Hawaa Hawaai
At
a time when almost all reputed names in the industry are planning
mega-projects, casting top-of-the-league names to ensure a record start
at the ticket window, Amole Gupte seems to be an exception. He casts a
kid [yet again!] in the central role and ventures to narrate the boy's
scratch-to-achiever saga, even when his world is falling apart.
HAWAA HAWAAI is all about ordinary people. Those who cross our paths every single day, but we barely glance at them. Neither do we have the time or inclination to think of their existence. It's the story of willpower and determination. And it highlights the triumph of the human spirit in the wake of adversities. It makes you realize that those who dream have the power to move mountains. It's about ambitions and finding the hero within.
After TAARE ZAMEEN PAR [Amole was credited as the creative director of the film] and STANLEY KA DABBA, Amole constructs the emotional journey of a kid who faces hardships at every step, but is unyielding and unwavering in his motive. Much like the above-named two films, HAWAA HAWAAI is seeped in emotions, moves and motivates you and concurrently, makes you applaud the indomitable spirit of the protagonist.
Let's enlighten you about the plot. HAWAA HAWAAI narrates the story of Arjun Harishchandra Waghmare aka Raju [Partho Gupte], who takes up the job at a tea stall after his farmer-father's [Makarand Deshpande] demise. A chance encounter with Lucky [Saqib Saleem], a coach, who trains young kids in rollerblading, and Arjun aka Raju starts dreaming of learning the sport.
From hereon begins a heart-warming story of five daily wage earner kids and their battle not for survival, but for living their dreams.
Amole Gupte's film is a sparkling gem because he introduces us to characters that win you over instantly. Amole has a knack of handling kids [recall his previous films] and the ones in HAWAA HAWAAI make you chuckle, pause and introspect at vital points of the movie. These kids, child labours all, sport a smile even in adverse circumstances, while most of us, blessed with a decent life, crib and curse constantly. Entrusted in any other director's hands, HAWAA HAWAAI may've floundered, with the characters looking more like caricatures, but not here.
Amole directs with a sure eye, while the screenplay [it holds you attentive for most parts] is far removed from frivolity attached to a majority of Hindi movies. The only time HAWAA HAWAAI goes off-track is when Pragya Yadav enters the scene. The pretty newcomer acts confidently, no doubt, but her character appears ornamental in the scheme of things. Also, the sequence of events in the hospital appears overtly dramatic and should've been abridged for a stronger impact. However, these are minor aberrations.
The soundtrack is situational, while the camerawork is wonderful. The cinematography towards the make-it-or-break-it race in the finale is striking.
HAWAA HAWAAI belongs to Partho Gupte, who astounds you [yet again!] with a smashing performance. He's the soul of the film, no two opinions on that. Saqib Saleem is relegated to the backseat in the first half, but makes sure he shines in several poignant moments towards the post-interval portions. I'd like to make a special mention of the four kids who help Partho attain his dream -- Bhura [portrayed by Salman Chhote Khan], Gochi [Ashfaque Khan], Abdul [Maaman Memon] and Bindaas Murugan [Tirupathi Krishnapelli]. Each of them get their act spot on, especially Gochi. Anuj Sachdeva [as Saqib's brother] is first-rate.
Neha Joshi [as Partho's mother] is a talent to watch out for. She is terrific. Makarand Deshpande, Divya Jagdale, Sanjay Dadich and Razzak Khan leave a mark in their respective roles.
On the whole, HAWAA HAWAAI is a gem that shouldn't be missed. A wonderful creation with heartrending emotions, this one's inspirational and motivating. Strongly recommended!
HAWAA HAWAAI is all about ordinary people. Those who cross our paths every single day, but we barely glance at them. Neither do we have the time or inclination to think of their existence. It's the story of willpower and determination. And it highlights the triumph of the human spirit in the wake of adversities. It makes you realize that those who dream have the power to move mountains. It's about ambitions and finding the hero within.
After TAARE ZAMEEN PAR [Amole was credited as the creative director of the film] and STANLEY KA DABBA, Amole constructs the emotional journey of a kid who faces hardships at every step, but is unyielding and unwavering in his motive. Much like the above-named two films, HAWAA HAWAAI is seeped in emotions, moves and motivates you and concurrently, makes you applaud the indomitable spirit of the protagonist.
Let's enlighten you about the plot. HAWAA HAWAAI narrates the story of Arjun Harishchandra Waghmare aka Raju [Partho Gupte], who takes up the job at a tea stall after his farmer-father's [Makarand Deshpande] demise. A chance encounter with Lucky [Saqib Saleem], a coach, who trains young kids in rollerblading, and Arjun aka Raju starts dreaming of learning the sport.
