Shanghai (2012)

Directed By - Dibakar Banerjee

Starring - Emraan Hashmi, Abhay Deol, Prosenjit Chatterji, Kalki Koechlin, Farooque Shaikh, Supriya Pathak

Dibakar Banerjee's fourth screen outing (after the radical 'Khosla Ka Ghosla', the experimental 'LSD' and the  humorous 'Oye Lucky, Lucky Oye') is a staggering story about a country pretending to  be another brighter one. Although an adaption (of Vasilis Vasilikos's 'Z') it is turned into a strikingly relevant story of our times and our crimes.

The time is now and is set in the fictional town of Bharatnagar which is at the brink of becoming a high tech, super developed economic zone  ( hence the reference to the beautiful city of Shanghai) under the government's program of IBP. Much like most development initiatives in our country this too has gaping holes. A large part of the population, who economically and education wise are not deemed fit to be part of this pseudo shanghai, will be rendered homeless as a result of this project. The Government chooses to conveniently overlook it for the sake of votes and national recognition. Enter Dr Ahmedi (Prosenjit) a professor and activist who has come to help the 'not so wise' realise the Government's ploy in the name of IBP. He is met with widespread protest as well as support. As is the case, he is mowed down by a truck (after a stunning speech) which is quickly covered up by the government as a drunken driving case. After Shalini (Koechlin), Ahmedi's student and lover as well as Ahmedi's wife cry foul, the Government sets up an enquiry commission which is headed by Krishnan, a seemingly honest and egoistic IAS officer. Also thrown in is Jogi Parmar (Hashmi) a small time videographer and adult film maker who has stumbled onto evidence which may turn the case around completely.

Banerjee's genius is most visible in his meticulous detailing. A tense commission proceeding being interrupted by a stray basketball or after a heated conversation the principal's slipping on the wet floor show that Dibakar banerjee is a man who fragments a film into moments, moments that stay with you. Also very impressive is the dark tone of the film, the amazing visuals and the realistic detailing work done on the characters, my favourite being Abhay deol's obsession with straightening and perfecting his neck tie. 

Dibakar also does a fine job with the screenplay. Under 2 hours running time, the film is tight and the scenes are crisply shot. One of the major advantages of the film is the immense knowledge that the director has about Cinematrography. The camerawork is just stunning. it has the look and feel of world cinema much like Banerjee's earlier 'love sex aur dhokha'. The film has its share of hiccups. For one, it is very predictable and lacks the urgency that such thrillers generally should possess. Many would argue that it is not the point of the film, but still it does stick out as a sore thumb. Also, the ending seems a bit too convenient given that it is a film which attempts to show us the ironical and warped country we live in. 

What goes bang on for the film is the acting. Kalki koechlin is okay as the slightly unhinged Shalini, the daughter of a fraud and lover of an unsung hero. Its a role that could be a Phd topic for her as she has done way too many times. She, according to me, is the weakest part of the film. Prosenjit Chatterji has a roughly 20 minute role in which he kills it. Trust me, if the superstar was given 10 more minutes he would have outshone the leads. He is terrific as the resilient academic cum activist. He plays the part of Dr Ahmedi with the adequate amount of restraint and coldness. 

Its a revelation to watch Farooque Shaikh in a negative role. As the crooked IAS officer Shaikh is bound to break many of our mother's hearts that he had made his way into with films like Noorie. Its a surprise too, to watch Supriya Pathak play a character on the darker side of the grey scale. In fact this odd casting and the fact that no character is 'doodh ka dhula' creates a compelling atmosphere (again to the credit of Dibakar Banerjee). But the film clearly belongs to its leads. Abhay Deol as the seemingly honest bureaucrat is outstanding. He has the chameleon like aura and woody expression that is so engaging throughout. Its not the conventional man against the system sort of story but you are likely to find yourself rooting for him. But the clear winner in the acting department is - Emraan hashmi. The man has grown as an actor drastically (not to mention his soaring popularity evident from the whistles). As the low class and uncouth videographer who becomes an unlikely ally to the Ahmedi case when he finds himself in danger, Emraan is top notch. He underplays for most of the film, until the final outburst towards the climax. He is dirty, pathetic in english and sometimes downright disgusting. It's a stellar performance.

