PK !

#PK :It is not easy to review a Raju Hirani film. On one hand you are biased towards his uncanny ability to pick up a story of social relevance & send a strong massage using humour as the tool, on the other hand you have to deal with your own unnatural expectation from his ability to deliver & make a difference.  Yes, Hirani is well aware of this skyrocketing expectation. Hence half a decade after his last release he decides to take on the Godmen and blind religious belief.

The film opens with a space ship landing in the desert of Rajasthan and a full naked and curious Aamir coming out of it. No sooner he lands on earth the remote control of his spaceship is stolen. Helpless alien Aamir starts his search for the remote, the only tool that can take him back to his galaxy. What he encounters in the process, besides being rechristened as PK, is a cruel world full deceit and blind religious faith.  PK’s journey has uncanny similarity to the journey of any new born innocuous child – all of them are born naked, their soul in its purest state , as they grow up they start covering their bodies with robe while the mind gets contaminated with parochial feeling.  PK questions the fundamental of religion and drops enough hints on the complexities of human mind.

Throughout the narration Hirani stays true to his style of storytelling, using humour to drive home his point. Subtlety has never been his strength and once again he depends on heart rather than logic to bring lump to our throat and make our eyes moist. Aamir is astounding as PK. This is by far his toughest role and he has put in an amazing effort to get into the skin of the role. Anuska effortlessly plays the role of Jagat Janani . During a time when the world is suffering due to religious fanaticism full marks to PK for being bold enough to unmask the veil.

So is PK , Hirnai’s best till date . An emphatic NO. The screen play is not as water tight as it should have been and hence couple of unnecessary love affairs spoil the pace and narration. Boman Irani who has such impactful presence as Dr. Asthana & Virus in Mummnabahi & 3 idiots is atrociously under used in PK. The film is stretched and the last scene is too convenient to be effective. Music which plays such a big role in Hirani films is average. Even though there is an attempt to keep the narrative & treatment different, still there is uncanny similarity in the plot with 2012 hit Oh My God.

However even an above average Hirani film can be better than the rest. I will go out with 3.5 out of 5. PK may not make to your all time best list, but I can assure you will enjoy & it won’t be a “Bhaste of time” ! 

Sulemani Keeda

#SulemaniKeeda: Cinema, for that matter Art, for some is an escape from reality, for some other it is a reflection of a slice of life. In Bollywood, success for most is box office collection, for  few others it is about getting a creative orgy. Write director Amit Masurkar dares to tread on the path less trodden. Sulemani Keeda is an urban indie about so many young aspiring script writers who spend innumerable years running around the offices of producers till they “compromise” or run out of their mojo or decide to continue writing something relevant at the cost of being treated as irrelevant!

Made on a shoe string budget it is a witty & whacky comedy revolving around the lives of two struggling screenplay writers Mayank & Dulal. Their aspiration to make it big in bollywood is so identifiable. Their bonding suddenly reminds you of that flatmate of yours with whom you would have gone to malls & pubs to find potential girlfriends, the one you fought with and shared life’s secrets. 

                                                                    

While Dulal is a well read emotional guy who recites Sahir Ludhianvi and tries to immortalize his relationships through his writing, Mainak is quirky & doesn’t believe that a writer should read much. Along their journey Dulal meets and falls in love with Ruma, played by a brilliant Aditi Vasudeva , who is quite level headed  and knows how to live life. It is this contrast that makes their relationship interesting.

While the plot is familiar, it is the matter of fact treatment, witty one liners and deadpan humor that makes Sulemanikeeda so endearing. There are few scenes like the confrontation between Film & Serial screen play writers and scenes where a handkerchief plays a metaphor to life are so real , philosophical yet so hilarious.  The beauty of Sulemani Keeda lies in the fact that even while making a statement on something as important as a screen play writer’s struggle the film doesn’t take itself  seriously. At 89 minutes the editing is crisp and Mayank Tewari as Mainak is refreshing.

In a world where unfortunately star cast & promotion budget & not script decide a film’s fate, SulemamaniKeeda is an honest attempt that needs to be watched, applauded & encouraged. It may not yet be time for “Happy New Year” but it surely deserves a “Happy Ending”. Go watch it!  

