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Guwahati Diaries (2022)
Musings and weeping in the darkest of the night
Love, lust, lies, and betrayal are explored in their most natural and unadulterated of forms in filmmaker Prasant Saikia's 'Guwahati Diaries' - a multi-narrative about seven lives in the city that are interconnected to form three engaging storylines in one meeting place - the modern city. In an endearing mix of joys and sorrows of these characters surviving and suffering in the backdrop of the city lights amidst their possible and impossible dreams, we also discover a city that has embraced within its shadows, the deep and painful rumination of life.
There are two women-one waiting for her perfect marriage, and the other who is gradually giving up on the idea of making things perfect with a husband that offers her no closure - then there is the struggle of an actor and a musician, both seeking acceptance in its different forms in their personal as well as social lives, and an aspiring filmmaker struggling to get his first film off the ground, and a man who always seems to be wanting more.
The film is beautifully shot with the different structures of Guwahati always in the background almost standing as passive witnesses to the emotional exchanges between the characters. Or observing the emotions trapped between the towering heights of the city from all the sides. However, it seemed as though the editing couldn't follow the same line of focus as the mood of the scenes that was called for. There were a few - very difficult sharp cuts - that jarringly puts the audience across two contrasting mood sets without a successful transition. Mention should be made of two scenes, the first of which ends with Ravi yelling at his wife before abruptly cutting to Udy the following morning. Even the cutaway shots of the night cityscape scream of repetitiveness after a point. In short, the transitions weren't particularly clean in the first half of the film.
In 'Guwahati Diaries', the music or sometimes the absence of it adequately captures the soul of a city with lives that are uncertainly at the brink of collapse. Actor Urmila Mahanta's character (Jennifer) is layered to depths and she offers the strongest performance in the movie. Barsha Rani Bishaya excels in her sequences with the composed characterization of Arghadeep Barua's Mayur, despite the fact that the character arc of Darshana hovers very close to melodrama. It is Hemanta Debnath on the other hand, who very ably shoulders a ruthless obsession with an almost uncaring attitude to the emotions of those around in the character of Alkesh. Udayan Duarah (Udy) and Naaz Sultana's (Nilakshi) performances perfectly reflects the confusion of the two urban sweethearts who are now unconfident of the new steps they might want to take together in their shared life.
The movie's subtle balance of the dominating darkness and the deepest ambitions, the quite temptations and the desperate desires and also hope and despair can resonate beyond the geographic barriers of a city but it could have further benefitted from a little more sophistication in its storytelling. There was enough scope for the graphs of all the three acts to go higher in terms of its structure, conflict and characterization so that its convergence for the falling action felt more impactful.
For instance, it is the life of only one of the partner's of a pair that was being explored. If we are with Udy through the challenges of filming a short film, we are unaware of Nilakshi's existence outside of their house. Similar to how Darshana's problematic life is revealed to us, but Ravi's struggles outside of his marriage are unknown to us. And in a same way, we are very stranger to Alkesh beyond his toxic relationship with Jennifer. Even Ravi's transformation at the end of the movie felt flimsy because it was brought about by an external force and not enough time was dedicated for the internalization to take place to feel like his decisions were truly coming from within.
Director Prasant Saikia never allows for the sentimentalist aspects of his stories to overflow while keeping his approach to relationships grounded. His progressive take on acceptance and modern love from young lovers to couples with midlife crisis and unhappy marriages and yearnings for love and forgiveness have been decently accomplished but however, they seem to have come about a bit lacking on the front of little finesse in detail and depth, especially with characters like Ravi, Udy and even Alkesh to some extent. Even more focus on the hyperlinked nature of characters in such genre of anthologies could have been worked in favor of making the plot denser and characters more layered. To note, 'Guwahati Diaries' also shares a few interesting but reversed parallels with Anurag Basu's 'Life in a Metro' which in turn was also ripped off from 'The Apartment' (1960) and 'Brief Encounter' (1945) and Paul Thomas Anderson's 'Magnolia' (1999).
Mur Xekh Gaan (2022)
A fond recalling of the tunes of tragedies
Pragyan Phukan, an Assamese by both mind and heart, feels trapped amidst the repeatedly thrown in shots of tall Mumbai skyscrapers. The landscape opens to the sea but yet he has shut himself in from the inside. For reasons best known to him, he has never visited his hometown in Assam even once in the past 25 years. And for a person who still gets his sweet fix from chira doi jalpan (an Assamese sweet delicacy) and treks five miles to find elephant apple for his tangy fish curry, the helplessness in not visiting his hometown is often a curiosity factor for his son.
A change of his mind does occur and he eventually starts making travel plans to Assam. Although the reason for this is unknown, Phukan seems to be aware that his days are numbered. And as fate would have it, very soon life gives up on him before his feet could feel the evergreen beauty of Assam. Thus begins the film - 'Mur Xekh Gaan' (The Last Song) - as Phukan's dutiful son, endowed with the responsibility of fulfilling his father's last wish, makes a visit to Assam and starts searching for the answers that kept his father away from his homeland.
'Mur Xekh Gaan' (The Last Song) plays with foreshadowing. Whether it is the reference of a photograph that leads the search or the headline-making incidents of inter-community clashes, or tales of the village school, all clues lead to one place - the answer that we are searching for. Although the premise feels contrived, Prabal Baruah's script nevertheless strikes me as being much sensitive about the invisible borders between communities in Assam. However, it feels contrived because something felt unnatural and stagey about how Kamal Lochan's loud and outspoken character proceeds to blab about community conflicts in front of a character he has just met and also who has just arrived from Mumbai. In another instance, how miraculously the character played by actor Kamal Lochan disappears because the characters played by Arghadeep Barua and Srijani Bhaswa Mahanta had to meet.
The storytelling starts to sag at this point as the sense of urgency fails to draw a close in this section and by the time it speeds up, we are already at the climax. What looked unachievable in the first half (i.e., to find any links between his father and the photograph) quickly and efficiently materialises in the second half. The scene at the photo studio could have been shorter and the investigative aspects of the story - longer.
Further, instead of a deliberative end underlining closure and fulfilment, 'Mur Xekh Gaan', unlike the familiar beats of a family drama, urges a sense of regret and reflection to set in - a regret of not acknowledging the right thing done for the right reason and the reflection of having lived with the guilt of it. This aspect of the film appeals to me. The film is also saved from being either overly maudlin or saccharine-sweet by its simple lack of fake sentiments and melodrama.
The movie skilfully exploits viewers' emotions - whether it be about doubting the family, feeling confused or depressed, or sensing the lively water of the Kolong with a Jyoti Sangeet filling the air in. And director Prabal Baruah has a sure hand in carefully crafting the manipulative insides. He rarely oversteps his bounds and is wise enough to break up the intense scenes with brief comedic interludes with actor Kamal Lochan. The character of Kamal Lochan and his performance is a crowd-pleaser, as evidenced by the brief applause that occasionally broke out during the screening I attended.
