Tag Archives: Taapsee Pannu

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.

My Bollywood’s Best of 2018

My yearly review season has arrived to inform the readers what Hindi-language Indian films do I find the best in different categories. This is my 5th annual review work on the Indian cinema and to read my previous works, kindly follow the links:

2014 2015 2016 2017

So how do I do all this? I select some three dozen potential films of the calendar year after watching the trailers and reading the minor narrations at the year-end. Then I spent a few months watching the films I selected. It takes me roughly 5-6 months to watch three dozen films because I have some other things to do in life. For the music department, I consider the selected films and explore further on the internet because the discovery of good music is vast and unlimited.

I am glad to see that watching and observing culture in India is changing. Year by year, some good stories are making rounds and getting recognition. Moving towards the new decade, this change may become a blessing. With so many production companies and heavy money involved, some very good talent is polished from any platform. Then the streaming service has developed and improved the viewing quality.

Following films grabbed my attention and I watched these in the past few months:

Andhadhun, Padman, Hichki, Sanju, Karwaan, Raid, Kuchh Bheege Alfaaz, Halkaa, Bioscopewala, Manmarziyaan, Mulk, Batti Gul Meter Chalu, Union Leader, Gold, Sui Dhaaga, Badhaai Ho, Beyond The Clouds, Raazi, Tikli And Laxmi Bomb, Angrezi Mein Kehte Hain, Manto, Mukkabaaz, October, Veere Di Wedding, Pari, Bhavesh Joshi Superhero, Blackmail, Pihu, Helicopter Eela, Pataakha, Hope Aur Hum, Tumbbad, Lust Stories, Love Sonia, and Gali Guleiyan.

Besides the abovementioned 35 Hindi films, I was not able to watch the other selected films, Omerta and 3 Storeys due to lack of availability or availability in extremely low video/audio quality.

Now before I present my winners, let me tell you how this works. After watching the above mentioned 35 Hindi films, 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 unranked honorable mentions under “Other Notable Works” which are the individuals or the films deserve to be counted among the best.

Now I present you my picks from Bollywood’s Best of 2018. The readers can share their opinions below the blog.


MUSICAL SECTION

BEST BACKGROUND SCORE

ANDREA GUERRA (SUI DHAAGA)

Andrea Guerra’s music matches nowhere to Sui Dhaaga’s screenplay but the best thing about it is that the applied score helps us build a fresh perception towards the film. The same thing happened with Darren Fung’s score on Union Leader but Guerra’s score was better. Let us assume if a stereotype Indian music was played in the background on these screenplays, these films may not have built in our observation.

Other Notable Works:

Shashwat Srivastava (Kuchh Bheege Alfaaz)

Sandesh Shandilya (Bioscopewala)

Amit Trivedi (Manmarziyaan)

A. R. Rahman (Beyond The Clouds)

Darren Fung (Union Leader)

BEST MALE PLAYBACK SINGER

ARIJIT SINGH (BINTE DIL – PADMAAVAT)

There is no way anyone can sing better than Arijit Singh nowadays and Binte Dil is an example. The score of this track is middle-eastern and Arijit has worked on his vocal cords as per the style of the track demanded. This was not the same ‘Tum Hi Ho’ voice we listened to. Listen to him when he sings Aatish Kada Adaoon Se until the drop at deeda-e-tar ka hijaab, brilliant. Because the lyrics are not easy, the singer has sung pretty vibrant and unfamiliar Urdu and on a few occasions sang in one breath.

Other Notable Work:

Shahid Mallya (Daryaa – Manmarziyaan)

BEST FEMALE PLAYBACK SINGER

DEVESHI SEHGAL (DARYAA UNPLUGGED – MANMARZIYAAN)

Daryaa is a heart-wrenching track speaking about one’s love being distanced from the others with beautiful Punjabi lyrics and Deveshi’s voice offers a blend of urbanized rural melancholy and agony especially when she shouts Beh Gaya Hanjuaan Da Dariya. What we listen here is a raw voice and is used in the film at some critical junctures. A wonderful vocal rendition here.

