Drishyam

Revised from to 4.5, based on popular feedback

Cast:Mohanlal, Meena, Siddique, Asha Sarath, Kalabhavan Shajon, Ansiba Hassan, Esther

Genre: Family Drama – Thriller

Direction: Jeethu Joseph

Production: Antony Perumbavoor under the banner of Ashirvad Cinemas

Cinematographer: Sujith Vassudev

Music: Anil Johnson and Vinu Thomas

Duration: 2 hours 43 minutes
Rating: 4/5 (Very Good)

  

Drishyam (ദൃശ്യം) is a 2013 family drama-thriller Malayalam film written and directed by  Jeethu Jospeh starring Mohanlal and Meena in the lead roles. The film starts with a tag line that “Visuals can be deceiving” and it actually lives up to it. George Kutty (wonderfully essayed by Mohanlal) is an orphan and 4^th class dropout who is running a local Cable TV network. He is a big movie buff who watches movies in a much focused manner and many of his decisions are influenced by the same. The movie portrays good family moments where George Kutty tries to be stingy (he has his own justifications for the same) and his wife Rani (Meena) occasionally demands of shopping, enjoying movie in a theater and food in a restaurant.

George Kutty, Rani and their two kids Anju (Ansiba Hassan) and Anu (Esther) together form a beautiful family picture until an unprecedented event hits them. The audience gets completely absorbed in the twist of events that begin to unfold from the end of the first half. The second half is more like a thriller and is about how the family, despite the vengeful villainy of a corrupt cop Sahadevan (Kalabhavan Shajon), stands its ground even as the law takes its course. The psychological cat-and-mouse game that ensues between George Kutty and the lady IPS officer Geetha Prabhakaran (Asha Sarath) has several moments that thriller buffs will dig into with delight. What is appreciable however is the adversary's acceptance of defeat, and the eventual respect that the two develop for each other. Prabhakaran (Siddique), husband of Geeta Prabhakaran also plays a vital role who seems to have non-biased approach. The movie doesn’t try to justify what is right and wrong. It showcases the journey of a head of the family who protects his family by all means.

Sujith Vaasudev was successful in capturing the visual beauty of Rajakkad-Idukki. Music scored by Anil Johnson and Vinu Thomas was good. The editor's table was safe with Ayoob Khan. Overall, the movie Drishyam has been packaged well.

Boss

Directed by: Anthony D´Souza

Starring: Akshay Kumar, Mithun Chakraborthy, Shiv Pandit, Danny Denzongpa, Ronit Roy, Aditi Rao Hydari

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

This film made no sense at all (including having opening titles 40 minutes into the film). And no kind of "it is supposed to be brainless" justifies how LAME the whole plot was. At least your characters and their basic principles should not be contradicting themselves.

Possibly the most essential role in the film is that of a father, because the relationship he shares with his son is the driving motivation for EVERYTHING that takes place, and gaining his affection is what the whole plot is striving for. However, as good an actor as Mithunda is, I found his character obnoxious and holier than thou. I could perhaps understand him being furious after the other boy was killed, but when the kid comes out of the jail he is viciously attacked by several armed adult men and he HITS THEM WITH A BUCKET, which results in father rejecting him forever without even giving him an opportunity to say a word in his own defence. WTF??? And in the end, when the boy´s death turns out to had been accidental, this father accepts the son even though he now IS a goonda and just killed a guy in front of him (and possibly have killed others, as is implied earlier in the film). What about your high principles babuji?

Just let me collect my feelings Babuji....

The film did not have to be a waste at all. It definitely had potential. In fact the first 40 minutes were rather intruiging, setting the backdrop for the later story. Kick-ass Danny Denzongpa who could really still kick your ass even today was awesome, the villainous police officer (whom everybody kept calling by his first name which was just weird) really menacing, and the young pair of lovebirds adequate. And then out of nowhere Akshay is beating people to some desi beat and riding cars on just two wheels through the desert. The tone of the film changed so abruptly it was not welcomed. What I thought would be a gripping family drama suddenly transformed into a silly comedy. Given it was not all bad, there were funny bits, but way too often slipping to OTT. I kept thinking that the basic idea of the movie would work very well - if it was either thriller or comedy, but definitely not as both. The mix did not work in film´s favour. At one point I hoped that Boss would be torn between loyalty to Danny and that to his family, and he would have to deal with lots of emotional drama. Instead his bro got into jail. So he set him free. And he got there again. So he again set him free. And that was it.