However, there are times when it seemed like the filmmaker has abandoned the drama altogether. The back-story of the film is grounded in clear and disarmingly honest lived realities of a bygone era with a terrifying tale of a family torn apart in Assam in the 1980s. But this tale, which would have had the greatest impact of all, and in turn, have justified the intensity of the feelings that prohibited Pragyan Phukan from ever returning to Assam, was greatly denied to audiences. I wish there was more of it! The revelation still works but just that it doesn't come up as a thump to the chest. As a result, we kind of remain some distance away from Phukan's sense of loss, loneliness, and defencelessness in a world filled with unending tragedy and sorrow.
In the character of Pragyan Phukan's son, maturely enacted by Arghadeep Barua, we find that this tragedy has now become generational. "He is Pragyan Phukan's son" utters a character vehemently in disgust. This character and the unsettling cessation of how the stain of one man's actions and another's inability to act spreads through one seemingly happy family and how it causes them to break apart serve as the film's philosophical starting point.
With a very poetic sense to it, we can perhaps understand the sacrifices made by Pragyan Phukan. He was slain forever by the blame that he had willingly or unwillingly taken over. He was alive in flesh and blood, but for the people, he had died a long time ago. Perhaps, some people die this way, before they ever are dead. Or maybe they don't die; maybe they live on, behind some deep dark secrets or buried under guilt-filled memories.
Undoubtedly, the plot has some clichés, such as the use of a female character as a resolution or a refuge from the surrounding craziness. Srijani Bhaswa Mahanta tries to play the character earnestly but I wish there was more of that character. Also what's impressive about 'Mur Xekh Gaan' is how many of the well-worn clichés are not present in its storytelling. No tearful reunion occurs between the two brothers and no torturous episodes of protracted family reunification. Nevertheless, it still succeeds in registering the true meaning of family values - with sacrifice and forgiveness.
Despite not pioneering any stylistic ground, 'Mur Xekh Gaan' scores for its humorous, comforting, and subtly gratifying experience. Through the story of the incomplete lives that have been lived by two brothers, the film tells the story of the songs of tragedies that we carry inside of us. It is a story of how a father's final song ended up being his son's very first song.
Kaaneen: A Secret Search (2019)
The Search of a Mother
Kaaneen - A Secret Search released on 22nd March is director Monjul Baruah's second theatrical release after 2017s Antareen-Quest for Sanctuary and surprisingly both the films are based on novels by eminent litterateur Dr. Rita Chowdhury. The similarities also extend to the protagonists who are women torn apart by their families and are in search of a missing piece of their life. Antareen's Torali is in search for her mother, some dignity and a few words of appreciation from her father. On the other hand in Kaaneen, Mandira has love and respect in abundance but the search for her first born takes her against everything.
Kaaneen - A Secret Search is the story of a Mandira, wife of IGP Abhijit Baruah (played by Baharul Islam) and a proud mother of two bright young minds - Abhi and Rashmi. The archetypal wife of a police officer, Mandira leads a quintessential lifestyle attending parties and socializing and at the same time is also a strict and caring mother. She happily carries on an imposed identity (wife of an officer) and has never asked for more. Abhijit as a husband is kind, understands his wife, respects her and is an equally concerned father. He is also known for his values, position in society and is respected by all. Talented and passionate about their studies, Abhi and Rashmi makes this family complete. But very soon the life of Mandira turns around when she comes across an abandoned newborn baby on the roadside.
Monjul Baruah handles his women characters with great care and affection. Sourcing their life, lifestyles and tragedies from the existing works, he shapes up their appearance and journey for the screen and the actors portraying these roles bring Baruah's vision to life. Urmila Mahanta (who played Torali in Antareen) gave an emotionally charged performance and there is no false note in Dr. Jahanara Begum as Mandira either but somewhere within the movie, the helplessness of her situation disappears. The reason is the character's empowerment in unprecedented terms. With a husband that probably trusts her more than himself, having more than enough to spend at her disposal and the hurdles in between which aren't challenges in real terms, the immediate sense of urgency that the title boast off (...A Secret Search) is lost. A search to track down an illegitimate child is evident from the title itself, but Kaaneen nevertheless retains a part of the tension when the pressure shifts to how this child will be introduced to her family or how they will take it when introduced or will the society accept Mandira embracing a deep dark truth that was carefully hidden away to protect her future? Monjul Baruah scores here. Kaaneen sustains and intensifies that clammy, anxious feeling without fail. The shocking and tragic back-story also helps the tension to mount and the underlying reality of such occurrence will haunt viewers for long.
Kaaneen is also partly about the lives surviving in the ghettos shedding light on some unpleasant realities of the society. With a buried past of illegitimate affair and its consequences speaking for itself, Mandira, as she tries to seek the whereabouts of her firstborn, gets a tour of a world that exists in the shadows of her sunny, stable reality. However, Kaaneen also underperforms on another front, i.e., Mandira's weak emotional link between her children Abhi and Rashmi. The characters offer very less contribution to the conflict of the movie apart from their existence. They are just limited to as being reminders that Mandira has two children waiting for her back home. Rashmi (played by Kasvi Sarma) is brought into the context as Mandira is worried about her making the same mistake as hers but the character of Abhi (played by Rahul Gautam Sarma) is left unexplored much in relation to Mandira.
Apart from the heightening tension Kaaneen also has emotional depths to spare and director Monjul Baruah perfectly blends both these aspects together. While the other actors get their moments, the movie is a Jahanara Begum and Partha Hazarika show, and both are more than up to the task. Jahanara Begum's performance brings out the uneasiness of her stylish and attractive life and the painful and agonizing depths of her character. Partha Hazarika gives a performance which is tough and sturdy and fulfills the demands of his character, Rajib, who never lets remorse, grief and sentiments come in his way. The cinematography by Nahid Ahmed captures some beautiful frames, the noteworthy being the scene where Mandira sits facing the river as stormy clouds fills the sky above. But does Mandira succeed in her search for her beloved oldest child without endangering or alienating the rest of the family? Kaaneen has dealt with this question in an interesting way. The conclusion may not resolve to every viewer's liking but that's what makes Kaaneen - A Secret Search different from the rest.
Produced by Gopendra Mohan Das, the rest of the cast of the movie includes Dhananjay Debnath, Joly Bhattacharya, Purnima Pathak Saikia, Mintu Baruah, etc. The film is edited by Twenchang and the music is directed by Tarali Sarma with production design by Himen Bora and art direction by Rama Roy. The costume design and makeup is credited to Gita Rani Goswami and Ashitav Baruah respectively. Kaaneen - A Secret Search also won the Silver Camera Award at the 2nd Guwahati International Film Festival 2018.