Other Notable Works:

Neeti Mohan (Nainowale Ne – Padmaavat)

Sunidhi Chauhan (Manwaa – October)

BEST SONG & LYRICS

KADAM (PRATEEK KUHAD – KARWAAN)

Thumbs up to Prateek for both the lyrics and the music, very deep words and honest translation of human path of miseries and agitation.

Other Notable Works:

Daryaa (Ammy Virk, Shahid Mallya, Shellee, Amit Trivedi)

Qasam Kha Li (Papon, Amitabh Bhattacharya, Amit Trivedi)

Binte Dil (Arijit Singh, A. M. Turaz, Sanjay Leela Bhansali)

Tune Kaha (Prateek Kuhad – Lust Stories)

BEST MUSIC

AMIT TRIVEDI (MANMARZIYAAN)

It is hard to believe that Amit is yet to win the Best Music award from Filmfare. This could be his year but I have to admit that the competition with Bhansali for Padmaavat was really strong despite average reviews. For me, Manmarziyaan will be remembered one of Amit’s finest works to date. The compositions of all his soundtracks were magnificent. Daryaa was indeed the best track.

Other Notable Works:

Prateek Kuhad, Anurag Saikia, SlowCheetah and Shwetang Shankar & Imaad Shah (Karwaan)

Sanjay Leela Bhansali (Padmaavat)


TECHNICAL SECTION

BEST COSTUME DESIGN

SHEETAL IQBAL SHARMA (MANTO)

Other Notable Works:

Eka Lakhani (Sanju)

Aparna Shah (Bioscopewala)

Payal Saluja (Gold)

Karishma Sharma (Pataakha)

BEST PRODUCTION DESIGN

NITIN ZIHANI CHOUDHARY & RAKESH YADAV (TUMBBAD)

Other Notable Works:

Priya Suhass (Bioscopewala)

Satish Chauhan (Union Leader)

Mansi Dhruv Mehta (Beyond The Clouds)

Rita Ghosh (Manto)

 

BEST SOUND DESIGN

RESUL POOKUTTY & AMRIT PRITAM (BIOSCOPEWALA)

Other Notable Works:

Madhu Apsara (Andhadhun)

Arun Nambiar (Kuchh Bheege Alfaaz)

 

BEST EDITING

HASSAN HASSANDOOST (BEYOND THE CLOUDS)

Other Notable Works:

A. Sreekar Prasad (Manto)

Dipika Kalra (Bioscopewala)

Ajay Sharma (Karwaan)

Pooja Ladha Surti (Andhadhun)

 

BEST CINEMATOGRAPHY

KARTIK VIJAY (MANTO)

Other Notable Works:

Avinash Arun (Karwaan)

Rafey Mahmood (Bioscopewala)

Sylvester Fonseca (Manmarziyaan)

Ewan Mulligan (Mulk)

Anil Mehta (Beyond The Clouds)

Pankaj Kumar (Tumbbad) 

 

BEST ACTION

VYRIL RAFFAELLI, SEBASTIEN SEVEAU & VIKRAM DAHIYA (BHAVESH JOSHI SUPERHERO)

I think this is pretty agreeable to everyone that Bhavesh Joshi Superhero offers excellent action sequences to seek our attention. There are no silly nonsense out-of-the-world fights and ridiculous visual effects to give up between the film. Because the plot is built in the honesty of depicting the birth of a superhero and the reasons behind wearing the mask. Even in the most possible exaggeration of any sequence, the scenes are acceptable and enough to pass a compliment like Siku’s lengthy attempt of escaping on the bike towards the railway station.  

Other Notable Work:

Vikram Dahiya & Sunil Rodrigues (Mukkabaaz)

 

BEST STORY

SRIRAM RAGHAVAN, ARIJIT BISWAS, POOJA LADHA SURTI, YOGESH CHANDEKAR & HEMANTH RAO (ANDHADHUN)

Andhadhun offers the freshness in presenting a crime thriller in dark humor. Two different stories connect to each other when the man pretending to be blind witnesses the dead body at an apartment and trying to give justice to the dead becomes a huge regret. The continuity is crazy and unpredictable. A story like Andhadhun is some kind of accomplishment and hope that some great stories can be told in the Hindi-language cinema.