From hereon begins a heart-warming story of five daily wage earner kids and their battle not for survival, but for living their dreams.
Amole Gupte's film is a sparkling gem because he introduces us to characters that win you over instantly. Amole has a knack of handling kids [recall his previous films] and the ones in HAWAA HAWAAI make you chuckle, pause and introspect at vital points of the movie. These kids, child labours all, sport a smile even in adverse circumstances, while most of us, blessed with a decent life, crib and curse constantly. Entrusted in any other director's hands, HAWAA HAWAAI may've floundered, with the characters looking more like caricatures, but not here.
Amole directs with a sure eye, while the screenplay [it holds you attentive for most parts] is far removed from frivolity attached to a majority of Hindi movies. The only time HAWAA HAWAAI goes off-track is when Pragya Yadav enters the scene. The pretty newcomer acts confidently, no doubt, but her character appears ornamental in the scheme of things. Also, the sequence of events in the hospital appears overtly dramatic and should've been abridged for a stronger impact. However, these are minor aberrations.
The soundtrack is situational, while the camerawork is wonderful. The cinematography towards the make-it-or-break-it race in the finale is striking.
HAWAA HAWAAI belongs to Partho Gupte, who astounds you [yet again!] with a smashing performance. He's the soul of the film, no two opinions on that. Saqib Saleem is relegated to the backseat in the first half, but makes sure he shines in several poignant moments towards the post-interval portions. I'd like to make a special mention of the four kids who help Partho attain his dream -- Bhura [portrayed by Salman Chhote Khan], Gochi [Ashfaque Khan], Abdul [Maaman Memon] and Bindaas Murugan [Tirupathi Krishnapelli]. Each of them get their act spot on, especially Gochi. Anuj Sachdeva [as Saqib's brother] is first-rate.
Neha Joshi [as Partho's mother] is a talent to watch out for. She is terrific. Makarand Deshpande, Divya Jagdale, Sanjay Dadich and Razzak Khan leave a mark in their respective roles.
On the whole, HAWAA HAWAAI is a gem that shouldn't be missed. A wonderful creation with heartrending emotions, this one's inspirational and motivating. Strongly recommended!
Yeh Hai Bakrapur
In
an industry where fame and fortune changes every Friday, where
equations and relations are correlated with the BO earnings [strange,
but true!], the only thing that remains constant is change. Several
film-makers are making an earnest attempt to be an integral part of the
transformation, attempting wide-ranging genres and embarking on a path
less travelled. Of late, a number of storytellers are in the mood to
attempt satires, doing away with the mundane and unexciting tried and
trusted stuff. Recall PEEPLI [LIVE], OMG - OH MY GOD! JOLLY LLB, SAARE
JAHAAN SE MEHNGA… more recently, there was DEKH TAMASHA DEKH. Now Janaki
Vishwanathan attempts a satire that's set against the backdrop of rural
India -- YEH HAI BAKRAPUR.
Like Anusha Rizvi, who directed PEEPLI [LIVE], Janaki, has also been a journalist. The question that crosses your mind is, why do journalists attempt satires? I guess, when you watch life at such close quarters -- examining the ludicrousness and illogicalities so meticulously -- you hope to present the myriad experiences on celluloid some day. And what better genre than satire to highlight the message. After all, tackling a grim issue and coating it with humor makes it easily palatable, right?
I am told the premise of YEH HAI BAKRAPUR is inspired by a news-report about a goat brought from Rajasthan to Delhi. The story explores the innocent relationship between Zulfi [Shameem Khan], a young kid, and his pet goat Shah Rukh. Burdened with poverty, recurring expenses and loans, the family is always in distress because Ansari [Asif Basra] and his nephew Majid [Faiz Khan] don't earn enough to sustain the family. As a last resort, the family decides to sell off the goat at a mela, much against the wishes of Zulfi, who is completely heartbroken by the decision.
That's when Jaffer [Anshuman Jha], who is in love with Zulfi's elder sister Naaz [Yaushika Varma], gets a brainwave…
YEH HAI BAKRAPUR marks the foray of National Award winner Janaki Vishwanathan into Hindi films [she also doubles up as the writer of this film]. Frankly, she couldn't have chosen a more appropriate theme for her Hindi debut, since the written material offers her ample scope to entertain the viewers with an out-of-the-box theme, plus drive home a serious message. The serpentine twists in the plot and the engaging screenplay manage to keep you alert and attentive, except when Janaki decides to have an abrupt intermission and an open end, which stands out like a sore thumb. Ideally, it would've worked better had she thought of a firm resolution.