Bhai ka pyaar comes with an extra pair of cool shades

Aditi Rao Hydari was another contradiction. She is supposed to be "sabse alak" and her first shot is raising out of a pool in bikini, but firstly her strength is being cute and not sexy and secondly for the rest of the film she is as average as you can imagine, not to mention covered from head to toe. I hoped for some confrontation between her and her brother, but there is none, not even when she is supposed to send him to blazing hell. Then again, women do not have any importance in the Boss universe. If leave out sabse most covered Aditi, all we are left is bunch of "gori whoris" in the songs (which were all unquestionably pathetic). Party all night has possibly the most disgusting and cheap picturization this year. BTW notice how the only girl wearing something more than a bra and tiny skirt is another sabse alak Sonakshi Sinha, in a cameo TRULY unworthy of her talent.

Akshay has never looked more desperate

And how

da phuck

did this

made it through Censor board?

To sum it up, Boss had a great start and then started limping just like the old babuji, only to end up in the same place as the bomb-chika-chika-bum. It could have been really good, if they had sorted out what they were making in the first place and adjusted the script accordingly. The movie can also boast with many awesome names that have made place for themselves in our hearts, and they do deliver in whatever way they are allowed to, but truly, they all deserve much better

I think I´l l disown him for that party.

Krrish franchise

Koi... Mil Gaya

Directed by: Rakesh Roshan

Starring: Hrithik Roshan, Preity Zinta, Rekha

Released: 2003

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

First of three movie that now create a franchise, Koi Mil Gaya is a shameless rip off of extremely popular E.T., in more ways than one. Is anyone surprised that even music is lifted from other films? I was really annoyed when I recognized two of my favourite soundtracks – the Neverending story and yes, they even DARED to touch the Lord of the Rings – and I assure you I am not mistaken as I know that music by heart. Koi Mil Gaya is a film for kids (even though adults can enjoy it as well), and as such it manages to hit the mark. However even as a film for kids it is not too spectacular, especially not in the special effect department. The little blue creeper Jadoo has nothing on likeability of E.T., and looks just way too puppet-ish for anyone to think he is real for a second. The film is worth watching for Hrithik Roshan, who delivers his possibly best performance ever. The level of vulnerability, innocence and sincere emotions he projects is amazing, and that too in a role which is a far cry from macho heroes Bollywood thrives on. His pairing with Preity Zinta is cute, and the actress looks just lovely. Rekha, of course, is one of the most natural actresses ever. I love her in just about anything and everything, so this was no exception. Out of all three films this one has the biggest heart.

Krrish

Directed by: Rakesh Roshan

Starring: Hrithik Roshan, Priyanka Chopra, Rekha

Released: 2006

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Papa Roshan has decided to boost his son´s career a bit more, again with something new and unusual (and inspired) and what better (read: easier) way to do that than creating a sequel to a successful movie? And so Krrish was born, Preity Zinta killed off and Priyanka Chopra brought on board – as not really worthy a replacement (though she looked stunning, she was just kinda annoying silly gal in this). Yet again, the film needs to be watched through children´s eyes and the romantic track needed to be shorter. Performances are fine, but both Hrithik and Priyanka are owned by their older co-stars – apart from Rekha we also meet the very awesome Naseeruddin Shah as the main villain. Unfortunately somewhere down the line one was grieving that loveable, childish, simple Rohit from Koi Mil Gaya was replaced by his „son“, brooding Jesus-on-steroids Krishna. That said Hrithik has a perfect image to be a superhero. For adult people and teenagers Krrish doesn´t really work as a film of particular interest, for children it is almost perfect. I personally, though with long pauses in between, quite enjoyed it.

Krrish 3

Directed by: Rakesh Roshan

Starring: Hrithik Roshan, Priyanka Chopra, Vivek Oberoi, Kangana Ranaut

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Last (at least for now) instalment of the franchise has raised many eyebrows with its title. Krrish „3“? Did we miss Krrish „2“? Then again numbers do not seem a strong point of Papa Roshan, as we could see during the BO collections aftermath. I was not kind to the idea of the movie, given the previous one was nothing earth-shattering, and the promos very lackluster, the songs just pathetic, reminding one of an outdated 90s films. And after the release I was very put off by all the boasting from various people, mostly Vivek Oberoi, about their own greatness (you do NOT compare yourself to Mogambo and have me nodding in agreement). So I was very sceptical about this venture when I hit the play button and very surprised to find out.... Krrish 3 is a good film. Miles ahead of its predecessor (though sentimental me still prefers Koi Mil Gaya), it has a good enough story to keep you interested and the pace is good throughout. There are moments that are just not needed and overdone (because saving an old grumpy man would simply not play on our heart-strings like saving a cute baby), some of the action scenes are just weird (I kept singing Cause baby you make me tongue-tieeeeed, tongue tiiied...... in my head through the weirdest one – and btw how unhygienic it all was!) and AGAIN, ironically, the special effects look average. What I couldn´t grasp was the fact nobody, including Kangana´s character, realized Krishna is Krrish. The dude is not acting super secretive while in his costume – he sits down with everyone and chats (and apparently has a box of spare bracelets to give out for free) after all. The dude has green eyes and six fingers and nobody suspects anything? Not even when they are capable of making his statue and have his IDENTICAL father reveal it? Sorry, I am not buying that.

