Bajirao Mastani

Directed by: Sanjay Leela Bhansali

Starring: Ranveer Singh, Deepika Padukone, Priyanka Chopra

Released: 2015

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

Khamoshi – The Musical made me cry my eyes out. Hum Dil De Chuke Sanam was just too well made. Devdas is forever engraved in my memory as one of the most powerful cinematic experiences of my life. Black was intriguing. Saawariya magical. Then game the bleak period of Bhansali films with what I felt was pretentious and half-baked Guzaarish and over-sexed and nonsensical Ram Leela. With Bajirao Mastani the director with a fetish for bling and drama returned to the path I would be happy to follow as a viewer. Bajirao Mastani is a culmination of many dreams and efforts, and certainly a story worth telling. Bhansali did not create anyone´s biography or accurate historical epic. He captured the parts of the real history that are etched in human memory as legends and myths, those parts that we can understand in spite of the ever growing time gap. Perhaps we no longer understand the politics, that is a mere background setting for something much more intimate, but we will always understand love.

Bhansali reaches for inspiration to Mughal-E-Azam and does not try to hide it. The mirror hall and the garden where Mastani performs her dances may as well be those in which Madhubala as Anarkali twirled elegantly some sixty years ago. And the theme of overwhelming, all-consuming love leading to ruin and madness had always been something the director has been into. The characters and the actors are well blended, the roles wonderfully executed, yet the writing leaves space for improvement. It is not difficult for me to believe Mastani loved used metaphors and poetry often, but in the film every line from her lips is a complex artistic composition with hidden meaning. That, I believe, is why some people found Deepika Padukone lacking in perfection in the role. In my view she was very, very good, but the writing made her speech seem artificial. 

Finally, Deepika is not the best actress in India, yet for the role she was well suited. Convincing in fight scenes (if only she had been in more!), subtle and dreamy when in love, graceful (though not technically perfect) while dancing, with fire in her eyes when confronted, she also possesses that certain air of being the Ultimate woman in the story. It was not difficult for me to see why would Bajirao forget the lovely, faithful and docile Kashi for the fascinating Mastani who better matched his own personality. I liked how Mastani strove to get what she wanted and believed to be hers. But why did Mastani came to Bajirao´s home with only one servant and did so little to let Bajirao know about her being present at all? This bit made little sense to me.

Ranveer Singh washed away all the excess oil from Ram Leela and Gunday (thank God), and gives his best performance yet. The energy and force seem to surge through him, there is a slight hint of arrogance and later his desperation over the whole situation he created makes him both frightful and pitiful. The interaction between the two leads is more mature in Ram Leela, and even without crawling over each other in every moment available they come off much more in love here. Few happy moments for them would have been nice, but probably stretching the movie would not have been a good idea. Priyanka Chopra as Chandramukhi Kashi, the „other“ woman, is as fine as she can be. The hurt, the disbelief, the denial, the acceptance and silent suffering, everything is mirrored clearly in her expressions. From the supporting cast Tanvi Azmi as Bajirao´s mother impressed me the most.

I think my only major complaints would be a) lack of Mastani action in the second half b) non-memorable music with the exception of Deewani Mastani and c) the lack of closure to the story. No matter how passionate and overwhelming, the love affair of Bajirao and Mastani was not their own matter and the whole mess it created encompassed many other people. Even after the lovers die the story has loose ends and Bhansali leaves them hanging without a thought. In the very least what thereafter happened to Kashi and to Mastani´s child should have been mentioned. In Devdas the abrupt end and fade to black felt right, but even though the director was aiming for the same escalation of the momentum here, with Bajirao putting the last of his strength into a fight with demons only visible to him, the effect, though felt, is not of the same level. And I also hoped Mastani would die of something more palpable than a broken heart. Perhaps I have grown old and cynical?

In the end I can only say this is a movie I will certainly watch again. There are not many films like that, certainly not in Bollywood. Mughal-E-Azam it´s not. But deserving appreciation and some love it is.

