Author: aninditaroy444

THE WILD ROBOT: A soul stirring movie, it would appeal to kids and the kids-at-heart alike. A wonderful screenplay, brilliant voice-overs and a superlative display of visualizations, animation and technological mastery put this heartwarming movie as the festive season’s bestest movie to watch with family and friends. The movie tells a humane, touching tale that can pull audiences to the theatre many times over. Simply unmissable.

BINNY AND FAMILY: A coming of age narrative of a London bred teenager who spurned by her crush in high school finds comfort in her grandfather’s company who is a widower and a retired professor in Bihar and quite unaccustomed to the ways of the Gen-Z NRI generation. This role is played by Pankaj Kapur to the hilt and he bridges the generation gap that young adults have with their parents. The movie is predictable and tries your senses in parts but provides wholesome entertainment and even tears you up at times. This movie is not a comedy commenting on the vagaries of NRI life in the West. For that I recommend Bend It Like Beckham which got released a couple of decades back. Binny and her mother are major eye-candy and are terrific finds by Ekta Kapoor. This movie is good as a one-time watch.

PADATIK(THE FOOT SOLDIER): This biopic based on the life of Mrinal Sen, the proponent of art cinema in Bengal chooses Anik Dutta’s “Aparajito” as a canvas and weaves together different experiences of Sen, part in black and white, part in color, and traverses through the different historical events in Bengal from the 1940’s to 2003.The first scene that touches a chord with the audience is that of the funeral procession of Rabindranath Tagore in 1941 who protested against division of Bengal in 1905 and was the first Indian to bring Calcutta in the world map by winning the Nobel Prize in Literature in 1913.Sen was much moved by the poverty of the people in Bengal and the Bengal Famine in 1942 became the topic of his movie “Akaler Sh andhane”. The movie depicts the healthy competition between Mrinal Sen and Satyajit Ray. There are glimpses of Sen attending the meets of the Film Society founded by Ray after Independence to enable the culturally inclined populace of Kolkata to view critically acclaimed World Cinema and be inspired by them. Sen was impressed by Uttam Kumar and directed “Raat Bhor” with him. He just like Ray shied away from casting Suchitra Sen because of her overpowering personality and glamour that was a misfit for his grounded, realistic movies. Sen often cast insignificant actors so that his storytelling reigned supreme and there was no predefined notion in the audience about the star cast. The new wave of cinema with dripping neorealism in Bengal was in sharp contrast to the song-and-dance routines being delivered from Bombay. Although Sen was a Marxist, his communist ideals are not prominent in this movie. Sen’s body of work was recognized by Pandit Nehru and later by Indira Gandhi who helped Sen obtain sponsorship from NFDC. Barun Chanda shines as Nehru. Most of the Bengalis in those times spoke English with a clipped accent which was neither British nor Indian. Monami Ghosh ably supports as the petite and frail better half of Sen. Prevalent with the times, she sports a non-made up face and long hair ala Jaya Bhaduri in the seventies and her character is in keeping with the Bengali women of the 40’s who were undernourished and sacrificed their meals in order to feed the joint families and were attracted by a man’s intellect rather than wealth. The movie makes flitting references to Amitabh Bachchan and Ritwick Ghatak. The movie depicts the golden era of art cinema where Berlin,Venice and Cannes festivals supported human stories from the whole wide world made in regional languages, and were not fashion parades as they are now. Just like Ray, Sen made a trilogy with Interview, Calcutta 71 and Padatik(The Guerilla Fighters). While Ray was polished and came from a rich Brahmo family and was a multifaceted genius blessed with excellent painting, music, writing and dramatization skills, Sen was more close to reality and painted monochromatic frames dipped in actuality. The bare bottom scene was unnecessary and could have been more subtle-it is possible to have a soliloquy while fully dressed. It was nice to see Debraj Roy, yesteryear’s newsreader as Sen’s foreign bred son. The scene where Sen is shown as protecting his new-born son from an earthquake in Calcutta is very touching. The overall mood of the movie is grim and dark with no comic relief and this can put off part of the audience. After Ray’s demise in 1992, Sen was elevated to a higher plane by the audience and critics all over the world and that’s how the movie ends. If you have ever liked the iconoclast that Mrinal Sen was, you will surely love this movie.