All in all Dibakar banerjee creates a wonderful world which is so relevant to our times. There are lapses but Banerjee shows us that quality cinema still exists in India and it can be entertaining too (which i was seriously doubting after Rowdy rathore became a success). Backed by superior direction, a tight screenplay, a haunting background score and standout performances. Shanghai is a winner.

Rating - 8.5/10 

Agneepath (2012)

Directed By - Karan Malhotra

Starring - Hrithik Roshan, Sanjay Dutt, Rishi kapoor, Priyanka Chopra, Zarina Wahab,Dewen Bhojani.

In one of the scenes in the cult Agneepath (1990), we see Vijay Dinanath Chauhan (Bachchan) mouth a famous dialogue "Hawa tez chalta hai Dinka Rao, topi sambhaalo gir jaayega". It's the first time in the film you see Vijay openly showing his anger and bitterness regarding his father's unjustified killing, while in the remake you see Vijay (Roshan) carrying that streak of vengeance in every frame. What one understands (and should keep in mind) is that the two films work essentially on two different tangents. While the original was a crime drama about the rise of a man from the slums to the high echelons of the underworld with the revenge subplot thrown in somewhere, the remake is purely a revenge saga.

The remake starts exactly like its predecessor, in the seaside village of mandwa in 1977.The plot kicks in with the unjust killing of village schoolteacher Dinanath Chauhan. His murder at the hands of sadistic villain Kancha, played menacingly by Dutt, is witnessed by his young son Vijay who grows up with an indefatigable thirst for revenge. As Vijay comes to mumbai with his pregnant mother, played by Zarina Wahab,he aligns himself with Kancha's rival - drug lord and pim Rauf Lala, taken on in an unforgettable turn by Rishi Kapoor.

Fifteen years down the line. Vijay is a trusted hitman and scion to Lala's empire. Estranged from his mother and teenage sister for the life of crime he chooses. He is the gunman with a heart of gold and the residents of his chawl look upto him as their godfather. In the midst of this he also manages to fall in love with the motor mouth local girl Kali (Chopra)

The film forges ahead with high voltage action sequences, chilling confrontations, double crossing and bloodshed and Vijay moves ahead with the single minded purpose of destroying Kancha. He plans his moves carefully as if on a chessboard and is ready to kill anybody in his way even Lala who is a father like figure. Ultimately how he finishes kancha and redeems his father's death is what Agneepath is about.

Karan Malhotra does an admirable job for a first timer. Remaking a film which has acquired a cult status over the years, not to mention has fetched national awards for its popular leads, is a difficult task. What he does smartly is that he builds his own characters, borrowing from the orginal only when absolutely needed. For example, the Vijay of the earlier film is a don with a heart of goldd who would do no harm to the people who have been good to him. The Vijay of this film is not absolutely devoid of morals but yet is more cruel and ruthless than its predecessor. Unlike the earlier film the Vijay is not larger than life but is like an everyday man who is suffering with the agony of his father's unjust death. The film proclaims 'Revenge is the purest emotion' and the character of Vijay sticks to that perfectly. Of course the characterisations have loopholes like the absolutely useless character of Lala's mentally retarded son and the underused Gaitonde played by Om Puri who pops up now and then to give Vijay moral sermons. But the character of kancha and Rauf are geniuses while one is sadistic, the other is ruthless. While one is menacing the other is calculative. Ultimately what becomes the biggest problem for the film  is its over-indulgent length.

Of the cast Priyanka Chopra has precious litttle to do, Zarina Wahab is underuused and Om Puri is plain wasted. What pulls the film through is the three leading men. We will start in ascending order. Firstly its refreshing to see sanjay dutt in a role he truly enjoys after seeing him sleepwalk througha dozen or so films earlier. The character in the remake is refined. There is a sadistic streak in him that comes of the low self esteem he has in himself through out his life which comes out as a superiority complex. This complicated character is brought to life by Dutt who lights up the screen with his menacing swagger and sheer bulk. Rishi Kapoor possibly delivers the greatest performance of his career as Rauf Lala. You will be stunned to see this man etch out this cruel and classless character withe ease and grace after seeing him play the quintessential chocolate boy/man for 3 decades or so. Finally the greatest strength of the film is Hrithik Roshan. It's Hrithik Roshan who redefines Agneepath.He plays the character without the flourish that Bachchan brought, instead turning him into a ruthless machine for revenge. Yet shouldering layers of pain, hurt and rage making you match each step with him on his journey. He commands the camera once again and delivers a riveting, sincere performance.