Janaki also uses the songs [Agnee] smartly in the narrative; the tracks don't look forced into the goings-on. Like CHENNAI EXPRESS, which paid tribute to Rajinikanth ['Lungi Dance'], the team of YEH HAI BAKRAPUR too pays tribute to SRK towards the end credits. The background score is subtle, but effective. Extensively filmed in Bidar in Karnataka, the DoP [Abinandhan Ramanujam] captures the locales wonderfully on celluloid.
The cast slips naturally into their respective parts. Anshuman Jha and Yaushika Varma enact the lovebirds with conviction. Asif Basra is absolutely at ease, while Faiz Khan is convincing as the helpless husband. However, it is Suruchi Aulakh who breathes life into her character of the nagging housewife Suraiyya. She's remarkable! Shameem Khan, the child artist, exudes the right amount of smartness and innocence required for the part. Wasim Khan [Jaffer's father], Utkarsh Mazumdar and Amit Sial are alright.
On the whole, YEH HAI BAKRAPUR employs a comic tone to tell a serious story. Armed with a simplistic, but innovative plot and an engaging screenplay, this small little film deserves a watch because it's made with heart.
Like Anusha Rizvi, who directed PEEPLI [LIVE], Janaki, has also been a journalist. The question that crosses your mind is, why do journalists attempt satires? I guess, when you watch life at such close quarters -- examining the ludicrousness and illogicalities so meticulously -- you hope to present the myriad experiences on celluloid some day. And what better genre than satire to highlight the message. After all, tackling a grim issue and coating it with humor makes it easily palatable, right?
I am told the premise of YEH HAI BAKRAPUR is inspired by a news-report about a goat brought from Rajasthan to Delhi. The story explores the innocent relationship between Zulfi [Shameem Khan], a young kid, and his pet goat Shah Rukh. Burdened with poverty, recurring expenses and loans, the family is always in distress because Ansari [Asif Basra] and his nephew Majid [Faiz Khan] don't earn enough to sustain the family. As a last resort, the family decides to sell off the goat at a mela, much against the wishes of Zulfi, who is completely heartbroken by the decision.
That's when Jaffer [Anshuman Jha], who is in love with Zulfi's elder sister Naaz [Yaushika Varma], gets a brainwave…
YEH HAI BAKRAPUR marks the foray of National Award winner Janaki Vishwanathan into Hindi films [she also doubles up as the writer of this film]. Frankly, she couldn't have chosen a more appropriate theme for her Hindi debut, since the written material offers her ample scope to entertain the viewers with an out-of-the-box theme, plus drive home a serious message. The serpentine twists in the plot and the engaging screenplay manage to keep you alert and attentive, except when Janaki decides to have an abrupt intermission and an open end, which stands out like a sore thumb. Ideally, it would've worked better had she thought of a firm resolution.
Janaki also uses the songs [Agnee] smartly in the narrative; the tracks don't look forced into the goings-on. Like CHENNAI EXPRESS, which paid tribute to Rajinikanth ['Lungi Dance'], the team of YEH HAI BAKRAPUR too pays tribute to SRK towards the end credits. The background score is subtle, but effective. Extensively filmed in Bidar in Karnataka, the DoP [Abinandhan Ramanujam] captures the locales wonderfully on celluloid.
The cast slips naturally into their respective parts. Anshuman Jha and Yaushika Varma enact the lovebirds with conviction. Asif Basra is absolutely at ease, while Faiz Khan is convincing as the helpless husband. However, it is Suruchi Aulakh who breathes life into her character of the nagging housewife Suraiyya. She's remarkable! Shameem Khan, the child artist, exudes the right amount of smartness and innocence required for the part. Wasim Khan [Jaffer's father], Utkarsh Mazumdar and Amit Sial are alright.
On the whole, YEH HAI BAKRAPUR employs a comic tone to tell a serious story. Armed with a simplistic, but innovative plot and an engaging screenplay, this small little film deserves a watch because it's made with heart.
Koyelaanchal
Lawless
land. Coal mining mafia. Men with insatiable hunger for power and sex.
Gruesome violence… Asshu Trikha highlights all of the above in his new
outing KOYELAANCHAL. The raconteur takes you to the world where might is
right and the voice of the poor and the hapless never make it to the
ears of the concerned authorities.
Although the plot is distinct and so are the characters, KOYELAANCHAL brings back memories of Asshu's hard-hitting gangster movie BAABARR. Also, Anurag Kashyap's GANGS OF WASSEYPUR and Ali Abbas Zafar's GUNDAY. Is the film as absorbing as those films, let's find out…
KOYELAANCHAL highlights the atrocities committed by Saryubhan Singh [Vinod Khanna], referred to as 'Maalik' in the region. The only language he knows and understands is, my way or the highway. Things take a turn when an honest and upright District Collector Nisheeth Kumar [Suniel Shetty] steps in to take charge.
