of acting.
Tough one but this one is the best. It is not surprising for me that this man is one of the most underrated actors in Hindi cinema. His quality is that he makes the viewers observe him. He made his name from Rajat Kapoor’s Raghu Romeo. If small B’s not well-known movie ‘Run’ was a 50-50, then this ‘Kawwa Biryani’ actor was highly praised for his comedy. Amir Khan’s Delhi Belly was centered on three partners in crime but Vijay was again a specific name in talks. Now in Dedh Ishqiya, he plays another villainous role of Jaan Mohammad who is MLA-gangster of Mahmudabad. He doubles his poetry skills word-to-word copying from another poet to win Begum Paara’s heart, marry her and become the Nawab of Mahmudabad. The fury is hidden in his role as the greediness of the character gashes with the wait for approval from Begum Para. This Vijay Raaz deserves one prestigious award in his lifetime before the lifetime achievement award.
Although there have been many ladies in 2014 with majestic performances but none reach the clouds where Kangana was heavily raining. Kangana’s role of Rani Mehra in Queen is unanimous. She plays the role of a middle-class girl who wishes to spend her honeymoon with her soon-to-be husband in Paris. At the last moment, the man unties the knot and with all soreness of life knocking at the wrong time with tickets in hand, she decides to visit Paris by herself and breathe the life. There begins east-meet-west and sweet simple Delhi girl experience an unforgettable journey and befriends with people from different nationalities.
The flow of the story looks unnatural most of the time but let’s focus on Kangana. Since her debut, she looked promising, and finally, a feast is served as she displays her best performance ever. Her facial expressions are soooo natural and her normal behavior towards the unexpected Parisian lifestyle is fantastic. She will make you feel when her fiancé will inform her breakup in the beginning. She will make you stare when she will struggle to dance in the bar. You can’t ask for more than that. Queen is very Kangana-show.
Yeah, it was a healthy competition between the three. Two were the most popular and the one was ignored at many functions (most probably because he doesn’t carry the personality which may give him stardom). I pick the latter because I believe Sanjay Mishra ran the character in fact the whole script on his strings with a perfect note. As compared to the competitors, the movie wasn’t popular to the house of commons like PK and Haider but he was solely responsible to bring the movie to fame.
Sanjay plays Bauji from Dilli’s gharib-khana who has compromised with his ego to accept only those things as reality in life which he has witnessed by himself. Impact? He loses his job, his brother & family separate from home, his philosophical thoughts bring many close neighbors to his devotees. It is not only about the definition of his character but the aura he brought into it. Sanjay is a thespian and Bauji is melodramatic.
The character of Bauji will make you realize how comfortable how meaningful and how relief is the life you choose in the loud noisy world in your surrounding. People will laugh at you, make fun of you, of your wit and philosophy but you will remain calm. As the movie grows on you, you begin to judge him more, you begin to find him realistic more, you see yourself in him. As a father and a brother, you see the same Bauji in two different dimensions. He is an ass, a clown without makeup, and a simple man who has everything to lose. Story of a terrible man with irreparable fate. Truly the best performance of the year!!
Is Finding Fanny an Indian movie? I doubt, I really doubt. It will take the whole duration of the movie to find out that it is an Indian movie because of its extremely rich portrayal of realistic sketching of realism and the technicality of movie-making. When you watch this, you will feel like watching a Western European movie. Homi Adajania directed Being Cyrus and Cocktail before this.
From comedy to suspense, it is an absolute entertainer. The characters are defined in the beginning, the story is developed and sprinted without any nonsense. Screenplay and editing of the movie have also played a major part to praise the director’s efforts to make such an incredible movie.
Why direction is so effective? Why this movie looks different from the others? Because of Pocolim? To some degree, I agree but Homi’s homework paid off. To make the movie look creative, natural, and very realistic, Homi spent a month in village Salvador do Mundo of Goa and researched/learned its culture and local Goan Catholics. Superb direction!!
The last and most important category of my picking. Mithiya Talkies produced thought-provoking Ankhon Dekhi directed by Rajat Kapoor. Some movies are clobber dimensional and some are socially inspirational. Ankhon Dekhi is Rajat Kapoor’s miss call to those who have lost the battle of survival in life, who have gone hopeless to see the change, and who have borrowed some time to ease and overcome their agony.
In old Dilli gharana lives the patriarch, Bauji. He lives in a small house with his family combined with his brother’s family. Has a job on which he just survives. Has a daughter who has an affair with a vagabond. Has a wife who is no less than a heater. After a lot of problems circulating in his head, he decides to accept only those things as a reality that he has witnessed himself. This philosophy gives Bauji some disciples, but in off state, he loses his job applying this philosophy, his brother shifts to a new home with his family sick of him. Bauji has everything to lose.
Ankhon Dekhi has everything to impress you. The impressive story, brilliant screenplay, social satire, natural dialogues, simple costumes, one of the best performances by an ensemble cast of 2014. It had tough competition in this category but I found Ankhon Dekhi reclusive. A wonderful movie!!
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.
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.