Other Notable Works:

Bejoy Nambiar (Karwaan)

Nitin Dixit & Nila Madhab Panda (Halkaa)

Anubhav Sinha (Mulk)

Sanjay Patel (Union Leader)

 

BEST SCREENPLAY

MAJID MAJIDI & MEHRAN KASHANI (BEYOND THE CLOUDS)

I believe Beyond The Clouds had the most powerful screenwriting than any other films of 2018. The biggest reason lies in the happening of the plot. The intros of the leading characters and that cat-and-mouse run of Amir from the police. Then his emotional attachment with Tara and the given agonized circumstances between them in the plot is all splendid writing. Plus the development of mental growth of both Amir and Tara after her imprisonment carries the film. Amir’s changes in attitude with the relatives of Akshi (Tara’s husband) and Tara’s fondness towards the child are some impressive aspects of the writing. Due to the fact that this screenplay was written by the foreigners, they set the new standards of screenwriting in the Indian cinema.

Other Notable Works:

Nandita Das (Manto)

Anubhav Sinha (Mulk)

R. Balki & Swanand Kirkire (Padman)

Sriram Raghavan, Arijit Biswas, Pooja Ladha Surti, Yogesh Chandekar, Hemanth Rao (Andhadhun)

 

BEST DIALOGUES

ABHISHEK CHATTERJEE (KUCHH BHEEGE ALFAAZ)

What is important about dialogues-writing for me? It must fit the screenplay and the entire plotline. A light-heart musical like Onir’s Kuchh Bheege Alfaaz is a feel-good romantic whistler and the main reason is dialogues. So natural that it grows on you. There is decency, there is literature, the conversation between Alfaaz and Archana has a polite affection. Another factor doubling the significance of dialogues is Zain Khan Durrani‘s voice. When he speaks, you just close your eyes and listen to what he speaks. Summing in short, Kuchh Bheege Alfaaz has the most real and natural piece of dialogues-writing in the film.

Other Notable Works:

Hussain Dalal (Karwaan)

Kanika Dhillon (Manmarziyaan)

Anubhav Sinha (Mulk)

Sharat Katariya (Sui Dhaaga)

Nandita Das (Manto)

 

BEST SCENE

CRIME SCENE (ANDHADHUN)

Sold. Diabolical and sold. I was losing my interest in the film and wasn’t believing how Sriram Raghavan can disappoint me after waiting for his next project for years until those blind eyes spotted a dead body in an apartment. His fingers were bought by that dead man to play his wife the piano on their wedding ceremony, the woman who killed her husband with the help of her boyfriend,  masterpiece!

This was just the beginning. The best part was the continuity when both the deceased’s wife and her boyfriend silently try to clean the crime scene on the blind’s piano notes in one take. It was like I was watching good old silent-comedy stunt of the golden age. This is the beauty of the director’s artistic mind dropping the significance of presenting simple scenes in extraordinary ways.

I wish this particular scene is not a copy of any. I am not able to share the video because unfortunately, this is not available on YouTube.

Other Notable Scenes:

Murad Ali’s response to prove if he is a Muslim or not (Mulk)

Shravan lecturing his father about his boxing passion (Mukkabaaz)

Amir escaping from police-chase (Beyond The Clouds)


MAJOR SECTION

BEST SUPPORTING ACTOR

IRRFAN KHAN (KARWAAN)

The best aspect of Irrfan’s acting is his absorbing the given role. He executes so well that he is no more Irrfan in the film, he is the character watched by millions of viewers. In Karwaan, we didn’t see Irrfan acting, we saw Shaukat helping his friend find his father’s dead body. Irrfan brings a tremendous balance between the two new faces in the film, Dulquer and Mithila, and beautifully completes the trinity of three extremely different characters. His supporting role was well supported by the dialogues and Shaukat’s innocence throughout the journey.

Other Notable Works:

Manav Vij (Andhadhun)

Vicky Kaushal (Manmarziyaan)

Manoj Pahwa (Mulk)

Arunoday Singh (Blackmail)

Raghubir Yadav (Sui Dhaaga)

 

BEST SUPPORTING ACTRESS

SUREKHA SIKRI (BADHAAI HO)

Thank God, Filmfare didn’t make the mistake of handing Best Supporting Actress to any other actress than Surekha Sikri. Because if not this, then I wonder what further would take her to get the recognition. At her age, she justified her presence and the significance of her being the matriarch. Her series of scolding to his son and later in her daughter-in-law’s defense is magnificently hilarious.