As a warning to steer clear of his path, Saryubhan sends his trusted Karua [Vipinno] to warn Nisheeth. Things take an ugly turn when Karua ends up attacking Nisheeth's wife [Purva Parag] and hijacks the car that has their infant in it. The battle lines are drawn…
KOYELAANCHAL takes a reallyyy longgg time to come to the point. Ideally, Asshu should've established the characters and set the ball rolling within 15/20 minutes of the commencement of the film, but much of the first hour is devoted to establishing the characters, depicting bloodshed and the pathetic condition of the locals. The wheels start moving only before the intermission, when Karua attacks Nisheeth. It's at this juncture that the writing gets interesting, when the two warring factions lock horns.
The volatile confrontations, the drama that ensues, the new characters that step in [Kannan Arunachalam in particular]... it is as this stage that you feel that Asshu has got the grip finally. As a matter of fact, it won't be erroneous to state that it's like watching a different movie altogether, with the dramatic confrontations [between Vinod Khanna and Kannan Arunachalam first and between Vinod Khanna and Suniel Shetty subsequently] making an impact, so much so that you ignore the deficiencies that show up sporadically. However, the emotional connect between the kidnapper and the infant is stretched for no reason.
One expects the culmination to take the film to its pinnacle, but the writing messes up at this point. The finale lacks fizz, while the VFX appear tacky.
In a film whose middle name is violence, there's no scope for music at all. The songs, therefore, are functional. Also, given its genre, the film rests heavily on violence and bloodshed [there's too much of it!], while the gruesome and explicit sequences do put you off at times.
Vinod Khanna carries the film on his broad shoulders with his villainous act. The veteran gets the opportunity and some heavy-duty sequences to display his mettle and he grabs the opportunity with both hands. It's a stellar act without doubt. Suniel Shetty underplays his part beautifully. Generally, most actors would've insisted on being one-up on their on-screen opponent, but not Suniel. Vipinno gets ample opportunity to exhibit his physique, flex muscles and exude power. He doesn't get many lines to deliver. He does leave a mark nonetheless.
Kannan Arunachalam is in terrific form, while the ladies, Rupali Krishna Rao [as Roopmati] and Purva Parag [as Suniel's wife] are first-rate both. Deepraj Rana is getting typecast. Brij Gopal [as Vinod Khanna's trusted confidant Sadho] is competent. Asshu Trikha appears in a well-enacted cameo.
On the whole, KOYELAANCHAL is absorbing and engaging, especially towards the second half. Should find its share of audience at single screens specifically.
Although the plot is distinct and so are the characters, KOYELAANCHAL brings back memories of Asshu's hard-hitting gangster movie BAABARR. Also, Anurag Kashyap's GANGS OF WASSEYPUR and Ali Abbas Zafar's GUNDAY. Is the film as absorbing as those films, let's find out…
KOYELAANCHAL highlights the atrocities committed by Saryubhan Singh [Vinod Khanna], referred to as 'Maalik' in the region. The only language he knows and understands is, my way or the highway. Things take a turn when an honest and upright District Collector Nisheeth Kumar [Suniel Shetty] steps in to take charge.
As a warning to steer clear of his path, Saryubhan sends his trusted Karua [Vipinno] to warn Nisheeth. Things take an ugly turn when Karua ends up attacking Nisheeth's wife [Purva Parag] and hijacks the car that has their infant in it. The battle lines are drawn…
KOYELAANCHAL takes a reallyyy longgg time to come to the point. Ideally, Asshu should've established the characters and set the ball rolling within 15/20 minutes of the commencement of the film, but much of the first hour is devoted to establishing the characters, depicting bloodshed and the pathetic condition of the locals. The wheels start moving only before the intermission, when Karua attacks Nisheeth. It's at this juncture that the writing gets interesting, when the two warring factions lock horns.
The volatile confrontations, the drama that ensues, the new characters that step in [Kannan Arunachalam in particular]... it is as this stage that you feel that Asshu has got the grip finally. As a matter of fact, it won't be erroneous to state that it's like watching a different movie altogether, with the dramatic confrontations [between Vinod Khanna and Kannan Arunachalam first and between Vinod Khanna and Suniel Shetty subsequently] making an impact, so much so that you ignore the deficiencies that show up sporadically. However, the emotional connect between the kidnapper and the infant is stretched for no reason.
One expects the culmination to take the film to its pinnacle, but the writing messes up at this point. The finale lacks fizz, while the VFX appear tacky.