Vivek Oberoi as Kaal is impressive – at least up until the moment he decides to wear a seriously embarrassing armour, and so is Kangana Ranaut as a mutant. I suppose when she is forced to be subtle, she can really be great. Her change of heart was not too well explored, but it was sufficient still. Priyanka is better than the last time, but she really is „just there“. The role was not demanding at all. Coming to Hrithik Roshan, this time we do not have to make a choice between Rohit and Krrishna as we get them both. And Hrithik delivers as both – this time actually a lil more as Krrishna. Not a Best Actor award winning performance, but solid enough to be regarded as one of the better ones this year.

Akaash Vani

Directed by: Luv Ranjan

Starring: Kartik Tiwari, Nushrat Bharucha

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

We may have seen students in love a countless times before, but very rarely does the relationship seem as effortless and genuine as the one between Akaash and Vani. There is no big I-Hate-You drama, neither does anyone stalk the other. Two people take liking to each other and that´s it. It just felt very natural, believable. Just as the rest of relationships we encounter throughout the movie. It is actually all more Vani than Akaash, as hers is the character growth and variety of situations compared to Akaash.

Going through a truly agonizing choice between duty to parents and promise to a boy she loves, Vani actually brings even more agonizing moments on herself. Some may argue that the guy she is promptly married off to is a caricature, an evil puppet of a man painted in the darkest colours for the sake of the film, but unfortunately such men do exist and they are actually not as scarce as we would like to think. Vani is less of a wife and more of a robot - and as crude as it sounds - a masturbation tool. She is being humiliated, looked down upon and raped. And yet when she tells her parents - they take her husband´s side. That too was just way too realistic not to strike a chord. Nushrat Bharucha does a great job as Vani. She is loveable and sweet at first, but bit by bit the fire is going out until she is pretty much a walking corpse.

Kartik Tiwari as Akaash is decent, but I did not think he was the best choice for the role. He looks too fragile and girly, which may be forgivable in first half, but once he reappears again one would expect him to be less of a child and more of a man. His dialogue delivery was bad. Also - even though I found the couple cute, Kartik and Nushrat do not really share a chemistry. Sunny Nijar as Vani´s husband is good and he makes it easy for you to hate him. His character is an insecure, sexist hypocrite treating his wife like shit and at the same time still feeling like the most gracious God she should worship with her every breath. This mentality is not reserved for Indians. I know such men and have seen such relationships where I live too. I was wondering if Vani was at least partly to be blamed for all the misery – after all she did not even try to love the guy, but all in all, after being raped for the first time, and then again and again, and never given a thought as a human being... no, I don´t think it was her fault at all.

Songs are good but some lyrics are awful (Baby I, your crazy, Lover, You smiling me climbing tower), and the greatest flaw is the uneven space given to different stages of the story. Vani´s marital life and her suffering are seemingly going on forever and after a certain moment it just becomes way too tiring to watch. It really balances on the point between gaining sympathy and feeling for Vani and melodramatic emotional blackmail. Similarly her "happy day" with Akaash after years was tad too long, not to mention the most "bollywood-ish" bit of the film - too good to be true.

The climax and ending, that should potentially be the most intense, is a letdown. It happens too quickly and doesn´t give any satisfaction to the viewer, who had been waiting for some serious confrontation with abusive husband and old-fashioned parents. But if the husband or the parents realize what really went wrong, we are never shown. Our Akaash Vani have their filmi ending without much fanfare.

Akaash Vani would have been better if it had some other hero and really sorted out its priorities. You can´t give me so much pain and have me shedding so many tears (I was positively bawling) only to solve it all with a slap. As if the filmmaker decided he had already shown what he wanted in the form of marital abuse, and the rest of the story was not really worth that much attention.   

You tell them girl.