IT ENDS WITH US: The movie starts with beautiful glimpses of the Cancamagus Highway in Maine in Fall where the female protagonist is seen visiting her parental home after her abusive father’s demise. It does not affect her much and at the eulogy GTG she fails to come up with even one good comment about her father. Unable to soak in the dull and drub home environment, she settles in Boston and becomes a florist. Since her name is Lily Bloom matching her profession she quickly gains friends and dates. She hops and skips from one relationship to another and settles in holy matrimony with a John Abraham lookalike who is as abusive as her father. It is good to see good old Charles river with its famous duck tour amphibian vehicles and the Harvard bridge connecting Boston and Cambridge. It’s surprising to see that Lily gets dates so easily when half of Boston single women are attending Mathew Hussey’s tutorial to get their acts right. The movie is dialogue heavy and the random adult scenes might make one think its a load of soft porn and quite unsettling for the conservative non voyeurs. Until the final reel of the movie you do not get the plot and which bloke she will choose at the “end”. Mr. Deep Gaze wants to bed her and she declares that her focus is on her newborn child and that is the only relationship she cares for. Like a true Hollywood movie, it doesn’t end like a Greek tragedy and the up-tempo climax strikes a chord with the millions of single mothers worldwide who choose the company of their children more than a man coz blood is thicker than any circumstance. Good for a one time watch for adults exclusively. 

DEADPOOL & WOLVERINE: Even if you are not big a fan of comic book heroes and uninitiated to the Marvel installments, you would laugh till your sides ache coz the humor supersedes the mind-numbing action bolstered by SFX. The 3D effects are superlative and if you watch it at IMAX you would get the total feel. Too bad that the dialogues are raunchy and keep the children away from a super enjoyable movie. The screenplay is taut and dripping with wit, sarcasm, irreverence and self deprecating humor. Every line of dialogue is a gem and you can’t even blink to miss the sidesplitting scenes. Coming to performances, Ryan Reynolds is a riot and scores above Hugh
Jackman coz its really hard to display emotions while wearing a mask. Female presence is limited except for a Sinead O’Connor lookalike who is a villainiya. This is a recommended watch and please wait till the end credits stop bcoz there is a hilarious reel that would make you burst at the seams.

CHANDU CHAMPION: Sports dramas are magical and charming in their own way. This movie is based on the real life story of Muralikant Rajaram Petkar, the Padmashri award winner who aced the Para-Olympics in 1972 as a handicapped swimmer much to the amazement of many. It is a little surprising to note that he survived nine bullets, fifty sleeping pills and got paralysed during the India-Pakistan war in 1965 but still could swim like Michael Phelps. It is not cinematic license but based on true facts that expresses Maratha valor, grit and endurance yet again. And this movie showcases the amazing male form which is engaging and oh so delectable. There is no prominent female lead. The initial reels have a “Bhaag Milkha Bhaag” hangover and the stag dance sequence has a Ranbir Kapoor’s “Galti Se Mistake” influence. Vijay Raaz, Shreyas Talpade and Sonali Kulkarni essay their roles well. It is sad to see that the talented Rajpal Yadav being cast in a derogatory role just because he looks a certain way. Sharmila Tagore’s iconic bikini clad picture from the sixties is termed as a dirty picture-pray why pick on the veteran actress? A family movie with a lot of heart and soul is enlivened by Kartik Aryan’s spirited performance and his goofy-sexy grin would melt your hearts. 

