Koyelaanchal 2014 (Hindi Flim Review)

Koyelaanchal

Cast: Vinod Khanna, Sunil Shetty, Rupali, Purva Parag, 

          Deepraj Rana, Brij Gopal, Kannan Arunachalam, 

          Ravi Singh  
Director: Ashuu Trikha  
Production House: AMA Entertainment 
Music: Sushant, Shankar  
Background Music: Sunil Singh  
Cinematography: Karan B Rawat  
Editing: Uma Shankar Mishra  
Story/Writer: Vishal Vijay Kumar, Sanjay Masoom  
Action Direction: Abbas Ali Moghul  
Choreography: Ricky Gupta

Lawless land. Coal mining mafia. Men with insatiable hunger for power and sex. Gruesome violence… Asshu Trikha highlights all of the above in his new outing KOYELAANCHAL. The raconteur takes you to the world where might is right and the voice of the poor and the hapless never make it to the ears of the concerned authorities.

Although the plot is distinct and so are the characters, KOYELAANCHAL brings back memories of Asshu's hard-hitting gangster movie BAABARR. Also, Anurag Kashyap's GANGS OF WASSEYPUR and Ali Abbas Zafar's GUNDAY. Is the film as absorbing as those films, let's find out…

KOYELAANCHAL highlights the atrocities committed by Saryubhan Singh [Vinod Khanna], referred to as 'Maalik' in the region. The only language he knows and understands is, my way or the highway. Things take a turn when an honest and upright District Collector Nisheeth Kumar [Suniel Shetty] steps in to take charge.

As a warning to steer clear of his path, Saryubhan sends his trusted Karua [Vipinno] to warn Nisheeth. Things take an ugly turn when Karua ends up attacking Nisheeth's wife [Purva Parag] and hijacks the car that has their infant in it. The battle lines are drawn…

KOYELAANCHAL takes a reallyyy longgg time to come to the point. Ideally, Asshu should've established the characters and set the ball rolling within 15/20 minutes of the commencement of the film, but much of the first hour is devoted to establishing the characters, depicting bloodshed and the pathetic condition of the locals. The wheels start moving only before the intermission, when Karua attacks Nisheeth. It's at this juncture that the writing gets interesting, when the two warring factions lock horns.

The volatile confrontations, the drama that ensues, the new characters that step in [Kannan Arunachalam in particular]... it is as this stage that you feel that Asshu has got the grip finally. As a matter of fact, it won't be erroneous to state that it's like watching a different movie altogether, with the dramatic confrontations [between Vinod Khanna and Kannan Arunachalam first and between Vinod Khanna and Suniel Shetty subsequently] making an impact, so much so that you ignore the deficiencies that show up sporadically. However, the emotional connect between the kidnapper and the infant is stretched for no reason.

One expects the culmination to take the film to its pinnacle, but the writing messes up at this point. The finale lacks fizz, while the VFX appear tacky.

In a film whose middle name is violence, there's no scope for music at all. The songs, therefore, are functional. Also, given its genre, the film rests heavily on violence and bloodshed [there's too much of it!], while the gruesome and explicit sequences do put you off at times.

Vinod Khanna carries the film on his broad shoulders with his villainous act. The veteran gets the opportunity and some heavy-duty sequences to display his mettle and he grabs the opportunity with both hands. It's a stellar act without doubt. Suniel Shetty underplays his part beautifully. Generally, most actors would've insisted on being one-up on their on-screen opponent, but not Suniel. Vipinno gets ample opportunity to exhibit his physique, flex muscles and exude power. He doesn't get many lines to deliver. He does leave a mark nonetheless.

Kannan Arunachalam is in terrific form, while the ladies, Rupali Krishna Rao [as Roopmati] and Purva Parag [as Suniel's wife] are first-rate both. Deepraj Rana is getting typecast. Brij Gopal [as Vinod Khanna's trusted confidant Sadho] is competent. Asshu Trikha appears in a well-enacted cameo.

On the whole, KOYELAANCHAL is absorbing and engaging, especially towards the second half. Should find its share of audience at single screens specifically.

Children of War 2014(Hindi Flim Review)

Children of War

Cast: Riddhi Sen, Farooque Shaikh, Pavan Malhotra, Victor Banerjee  
Director: Mrityunjay Devvrat  
Producer: Soumya Joshi Devvrat

 

It is not easy to watch Children Of War. It rattles you. And that's where the film succeeds. It disturbs you enough to make you want to know more about the Bangladesh Liberation War while it tells you, in graphic details, how human rights were violated during those terrible nine months.

On first thought, it reminded me of films on World War 2 depicting the Nazi army and its atrocities. Evidently the carnage in Bangladesh is not any less heartrending.

Children Of War is an effort to showcase the despair that the Bangladeshi citizens went through before they achieved their freedom. The film opens with archival footage of Indira Gandhi justifying her government supporting the struggle. Her interview is cut to take the viewer right into the worst affected areas of Bangladesh.

The film is also about the want for justice. Forty years since independence, people who were sullied are still hoping that the guilty are brought to law.