Mary Kom : An Inspiring Story told in an Insipid Way!

#MaryKom : Making a biopic is an arduous task, making a biopic on a thirty-one year old living legend requires lots of detailed research and technical skill ,but scripting a biopic like a bollywood potboiler is all about losing an excellent opportunity to inspire a generation .

Debutant director Omung Kumar had an awe inspiring story of an underdog from the farthest and most neglected corner of the country standing up against all odds to pursue her passion and bring laurel for the country.  Magnificent Mary’s life is about determination to succeed; it is about passion to perform. Her life is an example of indomitable human spirit. It is about overcoming barriers to achieve success.  And the film had the opportunity of having a double impact – of motivating the younger generation to follow their passion and work hard to reach the pinnacle and it could even have promoted boxing as a sport. To be honest it does try to show Mary’s life from an early childhood to her becoming a world champion , her marriage that was followed by a hiatus from Boxing and how she came back to become world champion even post motherhood .

But unfortunately it tries to pack too many punches in two hours and in the process just about touches upon each episode without trying to delve deep to reflect the inner conflict. It never bothers to build the character or story. And yes it ends as abruptly as it started- so much for storytelling using flashback as a technique!  The brilliance of a consummate artist lies in the depth of his art, Mary Kom – the film sadly stays superfluous in its approach. The entire effort of Omung and his screenplay writer Saiwin Quadras has been to use melodrama to keep the audience glued, so much so that, they even don’t spare the national anthem. They even failed to properly showcase the impact Onler (Mary’s husband) had on her life.  

As far as acting is concerned Priyanka Chopra packs a punch (pun Intended). In spite of obvious physical dissimilarity she is terrific as Mary and does complete justice to her role. She exudes tremendous energy and stays true to her character.  The support cast has barely has any significant role to play except Darshan as Mary’s Husband and Sunil Thapa as her coach.

Yes Mary Kom – the film may have been a below par attempt, but Mary Kom – the boxer is a phenomenal athlete whose story needs to reach every nook and cranny. Hers’ is a life extraordinary that deserves to be celebrated and the winning spirit needs to be incorporated. 

Just for that, in spite of its over dramatic tone go & celebrate Mary Kom.

Mardaani : Women Power !

Yes it is melodramatic with an over the top climax, has several cinematic flaws and the story-line is predictable, yet five reasons why it is worth a watch:

1. As per NCRB data 65,038 missing children in India in 2012. As per US dept. Of state India is a source & destination for sex – trafficking. And Mardaani decides to raise the issue.

2. At 114 minutes it is crisp, stays true to its content with some brilliant editing and dares to go without the mandatory bollywood song & dance sequence. Bonus marks for deciding to go with an Adult rating instead of the convenient U/A rating. Reality can’t be sugar coated – it has to be pulled out of the closet in its nudity. 

3. For that diminutive, light eyed Rani Mukherjee who sheds all gloss to transform herself into a tigress out to protect its cubs. She dazzles ferociously. And yes Tahir Bhasin is quite impressive and displays glimpses of his potential.

4. If an idiotic Chulbul Pandey and a jingoistic Bajirao Singham can earn 100 Crores, an impressive Shivani Shivaji Roy surely deserves an audience.

5. Mardaani has its heart in the right place. It may not be perfect, but surely with its cat & mouse chase wrapped in a child trafficking tale won’t disappoint you.

For displaying the Mardaani to make this film, and showing the confidence to take up a completely different role ,I will go out with 3 out of 5 for Pradeep Sarkar & Rani Mukherjee’s come back trail.

A Modi-Fied HR

Yes , let's face is . HR today is facing an existential dilemma. In his latest post Prof. Ram Sharan had spoken about splitting the function to make it more effective . While we ourselves have to blame for the situation we have put ourselves in, there is a scope to bounce back- provided we are brave enough to learn from our past mistakes and have the spirit to move forward .