Besharam

Directed by: Abhinav Kashyp

Starring: Ranbir Kapoor, Pallavi Sharda, Rishi Kapoor, Neetu Singh

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

After drowning us with tears in emotional Rockstar, warming our hearts with delightful Barfi and entertaining us with romantic YJHD Ranbir Kapoor has apparently decided it was time to screw his reputation with Besharam. He is without a doubt my most favourite actor from the new generation (yes, even after this film), but truth to be told that only made the whole matter worse. I admit - I was not as appalled and horrified as I probably should have been, because appalled and horrified reviews kept coming from all sides and my expectations hit rock bottom. When I found some himmat to watch, I was ready for the WORST. The first half is decent - if we forget the disgusting morning erection scene and the most repulsive scene EVER (starring living legend Rishi Kapoor and a toilet) which was not needed and pretty much an INSULT to all his fans. Ranbir is acting well (even though his character is a disgusting creep for most part) and the new girl can dance. And Rishi Kapoor is the one who gives you a few chuckles (when he is not doing potty).

The story is extremely weak, and even though one is not supposed to look for logic in these kind of movies, the stupidity of actions these people go to is just too much. There was no need to steal the car again, at least not once the girl knew the truth. And did they really think they couldn´t be tracked down? Did they really think nobody would look for the money? The bones of this plot are rusty, and the tofu you are trying to plaster on them ain´t no meat. So what that Babli is an orphan. How does that justify him being a thief? And that he gives everything to the orphanage makes even less sense - he could be doing any honest job and do the same. In other words Babli is a thief - because he likes it. There is no majboori involved, no matter how much they are trying to shovel that into your throat.

I will do something I usually hate when others do it and say that Pallavi Sharda is just not beautiful enough. Not for this movie. She IS pretty and she is not a bad actress at all, however this role called for a STUNNING lady that would just catch your eye immediately. And Pallavi does not have this quality. She completely lacks star quality and is very bland. She shares no chemistry with Ranbir (obsessed with his crotch be it in the songs or otherwise) whatsoever, and their love story is very much awkward and superficial. It doesn´t feel natural at all, has no progress.

The girl is treated just bad in the whole movie. She is pursued by the hero because of no other reason than her looks. He is stalking her even though she several times rejects him and makes it clear she has no interest in him whatsoever. Later in the film she is deceived and lied to. And when she gets upset - SHE is the one who gets lectured on being spoilt, heartless and cold. WTF?! Sexist much director saab?

Neetu Singh.... the pyaari Neetu.... got the worst character in the film and is pretty much stripped of all her grace and ellegance. She was obnoxious and annoying and unfortunately only PARTLY because her character sucked. One of the main attractions of the film was the fact the three Kapoors were starring together in it - for the first time ever - but in the end it makes everything even more sad.

In the end I can only say that not even super low expectations save anything - except perhaps it doesn´t make you that mad. It also doesn´t guarantee you will not want to barf at the toilet scene. Besharam Abhinav Kashyap took us for a ride and drove so recklessly we all can only feel sick.

Mera Raqeeb - Episode 1

There was so much I wanted to say about this episode after watching it - but unfortunately, I've since then forgotten what it was I wanted to say!

So instead, I'm just going to make some half-baked comments about my overall thoughts on the show.

When will Sajal Ali stop playing these "main bechaari, seedhi saadhi" roles?  Seen it in Mastana Mahi, seen it in Aasmanon Pe Likha, seen it in Meri Laadli, seen it in Gohar E Nayyab......what's up?  Her few different roles, such as in Mere Qatil Mere Dildar, do not make up for the overhaul in "naive" roles.  She is talented, but she's wasting herself on these roles.  It's pretty frustrating.  

Also, I have to mention that her reaction to her husband's accident was by far the dumbest thing I've ever seen.  "Woh nahin ho sakte, woh is shaher mein nahin hai."  UH.  They called you.  They said his name.  They said he's been in an accident.  FIGURE IT OUT.  This was not the best start to a show.

Who knew Faisal Rehman and Juggan Kazim would look so good together?  Not only do they look nice, they also seem to have great chemistry.  I'm also, so far, impressed with Juggan's character.  She's a very happy, bouncy type, which suits her real life image much more, but she rarely gets to do this in dramas.  so far, so good.

Dear Affan - if you play another negative, irritating role, I will personally slap you.  I love you, but I never want to see you in a role like in Maseeha EVER again.  Please don't do it.  I don't know why I'm getting a sinking feeling about this character....but I am.  In this episode, we didn't see much of Affan in motion - he was mostly restricted to a hospital bed, unconscious.  So any other thoughts to be announced...

Overall, I think the storyline is interesting....but for how long, I wonder?  Does this storyline have enough material for 20 + episodes?  I'm not sure.  Let's wait and see!  Happy watching!