Local Utpaat (2022)
A bone-crunching martial arts action bonanza
After 2 years of long wait, 'Local Utpaat' finally hit the screens on May 13. There is a certain kind of way a Kenny D Basumatary film functions. Apart from characters finding themselves in peculiar predicaments, any random guy, or girl, you come across roadside is an explosive bag of Jujutsu and MMA. If it was Charlie Da's strange bowel syndrome in 'Local Kung Fu', in 'Local Utpaat' it is Robin Da's disaster prone disposition. While in his right mind, Robin mistakes a mosquito repellent lotion for toothpaste and a floor wiping cloth for a bath towel, his temporary memory loss only aggravates the situation!
There are boys in the hood and there are situations that always lead to 'Jhenggg'. Then there are dialogues that have very instantly become part of a cult following - 'Hobo De!', 'Kene?', and here we have Deben Da's stylish 'Inglish'. There's also a subplot of unlawful dealings - a liquor licence in the case of 'Local Kung Fu', and organ trading and money in exchange for a government job in 'Local Utpaat'.
Another common element is a love story with a father that isn't very easy to convince but must win against all odds. And of all, humour is the foundation of any Kenny DB film, and it never disappoints. In short, 'Local Utpaat' is, in a nutshell, everything that made 'Local Kung Fu' work. 'Local Utpaat', in fact, is more close to 'Local Kung Fu' than its sequel. It is a raw and bone-crunching martial arts action bonanza which is genuinely funny. The climax is, however, a little drawn out of touch but the film never becomes boring.
Writer-director Kenny Basumatary has also poured in his adulation for cinema from 'Memento' (2000) and 'Ghajini' (2008) to 'The Exorcist' (1973) and 'Kabir Singh' (2019). He also tries a comic face-off with the lover boy and his maiden's father, similar to those seen in Bollywood films from the 1990s with Feroz Khan or Amrish Puri as the girl's father. Interestingly, a similar scene that mocks the hyper tensed drama of the situation was also done by Rohit Shetty in 'Golmaal 3' (2010) with Mithun Chakraborty and Prem Chopra.
And it's interesting to see Bibhuti Bhushan Hazarika, who always portrays dead serious roles, try to tickle some ribs in 'Local Utpaat'. The character has some traits that are almost identical to Arjun Rampal's character in 'Housefull' (2010). Damn serious but almost about to break into laughter. This is a difficult line to trade. Bibhuti Bhushan Hazarika thus displays his range as an actor.
'Local Utpaat' is a film whose story seems personal since it depicts the terrible reality of unemployment and the corrupted job scenario at hand through humour. The character's struggle to find work in order to win the hand of the girl he loves is more sincere and heartfelt than it was in 'Kanchanjangha' (2019). This subtle social commentary is again another interesting trait that 'Local Utpaat' shares with 'Local Kung Fu'. 'Local Kung Fu' subtly touched upon issues of addiction and alcohol abuse among teenagers.
'Local Utpaat' is not just about 'utpaat' in it. It is also about our local dreams, our local love stories and our very own personal successes and failures. Don't be alarmed! 'Local Utpaat' will not give you a lecture on these topics. If you don't care to look, these themes won't exist for you in the film. Just sit back, laugh, enjoy and relax.
Goru (2021)
Signs of the Times
As content today tends to be increasingly being manifested by political propaganda, so has strengthened the expression of dissent through popular mediums. Cinema, in particular, plays essentially a significant role when it comes to inspire, influence, and enlighten the masses. Today, cinema as a mass media is more powerful than ever in picturing the present and reflecting the future. With Himanshu Prasad Das's Goru, it can be thus said that sometimes the right movie arrives just at the right time - the social and political context being the changing nature of politics in Assam, or if categorized broadly, the Northeast post-2014.
Polarization is the problem of our age and the divides between all sides are more apparent than ever before as perceptions are being shaped along partisan lines. Such divides, conflicts and preoccupations find footing in the movie Goru. As a lost cow is being found and brought back home, an issue of ownership arises when a supposedly new owner emerges claiming his right over the cow as his. What starts out as a social drama heightens up as political and administrative institutions get pulled into the scenario. Things get ugly and unruly real fast as the competitors for the legitimate ownership of the cow find themselves at the opposite ends of the spectrum of hate.
Goru is very much a story about ordinary people who arrives at such crossroads or fall prey to contested and manufactured narratives. It is a fairly straightforward story which finds its value in raw and timely observations about the society and the whole political scenario at large as the discourse on nationalism shifts with riots, violence and lynching becoming our highly concentrated realities. But it is robbed off an equally compelling human drama. A human drama is not necessarily sentimentalism or manipulation in its entirety but the reflection of a quiet moment or sometimes a silent voice of protest. In that case, Goru doesn't have any depths to spare. As a satire, the film's sole end is not only to make the viewers think in between laughs but also to carve out a reasonable amount of empathy while offering a critique of the living realities of the present.
As a political drama, Goru was never a case since it barely scratches the surface. The caricatures that operates from behind closed doors, fail to take off and materialize beyond the given anti-Muslim rhetoric. They just happen to be a part of the movie that they are a part of. With the conflict and the urgency afar and the first half moving at a slow and sedate pace, Goru has all the time to take an easy bite at romance which is depressingly dated but there is simply not enough build-up for scenes to arrive at their intended level of intensity later.
The quirkiness retains so as Himanshu Prasad Das's ability to find humor in unusual places. But, a hit or a miss, the main credit of this satire will be always for its portrayal of a nation or a region in crisis, nothing more and nothing less. The understated grace of the resolution is not offered alongside radicalized justifications; rather, it's edged out by a subtle touch of humanism and tolerance which, contrary to the spelled out tone of the film, is honest and fair. In fact, the conclusion speaks louder than the entire film. Goru is decent and its urgent vocabulary appeals to but ultimately it lacks the power to be truly powerful. With regionalism in crumbles and a strongly felt urgency of unification to overpower religious divides, there is certainly a lot to learn from Goru. It impressive on certain terms and moments but that doesn't resonate for long. The first Assamese release post the pandemic, Goru has not adopted for a traditional theatrical release but its contribution to set the ball rolling for Assamese cinema post lockdown also won't be forgotten.
Bulu Film (2022)
Bold, brave and a powerful attempt to start a conversation
As proven by his previous films Shakira Ahibo Bokul Tolor Bihuloi and Goru, writer-director and actor Himanshu Prasad Das observes society keenly, daringly and visits terrains seldom visited by other filmmakers. His movies tackle bold, risky issues, but they do so in a way that uses humour in a distinctive way, which makes the complexities of an issue popularly accessible. He always places his characters within pre-destined and peculiar predicaments that become fertile ground for his social critique or commentary to flow.