When it comes to learning who better than the toast of the nation . As the world goes ga ga over Modi, in spite of my several apprehension ,few learning we ‪#‎HR‬ folks can have from him 

1. First focus on basics , the way ‪#‎Modi‬ started with primary need like cleanliness & sanitation. 

2. Inclusive Governance , public has to join hands with government for maximum governance. HR business partner means working with business on an equal footing - not just taking instructions. So be a strategic partner . Add value to business instead of just taking instructions.

3. Keeping things simple -simplicity is the toughest thing to achieve. Those who in the name of strategy , make things complex /keep adding jargon , please check if it is positively impacting the stake holder or just a survival tool.

4. Use of Technology : Modi's approach has been pro-tech. Is today HR leveraging technology to deliver better , NO.For most of us Technology limits to just social networking. 

5. Communicate & Connect with people at BOP & Gen Y - This is what gave Modi majority & it will give the much needed credibility to HR.

6. Be proud - Our generation has rarely seen a proud leader & Modi is a fiercely proud Indian , hence commands tremendous respect. Be proud of being an HR-Since you have the ability to shape careers. Acquire knowledge, work hard & for heaven's sake stop sucking up to everyone.

7. Build process & Deliver , deliver , deliver - Modi's emphasis on streamlining judicial & administrative mechanism will bear fruit in long term. Jugaad wont take us too far. So HR needs to build robust processes to be successful. 

8. Invest in Youth - Modi is a master at connecting with youth. If you want organisation to be successful , look at the holistic development of young workforce.

Citylights : Where Art imitates Life !

#Citylights : How often do we come across an Indian cinema that accepts adaptation from a foreign film. Well, Citylights sets its intention clear by giving due credit to “Metro Manila” the British –Filipino film from which it has been adapted. Throughout Hansal Mehta stays true to his idea of cinema – it is not an escape from reality, instead a stark journey into the world so real that it disturbs you. It is a reflection of the times we live in- where innocent is often exploited. It is a tale of the dichotomy that exists in our society - where millions struggle in the pavements to make both ends meet, while a handful enjoy a life of bliss and binge. It is a story of the maximum city where obnoxious slum windows open straight into the skyscrapers built just opposite and about those helpless poverty ridden eyes. Beneath the superficial harmonious co-existence lies the vulnerable aspiration.

While Deeapk’s struggle is for a dignified survival, Vishnu’s despair is to make some quick buck. Having lived in a city where mean does not justify end, the path is not important for him. Mehta cunningly captures this contrast to transform an intense & realistic human story into an enthralling thriller. The first half of the movie is a poignant portrayal of a simpleton’s effort to survive. It will overwhelm you. There is a scene where Deepak’s wife played by debutante Patralekha decides to become a bar dancer to support her husband. She goes to the bar owner who checks her out .The unbearable helplessness in her eyes as she struggles to follow the order to smile almost makes you numb. This scene stands out for the way it has been directed and delivered. While till interval it is a reverting saga of human hope and despair, post interval it sharply turns towards being a thriller and tends to be dragging. This is where the screen play veers a bit. But Mehta pulls it off just in time to deliver a powerful film.

Rajkumar Rao gives yet another scintillating yet effortless performance. You just stand and marvel at his intensity. His eyes reflect his despair laden hope. You indentify with his anguish & feel his agony. Patralekha is a bundle of talent and plays perfect foil to Rajkumar. Rarely have I seen a debutant giving such a confident performance. Manav Kaul is a laudable in a role that projects toughness with vulnerability. Apurva Asrani who has edited films like Satya , Shaheed again goes on to show why he is one of the best in the business today. Jeet Ganguly’s music and background score compliments the screen play and Rashmi Singh’s lyrics becomes an integral part of the film. It’s deeply meaningful. As far as direction goes the film has Hansal Mehta written all over it.

The birds wake up in the morning. Struggle the entire day in search of food and come back to their nest in the evening. With the ever widening chasm between large metros and small villages – migration for existence has become a norm. However if the migration is just physical or the values are also getting diluted, will decide if we come back to the root unscathed or fade into the world of oblivion.

If Cinema for you is a succor from mundane intricacies of life then better watch the million dollar babies do Jhampin Jhapak in the name of cricket , but if for you it is a form of art that imitates life don’t miss Citylights.