All in All its a decent one time watch if the two agneepath's are not compared (which frankly they cannot be). Only if the film was not so agonisingly long..

Rating - 7.7/10

Vicky Donor (2012)

Directed By - Shoojit Sircar
Starring  - Ayushmann Khurrana, Yami Gautam,Annu Kapoor, Dolly Ahluwalia.

Early in the film we see Vicky (Ayushmann) coming to Dr Chadha's (Kapoor) clinic to 'volunteer'. As most would be, he feels awkward doing what he has come to do and Dr Chadha helps by providing adult magazines and videos. Why i mention this scene is,not only because its hilarious, but it also shows the prejudices that exist in modern society regarding sperm donation, a theme this film beautifully portrays.

'Vicky Donor' is about Vicky Arora a typical Delhi-ite 'over the top panju'. He is not bothered about his career, loves shopping, active on social networking sites, parties all night. He comes to the notice of Dr Baldev Chadha who is an infertility expert going through a sperm drought. As he himself declares he is a man who can identify a guy's sperms just by looking at the fellow. After trying hard for a long time, Vicky finally gives in and starts volunteering for donation. Business is great, he is earning money and also falls in love with the beautiful Ashima Roy ( Gautam) who works in a bank. Ultimately both tie the knot.The problem starts when Ashima finds out that she cant become pregnant and Vicky's profession is revealed.

Shoojit Sircar had earlier delivered the hard hitting 'Yahaan' which was a love story set against the backdrop of military problems in Kashmir. Most would think this is virgin territory for him but what he delivers is a hysterical film which is so simple that most urban people (especially Delhi-ites and bengalis) would connect with it. The main reason for this is that Vicky Donor is essentially a love story between a Punjabi Boy and a Bengali girl. The scenes portraying the cultural clash between the two great communites leaves you in splits. With Ashima's pishi and baba on one side and Vicky's Bebe and Beeji on the other. Ashima's father (i didnt catch the actor's name) is a standout especially in the scene where he goes on to describe how bengali men are as good in bed as punjabi's. From the punjabi scene, the progressive grandmom 'beeji' is brilliant. The film takes a light hearted view on the urban issue and also looks to explore the prejudices that even the modern generation suffers from. Shoojit undermines none of the communities and in fact skillfully plants 'beeji' and the father in law as progressive in terms of their grandson/son in law's profession.

Of the cast Dolly Ahluwalia and Vicky's Grandmom are magnificent. Especially in the scenes where they have conversations while drinking cheap whisky. The bengali side is no less. the 'sophisticated' and well read pishi is brilliant. She is almost like a slap on the face of the over the top intellectual bengali. The father too is a character most would find in their home. A simple rabindrasangeet and mohun bagan loving man who frowns at the prospect of having a 'paanjaabi jamai'. Annu kapoor as Dr Chadha shows that rare quality that lies in experience. He breathers life into the sperm loving, typical panju doctor. He is one of the biggest reasons why this film works. Ultimately, the film is nothing without its leads. Yami Gautam plays a bengali girl to perfection (not to mention she looks like a million bucks) and shares a brilliant chemistry with Ayushmann. Last but not the least its TV man Ayushmaan who packs the punch. He is simple outstanding as Vicky. He is a bag of talent and lights up the screen with his presence. The Vicky-Ashima chemistry is beautiful to say the least.

The music of the film is pretty good with my favourite being 'Paani da' sung by the lead man himself.

All in All Vicky Donor is one film no one should miss especially Bongs and panju's living in Delhi (or otherwise). Sircar's second outing is an excellent product which is sure to make you laugh till your stomach starts paining. Its a small film with a BIG heart.

Rating - 8.7/10

Abar Byomkesh (2012)

 

Directed By - Anjan Dutta

Starring - Abir Chatterjee, Saswata Chatterjee, Ushashie, Kaushik Sen, Chandan Sen, Arindol Bagchi, Swastika Mukherjee, Biswajit Chakraborty, Kunal Padhi.