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DABARU: This movie is a mixed fare from the production house of Nandita and Shiboprasad. Based on the life and times of the chess grandmaster Sourya Ganguly, this movie is likeable in parts. The first thing that is a letdown is the jarring background score paired with the incessant flow of songs that is present in almost every reel. The first half would pique your interest and the editing is crisp and smart, but the second half fails you with insufferable melodrama and hits a trough. The movie has several cameos by Kharaj, Biswanath, Kaushik Sen and others while the lead actors Rituparna, Chiranjit, Dipankar and Shankar stay true to their craft with their stellar performances. The main protagonists who play Sourya in his childhood and teenage years are superlative. The love track looks forced and unreal. There is a flitting reference to Dibyendu Barua, the ace chess player from Bengal and the serial Mahabharata that was aired every Sunday morning in the early nineties. The movie spans from 1988 to 2001 and ends with Sourya becoming a grandmaster in one of the toughest games of all time that requires mental effort, focus and patience. Surprisingly, there is no mention of IBM’s Deep Blue defeating grandmaster Gary Kasparov in 1996. You will probably enjoy the movie if you carry a pair of earbuds.

LAAPATAA LADIES: Now Kiran Rao has thrown a Rabindra Rachanaboli at Aamir Khan (ref: Noukadubi) Set in 2000 in MP this movie is a wonderful satire on the social mores and regressive practices in rural India. The performances of the ensemble cast, especially of Ravi Kishan as the corrupt police officer are superlative. The movie has a Kangana Ranaut’s “Queen” hangover and it is hard to believe how the missing ladies find instant acceptance in their foster families and find their true awakening with the kindness of strangers.Never knew Madhya Pradesh is such a utopia.The screenplay is the true hero of this movie and gives it a repeat value.Overall, an outstanding movie well suited for family audiences.

NAYAN ROHOSHYO: I felt very upbeat as I noticed the serpentine queue at the movie theatre comprising of viewers from the age of 2 to 90ish assembled to watch the cinematic adaptation of Satyajit Ray’s novella on the big screen. But lo and behold, I found a thriller with no thrill, suspense or entertainment. The movie despite being made under the aegis of Surinder Films have very low production value, an effing flat narrative and deadpan delivery that merely makes an exciting prose a run-of-the-mill dull whodunit. Indraneil Sengupta is very stiff and lacks the intrepid and witty demeanor of a famous private eye. His squeaky voice makes Feluda a commonplace character sans any command or special power. Jatayu and Topshe and especially the wonder kid Nayan deliver delectable performances. The cinematography fails to capture the majestic beauty of Mahabalipuram. Even the dress designs of Lolita Ray are surprisingly not upto the mark. Feluda looks poor in his getup and the blink-and-miss action scene is unbelievably humdrum. This movie is a yawnfest and displays how tired Babuda (Sandip Ray) is, holding onto his lineage and maybe he should pass the baton to someone else now. Its time Indian parents stop dictating their offsprings on what they have to do with their lives. Its no fun if you do not have the passion and gumption of following your father’s footsteps and drive the audience into a sea of misery. 

MAIDAAN: Set in the late fifties and the early sixties, when the entire nation was steeped in Nehruvian idealism and nationalism, sixteen malnourished young boys from different parts of India, under the tutelage of the football coach Syed Abdul Rahim from Hyderabad, find a sense of purpose and belonging in representing the nation as the winning football team from India in the world map.
The movie has a commendable cinematography befitting a period movie and the tight screenplay and glorious and sincere performances of Devgn and the entire cast comprising of young PK Banerjee and Chuni Goswami give the movie a repeat value. The music by AR Rahman is apt and stays true to the gung-ho spirit of the movie. The movie is dialogue-heavy and has a huge Calcutta slant and even depicts the nightclub culture and babudom and the omnipresent “politricks” of Bengalis that has made Kolkata the trashcan as it is today. An uplifting movie with a predictable ending is seemingly based on a true story and is a gripping and exciting sports drama. As the end credits roll, you are left to ponder how Covid ended the lives of elderly people in India in 2020 and 2021. A fascinating movie, suitable for family audiences-I wonder why it had to rot in the cans for so long! 

CREW: Please do not dismiss it as a random chick flick! This movie has a substantial plot, wicked comedy and surprise!, surprise!, a logical screenplay that does not burst at the seams but zips together a well-hashed plot entwining all of the ensemble plot. I urge you to watch this movie not just for eye-balling the eye-candy but also to get realistic power-house performances from the entire cast. Just a little note, I wonder why Bebo has the best of everthing, while Lovely Lolo is too busy getting along with a shifty mind!Generation gap?oh well! Kuch mein hain kaam ki keeda!