Kohinoor

Directed by: S. U. Sunny

Starring: Dilip Kumar, Meena Kumari, Jeevan

Released: 1960

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

A delightful film sprinkled with comedy, romance and action, wrapped in pleasant visuals and stuffed with pretty songs. There is that certain naivity you have to accept, and when you do nothing can really prevent you from enjoying the movie. Kohinoor is unique because it showed the two people best known for their brilliant suffering on screen in a completely different light. Well, in Meena Kumari´s case the tragic part of it was not completely abandoned, but still. The film also proved to be exactly and literally what doctor prescribed to depressed Dilip Kumar, who had previously portrayed the eternal alcoholic looser in Devdas and found himself unable to just let go of him for some time.

Dilip Kumar (as handsome as you can imagine!!!) is a Prince, who in spite of everything refuses to be over-dramatic. And that there would definitely be reasons for having a fit or at least a nervous breakdown! Attacks on his life are made – until even he gets suspicious and when he finds out that it is actually his seemingly faithful minister, who has been blinded by greed and sees himself on the throne already, the Prince is forced to leave his kingdom. But no worries, no time for moping – after all, he soon crosses the path of Princess Meena Kumari, with whom his marriage had been planned, and they promptly fall in love fall in love. Unfortunately there is someone else, malicious and sneaky, who is lusting after the beautiful Princess! 

To see Dilip and Meena in such a film was sheer joy. Especially he gets an opportunity to tune into other than the mopy and depressing mood (which he previously crafted into perfection). And I really don´t think there has been an actor more handsome in Bollywood, ever, with possible exception of very young Sunil Dutt (I think by this point you get that Yusuf Khan is my Khan of all seasons). He handles comedy extremely well. I loved how chilled his character was! You just tried to kill me? Whatevs man, I have a girl to impress. You just shot me in the arm? Ain´t nobody got time for that, let´s sing a happy song. We are trapped in a building full of enemies? Here, darling, why don´t you handle them yourself, I´ll collect you later.

Meena Kumari too proved that she was capable of much more than just bringing tears into our eyes. She could make us laugh as well! Although I was bit irritated with the stereotypical character naive girl who doesn´t recognize her lover just because he put a fake beard on. There were moments in the second half where I was afraid the film has deserted the comic track and decided to go into full-blown drama, which at that point was the last thing I wanted. I had way too good a time being entertained! Fortunately our Princess soon realizes that fainting at every occasion gets her nowhere and starts throwing everything that she finds at everyone that she sees!

The villain turned out to be a very familiar face – Jeevan. He may not have the exaggerated English accent in this, but I just kept going back to „Raabert“ from Amar Akbar Anthony in my mind, every time he appeared on the screen. But he was good nontheless. And it was not his fault that he made such an impression on me in AAA, that I will forever see him in that role. After all, Kohinoor happened a long time before AAA.

The film definitely won me over. Favourite moments? Many! For example a hysterical princess beating everyone over their heads with a stick, and the absolutely hilarious "missing mirror" scene between the hero and the intoxicated antagonist! Oh – did you know Dilip Kumar actually learned how to play a sitar just so he could do so in one of the songs?

Kankar: The Finale

Words can't describe my feelings last week when I saw the preview for episode 25 - immediately, I became emotional, knowing this week would be the last episode.  How quickly 6 months passed by - though Kankar has been with me the last 6 months while I lived my life, it still somehow feels as though I only started watching it yesterday.  I won't lie - this show will leave a huge void that I will definitely feel, especially on Friday nights.

Getting to the episode, a lot happened in one episode.  However, unlike other dramas, this did not feel rushed.  Only too often, you're left with this feeling of too many things being crammed in that last final episode, as if the director forgot how much material he had left to cover.  But with Kankar, this episode did the show complete justice and fit all the pieces of the emotional puzzle into place, bringing the characters to a place of emotional healing and realistic happiness.  Realistic being the key word.

The episode opens showing the rift between Adnan & Kiran.  Sikandar is taking Kiran home, but instead of happiness, Kiran maintains that she's leaving her home to go to his home.  This scene perfectly demonstrated that apologies can't take away all the pain that has accumulated in a person's heart.

We also see Faiqa and Shaista arguing, as Shaista wants to take Aarzoo home.  Faiqa tells Shaista that she has broken her trust, as her family no longer trusts her because of her decision to marry Aarzoo to Sikandar.  She also tells Shaista that even if Aarzoo agrees to go back to Sikandar, she will not let her leave, as she has no interest in having her own daughter repeatedly beaten.  This scene was a turning point, as Faiqa was no longer interested in hearing Shaista's excuses for her son.  We also saw a scene between Shaista & Sikandar, where Sikandar shows remorse for Aarzoo leaving and states that he will pick her up himself.  Shaista's disdain towards her son shows in this scene, as she no longer trusts that he will change.