The satire of Shakira Ahibo Bokul Tolor Bihuloi focused on the Bihuconomics of Bihu Sanmilans in Assam pitted against the backdrop of rural issues and every problem that we, as a community, are collectively facing. Meanwhile, Goru focused on the current polarisation of politics, ethnicity and religion and the helpless or hopeless role of the state regarding which citizens suffer. The themes of unemployment, social ignorance, and racial prejudice run in both the movies, and his latest Bulu Film belongs to the same staple of social satire but in a way that is also different from the rest. (For the sake of this discussion strictly confined to theatrical releases, we are not considering Das' direct-to-online streaming release Hero here).
Bulu Film chronicles the tale of three social misfits and occasional dimwits who are sometimes ahead of their times or sometimes behind them. One of them runs a store called Global Village, which, before being copied by others, had the first PCO (Public Call Office) or sold the first VCDs in their little village. The other drives a TATA Magic and carries passengers to and fro in the hope of owning a vehicle someday. His expectations are dashed, as he couldn't predict the dawn of the pandemic. And the third member of this group, a flamboyant persona, who used to work in a hotel in Goa, and was likely, laid off when the pandemic hit, now kills his time doing nothing.
Financial hardships, familial obligations, and the need for the self-respect that only money can provide, drive the three troublemakers to devise a foolproof scheme to generate quick cash. The plan is to shoot and produce pornographic content and upload them to the web for money. It is the only successful source of sustenance in desperate times such as the lockdown where no other jobs or work have clicked. However, the work isn't as simple as they had anticipated, because there are problems individual, personal and societal. The conflict of the film, which started as economic, goes on to enter the realm of gender, individuality, identity, freedom and choice. And thus, the film becomes broadly socially significant in terms of its scope and significance.
The situation here, unlike in Das' previous movies, is an unforeseeable natural hazard that is beyond human control - the Covid-19 pandemic. And speaking of accessibility, Bulu Film is also an adult-rated film with some content that might be sexually graphic, but on a broader level, it projects universal themes. The role of economics in changing and shaping gender roles, relations and perception, social belongingness and solidarity, individuality and identity, liberty and autonomy is the prime focus of the film here.
Then there are also thematic contrasts with his previous films. While the conflict of Shakira Ahibo Bokul Tolor Bihuloi was cultural, the conflict of Goru was ideological. In Bulu Film, the conflict is rooted in economics and gender. We explore the stories of four households, which are being tried and tested over time. The real-life catastrophe that inspired the film shattered the individual whose substantiality, absoluteness and exploitation is a common thread running parallel in all four stories. Situation and love are also constantly at odds here, as seen through the characters of Chanku Niranjan Nath and Anamika Sarania, Himanshu Prasad Das and his wife, Apurba Barman and his nephew or Pranami Bora's entire character arc.
The tension of the film mostly draws its source from the background of the narrative. Many of the events in Bulu Film occur behind us or without our presence. The character of Bulu is accused of misdoings that have happened without us witnessing. When the long-planned act is finally being filmed, the security guard outside adds to the tension. Much of the day-to-day troubles of family life, with a child being bet for smoking beedi, happen behind closed doors. The gloominess of the entire situation - we don't see it but sense it.
The dialogues in Bulu Film are raw, honest and geographically specific, which gives the characters believable personas and prevents the film from feeling distant. The well-written screenplay makes sure to keep you engaged in laughs throughout the entire runtime with absolutely perfect comic timing between the three major characters of the film. And concerning its drawbacks, the second half of the film could have used a little trimming here and there to make it crisper.
Bulu Film begins with a very silly premise within the nerve of a situational comedy and then transitions into a serious drama where the characterizations evolve and grow complex, and then it finishes off with a tragic and depressing statement on social hypocrisy. How do people breed socially unacceptable practices? How do we view those who are at the mercy of their bodies to buy their daily bread? Does choice exist without limits or it is an unaffordable and unattainable commodity? These are some of the dialectics of thought that the film encourages us to consider ourselves and ponder for long against the inhumane force of time.
Himanshu Prasad Das's humanist approach to the cinema here attempts to forgo a sordid reckoning and cultivate a sense of social sensibility while provoking an emotional dialogue within us. And this sensitive realization makes Bulu Film powerful cinema. You will enjoy the film for it is a laugh riot but you will also return with an urge for self-reflection.
Bulu Film is bold. It is sensational and it is daring. Although some people would flatly reject it as offensive and insulting or having a self-serving purpose, the truth cannot be denied. You might not like it, but if you're brave enough, you will. My writing might be sentimental but the movie is not!
Made in Nalbari (2022)
A heartwarming road trip that is worth taking along with its flaws
The story of latest Assamese film, 'Made in Nalbari', concerns three strangers who are accidental partners on a journey from Jorhat to Guwahati. We witness the story from the perspective of Bibhuti Bhushan Hazarika's character who is a documentary filmmaker and a photographer and is governed by a tight deadline to reach Guwahati by the next morning. The character of an elderly Arun Nath is also bound home but after a long time, to surprise his wife. Meanwhile, the character of Jintu Kumar Kashyap owns a car which becomes the second thing that connects the three of them. And what about the first? Co-incidentally, all of them share a connection with Nalbari, a town in Assam, in surprising ways.
Although Bibhuti Bhusan Hazarika's character is introduced first and is the one we, the audience, try to follow throughout the film, 'Made in Nalbari' is also the story of the other two characters. The balance exists naturally. We also follow how Jintu Kumar Kashyap's character, from his childhood, dreamt of owning a car and how he went on to meet his life partner. Offering some personal introspection is the character of Arun Nath who's character is in all experience with all shades of love, life and everything in between. The screenplay has been able to do justice to all the three characters in terms of their shared space in the story.
However, the story could have benefited from a few subplots in the current timeline as it progresses. Instead of only using personal flashbacks to tell the story, some conflict in the film's current timeline could have provided a foundation for the film's deeper aspirations and take on the relationships between people.
Nonetheless, 'Made in Nalbari', which starts slowly, is engaging and interesting without giving you the feeling or need to decipher a hidden layer or subtext in the story. This is the journey of life, with its soul residing in the personal relationships and its impact on our lives, and the audiences are free to interpret it in their own ways. Jhulan Krishna Mahanta's screenplay earns brownie points for accomplishing this solely through the conversations between the characters.
Although the film is titled 'Made in Nalbari', the story is not set in Nalbari, but rather in the essence of three strangers on a journey who happen to share a common connection with Nalbari. When they get to know each other, one of the characters jokes: "We're all made in Nalbari."
This film has a poetic feel to it and is very real. It is achieved not only through the music and cinematography, but also, and most importantly, through the dialogues, which reflect the everyday-ness of life but are also just about poetic in equal terms.
