Neerja

Directed by: Ram Madhavi

Starring: Sonam Kapoor, Shabana Azmi

Released: 2016

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

I have never heard the name Neerja Bhanot before this movie was announced and brought to my attention all those months ago. Learning the story of this brave, brave young woman moved me greatly, and today I wouldn´t hesitate to list her among the few people in history that we should indeed be inspired by and remember. The tricky thing with biographical movies is that they mostly rise and fall with the abilities of their cast. The name of Sonam Kapoor did not fill me with hope. But I was wrong. So go ahead and read below why I have no qualms admitting it.

The greatest weapon and strength of Neerja is not the direction, the performances, music or camera work. It is the underlying fact of the events actually happening in reality. This knowledge is with the viewer from the first moment to the last, perhaps because of that, because one knows how this ends, small details shown about Neerja are more poignant and touching than perhaps they would be with a fictional character. There is little to complain about when it comes to the technical aspects of the film, everything seems apt and well executed. Things like winding the tape with a pen, as well as Rajesh Khanna´s posters on the closet doors are beautifully evoking the mood of the 80s.

What to say about Sonam Kapoor as Neerja? I have so many reservations towards the girl as an actress! And I am not going to praise her as "great" in this film either. Because she wasn´t great. She literally became Neerja on the screen. There wasn´t a single moment, a single scene or second in which I would see Sonam Kapoor as herself (something she does on regular basis in most of her other movies). There wasn´t any dark, intense brooding, which so often accompanies "great" performances of male actors, nor was there any passionate speech on the injustice of the society (which marks "great" female performances most of the time). Everything Sonam did as Neerja felt natural, never over the top. Perhaps that is why her performance felt real - with Neerja she was not creating a new, unknown character who is made up. She could research an actual person, listen to and read what others had to say. And she managed to slip into all that seemingly effortlessly. She did a beautiful job, and I hope she continues to surprise me. Her rapport with other actors, especially Shabana Azmi, was delightful.

Neerja´s failure of a marriage back story is very well edited into the main plot, showing how previous experience has probably helped to shape her character and influenced her decisions. From what I had managed to gather the film is fairly accurate and that makes it even more painful. Perhaps my only criticism would be about the movie´s length. When the chaotic climax came I realized there was still over twenty minutes of the footage left! And even though the scenes following seemed important from the human point of view, I wouldn´t be as tolerant of them had it, again, not been a true story. The effect of Neerja´s violent death and deep horror and sorrow I felt over it was dilluted bit by bit by everything that followed, including the Shabana Azmi speech. I understand that was to be the actresses´ big moment in the film, yet by the time she could wipe her tear I have lost my own. (Do I seem heartless now?)

As a movie it works very well. I guess it wouldn´t be too exciting for casual movie goers craving a good thriller. But as a tribute it works wonderfully. And everyone should know who Neerja Bhanot was.

Jazbaa

Directed by: Sanjay Gupta

Starring: Aishwarya Rai, Irrfan Khan, Shabana Azmi

Released: 2015

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

This is another film which I don´t really have a proper rating tag for. Jazbaa is hardly “enjoyable”, but it falls somewhere in between whatever and good. I suppose “reasonably fine” might be the best description. I have little admiration for previous work of Sanjay Gupta (though I admit I have seen just a few of his films), especially after the incredibly awful and over-flowingly sexist Shootout at Wadala. Jazbaa, a remake of a South Korean film, is marginally better than that. As a comeback film it does Aishwarya Rai more favour than for example Ishkq in Paris did to Preity or Dangerous Ishq did to Karishma. Coming on the heels of movies like NH10 or Mardaani, though, it looses some punch. And no ammount of weird green undertones that drown the Jazbaa world can change that.

She may not be kicking anyone´s ass in the physical way, but Anuradha Verma (Aishwarya) kicks ass as a top lawyer. She does not shy away from dirty tricks, from hypnotizing the judge to even tampering with evidence, just to win her case, even if she knows her client is a criminal. No matter of “this is how lawyers are” makes this right. But then her little daughter is kidnapped and Anuradha´s eyes turn almost permanently bloodshot from all the tears she sheds. Soon enough she is informed that the kidnapper wants her to release yet another criminal, a violent rapist and a drug dealer this time, if she wants her daughter back. With the help of her best friend (Irrfan) Johan, a corrupt and suspended police officer, Anuradha starts investigating. Interestingly enough, as you can see, the two main characters are actually far from honest innocents. Their absolution in the end is quite subtle, I didn´t even think about it at first.

Irrfan, usually so good in everything, manages to be a let down. He may be shouting and kicking into trash cans, yet his eyes and face show too clearly he doesn´t give a shit. Shabana Azmi has too little footage to really review anything. She appears in very few scenes, does what she must with clean conscience, and leaves without making much impact. Considering she is eventually revealed as the kidnapper, as well as the mother of the raped and murdered girl, she certainly deserved more space. There is Jackie Shroff in this, for a few moments, and for very ineffective villain shading.