The script is taken forward by concentrating on two distinct stories. First is about the journey of teenager Rafiq and his sister Kausar to escape from East Pakistan to a safer India and second about the travails of journalist Aamir and his kidnapped and raped wife Fida. Both the stories move forward with introduction of new characters and situations. Screenplay ensures that there is something hard hitting enough every few minutes to keep the viewer at the edge of his seat.

Apart from being on a killing spree, Pakitan army officials were unmistakably involved in raping women who were taken prisoners. The success of the screenplay is in displaying hope, uncertainty and rage among the citizens and the violence that they were meted out. The Pakistani army's idea of suppression through rape will disgust you. Also a winner is the spellbinding cinematography. There are multiple rape scenes but at no point do they seem targeted at titillating the audience but completely ensuring that they evoke empathy.

Performances are pillars that help the narrative stand on and the actors do not disappoint. Indraneil Sengupta, Raima Sen, Tillotoma Shome, Victor Bannerjee and Farooque Sheikh fit into their part. Young Rhiddhi Sen makes an impact with delightful consistency.

However the biggest strength of the film turns its major weakness. The gloomy screenplay is too much to take for 162 minutes of the film. The film should have been shorter in length. This not being the case, it tends to tired you out.

Mass human right violations have not really been wiped off the face of the earth. We get to hear about new incidents every now and then. In news now, Boko Haram in Nigeria have not been particularly kind to women and children. Children Of War helps us reflect on one of the grossest violations that have ever been witnessed by humanity. More importantly the film helps understand that war for independence may have ended, but the struggle for justice has not.

Director Mritunjay Devvrat deserves accolades for managing to come up with a film like this in his debut effort. Do not watch Children of War if you are looking for a dose of entertainment. Watch it to understand what could have caused one of the world's most painful struggles for independence.

THE XPOSE 2014 (Hindi Flim Review)

THE XPOSE

Director: Anant Mahadevan 

Producer: Vipin Reshammiya 

Music Director: Himesh Reshammiya 

Lyricst: Sameer , Kumaar , Shabbir Ahmed

Singers: Honey Singh, Himesh Reshammiya,

               Mika Singh Ankit Tiwari

Himesh Reshammiya may have his share of admirers and adversaries within and outside the industry, but let's face it, the man continues to score big as a musician and his movies -- as an actor -- are talked-about, evaluated and scrutinised feverishly [good, bad, whatever!], which, indirectly, hints at his popularity. Like him or loathe him, the fact is you can't ignore him.

In his new endeavour THE XPOSE, Himesh and director Ananth Narayan Mahadevan take you back in time. When Bollywood depended completely on the whims and fancies of its lead stars. When 70mm fantasies were all that mattered. When movies were the only source of entertainment for the common man. In the past, accomplished film-makers like Farah Khan [OM SHANTI OM] and Zoya Akhtar [LUCK BY CHANCE] embarked on an enchanting journey into this world. Now Ananth Narayan Mahadevan draws parallels with real life, integrates a murder mystery in the plot, garnishes it with a lilting soundtrack and recreates the bygone era in THE XPOSE.

Let's enlighten you about the premise. THE XPOSE is an ode to the glam world called Bollywood. Set in the 60s, the film starts off with the sudden demise of a rising star. She has been murdered, actually. The finger of suspicion points towards several people who were associated with her. Who could've committed the ghastly act?

Flashback. The seeds of hatred were sown during the making of two ambitious films that were filmed concurrently ['Ujwal Nirmal Sheetal' and 'Reena Mera Naam'], which, incidentally, were released on the same day and starred rival stars. The latter becomes a runaway hit, while the former faces its waterloo at the ticket window. Worse, the lead actress of 'Ujwal Nirmal Sheetal' walks away with the coveted award and during the party that ensues, she gets murdered...

Ananth Narayan Mahadevan juxtaposes fantasy and reality and depicts the life on and off film sets. Being an integral part of the industry, Ananth makes sure he includes episodes that would make the spectator draw parallels with real life, neatly presenting the grime and sleaze behind the glam and insecurities behind smiling faces.

Showbiz is a cruel place where fortunes and equations change every Friday, depending on how your film fares at the ticket window and Ananth captures this aspect rather well. He also makes sure he encompasses the casting process, the whims and fancies of stars, the scandalous streak in actresses, the manipulative games people play and of course, the cut-throat competition when two biggies clash on the same date.

Having said that, the film suffers due to a sketchy script intermittently. The relationship between Himesh and Adil Hussain appears far from convincing. The romance between Himesh and Zoya Afroz could've been more persuasive. Additionally, looking at the stardom and popularity of Yo Yo Honey Singh, his role could've been more substantial, more so because he has been given equal prominence in the posters of the film. Ditto for Irrfan, who is a mere sutradhaar, the narrator of this tale.