Aarzoo's turmoil with the decision to stay with or leave Sikandar is also shown in several scenes.  In her scene with Faiqa, Aarzoo is seen finally blaming her mother for making poor decisions regarding her life and turning a blind eye to her nephew's bad traits.  We also see an important scene between Aarzoo and Kiran, where Kiran guides Aarzoo on making the right decision for her life.  She states that she did love Sikandar; however while leaving him would cause her pain, so would staying in that house with him while he physically and mentally harmed her.  Either way, pain was being caused, so she made the decision to leave.  This was powerful.  At the same time, she tells Aarzoo that she now has a son and she has, many times, doubted her decision of leaving due to the difficulties society has inflicted on her.  She tells Aarzoo to make the right decision, as she now has a son and needs to decide if she has the strength to face the world's taunts.  This scene was not only heartfelt, but also powerful.

The most awaited scene finally happened when Sikandar and Kiran came face-to-face.  Sikandar told Kiran that she was worthy of so much more and asked her to divorce Adnan, he would divorce Aarzoo and they could be together.  SLAP.  Dard hua?  Aurat ko bhi hota hai.  With this one line, Kiran not only made her stance clear and relieved herself of anger, but also vocalized what the audience has been feeling for months.  I wanted to CHEER and dance.

Even better was the scene that stemmed from Kiran's line:  Sikandar apologizing to Aarzoo and expressing a desire to change.  He also told Aarzoo that he does not want his son to end up like him.  Relationships can't be perfect, but if a person is willing to bend, problems can be solved.  This showed the start of a new Sikandar, one that might treat Aarzoo and his son well.

In Kiran's home, we see a change in Rukhsar and Phupo's behavior towards Kiran, which has now become positive and supportive.  Rukhsar shares sweet moments with her husband over the phone in her excitement to finally be with him.  These scenes really added to the show.  Rukhsar was not a bad person, but was made bitter by life's unrelenting difficulties.  In a scene between Rukhsar and Adnan, we see Rukhsar apologizing for her behavior.  Adnan explains to Rukhsar that Khooni rishton ko maaf karne padte hain.  This line is a reality of life and really sticks with you at the end of the scene.  The entire sequence between Adnan & Rukhsar (and Kiran eavesdropping) left me spellbound, as it showed two different arguments.  On the surface, Rukhsar causing problems in Kiran & Adnan's life now ends, but the remnants will always be left behind, though ultimately forgiven.

The ending scene shows Kiran and Adnan happy in their home on her birthday, where he brought her a cage of parrots.  He declares that Waisay bhi pinjray drakht pe tangay achche lagte hain, signaling that Kiran is now free of her cage (of guilt, remorse, pain - however you choose to see it).  

Thank you Umera Ahmed for not only bringing a beautiful story to life on-screen, but also putting forth an important message for society:  A woman's only job is not to "compromise" in difficult situations.  Every woman is worthy of respect and it's time society's taboos stopped dictating a woman's right to happiness.  Human beings are complex creatures and not every situation is black and white.  Thank you Kankar for opening eyes.

Ek Kasak Reh Gayi - Last Episode

When I initially started watching this drama, I felt it to be slow, repetitive and mildly boring.  The only real positives were the star cast and the beautiful OST.  Eventually, I stopped watching.  Then, somehow in a moment of boredom, I started watching it again.  Up until episode 20, after each episode, I would ask myself "Why am I watching this again?"  However, after the leap, the drama became interesting again.  Was the ending a redeeming factor?

I'm not sure I can argue that it was.  Something about the entire episode felt rushed, as if the producers could no longer bankroll another episode, so they needed to jam-pack everything into these last 35 minutes.  

In this episode, we saw Rania speaking to Paras about her bad decisions which lead to the destruction of all of their lives.  She tells Paras that she's leaving and encourages her to go back to Sheharyar.  That's fine - but this came off as her own distress at her bad marriage and lack of conceiving a child rather than real regret at what she did to Paras.  The entire character of Rania was faulty.  In the beginning, we see her as this strong, confident girl.  But this girl had loyalty and a heart of gold, so that's why she obeyed her father and broke off her relationship with Sheharyar.  So Sheharyar married Paras.  HOWEVER, the girl we see Rania turn into after her accident was an example of bad writing.  Why was Rania suddenly so needy and selfish?  She turned into a completely different person!

Moving on, we see Sheharyar and Paras at their "custody hearing" (which was really just a one-woman show in her office) where Sheharyar wins custody of his daughter.  Up until this point, Sheharyar has really come off as a heartless mo-fo, considering all that Paras has done for him in the past.  Paras gave him her kidney and saved his life - he repayed her by taking a second wife and not batting an eyelash when she left him.  And NOW he decides he's going to take her daughter?  Yeah.....real classy.  Paras made her own share of mistakes, including lying about Ajwa and being stubborn, but it still does not match up to Sheharyar's faults.