The only noteworthy actor thus remains Aishwarya Rai. There is absolutely no reason for her stretching into all angles possible in tights scene in the opening sequence of the film, other than to show everyone she is indeed back in shape (we all remember how she committed the crime of being pregnant and not loosing weight within a week after the baby came into the world). But stay calm, the director wisely decided we needed to see her all bendy and trim before the film even starts. Not that I mind seeing that, but I am not fond of random shit that doesn´t really tell you anything about the film, the plot or the character. That said, the actress holds her ground and her glamorous image is not exploited after that opening sequence. Some of the scenes showing her anxiety and pain are very over the top, however let´s imagine any loving parents in a similar situation. Sometimes it looks awkward and not pretty to break down. Aishwarya ain´t Meryl Streep and her dialogue delivery will never be perfect, still she gives a solid performance, one that many of the more current Bollywood ladies can so far only dream of.

The biggest problem with Jazbaa, I feel, was the lack of “gripping” factor from the start, and some of the actions seemed so illogical they raised to many questions of why. The things finally got more interesting in the second half, fortunately, still there is little mystery or thrill to rave about. Watch for Aishwarya if you missed her. I did.

Masoom

Directed by: Shekar Kapoor

Starring: Naseeruddin Shah, Shabana Azmi, Saeed Jaffrey, Tanuja, Supriya Pathak, Jugal Hansraj, Urmila Matondkar

Released: 1983

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

The over the top reactions and dramatics are part of Bollywood and you just have to go with the flow. It is not a bad thing per se (except sometimes, when it does not go over the top, rather like over the galaxy). But from time to time even in Bollywood there are movies which abandon both traditional mainstream formulas and (let´s say) fiercely passionate acting, and become perhaps not a great entertainment, but an interesting probe into more everyday lives of more common people. They are relatable to the fullest and remind us of what it is to be.... well, normal, with the failings and generosity of which we are all capable of. Shekar Kapoor is undoubtedly a great director with a touch for..... that special something which makes your heart feeling all fuzzy in the end. Be it in fantastic extravaganza of Mr. India or quiet, wide-eyed Masoom.

Naseeruddin Shah is a loving husband to Shabana Azmi and an adoring father to their two little daughters (the elder of whom is none other than baby Urmila Matondkar). He has everything he could possibly want, except sometimes he jokes he lacks a son. However he is in for a shock. Once upon a time he was unfaithful to his wife, for reasons he himself cannot explain, and he indeed had sired another off-spring. Now the boy´s mother is dead and he must take responsibility for the child. While he could probably cope with the situation, the child, oblivious about the facts, could easily break his home and all the certainties it once represented.

Not many words are needed for the two spectacular lead actors to convey their painful inner struggle to the viewers. Naseeruddin tells everything with his eyes. With Shabana, it is little things. Slight change of intonation when talking to her own children and her husband´s son. Her apprehension on serving him food. Her own confusion whether to hate the child or not. Hers is not an easy role. Easily she could have become an evil step-mother. Instead she is what she is – a woman trying to cope. She realizes the child is innocent, yet she is not capable of seeing him that way. One cannot hate her even during her more rash outbursts. We just know her pain. At the same time we pity the child. The whole situation is heartbreaking, yet there are no villains, only humans.

The children in the film are really good, Jugal Hansraj especially deals with a heavy-load of his role brilliantly. Shekar Kapoor is one of the very few Bollywood directors who know how to find a child actor, that is not artificial and annoying (which is really Hindi cinema standard even today). The supporting cast too is good, even though I was somehow baffled by the character played by Tanuja. I understand she was meant to be sort of Shabana´s trusted genius, whose own actions would show her friend which road is best to take, unfortunately she was really the one that felt somehow preachy and forced into the plot. Shabana could have made up her mind herself easily enough, without Tanuja´s transformation from „strong, single, yet miserable“ to „beaming with happiness cause my dude decided to come back“. Supriya Pathak makes only a brief appearance in flashbacks. I can only say hee complete difference from Shabana, in both appearance and character, makes it easy to imagine that Naseeruddin fell for the temptation of an unknown and unfamiliar, even if just once.

Masoom is very human, sad but ultimately beautiful, soulful movie. A true tribute to a family spirit. (unlike some other films....)

Umrao Jaan

Directed by: J. P. Dutta

Starring: Aishwarya Rai, Abhishek Bachchan, Suniel Shetty, Shabana Azmi, Divya Dutta

Released: 2006

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

A story of life of a courtesan transformed from literature into a film that indeed feels like a lifetime. That long and that tiring. And so much concerned about the visual part, about how overwhelmingly pretty everything has to look, that it forgets to bring out emotions, fails to invest the viewer into the heroine´s plight. And since that is essential for quite a non-happening story as the one of Umrao Jaan, the movie stands only for tedious wanna-be try at epicness.

