Jayesh lives in a traditional and conservative Gujarati household and is the son of a sarpanch. Jayesh is married to Mudra and has a nine-year-old girl, Siddhi. To give birth to a boy, Mudra has miscarried six times and is expecting a girl again. Therefore, Jayesh protects his wife and daughter by secretly running their way out.
Jayeshbhai Jordaar is a satire that raises the issue of women’s rights and gender complexity over the consequences of a pregnancy. But the film misses out on broadening the thickness of the plot. JJ started pretty impressively in the first half and then left a massive gap in writing in the second half. The film became a never-ending cat-and-mouse-chase.
As the film reflects on the social issues that I am not aware of in the Gujarati culture, a kind of superstition that the film has presented could have been managed with better care. But the problem lies in the continuity of the plot I wrote before. The director was compromised about the tone of the screenplay. At my first phase of observation looked like will settle on Jayesh protecting his family with true spirit. However, the film after the second half was pretty lost and the final thirty minutes became impossible to tolerate.
Somewhere the humor was flat and somewhere I liked the applied comedy the director reasoned for, like when Jayesh’s sister makes everyone unconscious, or the couple along with daughter faking the beatings to the elders, etc. Ranveer Singh, Boman Irani, Ratna Pathak, and even Shalini Pandey performed above average, one of the few plusses to talk about. I like how Ranveer performs this particular Gujarati role. Not an expert on the culture but this is totally different Ranveer than we usually watch. He was excellent in Gully Boy and at this scale of choices he is making at his career peak, this shows that Ranveer is serious about making his name as an actor who wants challenges.
The film deserved better writing with such a vital message. Inconsistent writing led to damages and Jayeshbhai fails to impress. The audience should watch the film for Ranveer’s performance, the rest is shattered and broken. A film that had potential is ruined by miles.
Alright, the time has neatly arrived to speak about the Hindi films released in the year 2017. Starting from 2015, I am yearly publishing my report through my blog about the best things happened in the Hindi cinema. My yearly season of watching Hindi films arrives every last quarter of the year. I pick some films from the list of year wide releases in which I find potential, watch, write a review and place the films in different categories where I believe the project was good for certain aspects.
I am delighted to observe a slight change in waves at some parallel lines which were drawn to follow and focus on mainstream entertainment. There do are numerous films which offer its viewers to enjoy the rollercoaster. But in a few years, the content of creativity and understanding the characterization and principles of filmmaking and visual cinematic presentation has changed. Viewers show interest and are excited to accept change but that innovation is and will increase by a minor percentage. The quality of filmmaking has changed, not because of the cameras but due to the producers offering talented filmmakers and people from other cinematic professions a chance to show their creativity. Films are recognized abroad in the different film festivals. Actors like Manav Kaul, Pankaj Tripathi, Rajkummar Rao, Radhika Apte, Seema Pahwa, Swara Bhaskar, and Sanjay Mishra are achieving recognition from the majority of viewers. These names were hardly believed to be discussed or remembered a few years ago.
From scores of releases, I picked only 28 films for watching and some other films, in addition, to listen to some tracks which did justice to the musical department and to my ears. Millions of people have their opinions, I have mine strictly on the bases of my observation, judgment and understanding as a film critic. No, I do not write for magazines or newspapers as a critic or writer because when most of the companies pay you, you are expected to pass the review to keep everyone happy. Blogging is freedom and before I proceed, let me forward to you my same work on Bollywood’s best in 2014, 2015 and 2016.
Like before, I will segregate the categories into three different sections i.e., musical (5), technical (10), and major section (6). In most of the categories, I will brief a small explanation where I find necessary. In most of the categories, I will also make some honorable mentions which are the individuals or the films deserve to be counted among the best.
This is to inform you that the list of 21 categories from the 3 sections is created and presented from my selection and observing the following films released in India in 2017:
The above-mentioned films which miss all the recognitions below are to be believed that those films didn’t live up to my expectations. Also for your reading, let me clarify that the films are not ranked in ‘Other Notable Works’.
Besides the films I have picked above, I have a special regret of missing the following films which I was not able to watch due to lack of availability or availability in extremely low video/audio quality:
There were not enough impressive singing to my ear to the tracks I listened to. But this Nachdi Phiraan came as a surprise. I first felt if Zaira Wasim was really singing in the studio but then I found out that she was another 17yo like Zaira whose voice perfectly fitted in her. What a phenomenal singing by this young girl. It is all magic when she raises her voice from Tere Ishq Da Chola Pehen Ke. Meghna Mishra is a new singing sensation with a lot of promises.