Other Notable Works:

Tabu (Andhadhun)

Shikha Talsania (Veere Di Wedding)

Swara Bhaskar (Veere Di Wedding)

Freida Pinto (Love Sonia)

 

BEST ACTOR

ISHAAN KHATTER (BEYOND THE CLOUDS)

This is one stunning performance I am lost at and cannot believe that a 23yo can bring such maturity and versatility in his given role. A fresh start as an actor, Ishaan is Amir, a drug dealer whose sister is imprisoned in an attempt of killing her husband. Desperate brother is stuck of ill-fate with her husband to care in the hospital but the responsibility doubles when the husband’s relatives arrive and there is no other way than refuge them at home until the admitted patient is fit to stand on his feet.

Amir’s attitude changes from rudeness to friendliness when he is more involved with his relatives. And during all this period, Amir grows Ishaan grows, in his acting on our nerves. The director plays a significant part in growing his character but Ishaan’s mental timing and body language are pretty flawless everywhere. His bursting out of anger and voice pitch control is excellent. That rage in the pigeon room was the summary of Ishaan’s hard work of Amir’s ridiculous tolerance giving up on seeing his sister mad. Between this sequence, it was so natural to make an unnatural response towards the relatives and speak in English in agony. This Ishaan Khatter is pure promise if he moves his acting career in the future in the right direction.

Other Notable Works:

Ayushmann Khurana (Andhadhun)

Danny Denzongpa (Bioscopewala)

Rishi Kapoor (Mulk)

Rahul Bhat (Union Leader)

Varun Dhawan (Sui Dhaaga)

Nawazuddin Siddiqui (Manto)

Vineet Kumar Singh (Mukkabaaz)

 

BEST ACTRESS

TAAPSEE PANNU (MANMARZIYAAN)

I thought a lot about this. Even while deciding to pick this, I reconsidered. But I have made my mind to say that this was Taapsee’s year. And it is utter shame to see her not even getting nominated for Manmarziyaan, forget about winning a Filmfare. Many may not agree with me on Taapsee as far as the choice of film is concerned, why Manmarziyaan? Why not Mulk?

See, despite a spectacular performance in Mulk, her body language is limited to the screenplay. Half of the film is a courtroom drama and her role, her facial and mental performance is one dimensional. Manmarziyaan? She is a complete woman. Emotion-wise, Taapsee has pulled all the strings. There is so much emotional fluctuation in her given character.

Then her chemistry with Vicky plays a significant part because her scenes with Vicky are where she stands to her episodic collapses from pride, emotion, and respect throughout the film repeatedly giving a gem of performances.

Other Notable Works:

Rani Mukherji (Hichki)

Malavika Mohanan (Beyond The Clouds)

Anushka Sharma (Pari)

Mrunal Thakur (Love Sonia)

Sanya Malhotra (Pataakha)

Radhika Madan (Pataakha)

 

BEST DIRECTOR

NANDITA DAS (MANTO)

I must not be taken aback to a slingshot theory that the professional actors cannot become the directors of the quality they were enriched with. The brains behind the camera, a cinematic vision thought on the director’s chair needs the required artistry to craft a story and the camera techniques for shooting which waits for the approval of the applause and compliments. Nandita Das is one exceptional name making me stop thinking about the Bollywood stereotypes for once and watch her Manto work with scrutiny.

Thanks to Das, Manto disconnects you. You are in a different timeline and parallel. You are in an undivided India sitting with your friends in a tea shop describing your work, speaking poetries, narrating a woman’s beauty and criticizing the government and the workers involved in it. You are a rebel to this world which is collapsing near you. You are drinking, you are smoking, you are watching some lights turned on in some flats at midnight. It is time to sleep but some streets aren’t and the lights are on for the women to work and sell their body. It is red, dark and hammer on your head.

The point is that the direction of the film is such a force that you become Manto and your world falls apart. The excellence of Nandita’s direction also lies in balancing so many things about Manto within two hours. Even the Lahore days of Manto were shot well and broke the stereotypical Pakistani portrayal in Hindi cinema.

