Tag Archives: Rajasthan

Film Review: Thar (2022)

Inspector Surekha Singh (Anil Kapoor) is a veteran policeman who is posted in Munabao village of Rajasthan. He regrets that he never got a promotion in his line of work. In 1985, when he is closing toward retirement, he gets a case by chance when a psycho killer begins to haunt the village. Meanwhile, an antique dealer Siddharth (Harshvardhan Kapoor) arrives at this village for business and crosses paths with the police inspector.

Thar is an action-thriller directed by Raj Singh Chaudhary. By the style of filmmaking, it is quite obvious that the production methods are pretty much inspired by Western noir and therefore I felt very fresh by watching something different. I like when the director tries to do something different from the way the films are usually shot. Not exaggerating but when I watch this Western-inspired film that makes me think that if the Italian filmmakers can introduce Spaghetti Western subgenre, why not Bollywood introduce Curry Western? Sholay was inspired by the Spaghetti Western and I don’t remember a single that took inspiration from this subgenre after Sholay ignite this genre in 1975. So, Thar deserves its piece of appreciation.

Due to applying this subgenre, Thar reminds me of a few films like Sonchiriya and No Country For Old Men. With a very limited plotline, the screentime of around 110 minutes justifies and despite being slow-paced, doesn’t bore at all. Thar holds a strong command of technical brilliance. Adopting a Western demands excellence in cinematography and action sequences. This film qualifies both. I am amazed by the dramatizing of physical torture the film has depicted. And those tortured characters performed with really great intensity.

Costume and production design are far excellent too especially the latter. The production setting plays a significant role in presenting an accurate sketch of a shot the makers are willing to film especially in such cases and due to high standards, Thar looks very impressive.

The performances are average. Not that the actors didn’t perform well but the actors do not contribute much to the performances when the action is more in command. In many portions of the film, all you will watch is beating, killing, and car-chasing, so there is not much room to have plentiful scenes in the film where the actors have their time to dramatize their characters. And this is not their fault, the film is like that.

But I want this Harshvardhan Kapoor to pick films more often. In six years, this is only his fifth film. Of which one was a cameo and one was an anthological part of the whole film.  He is someone who picks the rhythm of the character too quickly and settles himself well. And he is a better talent than many new faces who belongs to a strong film fraternity.

There are a lot of films to be released as Bollywood is nearing towards halfway mark. But I sense that by the end of the year, Thar is going to be one of the best films of this year. If this film doesn’t get its deserving praise from the critics and the audience, not sure what filmgoers are really willing to get impressed with.

RATINGS: 8.6/10

Movie Review: Om Dar-B-Dar (1988)


Tadpole | Cycle | Diamond | Typewriter | Dream | Ajmer

Brain-nailing keywords right? Yes you exactly are reading my new blog categorized as ‘Movie Review’. You are not in a humble mistake or any point at stake, this is how strange tags for a movie wonders you make. Will you allow me to add few more plot keywords? LOL Let me try to open your jaw;

Horoscope, Radio, Caste, Sleeveless Blouse, Nitrogen, Googly, Counterfeited Coins, Tourists, Promise Toothpaste, Yuri Gagarin, Potassium Cyanide and list goes on…

After the plot keywords or tags, what if I tell you that this Hindi-movie ‘Om Dar-B-Dar‘ was produced in 1988 and commercially released in 26 years!!! Yes it is very unknown to the moviegoers because majority of viewers are more familiar with popular cinema as compared to parallel and mainstream cinema.

But the movie has its critical prominence and has gained a ‘CULT’ status on the badge. This movie won ‘Filmfare Critics Award for Best Movie‘ in 1989 and even reached Berlin Film Festival. I heard a lot about it and after watching it, I found it one of the most complicated movie Bollywood has ever produced. 

There are 5 characters existing in Ajmer:

1. Om (Aditya Lakhia) is a carefree kid, a daydreamer. He loves tadpoles and has ability to hold his breath for a long. He is slipped from the edge of bitterness and is mentally a normal person who do not want to accept normality.

2. Om’s father (Lakhsminarayan Shahstri) was a government servant. Now he is an astrologer.

3. Gayatri (Gopi Desai) is Om’s sister bound within her limits. She is liberal by nature who wants to ride a cycle and climb Mount Everest.

4. Jagadish (Lalit Tiwari) is from Jhumri Telaiya. Fell in love with Gayatri and teaches her and her father cycling.

5. Phoolkumari (Anita Kanwar) is dark and mitty character who joins Om’s family. She write sex stories and has no money. Looking for work, she type letters for Om’s father.


ODBD is an experimental movie where 5 characters are connected but prostrate towards the fantasies of life. The sketch-frame is so complex that you will not accept the happenings at once but will flow on you. It is rebellious towards the nature, an absolute outcry.