This is the first time I have heard Arko’s voice. I was actually not aware of his past contribution. I am informed by my brother that he was behind the composition of most of Jism 2’s tracks. Coming back to Nazm Nazm, what impresses me is his distinctive voice sung on his own lyrics and composition which gives the listener a real feel. Also, this song reminds the 90sh typical fall-in-love tracks.
There were dozens of impressive tracks and was pretty hard to decide my favourite from 2017. Many tracks build different variations of moods. So why Din Shagna Da? Because of an extreme simplicity of its being a wedding ballad blended with Jasleen’s addition to grand piano and guitar in a typical Punjabi wedding score.
Lyrics are simple and so realistic. Makes you imagine a young bride singing for her soon-to-be husband before the wedlock. And then, Jasleen Royal’s voice does the perfection of bringing a beautiful and utopian imagery of your beloved in her bridal dress.
What is counted in ‘Best Music’? For me, it is the quality of Music. Almost all the tracks are relaxing, smooth and tempo builder. Khoya Khoya and Tere Mere are the toppers amongst all the tracks. Raghu Dixit’s contribution moves you and the story together and I honestly believe he deserves the credit as his hard work went pretty unnoticed in the mainstream media. I am not doing any favour but as compared to the other films, I find his tracks for Chef far better than the other notable works which are:
To be honest, it was a tough call. I actually picked Anvita Dutt‘s Phillauri and wrote one paragraph in reasoning why the story of Phillauri was the best. But then I stopped myself and looked towards other potential stories I watched.
In my other picks, there is Saket Chaudhary‘s Hindi Medium which shows in a funny way how much effort do the parents make to send their children to a better educational institution. Then there is Atanu Mukherjee‘s Rukh which speaks about a teenager who lost his father in a road accident refusing to believe if that was an accident or a murder. Toilet: Ek Prem Katha, written by Garima-Siddharth, raised the issue of having no toilet and emphasized on the eradication of open defecation. Mukti Bhawan, penned by Shubhashish Buthiani, was about a son helping his father to live his last few days to the holy city of Varanasi.
Then I made up my mind that the story has to be bolder with a brave message. Lipstick Under My Burkha surpasses the definition of being the best story. The film speaks about the compromised social lives of four women of different ages and statuses from the same society living in Bhopal. Being centered on feminism, the story splendidly executes and handles the issues of different women whether they are right or wrong.
Yes, that book in Buaji’s hand is one major reason but I am not aware if that fictional book is fictional to the plot. But the dialogues overall are lively and rich to reality. Gazal Dhaliwal had the audacity to speak out in different characters. All four leading ladies had their needs and lipstick was an important factor. Her dialogues give the space and importance to each of them.
It is emotionally a disturbing and morally a humiliating scene to watch Ratna Pathak’s Buaji character exposing to the truth in front of the whole neighbourhood. It was like a human who has never revealed his/her entire arm is stripped naked. The scene’s excellence of emotional decline should be credited to Alankrita who does a fantastic job in bringing the four ladies and their stories together at a point where they need the support of each other. It was predictable that the truth about Buaji will come someday to everyone’s attention but it is the beauty of the direction how she breaks the spine of her utopian escapism. Only an artist like Ratna can superbly handle that scene.
Other Notable Scenes:
Breaking Toilet on Pandit’s Command (Toilet: Ek Prem Katha)
Sridevi’s Breakdown in Hospital (Mom)
Spirits’ Reunion (Phillauri)
Shutu’s Suicide (A Death In The Gunj)
Father-Son Crying and Apologizing (Mukti Bhawan)
Sulu’s Heated Argument with Entire Family (Tumhari Sulu)
After so many impressive side roles in recent years, Pankaj has developed his acting finesse in 2017. This has been his most fruitful year with severe critical acclaim with the role in Newton the most to treasure.
Pankaj plays a cynical Assistant Commandant in a Naxal-controlled town. Newton is a Rajkummar-Pankaj show and Pankaj’s character weight is what Rajkummar’s keep on pulling all this time. They have assigned jobs but are completely opposite to commitments. In the whole film, it is hard to understand if Pankaj plays a helpful or a painful role to Rajkummar.