In one of the most elegantly shot scenes, the audience is given a sudden jolt when the lights go off and a flashlight reflects the figure of the professor in the room. The scene is not of much importance in the mystery and pretty much sums up the entire film. The mystery is pretty simple to crack but Anjan Dutta laces the film with exceptional detailing and elegant shooting.

'Abar Byomkesh' based on Sharadindu Bandyopadhyay's "Chitrachor" is about Byomkesh Bakshi who is recuperating in the hills along with his beautiful wife Satyabati (Ushashie) and trusted sidekick Ajit(Saswata) after a terrible bout of  a life threatening illness. The period is 1960's (evident from the Times magazine with John F Kennedy on the cover, for anyone who knows me knows that that had to catch my eye) when major changes were happening around the world and most particularly in Bengal (communal harmony was being restored). As luck would have it Byomkesh encounters a weird mystery wherein a thief is stealing every possible copy of a group picture taken a while back. The characters in the picture are obviously the characters in this screenplay and they beautifully introduced in a party scene early on in the film. There's the rich industrialist (Biswajit Chakraborty), his widowed yet flamboyant daughter (swastika), the doctor who is love with the daughter, the unhappily married man (Pijush) whose guest house the detective is residing in. Apart from this subplot, the characters in the other subplot are an enthusiastic banker cum Byomkesh fan (Kaushik sen), the arrogant District Magistrate (Chandan Sen) , the ever helpful SP (padhi). Each character has something to hide and the mystery reaches its height when a drunk vagabond, with a flair for drawing potraits from memory, is killed. As usual, anything more is a giveaway. 

To start with, the screenplay. Chitrachor is one of the byomkesh thrillers where the mystery is easy to crack especially for seasoned mystery writers. Frankly, it has a promising premise but ultimately is a weak detective story. I believe this is one of the things that must have struck Anjan Dutta. He laces the film beautifully to cover up the loose ends and keeps the viewer hooked while at the same time stays true to the story. A quality that another bengali filmmaker, Sandip ray, lacks. Personally one of the main reasons for me drifting away from Feluda is the way Sandip Ray handles the genre, Over the top and amateurish. This is one department where Anjan Dutta scores. The director has brilliant knowledge of how to keep the adrenaline pumping and is able to handsomely rise above the weak storyline. Dutta uses the narration of Ajit to take the story forward making it almost feel like that we are reading a novel. Every frame and evry detail bears evidence that Byomkesh is very close to Dutta's heart and he makes the film like an enthusiastic and hungry reader would. The man desrves the praise and more. 

Of the cast, Ushashie puts in a refreshing performance as the detectives wife. The subtlety's of marriage is well potrayed by Ushashie and Abir. notice the sequence where they are fighting over morality while Ajit smokes in the background confused as to whose side to take. The entire hall giggling was ample proof of the scene's brilliance. Kunal padhi as the SP has precious little to do along with Swastika. Pijush Ganguly puts in a winning act as the disillusioned and unhappy Professor. Kaushik sen puts in a fantastic act as the eager fan cum banker. The sore thumb in the film is Chandan Sen. He, in my opinion, is over theatrical in his expressions and most of the times ends up looking as if he is trying too hard. Abir Chatterjee reprises his role as the married detective (as Ajit exclaims that one is not likely to find any detective who is married, it does add a precious angle to characterization). One of the greatest strength of abir's performance is that he does not ape Uttam Kumar (who played Bokshi in Satyajit Ray's national award winning Chiriakhana) nor does he imitate Rajit kapur (the Bokshi on TV). Abir plays Byomkesh exactly the way he wants to and in the end creates a unique character who will not and cannot be compared to the ones the eariler legends created. But the best act comes from Saswata who plays the able sidekick Ajit. Chatterjee makes a stupendous transition from the cold blooded and smooth Bob biswas to the quintessential bengali middle class man Ajit. His act is worth a salute. He proves with each scene that he is an actor of the highest stature.

In all the film works because Anjan Dutt is able to rise above the simple mystery tale and is aided by spectacular performances by the leads.

Rating -8.0/10