Taaya Abba goes to speak to Paras in a moment of regret for what he's put her through.  He apologizes for always being cold towards her, despite loving her like a daughter in his heart.  The scene was very heartfelt.  UNFORTUNATELY, this was another case of faulty writing, because Taaya and Taayi always seemed very cold and calculating.  Let's not forget how Taayi would instigate Taaya Jaan against Paras and her sister at every chance and how Taaya Jaan would label both girls as heading on the wrong path.  HMMMM.  

I also want to take this moment to mention that the writers seem to have COMPLETELY FORGOTTEN about Sarmad and Sarah - it's as though they were never characters on this show!  They were mentioned by Taaya and Taayi on two separate occasions, but were never seen after the leap.  Ugh.

Sheharyar goes home to find a letter from Rania, wishing him well and telling him to reunite with his family.  Bye bye Rania.  Good riddance, Rania.  See you never, Rania.  That's the end of Rania, thank goodness.

Sheharyar and Paras reunite in an emotional scene.  We are also treated to a scene between Paras and Taaya Jaan where she apologizes for troubling him and accepts him as a father.  This was nice.

In the final scene, we see Sheharyar, Paras and Ajwa as a happy family.  But WAIT.....

MOMENTARILY, we catch a weird glimpse of Bia sitting in her room with a weird smile.  What on earth?  That's it.  You blink and you miss her.  Did the writers FORGET about Bia as well?  The scene looked like an afterthought that was edited in quickly at the end.  HUH!

Well, all's well that ends well and the ending was a happy one.  There are some dramas that remain etched in your memory for years to come or at least stay with you for a year.  "Ek Kasak Reh Gayi" is one drama that I enjoyed while watching, but will probably forget about two weeks from today.

Happy watching!

Absence

I apologize for my lack of posts this week.  Masha'Allah, my sister had a healthy baby boy and I've been busy helping her this week.  =)  Leaving today and will make up for it!

But I do have to say that I made time to watch Kankar this week - beautiful episode and the preview for next week's episode (which I assume is the last) left me very emotional.

Shakk was also very good this week, as usual.  The story isn't fast-paced, but it's so endearing and natural in all aspects - direction, chemistry, acting, story.....very good.  I can't do anything but sing the praises of this show so far.  Let's hope it continues on this path!  =)

Happy watching!

Himmatwala

Directed by: Sajid Khan

Starring: Ajay Devgn, Tamanna Bhatia, Paresh Rawal, Zarina Wahab

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

When I reviewed the famous (and overrated as hell) 1983 Himmatwala some time ago, I expressed a thought that any remake can only be better. I am not going to eat my words. At least not entirely. It is bad, quite bad actually. Maybe even as bad. But worse it is not. And frankly while it deserved severe criticism, I don´t think it was as horrible as critics made it sound. I don´t think they even try to be fair when it comes to Sajid Khan, who has never been their favourite thanks to his overconfident attitude that understandably rubs them the wrong way (me too, but he has yet to insult me personally.) In the end Himmatwala flopped – very much deservedly, but at the same time it is not the worst film of the year by far – something many have been trying to prove.

There are things that are different from the 1983 film (I don´t want to say „original“ since I am not sure it was „original“ - more like a remake of something too) and there are things that remain untouched. Unfortunatelly the elements Sajid Khan decided to keep are often what makes the whole movie seem regressive instead of initiating an avalanche of nostalgia among 30+ audience. And so a wife has to stay with her abusive husband, because you know – family honour! And evil women wear mini-skirts, so when they suddenly shift to sarees you realize they mended their ignoble ways. And an attempt at morally „right“ approach towards rapists may be understandable from a certain point of view, but again it is just violence and violence only. Threw in a gay joke or two, just to be sure you are funny. And if the audience did not get it, make it really obvious, that you are making fun now. 1-2-3-laugh!

I was glad that Ravi (Ajay) did not suffer from a memory loss, unlike his predecessor, and I liked how they changed his identity. Unfortunatelly Ajay Devgn may be a great action hero, but his attempt at comedy don´t go well. He is, much like Jeetendra, too old for the role, and if not that he is definitely too old for his heroine. Tamanna Bhatia, whom I really like and adore, have been making waves down in the South, but she is yet to make her mark on Bollywood map, and for her sake (and the fangirl in me who is ready to love her) I hope her next Hindi venture will offer her more scope. She does well in her small role, her expressions are delightful and she dances beautifully. Paresh Rawal in ridiculous get-up is not funny. And Zarina Wahab as the new-age suffering Maa has nothing on epic crying Maas of the past.