Yes. LUMB again. Ratna again. Her acting in Buaji character compels me to ignore the other contenders from the list of top performers in this category. I recognized her performance last year in the same category for Kapoor & Sons.
An impressive part of LUMB is that there is no leading character. The plot is so thick that all leading characters support each other, exactly like Kapoor & Sons. What impresses me about Ratna is her adapting any role in a supreme harmony. It doesn’t matter what you are asked, you are a veteran and versatile artist to subdue the character weight.
When she narrates the erotic novel, she makes me forget Rekha’s voice. Her Rosy avatar completely changes your perception about her being Buaji. It was a phenomenal performance.
Seriously, who else? Who else can be the best leading male performer than Rajkummar Rao?. And what else will it take to win the Best Actor award in a Filmfare function? For the fourth consecutive year, the best male leading performer of the year was not even nominated in the category of Best Actor! Sanjay Mishra for Ankhon Dekhi in 2014, Nawazuddin Siddiqui for Manjhi in 2015, Manoj Bajpayee for Aligarh in 2016, and now this. Absolutely shocking!
Coming back to Rajkummar, his efforts and commitments to the role are commendable. Bein a vegan, he actually eats meat in some of the scenes for the first time in his life. A big thumbs up! This guy goes to a strict carrot diet and drinks coffee for more than 16 days to show the emotional and physical decline of a healthy man. This effort helps Rajkummar to define urban loneliness in the character because he is new to Mumbai.
In the Indian cinema, typically the most popular industry which is Hindi cinema, what do the viewers expect from a teenage newcomer in the line of professional acting? Yes, there may be promises but we will expect a young boy or a girl to struggle in front of the camera, try to balance the body language and dialogues together. Right?
Zaira Wasim was 16 when worked in Dangal with Aamir Khan. Next year, he gave her another opportunity to exploit her acting talent. And this time she has astonished me in Secret Superstar. It is nearly impossible at 17 years of age to be so mature and well adhered to the character and its details. Yes, she is a teenager playing a teenager but acting that well in front of the camera is some achievement.
Zaira plays the title role who isn’t being the princess in the film but a dreamer who is surrendered with a very disturbing domestic life. Her facial performance and emotional fluctuation are marvellous. How real it looks when she acts in the song ‘Nachdi Phira’, that scene can make anyone admit if she really was singing. How tempestuous when she argues with father before he beats, or when she refuses to go abroad.
If this incredible newcomer continues to perform like this with consistency, then she is one massive name in the making.
Aye. Brilliant mind on the director’s chair do his/her work different from others and that is how the filmmaking is exemplified. Ajji is about a ten-year-old girl Manda who is brutally raped before being found by her grandma, Ajji. When the culprit is found to be the son of a politician, everyone in the family goes silent but Ajji.
One of the simplest stories is stretched to a lengthy 103 minutes. But why too lengthy? The answer lies in a terrific direction by Devashish Makhija. In 103 minutes, the director settles the minds of the viewers by taking the parallels of the slums from different angles. He shows the lowest standard of the rapist and tortures your observation for almost 15 minutes to make you believe how far can they go from being sober.
The director never discards in presenting a slum life as the deepest detail is very decorated on the camera, take a keen observation of childish drawings on the wall, dust fixed on the mirror, blinking tube lights, or holes in the shirt of the butcher.
Daya (Lalit Behl) in his late 70s is believing that he is about to die soon and wishes to go to the holy city of Varanasi to attain salvation. His son, Rajiv (Adil Hussain), accompanies him and leaves his family behind to travel and stay with his stubborn father at the desired place.
Mukti Bhawan is that one film which happens once in several years. Technically, this is one of the most gifted films to the Hindi cinema with every department giving you the highest quality job. A fascinating cinematography capturing the heart of Varanasi, the city of Lord Shiva.
Tajdar-Junaid’s soothing background score helps to build the tempo. Production and costume designs give severe originality to the screenplay. The rest lies in a spectacular direction which subjects on one of the best father-son onscreen chemistry ever picturized. Dialogues are very lively and the whole filmmaking is so charismatic.