But the film uses drone shots more than sparingly, every time an open field by road or a bridge comes up. And when the story shifts to explore the younger days of Bibhuti Bhusan Hazarika's character, there is also a lack of era-appropriateness in replication of the surroundings in which the situation plays out.
The natural acting contributes to the realism of the film. Actor Jintu Kumar Kashyap attempts to follow in the footsteps of Bibhuti Bhusan Hazarika and Arun Nath in the film. I've always admired Bibhuti Bhusan Hazarika's characters for their ability to balance a soft and easygoing personality with a rock-solid attitude. He manages to strike that balance and shines in such roles. And veteran actor Arun Nath achieves the requirements of his character effortlessly.
To summarize, 'Made in Nalbari', directed by young filmmaker Tanuj Nath, is a diligently filmed little film that is subtly touching and mildly moving but falls short of being breathtaking and spectacular. A few scenes, such as the silhouette of a young Bibhuti Bhusan Hazarika and Swagata Bharali and the night sequences, are beautiful, but the overall impact is lacking. It is a film that, while not perfect in terms of plot, overcomes its flaws with its sensible message and realistic acting. It is a heartwarming road trip worth taking.
Going by the conventions of a road movie, the film achieves certain genre conventions such as bringing together a frustrated man, themes of self-discovery, roadside dhabas, and a non-traditional plot structure that is almost devoid of conflict. Also, making its characters the focus of the film rather than the story, the journey is complete, but the ultimate feeling of wanderlust that a road movie should achieve is missing. Maybe it was never the aim of the makers to achieve that, because a journey by road from Jorhat to Guwahati can only provide enough.
Dr. Bezbarua 2 (2023)
Being a Zubeen Garg film and a sequel to a superhit of yesteryears in balance
Directed by the late veteran actor Nipon Goswami, Dr. Bezbaruah 2, just like the first one, offers the story of the return of the prodigal son back to his roots. After seven years, Shantanu (played by Siddharth Goswami) returns to Assam to attend his sister's wedding. But with an insoluble truth of the not-so-distant past, can the demons be far behind?
Produced by Dr Sanjive Narain and Dr Akshata Narain, Dr. Bezbaruah 2 is stylish and its exuberant display of production value evidences the amount of money invested in it. It offers layers of thrills, and the pacing is just right enough to hold boredom at bay. And the expositions are placed at successive intervals which make this suspenseful thriller with many twists and turn not so difficult to understand.
However, the issue with the screenplay is how the twists and turns are revealed. Because the characters want to reveal their actions for themselves, Dr. Bezbaruah 2 makes for a classic case of poor writing. Both Ranjan Goswami and Shantanu admit to doing whatever it is that they had done in front of each other. It would have been far more engaging and entertaining if the characters had used their own investigative capacities to arrive at that information about each other. Instead, there are scenes where the characters now awkwardly stand in the frame while one explains how he outwitted the other.
In order to stay true to the classic film written and directed by Brajen Barua in 1969 and to tickle the awe of the people who have actually seen the first part, the script of Dr. Bezbaruah 2 attempts to incorporate twists from the original film. For the benefit of the readers of this review, I will want to highlight that spoilers for both the movies will be provided from this point. Therefore, continue reading it at your own risk.
The rest of the review is published at TheNewsMill. Just google it.
Sri Raghupati (2023)
Does for Ravi Sharma, what Ratnakar did for Jatin Bora and Mission China did for Zubeen Garg
The story of 'Sri Raghupati' progresses in a very linear structure. It introduces us to Pori, who is driven by a genuine dedication and a passion for teaching, as she takes up a position in a village school located in the remote regions of Assam. However, tragedy strikes when Pori is found dead under mysterious circumstances, and the two young school going girls, who had accompanied her on their way home from school, go missing. In response, Raghupati Rai Baruah, an ACS officer renowned for his integrity and diligence, embarks on a mission to locate and rescue the missing girls. Along the way, he stumbles upon a wide network that is involved in the trafficking of young women and children. This illegal operation is masterminded by Altaf, a notorious criminal figure who leverages his extensive connections to transport the abducted women and children across the border to Bangladesh.
'Sri Raghupati' offers a captivating blend of suspense and unexpected twists that engage the audience throughout its duration. The first half unfolds at a leisurely pace as the central conflict surrounding Pori's death takes its time to materialize due to the linear progression of events. Initially, the film presents itself as a delightful family drama, where everything falls into place and everyone is happy and content. It is also accompanied by moments of lighthearted comedy. However, the narrative undergoes a significant shift in tone and momentum with the striking occurrence of Pori's unfortunate demise.
From thereon, the film undergoes a dramatic shift as Ravi Sharma, hands over his resignation letter, and takes the matter of investigating the death of Pori into his own hands, unleashing a series of intense action sequences that stands out in Assamese cinema of recent times. The second half exhibits a gritty atmosphere, saturated with crime, violence, and bloodshed. It is also characterized by a loud sound mixing, as the action sequences are amplified to a high decibel level, ensuring their impact is felt thunderously inside the cinema hall.
But the element of suspense in 'Sri Raghupati' could have been enhanced by withholding the revelation of Pori's fateful incident contrary to the linear and straightforward manner in which it has been told now. Presenting it as a flashback would have allowed for a greater impact to be delivered from the death. Then, the ambiguity surrounding Pori's fate, coupled with the case of the missing girls, could have added more depth or an additional layer of complexity to the emotional challenges faced by the character of Raghupati.
In this film, actor Ravi Sharma's prowess extends beyond his physical abilities to include his skillful delivery of dialogues. "If they are storm, then I am fire and fire burns brighter when winds blow", he says. He stands out as an honest officer and a compassionate individual, dedicated to rescuing the lives of several innocent young girls. He has justified his character, delivering a performance that exudes a heroic aura in every frame. His on-screen presence is captivating, as he flawlessly portrays the required attitude and expressions for the role.
Suvrat Kakoti's direction in the film is characterized by its vibrant and energetic style, effectively capturing the essence of the protagonist Raghupati. Kakoti skillfully balances the contrasting facets of Sharma's character. When clad in a formal suit, Raghupati exudes a composed and rational demeanor, preferring negotiations to resolve conflicts. However, when he sheds his shirt, Raghupati transforms into a formidable and aggressive force, ensuring swift and brutal retribution for any wrongdoings. Director Suvrat Kakoti expertly navigates these nuances, by bringing out only the necessary intensity and aggression in each scene.
The action sequences are remarkable, enhanced further by the technical advancements of recent times that have elevated the visual aesthetics of Assamese cinema. This is particularly evident in the climactic scenes, which undoubtedly can be declared as the pinnacle of the film. Ravi Sharma appears to relish his role, particularly in the exhilarating fight sequences, where he shines. However, it is regrettable that Preety Kongana and Priyam Pallabee are given only limited opportunities to showcase their talents in the film.