In a film whose middle name is violence, there's no scope for music at all. The songs, therefore, are functional. Also, given its genre, the film rests heavily on violence and bloodshed [there's too much of it!], while the gruesome and explicit sequences do put you off at times.
Vinod Khanna carries the film on his broad shoulders with his villainous act. The veteran gets the opportunity and some heavy-duty sequences to display his mettle and he grabs the opportunity with both hands. It's a stellar act without doubt. Suniel Shetty underplays his part beautifully. Generally, most actors would've insisted on being one-up on their on-screen opponent, but not Suniel. Vipinno gets ample opportunity to exhibit his physique, flex muscles and exude power. He doesn't get many lines to deliver. He does leave a mark nonetheless.
Kannan Arunachalam is in terrific form, while the ladies, Rupali Krishna Rao [as Roopmati] and Purva Parag [as Suniel's wife] are first-rate both. Deepraj Rana is getting typecast. Brij Gopal [as Vinod Khanna's trusted confidant Sadho] is competent. Asshu Trikha appears in a well-enacted cameo.
On the whole, KOYELAANCHAL is absorbing and engaging, especially towards the second half. Should find its share of audience at single screens specifically.
Manjunath
Some
stories should be told. And director Sandeep Varma does a splendid job
of chronicling the tale of Manjunath Shanmugam and bringing it to
multiplexes.
Manjunath was 27 when he was assassinated in 2005. The director creates a vivid portrait of a young man who was an obedient son, a thoughtful friend and an honest worker in this biopic called MANJUNATH. Working for the Indian Oil Corporation, Manjunath was a whistleblower, who exposed the petrol pumps selling unadulterated fuel.
Unfortunately, Manjunath's voice was silenced. He was shot dead on duty for doing what was right.
As a film, MANJUNATH works in totality. Director Sandeep Varma presents the heroic deeds of Manjunath, putting together the events meticulously and crafting an engaging film around him. It's an honest endeavour that oozes sincerity. A courageous attempt, since the storyteller remains faithful to the subject material.
Sandeep gives an insight into Manjunath's life at the IIM-L, his interaction with his friends, the relationship with his parents… the storyteller also integrates humor, besides a song or two in the narrative.
One of the factors that elevates MANJUNATH to another level is its talented cast and the superior performances they pitch in. Seema Biswas and Kishore Kadam, portraying Manjunath's parents, are outstanding. Recall the sequence when they attend a program in memory of their son. The sequence is sure to melt even the stone-hearted. Anjori Alagh interprets her part with complete understanding. Divya Dutta is absolutely believable. Yashpal Sharma and Asif Basra are effectual. Faisal Rashid is first-rate.
Expectedly, it is Sasho Satiiysh Saarathy who wears the character like skin and is the soul of MANJUNATH. He portrays strength, anguish and simmering rage with incredible ease and conviction.
On the whole, MANJUNATH documents the story of Manjunath Shanmugam in a life-like way. It is realistic, brave and powerful. Watch it!
Manjunath was 27 when he was assassinated in 2005. The director creates a vivid portrait of a young man who was an obedient son, a thoughtful friend and an honest worker in this biopic called MANJUNATH. Working for the Indian Oil Corporation, Manjunath was a whistleblower, who exposed the petrol pumps selling unadulterated fuel.
Unfortunately, Manjunath's voice was silenced. He was shot dead on duty for doing what was right.
As a film, MANJUNATH works in totality. Director Sandeep Varma presents the heroic deeds of Manjunath, putting together the events meticulously and crafting an engaging film around him. It's an honest endeavour that oozes sincerity. A courageous attempt, since the storyteller remains faithful to the subject material.
Sandeep gives an insight into Manjunath's life at the IIM-L, his interaction with his friends, the relationship with his parents… the storyteller also integrates humor, besides a song or two in the narrative.
One of the factors that elevates MANJUNATH to another level is its talented cast and the superior performances they pitch in. Seema Biswas and Kishore Kadam, portraying Manjunath's parents, are outstanding. Recall the sequence when they attend a program in memory of their son. The sequence is sure to melt even the stone-hearted. Anjori Alagh interprets her part with complete understanding. Divya Dutta is absolutely believable. Yashpal Sharma and Asif Basra are effectual. Faisal Rashid is first-rate.
Expectedly, it is Sasho Satiiysh Saarathy who wears the character like skin and is the soul of MANJUNATH. He portrays strength, anguish and simmering rage with incredible ease and conviction.
On the whole, MANJUNATH documents the story of Manjunath Shanmugam in a life-like way. It is realistic, brave and powerful. Watch it!
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