Om Shanti Om

Directed by: Farah Khan

Starring: Shahrukh Khan, Deepika Padukone, Arjun Rampal, Kirron Kher, Shreyas Talpade

Released: 2007

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

While I do not hold Farah Khan in high esteem as a director, she did something remarkable and created a film which has been terribly important in my personal Bollywood journey, and so enjoyable that it easily ranks in my top ten Indian films. Om Shanti Om is like a gigantic puzzle box. There is truly everything you may ask for in a film – puppy love, eternal love, slapstick humour, subtle humour, tragedy, action, memorable dialogues, great soundtrack.... and when it all comes together it just clicks and works wonders. Nothing speaks more in favour of the film that even though it is stuffed to the broom with film-references and making good-natured fun of the style of Indian filmmaking, it has become my number one choice of recommendation whenever Bollywood beginners ask me to show them a film. They know nothing about Bollywood, yet all of them like Om Shanti Om with all the quirks and in spite of not understanding any of the underlying jokes (and having no idea who that bunch of people randomly appearing in Deewangi Deewangi are).

Shahrukh Khan is allowed to over-play his already dramatic antics and as a result we get two delightfully different, yet both completely over the top heroes: Om Kapoor the goofy, star-struck movie fan, who lives only for his dream of becoming a star and gaining love of the gorgeous Shantipriya, the dream girl of the silver screen; and Om Kapoor the spoilt brat and arrogant actor who takes everything for granted. They only really become one and the same person as they near their destiny – the goofy bubble-gum 70s Om finds his doom in flames, that also shockingly take away Shantipriya, the irritable 00s Om upon realizing that he has unfinished business from his previous life. His over-dramatic acting is spot on and exactly what the film needs. And Dard-E-Disco is the greatest item song Bollywood has produced and you cannot tell me otherwise, capturing both the fun and ridiculousness item songs stand for.

I could not but oogle over Deepika Padukone (and her stunning, stunning wardrobe throughout the film), who, though dubbed, gave a very confident and good debut performance. Her expressions and eyes speak a language of their own, even if the voice is not hers. She is glamorous and perfect as Shanti. The whole supporting cast is apt and excellent, Arjun Rampal giving you the necessary creeps, Kirron Kher both amusing you and breaking your heart as typical filmi Maa, Shreyas Talpade with his adorable and undying support to Om´s dreams. Not to mention all the array of stars and superstars who agreed to do a cameo. The whole Filmfare awards bit was utterly hilarious also thanks to impeccable comic timing of Abhishek Bachchan and Akshay Kumar. And how heartening it was to see Rishi Kapoor and Subhash Ghai, who “opened” the whole film, fighting over a microphone? That is one of those golden moment that make Om Shanti Om so endearing.

THIS

IS

NOT

OK (did I mention I am pyrophobic?)

The film is visually opulent, nothing short of Bhansali level of opulence actually. The aesthetics of it appealed to me greatly as they stem from my beloved Art Noveau, which gives for example the green-rooms corridor almost a fairy-tale look. Another wonderful thing are all the beautiful painting by Alfons Mucha on the walls. The songs are skillfully choreographed and also magnificent, from romantic randez-vous in a film studio for Mein Agar Kahoon, to fabulously theatrical Dastaan, clearly inspired by the big masquerade scene from the Phantom of the Opera. And they are all beautiful. Except for Dar-E-Disco which is not beautiful, but totally fab in its own right as mentioned above. The lyrics “Now I am a wanderer, and a lover of disco, as I wander around London, Paris, New York, L.A., San Francisco!” are a true gem.

Do...

you......

.....hear his heart breaking?