I will go out with 3.5 out of 5.

An Open Letter to Mr. Modi

As India gets ready for a transformation of moving from an intellectual, yet mute and remote controlled PM to a Showman PM who is decisive yet divisive, whose pre election media campaign can put even big corporate to shame – I as a common citizen believe Modi’s biggest challenge will not be bringing India back to the developmental track, rather to have control on the Modi- Sena that if let loose can create havoc with their fundamental & communal mind set. Hence an open letter -

Dear Modi Ji,

Now that it’s crystal clear ‘Abki Baar Your Sarkar” let’s make our expectation clear at the beginning.

1.       The youth somehow confuses Modi as Messiah and expect you to bring in radical changes – from taking    India back to the top of the Economic spectrum to making India a super power with your 56 inch chest.   My expectation is simple – In a globalized economy, a country can’t grow in isolation. But the least a govt  can do is to fast track projects, remove unnecessary entry barriers and provide a level playing field.

2.       They say you will eradicate corruption. Come-on, whom are we kidding! Your own party had spent an estimated 5000-15000 Cr (as per media reports) in this election. The coffers have to be replenished. But we are sick and tired of the boring 2G to CWG scams G (Ji). Time to have some snooping encounter with scams. But please ensure the welfare plans reach the intended mass, the way your rhetoric reached the hearts of masses.

3.   By now we are all familiar with your hatred towards facing uncomfortable questions and walking out of interviews. But the Indian Voters have voted for Modi Sarkar & not a “Moody” sarkar.

4.    You love to corner internal opposition with an iron fist , as a PM we would love to see you handle our volatile neighbors with the same stealth  & resolve while playing a statesman’s role in handling foreign policy.

5.     However even if you fail to achieve the above , India still will survive , as it has been for years , but Mr. Modi if you fail to have control on few of your fanatic followers who feel communalism is a way of life , the nation will not pardon you. India has voted you on developmental agenda in spite of a not so glorious record of yours, it is better you respect that mandate and work towards creating a harmonious environment.  We know you don’t like to say sorry and we sincerely hope you would not have to in 2019.

2States : An Opportunity Lost

#2States : This is one of the Chetan Bhagat’s  book  that was screaming from the roof top at the top of its voice to be made into a bollywood film since the day the book was launched . Remember reading it on a lovely October morning way back in 2009 and visualizing how the story will unfold once it is converted into a screen play. However 2states, the movie, even though stays true to the book, only managed to invoke yawn, since it failed to explore the required subtlety to transform a popular fiction into a screen play. However it did manage to raise my eye brow (no not because of the Yawn). Want to find out the 10 reasons…read on

1 1. Want to get a berth in IIM-A, better be bespectacled. (In a class room scene where six students are sitting it a row , 5 of them, Arjun included, are wearing spectacle; so much for being subtle)

    2. Want to make out with your girl friend, no place better than the country’s top B- School , two years of fun and you end up getting a cushy job.

    

    3.You need to be all decked up & look gorgeous even when you are enacting a scene where you are in your hostel room.

    

    4. In a campus interview, to a question, why you want to join the company, you can just answer your company is the best and walk away with the job.     Ah , hold on, in fact you can gate crash into an interview room , in the midst of an interview , propose your girl friend , and lo & behold, she too gets the job.

   

    5. Ah the movie was all about cross – cultural marriage. Dei, you expect some Madras-Punjabi humor to lighten up the mood. No it’s a sterile territory.

   

    6. Alia Bhat can compete in Guiness Book of world records for the maximum use of facial muscles in the first seventy minutes in any bollywood movie. She tries hard to imitate Kareena  Kapoor till realization dawns on her post interval, when she goes back to her own self and gives a pretty good performance. She is the only saving grace.

   7. When Ronit Roy asked the director to brief him about the role , Abhishek Varman’s reply was “remember Udaan”. Wish instead of asking Roy to act again, if they would have just taken the cuts from Udaan.