So many scenes buy your attention like Daya-Rajiv crying, family posing a joyous funeral as wished, Rajiv’s internet chat with family on a weak signal, Rajiv observing final rites of cremation, etc.
Mukti Bhawan’s richest essence is the translation of human emotions and complexities, fluctuation of rage and inability of understanding the generation gaps and its harsh realities. Hard to believe that this gem is directed by a debutant (Shubhashish Bhutiani) who is only 26 years old. Surely a filmmaking prodigy in the development.
Overall, Mukti Bhawan is indisputably the best Hindi film of 2017.
Other Best Films:
Lipstick Under My Burkha
Please share your views about my selections. Write your opinions in the comments below. Let me know if you don’t agree and explain your reasons.
Here, I conclude my special report about the best of Bollywood in 2017. I will be back next year with the same reporting for the year 2018. Thank you for reading.
Now, this is a certain film that drives a lot of attention due to the subject and the grip of the story/screenplay. Located in Bhopal are four inter-connected stories of four ladies of different age groups.
One is a young Muslim girl, Rehana (PlabithaBorthakur). A huge Miley Cyrus hardcore fan whose individual freedom is very restricted because of her family and background which propels her towards stealing fashionable clothes and cosmetics items which her parents will never allow.
The other is a young parlor-running beautician, Leela (Aahana Kumra), who loves a photographer but is forced to marry someone but is still digging ways to elope with him in a pre-marital confound relationship.
The third is a housewife, Shireen (Konkona Sen Sharma), whose husband comes from Saudia to meet his family and release his frustration on her. She secretly works as a door-to-door saleswoman because her husband doesn’t allow it.
And the fourth is the old matriarch, Buaji (Ratna Pathak Shah) who secretly is an avid reader of erotic novels which drives her to reimagine herself as young with intimate desires.
Lipstick Under My Burkha is about women succumbing to a male-oriented society seeking individual freedom and trying to increase more privacy. All four stories are well directed. The film editing and the screenplay gives a realistic impression and the portrayal of the collective society is purely sublime.
The dialogues are brilliant, and production and costume designs give a broader image in the detailing of the interconnected stories. The background score is a fitting beat to the existing environment of the film.
All the performances, especially of the four leading ladies, are fabulous. But the one who was outstanding amongst all was Ratna’s Buaji character. This role was a very challenging run of her acting career.
5-star to the female director, Alankrita Shrivastava, who has really given a powerful direction. Even the smallest details in the plot especially all the sexual behaviors and emotional fluctuations are top-notch. Alankrita has splendidly translated the difference of sexual desires and fantasies running in women. Some fantasies which unfortunately do not become reality make a sane person insane and that is how she has developed her story and dropped your emotions.
Yes, the way the story is concluding is pretty quick and rapid but simultaneously, Alankrita shows the audience that the struggles meet no ends and compromise with the existing one.
LUMB is produced under the banners of Prakash Jha Productions. The film has also been premiered in numerous film festivals across the world. It is indeed one of the best films produced in 2017 and is recommended to all sensible filmgoers. Yes, it is a black comedy but the film should not be taken lightly considering woman as sex material to enjoy the film but also to understand her escapism from the happenings of the mediocre society.
The thing is that I am indulged in presenting the very best of Hindi-language cinema every year and I enjoy investing my precious time for the sensible readers and filmgoers who would like to know what honestly have been the best films under different categories. It is a common understanding that the film awards in India have lost its credibility by handing the awards mostly to the wrong hands from a very list of nominations. It exasperates me when the deserving individual or a film is not recognized on the stage in any given function.
For the past two years, I am making such a specific blog to recognize the contributions from the Indian films released in India in that specific calendar year. You may read my previous selections here in 2014 and 2015.
This blog will focus on the year 2016. Like before, I will segregate the categories in three different sections i.e., musical (5), technical (10), and major section (6). In most of the categories, I will brief a small explanation where I find necessary. In most of the categories, I will also make some honorable mentions which are the individuals or the films deserve to be counted among the best.
The above-mentioned films which miss all the recognitions below are to be believed that those films didn’t live up to my expectations. Also for your reading, let me clear that the films are not ranked in ‘Other Notable Works’.