Not much is added to the famous story of a girl kidnapped from her family and sold into a brothel, where she grows up into a stunning and talented tawaif, capturing attention and affection of Nawab Sultan. Even this time the love story is doomed. Compared to the 1981 version with Rekha (the comparisms are simply bound to happen) the story is actually even simpler (not a good decision), leaving out the sub-plots involving a fellow tawaif Bismilah, as well as Umrao´s flight from the brothel to live by herself, and sadly also one of the most bitter twists of a similarly kidnapped girl becoming Sultan´s wife. All we are left with are 3 hours of pining after Nawab and crying without end. Indeed, this Umrao Jaan is not much of a company to anyone except one guy.

Truth is that the whole film is really just a passionate love-affair with Aishwarya Rai´s face. Wintin every five minutes there would be a lingering close-up, obsessing about her eyes opening slowly, closing slowly or staring without a blink, and 80% of the time tears would be flowing from them. Indeed she looks stunning throughout, no matter if she is wearing a bejewelled outfit or a simple one, and to be fair her beauty is definitely not the only contributing factor she provides. Aishwarya suits these roles. The Devdas and Jodhaa Akbra ones. She suited this one as well and her performance, even though unnecessary teary, is among her better ones. Her dialogue delivery in this is very good. But still, the seemingly endless dialogues that sometimes last for five or even more minutes, make the viewer impatient and bored. The script and the way story is crafted doesn´t help Aishwarya to connect and invite the audience into her heart and soul, where we could possibly feel with her – something Rekha did so effortlessly in 1981.

While Aishwarya is let down by the script, but otherwise fits, her beloved Nawab Abhishek looks like he found himself on the sets by mistake. There is nothing even remotely regal or dignified about him, and overal his besotted lover act feels thanda. He and Aish make the cutest off-screen couple, but camera is not really nice to them when it comes to chemistry. The relationship seems a bit forced really, with hardly any base. On what did the love grow one has to wonder.

Suniel Shetty as fierce and mysterious Faizal Ali fares better. The character of Gohar Mirza, played back in the day by one and only Naseeruddin Shah, remains unmatched. The young man in this version doesn´t really have the sneakiness or cunningness, and his feelings for Umrao are – as many other things in this – very much simplified and he thus becomes a lot less important. Shabana Azmi and Divya Dutta both give good performances, which is, after all, expected of both of the talented ladies. Also Ayesha Jhulka, an almost forgotten heroine of the 90s, makes a brief appearnce and is lovely.

A big part of Umrao Jaan are the songs, however the film does not deliver in this department either. Apart from „Salaam“, all other melodies and lyrics blend into one, none stands out and all are forgettable. Picturization leaves a lot to be desired as well, that in spite of Aishwarya being a superb dancer. Choreography concentrates way too much on the hands and neglects the rest of the body (I am no expert, and even I can tell the choreographer did not really have much of an idea what to do), relying, like much of the film, on Aishwarya´s beauty to distract the viewer and detract the attention from anything that may not be good enough. Does this strategy work? To an extent. Mrs. Bachchan is more than easy on the eyes. Unfortunately in the end not even that is sufficient to save the film from sinking into oblivion of your mind, where it by all mean belongs.

Matru Ki Bijlee Ka Mandola

Directed by: Vishal Bhardwaj

Starring: Pankaj Kapoor, Shabana Azmi, Imran Khan, Anushka Sharma

Released: 2013

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

A film about..... nothing interesting really. It touches fleetingly a love story between two young people from different social background, as well as corrupt politicians, greedy businessmen and voes of the poor. But apart from a fabulous Pink Cow this film has no original, or even remarkably handled, ideas. Vishal Bhardwaj has over the years become one of those „reliable“ filmmakers, whom you associate quality and good cinema with. However this piece of cinema is to be a black (or mabye pink?) spot in his filmography.

The film is centered around a rich Mr. Mandola, who dreams to become even more rich by snatching the land from the villagers (in a village named by him) and turning it into an industry zone. He is supported in this by a mighty politician Shabana Azmi, and apart from helping each other professionally they are also fond of rubbing each other´s feet and whatnot. To make the connection more solid they decide their children should get married (anyone else felt this was kinda incestous?). But Mr. Mandola has a problem. He likes to drink. He likes to drink a LOT. And when he is drunk, he becomes a very sensible and very human person, even if a bit disoriented. He keeps sabotaging his own grand plans, and it doesn´t help that he hires a village hunk Matru to keep him from drinking, considering Matru is, in secret, trying to improve the lives of his fellow poor and eunuchs under a pseudonym Mao (in case you have not noticed he is a Communist – but to give credit where it´s due, he is not a caricature and is shown as someone truly believing the high ideals of Communism, while most films, especially Western ones, have Communists either as ridiculous, evil or equal to Nazis.)