   8.  The director forgot to say Cut and the editor is a staunch believer that a bollywood movie has to be of two and half hours. Brace yourself and pray for the couple to get married quickly so that you can walk out!

   9.  Most film critic’s views depend on who the director/producer of the movie is.  And boy they are good at interplay of words!

   10.   In spite of being an average movie, KJo, Sajid Nadiawala & CB will laugh their way to the bank & this time the joke is on the audience!

How I wish someone would have whispered “Humor” to the director and “Hold On” to Chetan !

Ankhon Dekhi : Watch it to believe it !

#Ankhon Dekhi : Often the simplest of the stories turn out to produce the most riveting screen plays . Rajat Kapoor’s delightful “Ankhon Dekhi” primarily runs on three premises, questioning convention while living life on your own terms without falling prey to predefined notions, learning through experience and the intricacies of relationship. The beauty of Ankhon Dekhi lies in its humorous narrative and its ensemble cast that perfectly fits into the role.

Bauji , played by a brilliant Sanjay Misra, after a moment of epiphany , decides to believe only what he will see with his own eyes. The film starts on this premise and follows bauji’s journey of self discovery. Though, may seem eccentric on surface, bauji’s quest to only accept the facts that he himself experiences, presents some deeply philosophical questions. And this is where the deft touch of director Kapoor comes into play. He keeps his narrative extremely simple, with a generous dose of humor. While bauji’s action brings much embarrassment to his family, he also manages to find a bunch of followers who follow every word of his. Their interaction in the cramped house in Old Delhi is a delight to watch.  Through these interactions you smell the fragrance of an old India where joint families used to be a norm and not aberration.  

The way the relationship between bauji and his younger brother, played by a fantastic Rajat Kapoor is portrayed is really heart touching.  Kapoor takes care of the finer nuances to explore the equation of lower middle class family. He even brilliantly showcases the father – daughter relationship.  Ankhon Dekhi has its moments when the screen play falters, like the scene where Bauji decides not to speak and only to listen. However moments like these are few and far between. Seema Pahwa is outstanding as a hyper wife, while often under rated Sanjay Mishra gives his finest performance till date. Rafey Mehmood’s cinematography beautifully captures the lanes & by lanes of Delhi and Sagar Desai’s music is in sync with the screen play.

Ankhon Dekhi is just not a film; it is storytelling at its best. I will go out with 3.5 out of 5 for this unconventional venture from Rajat Kapoor. 

Don’t miss this fine experience and don’t take my word for that. As Bauji says go and find the truth.

Between Hopelessness & Blind Faith Falls the Shadow

With the General Election just round the corner, political parties are leaving no stone unturned to project how, if voted to power they will bring a colossal change to the way the system functions in India. So on one hand you have a Narendra Modi, whom Time magazine describes as “America’s other India problem”, boasting tirelessly about how single handedly he turned around Gujrat’s economy , completely ignoring the question of social inclusiveness and the fundamental concept of secularism. On the other hand you have a 43 year old, still eating out of Mumma’s hand “young” man, who is almost shamelessly reaping the benefit of dynasty politics. This gentle man has standard answer for all questions; shows mock anger in political rallies & possess the sense to tolerate all the “nonsense” happening around him. And then we have a recent addition to this bunch of jokers. A mufflered messiah, who calls himself AAM but behaves and probably believes that he is of the Alphonso variety, spends his time demonstrating against everyone, (hold your breath , including against his own govt) instead of putting focus on administration that could have helped the democracy succeed or at least survive.

Entangled in this milieu of Machiavellian Politics, common man has lost his faith in system. That India still continues to survive is a miracle. Take this example. A basic facility like health care is in doldrums. Forget the Govt apathy; even the private players have learned the tricks of the trade. They know whom to warm up to. Hence they are least bothered to serve the general paying public.

                                           

A health Insurance company like #ApolloMunich , which promises 24*7 customer care , doesn’t even respond to calls post 6 PM. Imagine calling them in case of a medical emergency. The only time they show prompt service is while acquiring new customer or when renewal of policy is due. The govt on its part has constituted #IRDA, to deal with such erratic service providers. On its website they have a list that provides the contact details of Grievance Redressal Officers for each Insurance company. Unfortunately that list was last updated probably during Chacha Nehru’s regime, since the contact details provided in that list are invalid. And yes they too have a toll free call centre. Hoping against hope, you call the number. No surprises here as well, the call centre employee is not even aware of the list put on their own IRDA website, fails to differentiate between a general and a health insurance and promptly puts down the phone.