BEST BACKGROUND SCORE
TAPAS RELIA (DHANAK)
Other Notable Works:
Mikey McCleary (Waiting)
Studio Fuzz(M Cream)
BEST PLAYBACK SINGERS
There wasn’t a decent vocal competition in the year 2016. I have listened to a lot of tracks from the 4-5 successful music albums of the films and I found only a couple of male tracks from the same film and a few good female singing in the other films but still not good enough.
AMIT MISHRA (BULLEYA – AE DIL HAI MUSHKIL)
Other Notable Work: Arijit Singh (Channa Mereya – Ae Dil Hai Mushkil)
NEETI MOHAN (SAU AASMAAN – BAAR BAAR DEKHO)
Other Notable Works:
Qurat-Ul-Balouch (Kaari Kaari – Pink)
Kanika Kapoor(Da Da Dasse – Udta Punjab)
BEST SONG & LYRICS
CHANNA MEREYA (ARIJIT SINGH/AMITABH BHATTACHARYA/PRITAM – AE DIL HAI MUSHKIL)
Other Notable Works:
Tere Bin (Sonu Nigam-Shreya Ghoshal/Vidhu Vinod Chopra/Shantanu Moitra – Wazir)
Pashmina (Amit Trivedi/Swanand Kirkire – Fitoor)
Gehra Ishq (Shekhar Ravjiani/Prasoon Joshi/Vishal Khurana – Neerja)
AMIT TRIVEDI (UDTA PUNJAB)
Other Notable Works:
Tapas Relia (Dhanak)
BEST COSTUME DESIGN
ASHIMA BELAPURKAR (PARCHED)
Other Notable Work: Theia Tekchandaney & Shruti Wadetiwar (Neerja)
BEST PRODUCTION DESIGN
ANNA IPE & APARNA SUD (NEERJA)
Other Notable Work: Amardeep Behl (Parched)
BEST SOUND DESIGN
SUBHASH SAHU (NEERJA)
Other Notable Works:
Boby John (Dhanak)
Vinit D’Souza (Raman Raghav 2.0)
There have been few scenes in my mind which were quite outstanding. Like Aliya’s expressions of misery to Shahid in Udta Punjab, or Nawazuddin killing a family in Raman Raghav 2.0, or the hijacking scene in Neerja, or the final court scenes in Pink. But I decided to choose the winner between two of the best scenes of the year 2016. Shakun Batra’s marvelous direction bemused me about the selection of the best scene of the film. The plumber scene, Annu aunty in party scene, and the truths-revelation scene before the family photo all carried equal weight of remarkable sketch of a highly intense family drama. So undecided that I prefer to conclude the winning scene with Irrfan’s showstopper and a heart-melting scene from Madaari when he asks for whereabouts of his son in the hospital. Perhaps no one would bring the efforts what Irrfan did here and hence proved again why is he the most inspiring actor holding more demand in the global cinema than any other Indian. This scene really beats the others.
GAIRIK SARKAR (TE3N)
Other Notable Works:
Aarti Bajaj (Raman Raghav 2.0)
Monisha R Baldawa(Neerja)
MINGJUE HU (M CREAM)
Other Notable Work:
Chirantan Das (Dhanak)
Priya Seth (Airlift)
Jay Oza (Raman Raghav 2.0)
Satyajit Pande (Dangal)
Parvez Singh (Raman Raghav 2.0)
The action is not about larger-than-life supernatural fights. My science of understanding here says to me that the action is when the reality is bound to bring intensity in the screenplay. Violence is the key, torture is a form and dismantling the brain and eyes towards the seriousness of the buildup is where the finest of action qualifies. Neerja and Raman Raghav 2.0 were the only films in my mind. Neerja’s technical aspects helped to build the intensity from hijacking till the last attempt of escaping. Whereas Raman Raghav 2.0 was a silent screamer and a gritty writing making the viewers hopeless and disconsolate of any likelihood of survival, the bloodbath is a sine qua non.
Anu Menon, James Ruzicka, and Atika Chohan (Waiting)
Agneya Singh (M Cream)
Gauri Shinde (Dear Zindagi)
BEST SUPPORTING ACTRESS
RATNA PATHAK (KAPOOR & SONS)
Parched acting trio of Tannishtha, Radhika and Surveen was highly expected to surpass the expectations but the trio of Pink was a massive surprise to me. Alia Bhatt gave her remarkable presence in Kapoor & Sons.