I never felt I was watching a 2018 film. It was like the excellent golden age of the 50s back or if Guru Dutt’s directional artistry was temporarily inherited by Nandita.

Other Notable Works:

Sriram Raghavan (Andhadhun)

R. Balki (Padman)

Akarsh Khurana (Karwaan)

Onir (Kuchh Bheege Alfaaz)

Anubhav Sinha (Mulk)

Sanjay Patel (Union Leader)

Majid Majidi (Beyond The Clouds)

 

BEST FILM

MULK

The most important category to conclude this blog needs very careful judgment. What needs a film to be the best of the year? A lot of things count. First the story and the message, the brains behind the continuity of the screenplay. The screen time if it justifies the story. The whole body of the film most importantly the final few minutes which need some technical conclusion to convince the viewers. The selection of actors is not an issue because I always believe it is a performance which sells the plot. And that is why I believe that Mulk is 2018’s best film of the year.

Because Mulk opens a very sensitive subject which compels the audience to think about the future of the country. The social portrayal and acceptance towards the minorities in India have not been focused in the Indian cinema because this doesn’t profit the cinemas and the film producers, and there is every certainty that the majority of viewers may not like the idea.

Because most of the films focus on how the terrorism was committed or what role did the police or anti-terror squad play in defending the country or stopping/fighting against the event. But I don’t remember right now if any director tried to focus on the families whose member goes on to become a terrorist and made them regret.

Anubhav Sinha’s Mulk offers such a story about a diverse Muslim family who has been living in the same mohalla for decades. Advocate Murad Ali (Rishi Kapoor) says this is his home and he keeps no grudge with the people of any faith. Hindus and Muslims come together and sit with him, share happiness with him and his family until he nephew Shahid (Prateik Babbar) commits a terror attack.

Anubhav Sinha gives the viewers an intense feeling about such family being surrendered/surrounded by the religious insecurity and social tightness in the society. The behavioral attitude and breaking some ties further makes the family seek an antidote.

Mulk is a very sensitive drama touching a very sensitive subject of the protection and importance of the communities. Half of the film is the intense courtroom drama where Murad’s Hindu daughter-in-law Aarti tries to defend the case against the public prosecutor Santosh Anand (Ashutosh Rana) who tries to convince the court that the Muslim community orchestrates the terrorism.

Anubhav’s powerful writing and direction heavily focuses on the fact that people can be either good or bad whether they are of any faith. There is every chance that the follower of God and evil may be living in the same house under the same roof. The insecurity of being a Muslim is also highlighted well.

Technical aspects have done the talking. Dialogues, screenplay, story, cinematography, and direction are magnificent. These aspects are well supported by the splendid performances of Rishi Kapoor, Taapsee Pannu, Manoj Pahwa and Ashutosh Rana.

Mulk is an agonized cry for love and peace in the cynical times of crossing guns over other shoulders among the communities and even the neighboring countries. It is one of the most important films produced in India with a cinematic masterpiece.

Other Notable Films:

Andhadhun

Padman

Bioscopewala

Union Leader

Beyond The Clouds

Manto

Pihu


Thank you for reading my annual picks and will write next year about Hindi films which are produced in 2019. Share your opinion below.

My Bollywood’s Best of 2016

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.

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 2016: Chauranga, Wazir, Chalk N Duster, Airlift, Saala Khadoos, Neerja, The Blueberry Hunt, Fan, Nil Battey Sannata, Traffic, Buddha in a Traffic Jam, Sarbjit, Veerappan, Waiting, Dhanak, Te3n, Raman Raghav 2.0, Madaari, M Cream, Pink, Parched, Dear Zindagi, Dangal, Ae Dil Hai Mushkil, Baar Baar Dekho, Udta Punjab, Kapoor & Sons, Fitoor, Mirzya, and Aligarh.

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’.