That the film is over the top, ridiculous and just full of loopholes goes without saying. Sajid Khan is hated by critics also because of making most ridiculous movies that, as many feel, are made to mock their intelligence. But my peeve against Sajid is a bit different: I don´t think he is a good story teller. Even simplistic, silly cinema can be worth your money if it keeps you entertained, but not this. Himmatwala is an example of lazy filmmaking, trying to ride the masalla wave, that, however, can only end up in a blind alley after a while.

The marketing line of „80s will be back“ did not lie, but who in the world wants Bollywood 80s back? It is actually quite depressing to think that 30 years have caused a very little progress in the minds of some people (quite a few people – Himmatwala may have fopped but it still earned around 60 crore). Oh - if you really want to see a hand-to-paw combat with a tiger, I recommend to watch the „rascalla“ scene from Om Shanti Om over this.

Roti

Directed by: Manmohan Desai

Starring: Rajesh Khanna, Mumtaz, Om Prakash, Nirupa Roy

Released: 1974

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Once upon a time, there was a little boy from a slum, who had to slog and yet went to bed hungry. And seeing all the injustice in the world he became a criminal to ensure his survival. Two lines that could start describing about a million Indian films. Some used it as a background idea, many used it as the main motivation of the characters. Some were brilliant and some did not work, and even though Roti has apparently been appreciated at the time of its release, I don´t think it deserves to be anywhere near the top when it comes to a list of such films.

After escaping from jail and being considered dead, Mangal (as Rajesh is called) decides to lead a different life. He ends up in a small mountain village, where posing as a friend of their son, he finds a shelter with blind aging parents, acquires the position of a teacher in the school, romances Bijli (Mumtaz), saves prostitutes and turns everyone „human“ (because who better but a guy running froma a police for that job, eh?)

How to dress when you are wanted killer on the run, lesson 1.

Rajesh Khanna wearing hippie shirts and awful mullet tried to persuade me he is both a wanted criminal and Jesus in second incarnation. Needless to say he looked unconvincing as the first and annoyingly pretentious as the latter. He did not act badly, but apparently the magic of Rajesh Khanna for whom the girls were writing letters in their own blood does not work on me. I felt rather bored throughout, which is largely to be blamed on a script full of things I have seen a million times, and the never-ending message that resonates through Indian films since the beginning till today - about corrupt society and innocent children turned criminals. But Mangal is not just a small-time thief or a Robin Hood. He is a killer - and people are also killed because of him, without him ever caring. The story is told without getting some kind of emotion from the viewer, and the most engaging action is the God-intervention starring monkeys.

How to dress when you are hiding from the police in the woods, lesson 12.

This is the first time I saw Mumtaz (well, not really true because I saw her previously in Suraj, but there she was just in a supporting role and completely lost in the awesomeness that always shines around Vyjayanthimala), and I liked her well enough. She had some spunk, even if at times her character was an annoying chatterbox. However a heroine whose only purpose is to fall for the hero, no matter how prepostrous the whole thing is, is yet another fail the film has. And sadly, she doesn´t even have a song that would be worth mentioning it. Oh no, all the songs are social-waking opportunities for our criminal-Jesus.

I understand why these films were and are still made. Because reality has not changed. But some films seem to be made just to be preachy, and end up being more of a boring lecture (with lack of logic involved) than an emotional experience that would actually make one sit back and think for a while, if not get up and doing something. Roti doesn´t do enough to justify the ways of Mangal. He keeps having passionate speeches about hunger and stomachs, but sorry, dude, you´ve been a healthy adult for long enough now and still you would choose stupid fight resulting in killing someone, then having people shot because of your pompous escape from the gallows... and I am supposed to feel your pain more then theirs?

I lost a leg because of you, wanted murderer, but even though I am aiming at you, I will not shoot you. On the contrary I wil let you run along with best wishes because when you crippled me you skillfully lied to my blind parents so they took you in. And they think you are a great guy.

The film needed a better editing too, as some bits seem to be left out (or I again got a copy with scenes cut). What starts as a tale of a hungry child ends in an amazingly unbelievable climax with burying your enemies under an avalanche, racing ahead of a police dog with Mumtaz on your back, having yet another damn long speech after being shot in the heart (and you blood evenly spilling into the part of Mumtaz´s hair – which totally beats the famous Mujhse Dosti Karoge sindoor scene), as the blind parents and their one-legged son obviously manage to hurry up (and be quicker than police and gundas in their cars) to mourn over you.

*SPLASH*

OMG I have your blood in my hair. I have never been happier. 

I´m dying.

I´M DYYYING!!!

Not fair! I also had a speech on increasing gas prices and globalization!