Actor Raj Sharma delivers a striking performance as Altaf, displaying remarkable boldness and conviction in his portrayal. However, it is veteran actor Arun Nath who adds an unprecedented swagger to his role, leaving a lasting impression. While Ravi Sharma's performance deserves applause, Arun Nath's never-seen-before captivating portrayal garners even more admiration, earning him double the applause and appreciation. Siddhartha Sharma's character is also very interesting in the way that he sucks philosophies out of Bhupan Hazarika's songs and combines them with mythology.
Although the film is rescued by the performances and technically strong execution, 'Sri Raghupati', falls short in terms of delivering an inspiring or groundbreaking storyline. It treads familiar territory that has been explored numerous times before. And there are serious shortcomings in the script of the film. Most importantly, the film lacks a personality. While there are unique character experiments involving Siddhartha Sharma and Arun Nath that are specific to this film, but collectively, the film fails to establish a distinct identity. Perhaps it is because the film revolves around its titular character, and the portrayal and appearance of the character does not significantly differ from Ravi Sharma's other recent works. Or maybe the thematic and aesthetic resemblances are stronger which connects 'Illegal', 'Black and White' and 'Sri Raghupati' together.
However, regardless of the dated storyline, the uneven pacing in the first half, and the almost non existent role of the female characters, 'Sri Raghupati' successfully fulfills its purpose by providing ample action for fans of the genre, catering exclusively to their preferences. Those anticipating a novel story may be easily disappointed, but those seeking excitement from slow-motion fights and the intense flavor of heroic bloodshed will undoubtedly find enjoyment in it.
Burbokor Khel- Game of Fools (2022)
A stylistic attempt at grittiness, but a narrative mishap
'Burbokor Khel- Game of Fools' (2023) is a tale set against the seedy underbelly of crime, drugs, greed, and corruption. It follows the story of an upstanding police officer who initiates a raid on a criminal den, resulting in the confiscation of a large amounts of drugs.
However, the aftermath of his actions triggers a chain reaction of events. The plot unfolds amidst a web of departmental traitors, the murder of a young journalist, a growing metropolis, and an ever increasing appetite for wealth and power. As the story progresses through the sleepy streets and quiet lanes of Guwahati, criminals are captured and lives are lost, all while the unseen forces that govern everyone's fate remain shrouded in darkness.
The movie commences with a leisurely pace, but gains momentum once a journalist is killed, and an inquiry into the matter is undertaken. Kula Kuldip portrays Romen Bora, who leads the investigation, with assistance from Ranjita Boruah, who plays cop Nilakshi Sharma. As Borah delves deeper into the investigation to uncover the truth, he is pulled into a critical situation where he is confronted with difficult questions as allies turn into adversaries, and an ominous fate looms ahead.
'Burbokor Khel' features impressive visual elements, embodying the spirit of the noir genre, and flaunts a remarkable art design. The camera adroitly follows drug peddlers as they navigate the dingy alleyways of the bustling markets of Guwahati. The nocturnal cityscape is draped in a subdued, ethereal glow, captured through sweeping drone shots that encompass the entirety of the city. However, the film's storytelling lacks in substance. The primary issue is its weak writing, with certain missing elements that leave the audience confused about the importance of characters such as Nilakshi Sharma's sister and Atanu Mahanta's character - Roy. It feels like there are some parts of the story which were intentionally kept away from us.
For instance, enough emphasis is placed on the character of Roy, a drug peddler, his whereabouts and his methods of operation, but only to be killed off midway through the film. Surprisingly, the significance of his character seems to diminish post his demise. Additionally, there is a sub-plot involving journalist Ruplekha, whose contribution to the story is unclear. There is the sense of an importance, yet no effort is made to elucidate her contribution to the audience.
And as the movie approaches its climax, Himanshu Gogoi and another police officer are portrayed as important figures in connecting Romen Bora with the confiscated drugs. Although they are said to be close friends and co-workers, there is no prior indication of their relationship being shown in the film, which makes the portrayal of their relationship seem forced and uncomfortable.
The film portrays only one instance of character development, where Romen Bora is seen reviving his smoking habit after having quit it. This is revealed to be due to the death of his journalist friend, Sumona Rongpi. And interestingly, she had only contacted Romen once and that too - over the phone! This lack of coherence and awkwardness in the film's execution detract from the overall experience, resulting in an unconvincing narrative and a jarring viewing experience.
Written and directed by Ashwin Kelkar, 'Burbokor Khel' appears to lack a resolute commitment to its pulpy nature and procedural aspects as the filmmakers aimed to elevate the genre and their affinity for monochrome imagery into a socially impactful drama about the harsh tones and unpleasant truth of a city concealed beneath its layers of dirt and concrete.
The movie's background music and sets, which are actual locations, exhibit an unprecedented degree of splendor, particularly when compared to other Assamese crime dramas. And as a stylistic exercise, the grittiness of 'Burbokor Khel' is an admirable attempt, but its narrative prospects seem rather bleak. As mentioned, there are numerous subplots that do not contribute to the story and are left unresolved, resulting in a disjointed feel. Moreover, the climax is unsatisfying as the sudden character betrayals are never fully explained. It is regrettable that the script is not as strong as the technical aspects of the film.
'Burbokor Khel', with its moody and slow burning treatment, had enough meat to be stretched comfortably into the format of a web series or a mini-series or a duology. Unfortunately it seems as if the makers themselves lacked clarity in presenting the story! Even the characters in the film fail to leave an imprint. None of them are able to evoke any emotion or sympathy, whether it's the protagonist Romen Bora, the deceased journalist Sangita Rongpi, or the treacherous cop Nilakshi Sharma. Even the antagonistic figures, TNT and DIG Harpreet Pal Singh, portrayed by Angshumann Bhattacharya and Mintu Baruah, respectively, seem to lack a menacing presence, appearing rather controlled and unimposing beyond a certain point.
With a better utilization of all the inspirations from classic crime dramas like 'Mean Streets' and 'Goodfellas', 'Burbokor Khel' could have been an exceptional film. Just with a little more investment of time in writing and editing, this movie could have been comfortably stretched up to 2 hours and 30 minutes and still could have done wonders as a realistic crime drama.
Advitya (2023)
A painful experience of watching Assamese superhero film 'Advitya'
The cinemas of Assam rarely see the light of science fiction movies. But when I stumbled upon the trailer for 'Advitya', a film by Arindam Sharma, I was optimistic. Although the VFX was underwhelming, I applauded the effort to make a superhero movie for Assamese cinema.
And despite the lacklustre visual effects, I hoped that the story would be the saving grace. 'Advitya' released on April 7 across cinema halls in Assam. And I quickly realized my mistake about this movie within just 30 minutes into the matinee show on April 13, in an empty cinema hall in Guwahati with not a single soul in sight. It seemed like a herculean feat to endure it any further.