MUSICAL SECTION

BEST BACKGROUND SCORE

TAPAS RELIA (DHANAK)

Other Notable Works:

  1. Mikey McCleary (Waiting)
  2. 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:

  1. Qurat-Ul-Balouch (Kaari Kaari – Pink)
  2. Kanika Kapoor (Da Da Dasse – Udta Punjab)

BEST SONG & LYRICS

CHANNA MEREYA (ARIJIT SINGH/AMITABH BHATTACHARYA/PRITAM – AE DIL HAI MUSHKIL)

Other Notable Works:

  1. Tere Bin (Sonu Nigam-Shreya Ghoshal/Vidhu Vinod Chopra/Shantanu Moitra – Wazir)
  2. Pashmina (Amit Trivedi/Swanand Kirkire – Fitoor)
  3. Gehra Ishq (Shekhar Ravjiani/Prasoon Joshi/Vishal Khurana – Neerja)

BEST MUSIC

AMIT TRIVEDI (UDTA PUNJAB)

Other Notable Works:

  1. Tapas Relia (Dhanak)
  2. Shankar-Ehsaan-Loy (Mirzya)

TECHNICAL SECTION

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:

  1. Boby John (Dhanak)
  2. Vinit D’Souza (Raman Raghav 2.0)

BEST SCENE

MADAARI

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.

BEST EDITING

GAIRIK SARKAR (TE3N)

Other Notable Works:

  1. Aarti Bajaj (Raman Raghav 2.0)
  2. Monisha R Baldawa (Neerja)

BEST CINEMATOGRAPHY

MINGJUE HU (M CREAM)

Other Notable Work:

  1. Chirantan Das (Dhanak)
  2. Priya Seth (Airlift)
  3. Jay Oza (Raman Raghav 2.0)
  4. Satyajit Pande (Dangal)

BEST ACTION

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.  

BEST SCREENPLAY

RITESH SHAH (PINK)

Other Notable Works:

  1. Ashwiny Iyer Tiwari, Neeraj Singh, Pranjal Choudary, and Nitesh Tiwari (Nil Battey Sannata)
  2. Gauri Shinde (Dear Zindagi)

BEST DIALOGUES

SHAKUN BATRA & AYESHA DEVITRE DHILLON (KAPOOR & SONS)

Other Notable Works:

  1. Ashwiny Iyer Tiwari, Neeraj Singh, Pranjal Choudary, and Nitesh Tiwari (Nil Battey Sannata)
  2. Atika Chohan (Waiting)
  3. Agneya Singh (M Cream)
  4. Ritesh Shah (Pink)

BEST STORY

NITESH TIWARI (NIL BATTEY SANNATA)

Other Notable Works:

  1. Bikas Ranjan Mishra (Chauranga)
  2. Anu Menon, James Ruzicka, and Atika Chohan (Waiting)
  3. Agneya Singh (M Cream)
  4. Gauri Shinde (Dear Zindagi)

MAJOR SECTION

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:

  1. Shabana Azmi (Neerja)
  2. Kirti Kulhari (Pink)
  3. Tannishtha Chatterjee (Parched)
  4. 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:

  1. Jim Sarbh (Neerja)
  2. Vicky Kaushal (Raman Raghav 2.0)
  3. Diljit Dosanjh (Udta Punjab)
  4. Rajkummar Rao (Aligarh)

BEST ACTRESS

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:

  1. Swara Bhaskar (Nil Battey Sannata)
  2. Taapsee Pannu (Pink)
  3. Kalki Koechlin (Waiting)
  4. Sonam Kapoor (Neerja)
  5. Aishwarya Rai (Sarbjit)

BEST ACTOR

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:

  1. Shahid Kapoor (Udta Punjab)
  2. Irrfan Khan (Madaari)
  3. Naseeruddin Shah (Waiting)
  4. Randeep Hooda (Sarbjit)
  5. Nawazuddin Siddiqui (Raman Raghav 2.0)
  6. Amitabh Bachchan (Te3n)

BEST DIRECTOR

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:

  1. Shakun Batra (Kapoor & Sons)
  2. Ram Madhvani (Neerja)
  3. Anurag Kashyap (Raman Raghav 2.0)
  4. Abhishek Chaubey (Udta Punjab)
  5. Aniruddha Roy Chowdhury (Pink)

BEST FILM

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:

  1. Dhanak
  2. Nil Battey Sannata
  3. Waiting
  4. Neerja
  5. Dear Zindagi
  6. Udta Punjab
  7. M Cream
  8. Pink

(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.)

Follow me on TWITTER @saminaik_asn