As you can already tell, I adore this film. I dare to go as far as to compare Om Shanti Om with another Bollywood extravaganza – Amar Akbar Anthony – even though the latter is without doubt on a whole another level of iconic. The right mix of stuff that ranks from touching to pretty much crazy, with logic loopholes that one couldn´t care for any less, since it is simply all just too much fun. It is a well known fact that Om Shanti Om is an unofficial remake of Karz, which in turn was a remake of Madhumati, all films dealing with the themes of revenge “from beyond the grave”, with reincarnation being the turning point. It is also remarkable that unlike another set of remakes (based on the trope of separated twin siblings), all these films are memorable and great. Farah Khan simply took the story and filled every scene with potshots on almost every aspect of Hindi films. However these are all taken with much love and never even border on insulting. Om Shanti Om is both a parody of Bollywood and at the same time appreciates most of what makes it distinct and special.

Finding Fanny

Directed by: Homi Adajania

Starring: Naseeruddin Shah, Dimple Kapadia, Pankaj Kapoor, Deepika Padukone, Arjun Kapoor

Released: 2014

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

Oh the irony! I always wait for DVDs to come out with English subtitles so I can enjoy the film. This one was to be in English... so naturally I downloaded the Hindi dubbed version and had to deal with speech not always matching the lip movement. It was a mild irritation, but irritation nontheless. And how are you to find Fanny, if you cannot find a gripping plotline? Truth is that I had looked forward to Finding Fanny with great expectations. I loved the trailers and promos, it had a wonderful star cast and sometimes you just have a good feeling about projects that are coming your way.

Unfortunately the expectations are not exactly met, though the movie manages to stand out of the crowd. It is very quirky (though not as delightfully quirky as Dedh Ishqiya, which too was labeled as black comedy), but lacks any wit. It deals with the bizarre and the absurd which life brings, but it is not as bizarre and absurd as I would need it to be to feel entertained rather than depressed. Using the statement of the drunken Russian who also makes an appearance: „Fanny? It is not funny!“ However crazy the situations in Finding Fanny become, they are not stepping over the line which makes black comedy funny. Instead you feel somehow sad, pitiful, and at time mildly disgusted (speaking the cat scene here, which was ever so much worse for me as a lover of animals and cats in particular). On the plus side it only lasts hour and a half, which is just about right for the subject. Plus points to be noted for fitting music (the main melody still rings in my ears) and visuals.

Stuffed in a flaked vintage car the five protagonists are on a way to find love and discover something about themselves. A young man Savio that sometimes one has to act instead of just waiting for something to happen. Beautiful Angie that not all stories have happy endings, but one must carry on. Elderly seductive siren Rosie that hollow pride combined with flattery may result in something very shameful. Adorable Ferdie that even the girl he once had loved did age. And art-obsessed Don Pedro that it may not be the best idea to get into a car with these other four, unless you wanna end up with an accidental bullet in your head and forever missing on the bottom of the sea. Many scenes are so very human one feels the acute embarasement at witnessing them, as an intruder in something that is not your business. I just cannot decide whether that is a good or a bad thing.

What saves Finding Fanny are ultimately very good performances from the whole cast. The young ones - Arjun and Deepika, do not go through many mood changes, and hold steadily and naturally against the elder three, who are acting masters in their own right. My favourite was definitely Naseeruddin Shah. Compare his Ferdie, who cries and howls without shame when sad, who is as soft and gentle as a child, to his Dedh Ishqiya character, who could boast of immense charm, but also vanity, cunningness and sneekiness - though the face remains the same, the two are so distinctly different I just felt in awe of Mr. Shah yet again.

I am glad Finding Fanny exists. It is different and not bad. Just not great either.  

Love Aaj Kal

Directed by: Imtiaz Ali

Starring: Saif Ali Khan, Deepika Padukone, Rishi Kapoor

Released: 2009

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

The story may not be great and performances of varied quality, but there is something lyrical about Imtiaz Ali films, which makes them an enjoyable watch, even if only once. Love Aaj Kal is the least emotional of his movies, least complicated, not reaching the amazing entertainment offered by Jab We Met or even emotional wreckage of Rockstar. But it has its share of charming moments and overal is a pretty, pretty picture, using flashbacks very well, without confusing the viewer, and heightening curiosity as the story goes on.