Well, a pause in the clause is that the Indian theater actresses will eat your skull if they outplayed the emotional character. Shabana Azmi for Neerja and Ratna Pathak for Kapoor & Sons were the most standout performances from this category. It wasn’t easy to pick and ignore the other nor do I want any joint winners. But as per the capacity of acting and appeal on the screentime, Ratna had more space to suffer Mr. Kapoor and Sons than the mother of Neerja waiting for the updates after the hijacking incidence. Ratna had more time to fight and argue with more than an individual at a time than Shabana’s emotional resistance.
Other Notable Works:
Shabana Azmi (Neerja)
Kirti Kulhari (Pink)
Tannishtha Chatterjee (Parched)
Alia Bhatt (Kapoor & Sons)
BEST SUPPORTING ACTOR
RISHI KAPOOR (KAPOOR & SONS)
The mad terrorist in Neerja was phenomenal as well as a highly potential debut of the singer Diljit Dosanjh in Udta Punjab. Rajkummar was decent in assisting Manoj Bajpayee in Aligarh and Vicky Kaushal is rapidly making his name with Masaan and 2.0. But the real focus was on the dadaji of the dysfunctional family in Kapoor & Sons.
Yes, the makeup has a prominent role in the building of the character which doubles the charm in the performance like how Amitabh brought the momentum in his Auro character in Paa after an extraordinary change in his stature and looks. But Rishi as a nonagenarian fittingly classified as the best dadaji whose role grew on the viewers with the growing heat in the disturbed family. Chintuji and Amitji are the only boys of the 70s badge who are regularly performing in the selective roles being recognized with the positive responses in today’s cinema. And this role again defines Rishi’s versatility in acting. The film would be incomplete if Rishi would not have been picked for this role.
Other Notable Works:
Jim Sarbh (Neerja)
Vicky Kaushal (Raman Raghav 2.0)
Diljit Dosanjh (Udta Punjab)
Rajkummar Rao (Aligarh)
ALIA BHATT (UDTA PUNJAB)
If there is any category which was the most impressive, that was the performances of the leading actresses in the films released in the year 2016. There is Swara Bhaskar who is rapidly becoming of the noticeable actresses who brought a spectacular performance to her credit in Nil Battey Sannata. The body language and the emotional details of her character-play were striking. Kalki’s strong CV continues to fill more golden pages with Waiting. Ash in Sarbjit was a surprise package. Throughout her acting career, this is easily her first and best acting performance. That is the other thing that Ash doesn’t resemble or remind us Dalbir Kaur but the director has really worked with Ash on her character. People were informing me that Taapsee has done a wonderful job in Pink and I was not coming out of my visual understanding after watching her in Chashme Baddoor. Taapsee Pannu displayed a powerful role and I hope she is not a one-role wonder lady.
As far as Alia is in the wacky race, she is my girl for this category. She is at the peak of her career and easily one of the fastest growing actresses in the Indian cinema. Alia does have a lot of help at home from her mother Soni Razdan who has pulled the strings of acting and playing mentally complicated characters in many of her husband’s films in the 80s and 90s, and papa Mahesh Bhatt who has been critical in making top-notch films in the parallel cinema. But then, it is the baby who has to face the camera and has every potential to make her name with acting greats like Shabana Azmi, Smita Patil, Tabu, or Nandita Das in very near future.
She began performing from Highway and sought attention from the sensible viewers including me. But 2016 is her best year ever with high-class performances in not one but three films (Kapoor & Sons, Dear Zindagi, and this). As far as the mental or physical challenge is the condition, it definitely is her role of Mary Jane in Udta Punjab which beats the other competitors in the wacky race. She has shown the misery of a girl stuck in the series of unfortunate events. You feel sorry for the character but when you feel apologetic, there is Alia’s success to justify the role she plays. Highway’s Veera Tripathi and Udta Punjab’s Mary Jane have suffered but their character-destruction from Alia’s visual presentation is different. Well done Alia.
