Showing posts with label Netflix. Show all posts
Showing posts with label Netflix. Show all posts

Review by jack : Serious Men

 

“Serious Men is a hilarious and satirical take on society and what we knew about it. A man dealing with  retrospects of understanding the importance of education has aspirations of his child doesn’t needs to deal with same situation, within his journey movie beautifully portrays his experiences and relentless persuade of getting some form of notable Id in society. Shading how every form of society like politician, servants , common man warning for own survival and leading in favour of their own motives. “

                       The movie captures life of blue-collar workers who are  ridiculantly  told to when to give their perspective. The lack of acknowledge of their sheer existence with the meanless case of Nawazuddin. Bsed on Serious Men, the award-winning novel by Manu Joseph, has some exquisitely cruel observations. Early in the story, the protagonist Ayyan Mani deliberates ‘the secret moustaches of women,” and “the terrible green freshness when they have been newly removed with a thread.”  Ayyan himself is described as “A dark, tidy man but somehow inexpensive.” The book, published in 2010, is an unforgiving satire on contemporary India – a twisted tale of ambition, fraud, caste, class, celebrity, infidelity, politics and paternal love. Director Sudhir Mishra and writers Bhavesh Mandalia, Abhijeet Khuman, Nikhil Nair and Niren Bhatt, reduce the sting of the book. The result is a drama with a less curdled view of humanity.

                          The film is designed to make you question but not to make you uncomfortable. It veers between sharp and sagging, but ultimately Nawazuddin Siddiqui and the terrific child actor Aakshath Das steer the story to a satisfying close. Ayyan is a fascinating creation. He’s a bright man, keenly aware of his place in the world. He’s the son of a sweeper, living in a chawl , who works at a prestigious science institute. One of Ayyan’s most acerbic conclusions is that it takes four generations to be able to sit by a pool and do nothing. As he explains to his wife – they are 2G – second generation. Educated but unable to enjoy themselves. Their son Adi will be one step ahead with a corporate job and eventually Adi’s children – the fourth generation - will have everything they desire. Ayyan is determined to accelerate this evolution. He teaches himself English and then uses it to penetrate the rarefied spaces of the upper-class, including fancy five-star hotels. Fueled by a desperate desire to be more and have more, Ayyan schemes and furiously manipulates everyone around him - from his neighbor, who is a peon at the institute, to his boss, the venerated space scientist Arvind Acharya, to his 10-year-old son, Adi. Which doesn’t make Ayyan a villain because everyone else, irrespective of wealth or status, is also hustling. A wily politician and his US-returned daughter use Ayyan and Adi to push through their massive redevelopment project. Acharya wants glory by finding microscopic aliens. Even the principal of Adi’s school, a nun, tries to hard-sell Christianity to the family. Basically, everything is for sale – including suffering. At one point, Adi is posing for cameras, holdinga sign that reads: 100 percent Shuddh Dalit.

                                   In one of the funniest scenes in the film,Ayyan masterfully plays the caste-card in Adi’s school. He calls himself low caste and when the administrator he is speaking to recoils awkwardly, Ayyan says: You can’t say it, but I can. In a single line, he exposes the prejudice being cloaked by civility. It’s deliciously wicked. The plot differs significantly from the novel. Acharya’s extramarital affair with a colleague, which was a turning point in the book, is reduced here to a footnote. The ending is changed and characters are added. Not all the alterations work. The weakest is the father-daughter politician duo. She gets a rudimentary backstory but neither has depth. Ayyan’s barbed voice-over propels the narrative. His vocabulary, which includes the wonderful fusion word chutiastic, is dazzling. But some of the dialogue is awkward.

The emotional core of the film is a lengthy, poignant conversation between Acharya and Ayyan in an art gallery. At the end of which, Acharya says: Your angst is right, but your actions are not. Who speaks like that? Sudhir and his writers bung in twists, which complicate the plot but don’t further the film. I couldn’t figure out the necessity of a thread involving the neighbor and his daughter. But what keeps Serious Men on track is the fraught relationship between Ayyan and Adi. The film veers slightly into Breathe-series territory – how far would you go for your child? The cynical scheming in Manu’s book is replaced by the tortured grief of a father who only wants a better life for his son. And who can grudge him that? Especially when he is played with such full-bodied delight by Nawazuddin Siddiqui. Ayyan is duplicitous and downright awful , but Nawazuddin doesn’t allow us to judge him.

                   Ayyan is simply a product of the grotesque world we live in. Watch Nawazuddin’s controlled expressions in the art gallery scene, in which he recounts his past. The horror hits home. Aakshath also does the heavy lifting. He doesn’t overplay Adi’s trauma, which makes it more heartbreaking. Nassar effortlessly becomes Acharya, the voice of reason and authority. And Indira Tiwari as Ayyan’s wife Oja, is well-cast. There's wisdom and weariness on her face – she’s smart enough to understand that her husband isn’t always smart. Looming large over these characters is the BDD Chawl –15,000 people crammed into 21 blocks. The chawl is a concrete embodiment of all that traps Ayyan, his family and everyone who lives there – caste, education, money, opportunities. DOP Alexander Surkala captures the claustrophobia of the one-room tenements, but he also gives the spaces a dream-like quality. In one scene, Ayyan, furious and frustrated, frees the birds caged on the common terrace of the chawl . But unlike them, he needs to do much more to take flight. In Serious Men, Sudhir finds the sweet spot between intricacy, starkness and emotion. There is enough material here for a sequel in which Ayyan Mani runs the world. And I have no doubt that he can. You can watch Serious Men on Netflix India.

What you think about the film or any suggestion-recommendation, do mention in comment below. And don’t miss to  share, Follow , Subscribe…!