ODBD is a directional masterclass where the movie-making is very advance from its time, you may call it a post-modern movie. Although the background score is pretty intrusive but the usage of camera technique is remarkable. It is a unique presentation of the world where a hatchling runs over the class attendance sheet and tadpoles become terrorists. 

Another impressive aspect of the movie is very powerful and thought provoking dialogues. With all the silence speaking out loud, the scenes are well translated by the dialogues where the director opens his heart and speaks very deep emotions and illusions.

Two of the dialogues which hit hard on brain is when Om speaks his heart out “Mere pass hone ke liye zaruri hai ki mera sapna fail ho jaye” trans. “It is important to fail my dream in order to succeed”. I have to repeat the scene to understand Om’s character which defines a lot.

The other dialogue is where Om’s father is annoyed of the term ‘googly’ and tells Phoolkumari to type a letter to prime minister “please ban googly in cricket and life in general”!!!! Just vow!! Googly and life has a very deep relation if you calculate the nature of both the terms philosophically. Literally it is just a dialogue but practically, it hits very hard.


Songs are way absurd but two of the tracks are of cult nature. ‘Babloo Babylon Se’ and ‘Meri Jaan’ are isolated songs with a natural caricature. By cast, all actors have done above average job but Aditya Lakhiya as ‘Om’ is the winner.

ODBD is a nonlinear-narrative and extraordinary movie produced by National Film Development Corporation on a budget of RS. 10 lakh and directed by National-award winner Kamal Swaroop. His CV includes writing dialogues for Mira Nair’s ‘Salaam Bombay’ and assisting Richard Attenborough in ‘Gandhi’. While watching, his direction will remind you works by Satyajit Ray and Stanley Kubrick. 

This movie is recommended only to whose who are more interested in watching parallel or mainstream movies, well actually ODBD is way passive from that cinema too. Even it is hard for me to come with a better review of ODBD due to the weight of absurdity, confusion and utopian creativity. But one thing is for sure that unarguably it is Indian cinema’s one of the greatest Cult Classic ever made.

Ratings: 8.9/10

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Movie Review: CityLights (2014)


What happens when a poor man from a village looks for a job in a city? What happens when he takes his family and settles down in metro-crowded-noisy city? One can never expect that anything will go absolutely right under his way. There goes a tremendous change in momentum of life and your initial steps are temporary hiccups to accept the changing circumstances over noisy and mad city. Making a movie on it may appeal some positive responses as the viewer takes the movie as something-about-to-happen experience. The movie-makers often make a comedy movie over rural-turn-urban life experience. But some become a socioeconomic subject for critical awareness to make you think how some of us taste such tragic encounters of life-changing gears. Migrated people always have that luck! 

That’s what happened couple of years ago when Sean Ellis made a British movie about a Filipino couples who had a land-migrating life-changing tragic experience from one part of Philippines to the other. The movie was ‘Metro Manila‘ that was Britain’s official entry for Best Foreign-Language Film at 86th Academy Awards last year. 

Metro Manila was an inspiration movie which reached to the doors of Indian movie industry. Citylights is produced under the banners of Vishesh Films and is official Indian remake of Metro Manila. Hansal Mehta was picked for the direction and the production of movie cost only 7 crore. Cast includes Rajkummar Rao (Love Sex aur Dhokha, Kai Po Che, Shahid), Manav Kaul and Rajkummar’s real-life girlfriend Patralekha. Set up is a poor young family of Rajasthan who migrates to Mumbai for money, better job and better future. Traveling all over from Rajasthan relying on one of close friend who never shows his face are all alone, homeless and self-dependent struggling to settle in crazy-life of Mumbai.


Hansal-Rajkummar collaborates as director-actor for the second time after critical acclaimed movie Shahid. Director put all faith in viewers to promise yet another splendid movie with powerful performances by Rajkummar and Manav Kaul.  

Rajkummar Rao is one amazing Haryana-born acting talent who always mesmerizes you with any role he plays. His characters are challenging. Since 2013, he is in magnificent form and picking very selective movies to bring a lot of critical attention among the movie pundits, journalists and sensible moviegoers. Citylights is his 3rd critical acclaimed performance after Kai Po Che and Shahid. As compared to KPC and Shahid, this role is more tougher. This character is more broken and shattered, and his migration with young wife and little daughter becomes a curse. Lost in the citylights, he is compromised with the naked truth that poverty is a disease and and every honest man is to be stripped. There are many high points in the movie and truly the most powerful scene is when he is drunk and return to his wife.

Citylights is an absolute portray of betrayal and gear-shift morale-collapsing tragic life-story. It is an emotional roller-coaster and depiction of fake-expectation of something called ‘Ray of Hope’ where survival is not in your fate. You are supposed to fell down from your own roof. One of best movies of 2014. Thumbs up for Hansal-Rajkummar partnership!

RATING: 8.8/10