We are given a glimpse of „modern“ and „cool“ relationship between architect Jai and art student Meera, who have great time hanging out together, all on the backdrop of London. Jai, who is really the one carrying the narrative and the story unfolds from his point of view, considers romantic love an old-fashion concept, and when Meera is offered work in India, he very sportingly supports her to leave him, breaking up with her on friendliest terms possible. How very modern and cool indeed. However as the time passes by, he notices his sloppy attempts to move on are all destined to fail. And being constantly nagged by an elderly restaurant owner, who paints in front of Jai his own story of love he had once lived, Mr. Architect is quite shocked when he realizes Love has probably happened to him. Unfortunately it seems Meera actually did move on...

Deepika Padukone does not have much to contribute to the movie, aside from her utterly gorgeous face and drool-worthy wardrobe. After getting used to her very much exciting self from the last two years, I was actually surprised to revisit the somehow awkward, extremely camera-conscious Deepika with pitiful dialogue delivery (which has so evolved since then!). She doesn´t ruin the scenes she´s in, but the director very wisely let Saif Ali Khan do most of the acting instead, giving him most of the dialogues, and so our dear nawab goes on like a chatterbox, rarely stopping an endless flow of words whenever he is nervous or emotional. Sometimes his monologues actually get so long you wonder if Meera´s turn to talk would ever come (and sometimes it really does not).

The most charming bits of the movie, however, are introduced to the viewer by Rishi Kapoor and his narration of the old-school love story several decades ago, in India. The warm, brown colouring of all the scenes in the „past“ gives them a unique mood, very different from the rest of the film. In fact, it felt so nice, I caught myself wishing it would have been the main bit of the film, or a film of its own! Even more so since I felt it was left rather unsolved, even though Neetu Singh´s brief appearance in the very end of the movie gave away the final result.

Love Aaj Kal concludes a very simple fact: Love is Love, no matter if one searches for it or not, no matter where, no matter how it happens, and no matter how modern and cool you consider yourself. You can never bee too cool for Love. It´s just about how thick you are in the head to realize it happened. Very good production values, very likeable actors and very charming story telling make Love Aaj Kal a nice film, if you are in the right mood.

Goliyon Ki Rasleela Ram-Leela

Directed by: Sanjay Leela Bhansali

Starring: Ranveer Singh, Deepika Padukone, Supriya Pathak, Richa Chadda

Released: 2013

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

Does the world really need another take on Romeo and Juliet? Of course not. In fact after pure and precise adaptation by Zeffirelli from the 60s every new movie on the topic can only pass of as „fine“ at best. Still a prospect of the story adapted by megalomaniac of Bollywood Bhansali, who had previously given us some serious visual orgasms and basically drowned us in feelings (positive or negative), against Indian backdrop sounded deliciously tantalizing. Even more so since SLB´s last venture with Guzaarish felt somehow shallow and pretentious to me. I was hoping for the return of magic of Devdas (also a classic story revolving around self-obsessed people) or HDDCS but while I would rate Ram Leela above Guzaarish, it is still much weaker than all the rest of SLB films. I was also pinning my hopes to it as a film that would be THE film of 2013, only to be kind of let down.

How´s my lipstick?

Given I am not the greatest fan of the original story, it still cannot be denied that it was heading to somewhere following (even if naive and hormonal) basic logic and once it reached the tragic climax one felt for the two young people. Ram Leela could easily turn a teenage puppy love into a truly passionate affair, but ultimately the teenagers from Verona owned them. Lust at first sight that happens between oily, hairless Ram who dedicates a whole song to get dandruffs out of his baal, and stunning beyond words Leela is good and makes sense, yet everything that follows is just too quick. But to be fair, it doesn´t do THAT much of a damage. Yet. I was quite enjoying the story of two families who shoot at each other every day for centuries and obviously suck at handling the gun considering they never hit anyone. And when they do, it is by accident.