Review by j@ck : Dolly Kitty Aur Woh Chamakte Sitare

 

“A disillusioned Delhi wife (Konkona Sensharma) and her new-in-town cousin (Bhumi Pednekar) navigate damning secrets, dreams and their thorny dynamic on their respective roads to freedom.”






An unabashed girl gets the first whiff of freedom and realises it comes with a price. But she is ready to pay it because freedom is indeed expensive for many in this country. In one scene, Bhumi Pednekar's character Kajal says that she is from a small village and belongs to a backward class, thus knows what coming to a big city and living life on own terms means to her. But her family members including cousin Dolly (Konkona Sensharma) and her husband Amit (Aamir Bashir) think she is naive. But she is not!

Cast: Konkona Sen Sharma, Bhumi Pednekar, Amol Parashar, Aamir Bashir, Kubbra Sait,              Karan Kundrra, Vikrant Massey and others

Director: Alankrita Shrivastava

Kaajal (Bhumi) knows her brother-in-law's not-so-good intentions with her and immediately speaks up to her sister about it. Her efforts go in vain and for the sake of her sister and her marriage, she moves out and finally gets to live in a women's only hostel. She lands up a job as a cyber-lover and takes time to get adjusted to it too. On the other hand, Dolly (Konkona) is a government employee who is leaving no stone unturned in earning sufficient money to buy a bigger flat for her family.

However, there are certain scenes which are hard-hitting and stayed with me. Dolly's son goes through gender identity as he loves playing with dolls and wears a bra under his school uniform. She beats her son brutally and her husband ends up blaming her for it.

In several sequences, Kaajal is seen walking home alone and is chased by a bus conductor of an empty bus, a van full of men. The film at many points shows how a woman's freedom is something men worry about. There is also a protest about 'this is against Indian culture' during a scene nearing climax where several things get unfolded.

Talking about Vikrant, filmmakers know how to juice out the best from him and Alankrita excelled in it once again after Lipstick Under My Burkha. Amol is surprisingly delightful to watch with his role as a delivery boy who is earning to study MBA and become a successful entrepreneur. 

Coming to performances, Konkona shines throughout the film and Bhumi equally tries to match up with it. This is a new zone for Pednekar and she showed that she can blend intoany role given to her.

  

The actors' chemistry with each other should be only spoken about Konkona and Bhumi who know to try their level best in judging each other but deep down know they are not wrong in their desires. Overall, despite having a slow pace and many sequences seeming to be deja vu, Dolly Kitty Aur Woh Chamakte Sitare still deserve a weekend watch by movie lovers.

               J@ck's verdict : Your tym is your tym none of my tym..!


Review by j@ck : Lootcase



                    We all have different dreams and aims in life but one common dream for most is to get wealthy. But the reality of life is that despite slogging for years, most people are able to barely survive financially in today's world. Rajesh Krishnan’s comic caper LOOTCASE uses this as a crux and spins a funny story outof it.


                                                 LOOTCASE is the story of a common man who gets rich overnight. Nandan Kumar (Kunal Kemmu) resides in a chawl in Mumbai with his wife Lata (Rasika Dugal) and son Aayush (Aryan Prajapati). He works in a printing press and has a hand-to-mouth existence despite working hard and being the next contender for the ‘Kirori Mal Employee of The Year’ in his office. Once Nandan gets hold of the suitcase, the film goes on a high.Nandan, hasn’t done anything to arouse the suspicion of the police or even the gangsters. What happens next forms the rest of the film. 
                 
                               Kapil Sawant and Rajesh Krishnan's story is nothing new and might remind of similar films in this space or genre like DELHI BELLY, EK CHALIS KI LAST LOCAL, PHIR HERA PHERI etc. But Kapil Sawant and Rajesh Krishnan's screenplay is highly effective. There are tons of funny moments in the film which will raise loads of laughs. Also, these comic scenes are not urban or niche and have a pan India appeal. A few developments however are unconvincing. Thankfully, the plusses outweigh the minuses. Kapil Sawant's dialogues are very witty and funny. In fact, the smart one-liners elevate impact considerably. Rajesh Krishnan’s direction is smooth and uncomplicated. There are multiple tracks in the film and all of them progress well. There’s no jerk in terms of sequence change. 
      




                                LOOTCASE takes a while to settle. The initial 15-20 minutes are spent in introducing various characters.  The scene where he is splurging for his family’s happiness is endearing. But it’s the supporting characters that really add to the humour tremendously. Whether it’s MLA Patil’s psychological tactic of getting work done or Bala giving references of animal’s scientific names and even promoting National Geographic to Kolte’s sarcasm and aggressive behaviour, most of these characters have unique traits that not only keep the interest going but bring the house down. The climax is maddening and it’s interesting to see how the humour has been kept intact. The final scenes raise lot of questions which are left unanswered but no complaints though. Kunal Kemmu delivers a genuinely fine performance. His comic timing is first-rate and he underplays his part very well. Rasika Dugal is lovely and plays the role of the righteous housewife to the T. She is the emotional backbone of the film and hence stands out from the rest. Gajraj Rao is excellent and the way he persuades others to get his work done will be loved. Vijay Raaz does his deadpan humourous act yet again but this time, he’s equipped with a novel character trait and that helps.The chawl scenes are especially well shot. One can feel the characters struggling to survive in a small space. Rateesh UK's production design is very authentic. The chawl and printing press look straight out of life and probably shot in real locations. And the book shop is a lovely set and well thought of. The beginning of second half, nothing in the film is unwanted or forced. On the whole, LOOTCASE is a highly entertaining and funny film which works due to its superb writing, smooth direction and effective performances.