Other Notable Works:
Swara Bhaskar (Nil Battey Sannata)
Taapsee Pannu (Pink)
Kalki Koechlin (Waiting)
Sonam Kapoor (Neerja)
Aishwarya Rai (Sarbjit)
MANOJ BAJPAYEE (ALIGARH)
If you are mature enough to understand the credibility of the actor and his substance of a performance in a given screentime, you will realize that the award functions in India are commercialized which depends on revenue and care less for the individuals who deserve the award at the right time in their lives. In 2015, Filmfare omitted Sanjay Mishra for Ankhon Dekhi, who was a clear winner in the category of Best Actor. Last year, Filmfare omitted Nawazuddin for Manjhi who actually was the most deserving individual to win the category of Best Actor. And now a hattrick of blunder is completed with Manoj Bajpayee’s turn who lost his place to get into the nominations. And most of the viewers will raise the eyebrows over the quality of decision making by the juries who repeatedly add box-office mahatmas, Salman Khan and Shahrukh Khan, in the category almost every year from nowhere.
This is easily Bajpayee’s best performance ever and is the toughest character of a homosexual teacher he can play. The best part of the role is his complexity towards the sexual orientation for which he is suspended and bringing his ass to the court. He has a portion of love for the lettering and listening to Lata’s songs but overall a disturbed soul. He is a departed loner but expects people to understand him. Bajpayee has given the word ‘Tragedy’ a fresh cinematic meaning. A wonderful and very underrated performance I subject to recognize here.
Besides, Shahid enjoys another successful year with another role of a maniac, this time in Udta Punjab. Shahid is like Saif Ali Khan who is reintroduced to the viewers as a promising actor not to ignore. After a series of repeated failures, Shahid is finally off the mark from Haider. Irrfan’s Madaari is another brutal omission from the same category in Filmfare and you will be surprised to know that besides Paan Singh Tomar, he has never been nominated in this category in Filmfare.
Naseer sir in Waiting is magnificent as always in almost every film which he is part of. Amitabh had three different roles in Wazir, Pink, and Te3n, and I must say that Amitji at this age has become more choosy in his roles than ever. Since 2015, he has played some very good roles in Shamitabh, Piku, and the above-mentioned films. If I have to pick between the three, it would be Te3n.
By watching his superior performances in first Badlapur and now Raman Raghav 2.0, I am fully convinced that if in any timeline the Batman franchise happens to drop in Indian cinema, the only actor who can play the role of the Joker is Nawazuddin Siddiqui. His latest role of a psychotic killer will disturb you, by watching this performance you will never wish to meet him. What Randeep did in Sarbjit was the most dedicating among all the best performances of 2016. He lost 18 kgs in 28 days to justify his role in the prison life. Randeep presents you the pain of being an unfortunate and displays an impressive emotional drop and terrific body language. He makes the viewers feel when he groans and express his pain to Aishwarya in the prison.
Other Notable Works:
Shahid Kapoor (Udta Punjab)
Irrfan Khan (Madaari)
Naseeruddin Shah (Waiting)
Randeep Hooda (Sarbjit)
Nawazuddin Siddiqui (Raman Raghav 2.0)
Amitabh Bachchan (Te3n)
GAURI SHINDE (DEAR ZINDAGI)
Besides the names mentioned below, the competition for this category, in my opinion, was between Shakun Batra and Gauri Shinde. Both were the masterclass in utilizing the scripts. But I picked Gauri the winner from this category. Shakun’s impressive direction has a blend of major other aspects involved like very realistic dialogues, a lot of impressive performances within a scene etc but Gauri’s direction heavily depends on Alia’s character growth in the film especially a very important first half before Shahrukh is introduced.
Other Notable Works:
Shakun Batra (Kapoor & Sons)
Ram Madhvani (Neerja)
Anurag Kashyap (Raman Raghav 2.0)
Abhishek Chaubey (Udta Punjab)
Aniruddha Roy Chowdhury (Pink)
KAPOOR & SONS
I mean what else? what really else can be a better film than Kapoor & Sons? A decent family drama which portrays/sketches a dysfunctional family with mix elements of humor and suspense. The film has no nonsense of silly masala, item numbers or unnecessary cameo appearances despite the fact that the film was produced under the banner of Dharma Productions. Then the film is very honest to its script and describes a shattered bond in a very distinctive way.
There are numerous amazing scenes which catch our attention swiftly because we are accustomed to our domestic life especially the plumber scene. Then the revelation of secrets and a tragic accident. The film touches your heart. The remaining plusses are left with superb performances from all the major cast. Everyone has his share and their roles carry the same depth. And that is the beauty of the film that there is no leading character. Every major character is supporting to the other.
Other Notable Works:
Nil Battey Sannata
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