But, I endured the entire two hours despite realizing after 30 painful minutes that 'Advitya' was a complete waste of time and money. It was so bad that viewers would not help but ask - why was it even made and why it was so terribly fake? And by fake, I'm not just talking about the visual effects, but also the awkwardly placed situations and the unconvincing performances and dialogue delivery of the actors.
The story is worse than a practical assignment completed by a third-grade student for storytelling classes. It was like watching a toddler's crayon scribbles come to life, but with less artistic merit and more disappointment. The film's visuals are a second-hand embarrassment, with even outdoor scenes being shot with a green screen for some inexplicable reason. This only makes the film look faker than a fake. And then there are the dialogues. The characters converse in a manner which is so polite that no human being in the real world ever use that language. It's almost as if they're communicating through e-mail.
Well, maybe next time I'll send a brainless clone of myself to enjoy such a movie. But you can't make a sci-fi movie where there is a real deal of defying the laws of nature and then expect audiences to leave their brains behind. Even if you did, there would still be no redeeming qualities to this movie. I'm left wondering if Arindam Sharma made this movie out of some self-congratulatory agenda or if he simply has no clue about the basics of filmmaking, which can be self-taught by simply watching enough movies. The makers may argue that their target audience was children. However, using intricate and complex Assamese vocabulary in the dialogues contradicts that claim.
But, even if we give them the benefit of the doubt and say that it was made for kids, it still falls flat. It's so cringe-worthy that not even kids would want to watch it. This movie is a complete waste of time, money, energy, and resources for everyone involved, including the audience.
'Advitya' was ridiculous in concept and execution. The film opens with a scientist, Dr Roy, trying to cheat time and nature by becoming immortal, with the help of two aids who look anything but scientists. The experiment is successful, and the scientist becomes a tall, young and hunky guy but with pale blue patches on his skin, which appears and disappears and reappears throughout the movie.
Now, without any background information or character motivation, Dr Roy suddenly decides to rule over the world and spread darkness. Taking over a world is not so easy and to add to the list of Dr Roy's problems, as soon as he steps out of his chamber, the sun roasts him like a turkey on Thanksgiving, making it impossible for him to enjoy a sunny day at the beach. Just kidding! As soon as Dr Roy steps out of his cabin, the sunlight burns his skin making it unbearable and impossible for him to step out in the daylight. Then he returns back to the lab and asks his overworked minions to find out why. A loyal scientist reassures Dr Roy that he will find out the problem and a cure soon.
Moving away from Dr Roy's lab, the scientist talks to himself and drops a knowledge bomb on the audience. He says to himself: "I can claim without any research as to why your skin burns in daylight Dr Roy... It is the dangerous result of cheating nature and time."
Now, what is the purpose of this scene and that aside? Well, the director assumes the audiences are so dim-witted that they need to be spoon-fed the basic laws of nature that every action has equal and opposite reaction. And the film maintains such absurd and ludicrous way of presenting the events from start to finish.
Writer-director Arindam Sharma has no clue and understanding of the causal principles of plot or the dramatic devices of establishing a conflict or the parameters of character construction, that are inseparable ingredients of narrative storytelling. In 'Advitya', the plot just meanders along with no rhyme or reason. Occasionally, there's some sort of connection between events, but often there isn't.
Pranay, one of the brothers, brings up their sister's tragic car accident with great emotion, but strangely, she never gets mentioned again. The story jumps around, and characters often talk to themselves because the director is substituting soliloquies for exposition. This might be because, one, he lacks creativity or two, simply because he's lazy. Either way, if he wants to keep the audience on the same page with the story and himself, he makes a character talk out his/her thoughts loud.
In 'Advitya', there's also a plot involving two brothers, Pranay and Prateek, who are orphans with no explanation given about their past. They're close and fiercely protective of each other. One day, Pranay, the older brother falls for a girl, and they get married immediately without any family drama since the girl is also an orphan. Then, in a strange turn of events, the new bride sends the elder brother on a potato run, but on the way back from the market, he almost gets hit by an asteroid which exposes him to superhuman powers. And if that wasn't bizarre enough, Prateek calls his sister-in-law as 'baa' instead of 'bou'. I mean, what kind of family dynamics is this?
During the film, a friend of mine, with whom I had watched the film, pointed out the striking similarities between 'Advitya' and the 'Spiderman' movies. Both Pranay and Peter Parker are orphans, with only the support of one family member. Aunt May for Peter, Prateek for Pranay. There's also this scene where Prateek straight up drops the classic "with great power comes great responsibility" line on Pranay. Additionally, there is a female sidekick of Dr Roy who has powers similar to those of Electro from Spiderman - manipulating electricity. Both characters face job-related struggles, and even their love lives seem to follow similar patterns. In fact, my friend speculated that Pranay's girlfriend's demise may mirror that of Gwen in the Spiderman series. Sure enough, a few scenes later, Pranay's wife is killed when a building collapses on her, solidifying the uncanny parallels between the two films.
The major difference between the two stories is that the death of the girlfriend evokes an emotional response in 'The Amazing Spiderman 2' (2014), whereas in 'Advitya', Pranay doesn't seem to give a damn about his dead wife and doesn't even bother to pull her body out of the rubble. It's as if he's relieved to be rid of her. The film spends a lot of time building up the story in the anticipation of a dark turn, and then out of nowhere, there's a conflict between the hero and villain, leading straight to the climax. It's like the filmmaker forgot to write or add in more scenes of the hero and villain crossing paths before they decide to go to war. The conflict is simply not well established.
The characters' behavior in the movie is utterly absurd and contrived. For instance, during a job interview scene, Pranay hands his resume (listen closely to how it's pronounced in the film) to the interviewer and lands the job within a matter of seconds, no questions asked. And it is only after getting the job, Pranay is asked the classic interview question, "Tell me about yourself." Does it make any sense? It's as if the writer-director was living in an alternate reality while crafting this screenplay, completely disconnected from the real world.
To read more : Head over to Newsmill or simply google Advitya Assamese Superhero film review by Kalpajyoti BHuyan at Newsmill.
Ekalavya (2022)
A Promising Story But lacks Character Development
Copy and Paste the following link in your browser - rb.gy/ii2z5 to read the full review. Excerpts of the review is given below
Directed by Alfred, 'Ekalavya' is a tale of two warring brothers divided over each other's priorities. Kamal Lochan plays Abhay, a young lad in love who can't summon the confidence to ask Kavya, his dream girl, out fearing rejection and instead secretly dedicates poetry for her. Kavya on the other hand, appears to be aware of Abhay's feelings for her, but she prefers to wait for him to get up the nerve to ask her out.
As the film progresses, Abhay's adopted brother takes the benefit of this doubt, which leads up to a story of love, hatred, and jealousy, and as well as that of a fateful night that transforms everyone's life.