Now let’s analyze a case of India’s oldest private airline #JetAirways. They believe they can cancel any flight (no weather/technical issue) as per their whims and fancies. And yes they have the audacity of cancelling a two hour flight and booking an individual for a 10 hour Bharat Darshan Journey as well. Miffed when you contact their so called customer care, the response you get is a polite “go to Hell”. Devoid of any other way and as a law abiding citizen you decide to exercise your right. Logically you might be thinking of lodging a complain with #DGCA . Ah, don’t even try that. DGCA has as recently as Jan’14 created a dedicated email id sugam@dgca.nic.in for complains to be registered. They have published about it in most of leading dailies .Any email to this id is responded with a mail delivery failure. This customer complain cell is headed by a Joint Director General Ranked babu Mr. Lalit Gupta, who never replies to emails.

Now I have another amazing story to share, just to showcase how beautifully our system works. A provident fund transfer could not happen over a period of 22 months and 46 emails. It is only after an intervention from the Prime Minister’s office, I was able to get the money I, all the while was thinking mine ! EPFO too have a grievance redressal system, which has been trained extensively to give only standardized replies! As a consumer, without any fault of mine, the EPFO expected me to travel between their Kolkata and Mumbai office, meet them again and again, and probably give some kickback to get the issue sorted. And the beauty of the system is neither the Chief Provident Fund Commissioner, a very senior ranked IAS, nor his office bother to reply to umpteen letters /mails. About the Ministry of Labour, under which EPF comes, the lesser said the better.

That politicians are self centered idiots is a foregone conclusion. But what about our bureaucrats, who have the best of the mind in the country and are, treated as a special class across the socio – economic strata. Did the system failed them or they failed the system is a debate for some other day, but today India runs on faith. Unfortunately this faith doesn’t stem from the deep rooted conviction but rather is a byproduct of sheer hopelessness. How long a nation can run like this , how long people will tolerate this will be interesting to watch. At the moment to Modiji, Rahulji , AAM ADMI ji and all your sycophant supporter , the country is aware of your capability and hence it doesn’t need you, rather you need the nation to either amass wealth or to satiate your shameless hunger for power.

Highway takes you to unusual “High” before losing bit of a “way"!!

Though little late in the day, couldn’t resist the temptation of writing this piece after watching the movie last evening. To set the record straight, must admit, I’m not a Imtiaz Ali fan and the only movie of Imtiaz I loved was his directorial debut “Socha Na Tha”.

Imtiaz’s ambitious & unconventional journey on the Highway is a trip of self discovery for Veera, the rich girl who was kidnapped just days before her big, fat Indian wedding. Even though the trip looks scary in company of four foul mouthed, brute kidnappers, for Veera it turns out to be a liberating trip. She doesn’t know the destination, she doesn’t care about the outcome, but she enjoys the moment, the freedom, she wants to prolong it. Her trip is a metaphor. From a world of chaotic cosmopolitan cacophony, she traverses to a world of serenity and simplicity.  Her kidnapper becomes her co-passenger. Their connect is a result of the deep rooted pain that they had endeared since long, which they could share. If Mahabir had a difficult childhood, Veera had been sexually abused as a kid.  They bare their souls to each other and this provides the emotional catharsis. To his credit Imtiaz steers clear of the typical bollywood romance and projects the unconventional bonding between Veera and Mahabir as it is, without coating it with typical romantic paint. They travel through the heartland of north India and Anil Mehta’s  captures the breathtaking beauty with his amazing camera work.  His cinematography is drop dead gorgeous. Through his camera Mehta transforms the snow capped mountains, the rippling rivers, the unending highways and the exotic greenery into living and breathing characters.