Up until the moment of Ram and Leela being found by their families and torn apart, the movie works. However after that to the very last minute there is not an ounce of common sense left. Ram becomes the leader of the family gang, yet does absolutely NOTHING to get to Leela, in fact he is not even answering her desperate phonecalls. Leela holds onto her logic a bit longer, but then looses it as well. The story reaches new heights of WTF with HER becoming the leader of HER family gang. But while both our lovers can weep their eyes out they decide to continue the mutual family slaughter. I did not understand who exactly they were fighting with. Ad to it extremely random change of mind that other pivotal character goes through near the end and you are left with your head hurting from all the shaking.

Not all is bad. The film is visually pleasing and the play of colours wonderful, be it the blue and white Holi or red and golden Navratri, also the use of different festivals to give the viewer sense of how much time has passed is skillfully vowen into the narrative. Music is appropriate and follows the story well (yet I expect more from SLB films after the gold that were Devdas and Saawariya soundtracs). I could have done without the forced Priyanka Chopra´s item number. Women in the film are all in the top form and it wouldn´t be wrong to claim the film belongs to them. Supriya Pathak is nothing short of amazing. She steals the show with her portrayal of Baa - and only looses breath near the end with her (already mentioned) nonsensical and unexplained change of heart, which takes away from the impact of her character – and also makes the uselessness of the final Ishaqzaade-ish tragedy all the more frustrating. Her scenes are intense and very well create an image of dangerous woman who is scarier than all the dudes running around with their rifles.

Deepika Padukone is looking beautiful and emoting beautiful. I loved that underneath the tough exterior there was really just a very vulnerable, yet determined creature. I wouldn´t say it´s her best performance, but definitely very good. She also emerges as a very capable dancer, oozing grace in Lahu Munh Lag Gaya and unbound energy in Nagada Sang Dhol, even manages to pull off the throwback into the 90s that is the only unfitting song Ishqyaun Dhishqyaun, suffering from Govinda/Karishma hangover. Finally Richa Chadda, with an air of mystery and looking positively gorgeous, deserved more scope and more stuff to work with. She is brilliant in whatever she is given. And even though minuscule, I would mention the subplot with Leela´s unwilling prospective groom among positive as well.

Turning our attention to somehow effeminate Ram, Ranveer Singh nails some of the scenes and disappoints in others (but yay to his dancing). He is very inconsistent throughout, going over the top quite a few times. It doesn´t help that he shares next to none chemistry with his Leela (somebody explain to Bhansali that eating each other´s heads every five minutes does not create an image of love or passion if you simply don´t have “it”). Romeo and Juliet is primarily a story about two people who cannot be without each other. But here the script has them separated quite early on and the relationship practically ceases to exist (???). Truth is because of all that I did not care for Ram and Leela as a couple.

Overal Ram Leela is an average fare. Not “bad” and not “good”. Worth a watch, if only for Deepika Padukone. It is getting more and more interesting to watch her evolving into a very fine actress. I give it „flawed but enjoyable rating“, even though I did not exactly enjoy myself.

Yeh Jawaani Hai Deewani

Directed by: Ayan Mukherjee

Starring: Ranbir Kapoor, Deepika Padukone, Kalki Koechlin, Aditya Roy Kapoor

Released: 2013

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

While Yeh Jawaani Hai Deewani belongs into the Bollywood´s favourite category of young romance, which sustained the industry for decades and will continue to do so, the film´s resounding success at the box office and with critics has, in my opinion, more to do with maturity that the story is weaved through with as well as some truly beautiful dialogues, than with a clichéd yet forever working formula it uses. YJHD has many factors going for it, even though it is not the best movie ever (or of decade – it might be of the year if nothing better comes) – from interesting cast, catchy music numbers, as much realism as you can hope for in a commercial Bollywood movie (by which I mean you must not question a girl who goes trekking in the snow in a mini skirt) to a cuddly embrace of what is probably the best jodi of the new generation.