But because the premise is pretty straightforward, the writers aimed towards the narrative for some inventiveness. So, now with all the switching between the past and the present, its more justified to describe 'Ekalavya' as the story of a common man who transforms into a ruthless outlaw in order to make up for being wrongfully convicted of a crime.
This approach to tell the story is a bit dark and grimy. So far, all fair and good only that it felt like the plot was not given much care when it came to layering it with a perspective of sacrifice. It's there but it's only to justify the title.
Also, the narrative moves in so many different directions that it's hard to intake the significance of what the director actually wanted us to show. It tries to establish too many things at once - Abhay's loyalty to his master, his past, his future and Abhay himself. It's not that you don't understand it but it just doesn't fittingly come together as a whole.
Boomba Ride (2021)
Education is our birthright and we shall have it
Boomba Ride is a charming film, one that is done with a lot of honesty and from the heart. Inspired by a true story, the reality that the movie tries to reflect is harsh but the movie isn't. Here, the entire treatment has been toned down and the narrative operates at a very miniature level. For instance, even if we can see the school inspector and his evaluation in process, we cannot immediately sense the pressure and anxiety associated with the result. Because the movie somehow assures us that everything will be fine, Boomba would be alright, and the school would not lose out on hope. A shortcoming or otherwise, the movie can forge such a reassuring bond with its audience.
Read my Full Review at EastMojo.
Copy and Paste the following in your browser - rb.gy/wvor0.
Rajneeti - Part 1 (2022)
A fair attempt which is loud but insufficiently vocal
'Rajneeti: Part 1' benefits from an ensemble star cast and films boasting of such ensemble barely falters unless it is Rajesh Jashpal's 2018 release 'Underworld'. As the restrained and well composed editor-in-chief, Tapan Das is theatrical and Zubeen Garg as a rebel and a nonconformist is straight outta the sets of his 2019 blockbuster 'Kanchanjangha'. Both Tapan Das and Zubeen Garg gets to deliver explosive dialogues. Meanwhile, Barsha Rani Bishaya's performance as an enthusiastic and brave young anchor looking for a chance to prove herself is credible, while Geetawali Rajkumari shares some depth in her extended cameo. There are multiple characters but they don't feel close enough and appear distant from each other. Even the characters of Barasha and Zubeen are not in love enough. This is because, 'Rajneeti: Part 1' prioritises the urgency of the plot over its characters.
Full Review: shorturl.at/clquV (copy paste this link in a browser)
Rudraneel: Uttarpurush (2022)
A traditional whodunit which isn't surprising but neither disappointing
Rudra Dowerah, played by Tapan Das, is unlike any other on-screen detective we've seen. He doesn't have a twirling moustache or smokes a pipe. He never dons a formal, or a tough appearance, nor does he take a radical approach to things. However, he brings in the necessary flair and a dominating presence to the role, which goes with the personality of the character. He is calm, cool and collected. Without being loud, he demonstrates a quiet superiority that asserts his dominance over the situation. Dowerah is assisted by a 'Watson-like' accompanist named Neel, who is a journalist, and together they track down the culprit of the story at the end.
Full Review: shorturl.at/qKSV9
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Anur: Eyes on the sunshine (2023)
Navigating the Undercurrents of Old Age
'Anur' is a fairly straightforward movie. Well, at least till its third act. The plot is driven by the characters, and its best quality is that it never becomes self-aware. Instead of pleading for our pity, it increases our capacity for empathy. The external environment is always presented as a reflection of the character's inner thoughts. Whether something feels suspicious or appears harmless, it is the perspectives of the characters that we are subscribing to. And this makes the usual ambiance of being inside the house or out in the market very unusual. This treatment of exploring an aged character's psyche makes 'Anur' a slow-footed drama, and intentionally so. The emotions are subdued in the first half as the narrative is mostly built around the insecurities of an old lady living alone, but it does bring in a faint tune of melancholy that surface towards the end. And if you try not to sense the story's pacing but absorb its soul, the right emotions will come for you.
Full Review: rb.gy/5xrfic
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My Friend Pinto (2011)
A dumb movie where the main character "pinto" is poor man's forrest gump
Viewers Beware. If you are thinking about watching this movie. Don't think twice. Just don't watch it. The movie has a dumb plot supported by juvenile humor which can lead to serious headache. Director Raghav Dharr can be easily termed as a wannabe director who takes audiences patience for granted. A waste of many talented actors like Prateik, Kalki, and Divya, My friend pinto is a chaotic nonsense which runs for almost 2hrs and feels like 5hrs when watched. Content wise its a C grade movie with just B grade names associated with it. Don't know why a director like Sanjay Leela Bhansali invested in a crap like this. Colossal waste of talent,time and money, My friend pinto is one of the worst comedies to be made in Bollywood.
Neighbours (2014)
The type of movie where a ghost comes and you show your "om" locket. Fire comes out from the om locket and the ghost runs away
Horror films in Bollywood can be divided into two types. The A grades and C grades. This one belongs to the latter. Cheesy and ridiculous story,hilarious songs and poor VFX. There was a time when these movies used to actually work. But this is 2014. Even the remaining niche fans have vanished. Its not a horror but comedy movie. I watched it in a B grade theater in my city and it was good to see even Rickshawallahs and day labours cursing this movie.It was shocking to see Shakti Kapoor as a horror story writer, but provided some relief among the other unknown actors. Watch this movie with your friends and you'll have a great time.
Dil Dhadakne Do (2015)
A satirical and yet emotional take on modern day life and problems
Like every Zoya Akhtar movie "Dil Dhadakne Do" is perfect blend of life, family, friends, marriage, business and the problems that surrounds them. The first half is an extended introduction of every character and their problems shown in a satirical manner. The post interval half is more serious and emotional. Overall it is a good and refreshing movie. The type of movie Bollywood needs. No unnecessary masala, 'herogiri' and clichés . The only thing the film lacked is good songs. The songs are not up to the mark in an otherwise good movie. If you are bored of the masala entertainers Bollywood is offering every Friday, than this is the movie for you.
Bombay Velvet (2015)
Kashyap tries hard to be the Martin Scorsese of Bollywood but fails
This movie is just not up to Anurag kashyap's class!!!! The man who is known for his realistic and gripping storytelling disappoints this time.
Bombay velvet is visually stunning. Awesome background score and music by Amit Trivedi. Production Designing is too good. The 1960s Bombay gets alive in Kashyap's lenses. Sound editing and mixing perfect. Awesome acting by Ranbir Kapoor. A Good performance (performance becoz in the whole movie she was up in a stage singing) by Anushka Sharma. And a not so bad job by Karan Johar.
What the film lack is a strong story and a hitting screenplay what Kashyap is known for. Anurag Kashyap's take on commercial world of film fails. He should go back to his Artistic world of movies make more epic movies.