Highway’s brilliance lies in the casting of two opposite characters, an effervescent Veera, who finds the freedom of expression in the company of her abductor and a reticent and rough Mahabir. While Veera is uninhibited, Mahavir speaks through his silent, forlorn stares. Though Veera’s inclination towards Mahavir hints at Stockholm syndrome, it can well be a result of her new found liberty to express herself un-inundated and live an instinctive life.

Irrespective of  whatever she does from here on, Alia Bhatt’s Veera announces her courage to take on roles sans make up and ability to flawlessly deliver them. The scene where breaks into tears even while laughing stamps her skill as an actress. She flawlessly portrays   the vulnerability of a difficult character whose emotion veers between a dark past, exciting present and an unknown future. Randeep Hooda gets into the skin of Mahavir.There are moments when it seems he was born to play this role. His brooding eyes speak more than words. Rehman’s music , though not his best , is in sync with the theme of the movie.

However it is the climax that suddenly turns preachy and lets the movie down. A movie that celebrated the essence of freedom, the exhilarated feeling of liberation for 120 minutes, suddenly tries to justify Veera’s trip away from the cocooned world. For heaven’s sake Highway was not meant to be film on child sexual abuse. Why then suddenly it turns into a movie with a social massage. Ali , who till now was showing the guts to stay away from the world of convention , abruptly turns to the familiar world to build an emotional connect with his Indian Audience. No Imtiaz, Veera’s liberated soul doesn’t require the pretext of sexual abuse to escape into the world of liberation from a life of pretension. The climax stretches a bit too much to provide a justification to Veera’s escapade, but then does freedom require any reason!

Highway takes you to unusual “High” before losing bit of a “way” in the end. However I will go out with 3.5 out of 5 for a movie that shows enough conviction to drive on a path less traveled.

Dedh Ishqiya.. Lihaaf Maang Le !

#DedhIshqiya : With a screen play developed around one of the best known feminist Urdu writer Ismat Chughtai’s most controversial short story “Lihaaf”, with an atmosphere of shero – shayari , with its tongue in cheek dialogue , with a neo-noir theme laced with homo-eroticism, its sepia toned cinematography , with Babban and Khalujaan on a wild adventurous spree and with Begum Para’s “nazakat aur ada” you will expect the audience to explore seven stages of  love with Abhishek Chaubey’s Dedh Ishqiya. 

They do in fact pass through phases of attraction (dilkashi) , attachment (Uns)  and love (Mohabbat). However the over indulgence of the director, some sloppy editing and lack of quality music (in spite of a deeply musical under current and Gulzab Saab as lyricist) ensures you don’t get to experience akidat (trust) and ibadat (worship) that could have resulted in Junoon(madness).

In spite of its flaws and inability to maintain uniformity and pace in screen play Dedh Ishqiya is enticing. It takes you back to a poetic world where interplay of words enriches your senses. The movie opens brilliantly and goes back to show how Babban and Khalujaan got separated. There is a scene where both their hands are tied as Begum Para and Munira are getting close and the shadow on the wall portrays their intimacy.  Khalujaan looks at Babban and asks Lihaaf maang le. That is the essence of the movie. 
Naseeruddin Shah is one of the finest actors Hindi Cinema has produced and he is flawless as Khalujaan. Arshadi Warsi as Babban is a pocket dynamite, you almost look in awe how effortlessly he gets into the skin of his role. Madhuri in her come back reiterates, irrespective of how gifted you are, it takes time to come back to form after a long hiatus. She fails to add the oomph and dignity required for Begum Para’s character. The music is a big let down. 

The high point of Dedh Ishquiya lies is its dialogue (one of the best in a long time), in its deadpan humor, its poetry,Abhiskek’s imaginative direction (till he shot that terrible final scene), its ambience, aesthetics and the chemistry between Babban and Khalujaan. Oh yes I forgot to mention about Munira , no better you go and discover it yourself. And by the way, if Urdu is not your cup of tea, don’t you worry, Vishal Bhardwaj ensured this time around it is released with subtitles !

I will go out with three out of five. No it is not better than the original, but manages to hold its place in spite of that one last platform scene which the director probably shot out of sheer madness.