With Himesh and Yo Yo Honey Singh featuring in a project together, the soundtrack ought to scale dizzy heights and the music of THE XPOSE has chartbuster written all over it. The three tracks that stand out -- the songs could also give an impetus to the business of the film -- include 'Dard Dilon Ke Kam Ho Jaate', 'Hai Apna Dil To Awara' and of course, 'Ice Cream Khaungi Kashmir Jaungi'. The film bears an upscale, glossy look and the DoP [Maneesh Chandra Bhatt] captures the bygone era exceedingly well on celluloid. Dialogue [Bunty Rathore] are aimed at the masses and though a couple of lines may seem ludicrous in the promos, they seem to fit well when viewed in context. The background score is top notch.

Himesh appears slim and trim [he has lost weight for the part] and carries the character with conviction. Also, the attitude that he flaunts goes well with his on-screen character. Yo Yo Honey Singh has the trappings of a fine actor, but is relegated to the back seat. Irrfan Khan appears in a cameo. The two leading ladies, Zoya Afroz [as Chandni] and Sonali Raut [as Zara], look glamorous and enact their parts with confidence.

Nakul Vaid does a fine job. Ananth Narayan Mahadevan is effective. Ashwin Dhir [as Bobby Chadha] is first-rate. Adil Hussain is wasted. Rajesh Sharma is, as always, efficient. Jessy Randhawa, Bharat Dabholkar, Dayashankar Pandey, Naresh Suri, Kanika Dang and Kunal Thakkur are perfect.

On the whole, THE XPOSE is a decently-crafted vintage musical-thriller that keeps you guessing about the identity of the murderer all through. An entertaining outing for fans of atypical Bollywood-style murder mysteries.

Apur Panchali 2014 (Bengali Flim Review)

 

Apur Panchali

Cast: Parno Mitra, Parambrata Chatterjee.  
Director: Kaushik Ganguly.

Every life is a "panchali" (story). Cinema has always celebrated lives through stories. Director Kaushik Ganguly picks up one such forgotten life, the life of Apu and attempts for a closure by treading the reel story of Apu. Satyajit Ray's Apu was born with Pather Panchali and then Ray walked him a journey to youth. What happens then? The child actor and his glorious screen story have been celebrated all across, while the real Apu lived miles away from the light and grease walking almost a similar path as his reel counterpart otherwise.

Director Kaushik Ganguly's sheer attempt to suture the celebrated reel and the forgotten real deserves applause much beyond awards. His attempt is archival. The use of moments from Pather Panchali, Aparajito and Apur Sansar alongside Kaushik Ganguly's individual frames helps us cross refer Ray and therefore the more we progress the more it gets difficult to accept the uncanny similarities.

Actors Parambrata Chatterjee and Parno Mitra as Apu and Ashima respectively are very natural and easy with their role portrayals. Several moments in the film will bring a deep heart wrenching effect and are bound to make tears obvious. Ganguly not for once fails to deliver the angst and the pathos of the character Apu through the real Apu. The Apu set by Ray and voiced by Ganguly is bound to forever haunt the Bengali sensibilities much like the character Apu who never left the life of real Subir Bannerjee.

Cinematography and sudden use of documentary style film making and the diffusing frames form the past and present will amaze and "statue" you for moments to come.

To conclude, the story of a journey and the journey of a story both becomes the central theme of Apur Panchali. Definitely a must watch, director Kaushik Ganguly's Apur Panchali traverses the backward path with Apu to ease out the reel and real spaces through moments of parallel evidence.

Take one 2014 (Bengali Flim Review)

 

Take one

Cast: Swastika Mukherjee, Rahul Banerjee, Vikramjit Chaudhury, 
          Arindam Sil, Anwesha Mukherjee  
Director: Mainak Bhaumik 
Producer: Firdausul Hasan, Prabal Halder  
Music: Mayookh Bhaumik  
Editing: Rick Basu  
Story/Writer: Mainak Bhaumik

Director Mainak Bhaumik's Take One has been under the publicity radar for quite some time now. Much before the film got released discussions regarding nudity and its expression on screen was galore. Actress Doel Mitra (Swastika Mukherjee) is caught within fierce criticism and judgments when her intimate scene for a foreign film leaks on the internet. A renowned actress in her own right Doel now is forced to prove her chastity to the societal eye.

While being the fallen woman and pleasing the voyeur eye is an acknowledged truth of the society but beyond the voyeur the society seems too critical to acknowledge a few otherwise normal truths that they love to cherish within closed doors. Bhaumik has built Doel's character around a series of truths, defeats and wins. While Doel is put under the surveillance for just an intimate scene on the other hand she dons the avatar of Sita to pass through the fire in her real life to prove her chastity. Also at the same time she plays the mythological Sita on screen for a film. 

Director Mainak Bhaumik's attempt is brave and actor Swastika Mukherjee keeps up to the expectations and definitely win hearts with her natural chemistry with the screen and her no make up deglamorised role. Doel's daughter Tushi (Anwesha Mukherjee) is Swastika's real life daughter and beautifully portrays a mother-daughter chemistry on screen with Swastika. At times the film and several stances of the same will look too real while there are moments which will definitely register itself as fake.

To summarize, being critical of Take One or simply watching it to witness a truthful storytelling are the options that you might consider while buying tickets for Mainak Bhaumik's fifth film a brave attempt automatically welcomes itself to a numerous assessments. Be prepared to asses in your own way but do watch once.