Pankaj Kapoor steals the show. He is amazing. Both as a menacing and sober landlord and as harmless old man willing to give anything for a single bottle of beer, he nails the only 3D character in the film perfectly. I admired how easily his dialogue delivery and body language change as situation demanded. Together with Shabana Azmi, who is not her best, yet still very good, he puts the leading pair to shame. And the idiotic spoilt Baadal, played by Arya Babbar, is actually funny without trying too hard. 

However now we must touch a more sore spots: Imran is neither good nor bad, because his Matru is anything but a complex character, plus gets surprisingly little screentime. He doesn´t have enough fire in him to come off as either a village loafer or a political idealist fighting for what´s right. Not even the revelation that he is in fact „Mao“ is presented in a way that would at least surprise the viewer a bit. It´s just random, just like gobber flying through the air and African dancers enjoying themselves in rural India. Anushka Sharma is extremely annoying and recycles her previous characters from Jab Tak Hai Jaan, Band Baaja Baraat and Patiala House (and the rest of her movies I forgot to mention), only once we get to her wedding finale she becomes good. I couldn´t help but noticing throughout the film she looks rather sick and ill though? In any case she and Imran don´t share much of a chemistry, and their relationship feels superficial.

There are several chuckle worthy moments in the film, but only a few and far apart. The film lacks script it seems, the plot is uninteresting, as it is really based on a situation that has been done to death previously, and with more success.

Unlike many I actually did like Vishal Bhardwaj´s 7 Khoon Maaf, for which he got a lot of flak, and many were expecting him to return to a better track with Matru Ki Bijlee. But instead this film reminded me why I genuinely think of 7 Khoon Maaf as a fine and entertaining film. It had good dialogues, it had a very unique and exciting atmosphere. It was overall brilliantly acted. It had fascinating heroine and progressive plotline. In other words everything Matru Ki Bijlee lacks. It does have the fabulous Pink Cow though.

Yeh Nazdeekiyan

Directed by: Vinod Pande

Starring: Marc Zuber, Shabana Azmi, Parveen Babi

Released: 1982

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

Yeh Nazdeekiyan is not a very well known movie, which you can judge even from the fact I failed to look up a single decent sized poster for it. Everything else that came up were photos of Parveen Babi running on the beach in a bikini and a bottle of Coca Cola in her hand, which I can imagine is the only truly memorable moment. It is one of those movies that just happened to get in my way and since I can never say no to Shabana Azmi I decided to give it a shot.

The plot is build around a highly pathetic guy who likes to flirt with everything feminine in sight but in the end of the day he always faithfully returns to his own wife (the gorgeous Shabana Azmi). However passion gets the best/worst out of him the day the pretty, pretty Parveen Babi appears more naked than dressed, weaving herself around the chair and pretty much making love to the camera as she is trying to get a job in his new TV ad, because that is what he is – the guy supplying our small screens with promotional stuff. Perhaps nothing would have come out of the meeting, had it not been for Parveen´s persistance in trying to capture his attention – which very unromantically comes out of her being dared by her friends. In any case she gets drenched in the rain and yells at him a bit which ultimately does the trick and they spend a night together.

I don´t like empty beds.

Even though at first he tries to forget and behave as if nothing has happened, he succumb quite quickly when it comes to more meeting and more love-making full of passion – which is pretty much the only thing he is missing in his marriage. His libido switches off his brain for a while and what follows is an agonizing watch of him not even try to mend the relationship with his wife, just aimlessly lying in one bed or another (there were several very much adult scenes) and feeling sorry for himself. Soon after his wife leaves him he finds out that sex is probably not everything, and proves to be an idiot once more when he brushes off every attempt of his lover to make their life happy. Parveen´s character turns from wicked to highly naive, even stupid, but I guess falling in love does that to you.

Well, I guess I love you from her side is expected now?

Shabana is amazing as is her custom, and the only good thing about the movie really, since she doesn´t sit around crying begging or moping, she faces all and comes out victorious. By her victory I do not mean she gets the guy back in the end (though yes, she does), but because she refuses to be reduced to a weeping wife blackmailing her unfaithful husband to come back with her little child or personal grief. She never succumbs to clever (and less clever) tricks to lure him back, as usually is the custom in Bollywood films no matter if he cheated once or on every occasion possible. She has dignity. She is more than capable of picking up whatever she has left and start a new life, completely independent, even though heart broken. 

Moral of the film: you are in trouble if these are the words your husband uses to describe you.

Overall the pace of the film was slow and if you do not have a fetish for elderly guy lying without a purpose among sheets - also boring. That much said the movie has a feel of reality, with nothing over-dramatized or overdone.