Three best friends – Bunny, Aditi and Avi – decide to go on a trekking trip to Manali. Joining them is Naina, a dutiful, homely, aspiring-to-be-a-doctor girl, who just feels like she needs a change for a while. She is quickly accepted by the three outgoing friends and to her great amusement and amazement she watches and later joines them in their carefree attitude and antics. Before the trip is over she falls in love with Bunny, but when she find out he is planning to leave India to study abroad, and that his dreams are to travel the whole world, she decides not to ruin the moment and keeps her first love as a cherished memory. 8 years later the four friends are reunited, all grown up. Aditi is getting married, Avi is a bar owner gone bankrupt, Naina is a doctor. Just Bunny seems to be still the same, with dreams of seeing everything and never stopping at one place. Will Naina´s old feelings be rekindled? Will Bunny feel it too? Will it stop him in his eternal hunt for something new?

As said before the plot is nothing ground-breaking or new. And there sure was no need for the stereotypical transformation of a „normal“ girl into a goddess of oomph by simply putting off glasses (at least nobody even dared to hint Naina with glasses would be „ugly“ - a blasphemy forced upon Juhi Chawla in Aaina). However the way Naina, and later also her friends think, is very mature. Matters of the heart are important, but sometimes it is necessary to not allow things happen – and just as important is to go on and not spend your life miserable and whining, because, after all, there is much to do and much to fill it with. This attitude is extremely rare in films. Naina doesn´t nurture hopes that seem futile, because she knew she would end up hurting. Aditi realizes that one-sided crush would make her miserable, and settles for a less attractive, but completely loving guy, who „makes her happy“. What a change from all the selfish wrist cutting inflicted upon us around the same time in another „romantic“ film.....

After emotions-packed Rockstar and extremely heart-touching Barfi, Yeh Jawaani Hai Deewani shows Ranbir Kapoor in another different kind of romantic relationship, in which he actually doesn´t know he is until the very end. He doesn´t disappoint and delivers a very good performance – something we associate him with for some time now. However it is Deepika Padukone who really comes to her own in the film. Last year she was wonderful in Cocktail, and now she confirms it was definitely not some monetary fluke of luck. She is growing as a performer right in front of our eyes! The chemistry between the two is wonderful. 

Aditya Roy Kapoor doesn´t have much to do, and his character was a bit..... left out really. His drinking problem actually made me wonder if he was switching between the sets of YJHD and Aashiqui 2 and he kinda forgot in which one he was at the moment. Kalki, on the other hand, is a complete darling. There is much to relate to in all of the characters. I found a bit of myself in the shy, quiet Naina from the first half. Who wants to have fun, but it is not easy for her to just throw herself into it. It was also nice that the twist did not lie in making a homely girl the Queen of society, neither it was showing that spending your life abroad doesn´t compare to desi homeland. Both Naina and Bunny learn something, adjust themselves to it and make it part of their own personality. They grow up.

Plot may be bland but the script and direction are winners. As is gorgeous cinematography and play of colours and hues used to enhance the beauty of landscapes and clothes. Much like with his previous venture „Wake Up Sid“ Ayan Mukherjee chooses a slow, even tedious narrative, delving into the feeling of a moment rather than rushing ahead for the sake of somebody not getting bored. If you get bored, that is pretty much your problem, and Ayan is unapologetic.

I need to mention “Ghagra” - the very much hyped special song picturized on Madhuri Dixit. It was a fine song, a good dance number, Madhuri looked gorgeous and to see her with Ranbir was wonderful! It was all too much fun and I loved she also got to mouth several poetic dialogues before the music broke out. That said, Ghagra somehow doesn´t fit the rest of the film. It is brilliant as a separate video, but in the film it does not really serve any purpose and even from the way the costumes and sets look it is clear this bit was quite rushed and added at the last minute. But whatever. I was happy to see Madhuri dance – and thankfully Ghagra turned out quite progressive – as a song in which a younger guy is attracted to and charmed to an older woman – she did not stop being attractive and charming just because she hit 40.

Beautiful actors, beautiful performances, beautiful music, simple story, Madhuri..... What´s not to love?