Amodini's Movie Reviews

Rating : Good (4.2/5)
Genre : Drama
Year : 2008
Running time : 2 hour 10 minutes
Director : Onir
Cast : Shabana Azmi, Boman Irani, Sanjay Suri, Sharman Joshi, Chitrangada Singh
Kid rating : PG-13

SORRY BHAI : ONE FAMILY’s EMOTIONAL DRAMA !

You know how first impressions are – I see the title, and it’s “Sorry Bhai” and I’m thinking witheringly – doesn’t it have a tagline ? It doesn’t because it isn’t another one of those wanna-be-deeper films. But you could be mistaken, “Sorry Bhai” for a name sounds very much the same genre as “Partner” or “Golmaal returns”. Thankfully, it’s neither another “Partner” nor another “Welcome” – “Sorry Bhai” is actually a pretty decent drama.

And why not ? It is directed by Onir, of “My brother Nikhil” fame, after all. As in that film, Onir manages to make this a human story, it is about people like us, with families like we have. And what I especially liked in “SB” is it’s natural-ness, it’s light and frothy and tumultuous and witty like people often are. The humor is subtle and nicely woven into the real-sounding dialogues.

SB is a story of two brothers and the one woman they both love. Also it is a story of the family unit – the two brothers and their parents (Shabana Azmi and Boman Irani) who are affected by all this love-lorn drama in their midst. Shabana Azmi is, as always, magnificent as the pouting matriarch. Boman Irani is her equal though, all glinting eyes and sly humor, in depicting the loving father to his two sons. However, the actor who really steals the limelight here is Sharman Joshi, masterfully under-playing Siddharth, a jazz-loving physicist, attracted to his brother’s fiancee. Suri plays the elder brother Harsh, engaged to Aliya (Chitrangada Singh). While Suri and Singh also do well, I didn’t find their roles as well fleshed out as the others.

This is a lovely film. It got me chuckling at all the family jokes, the horsing around and the good-natured banter. It also got me all weepy and anguished at the dilemma the brothers face. Onir handles all the emotion very well – whether it’s the light jabs between the family members, or the heavy tension after the “revelation”. There is no filmi rona-dhona here, it’s all pretty realistically done. I genuinely felt for these guys, and cared about how it would end. There is one scene in particular, which I found very moving, and in it Irani (the father) is exhorting his son (Sharman) to break the Maa ki kasam oath which his Mom has given him, and go marry the woman he loves. Sharman, broken and teary-eyed lying on the bed, afraid that harm will befall his Mom should he not keep his promise to her, murmurs “I can’t take that chance”. And you can see how very much he wants to take his father’s advice, but won’t.

SB has a good screenplay, deft direction, an outstanding cast and features a pleasant sound-track. The film captures very nicely the ties that bind; how it is that we torture the very people we love, use our love as ransom, as power over our own people. And how after all, love heals. Highly recommended.

The film is fairly clean, but has a few love-making scenes which earns it a PG-13 rating. If you liked it, you might also like :
– My brother Nikhil
– Ahista Ahista
–Tera mera saath rahe

Rating : Above average (3.8/5)
Genre : Drama
Year : 2008
Running time : 2 hours 40 minutes
Director : Madhur Bhandarkar
Cast : Priyanka Chopra, Raj Babbar, Mugdha Godse, Kangana Ranaut, Harsh Chhaya, Samir Soni, Kitu Gidwani, Arbaaz Khan, Ashwin Mushran, Chitrashi Rawat, Arjun Bawa
Kid rating : PG-13

FASHION : CLICHED BUT INERESTING

This film is quite a surprise, in that it features Priyanka Chopra, in a meaty, acting-oriented role. So far Priyanka has acted in films which pretty much ask 2 things of her : look pretty, and look dumb (i.e.; leave the thinking to the macho hero). She has THAT act down pat, so I was much surprised to see that she did quite well in this film too.

Fashion is your regular Bhandarkar expose, this time of the fashion world, the models, and the lifestyle of the ramp-walking glitterati. It chronicles the ambition of small-town girl Meghana Mathur. Not that Chandigarh is a small-town really, but apparently it’s value system is. So Meghana faces the standard opposition from the parents, or rather her father (Raj Babbar) when she wants to become a model. Her mother, played by Kiran Joneja is shown as being more supportive.

Anyway, Meghana refuses to listen to dear old Dad and hotfoots it to Mumbai, where the parental connections have ensured her a residence with some family friends. Meghana is ambitious and holds onto her dream with tenacity. Along the way she makes friends (a struggling male model) and enemies (super-model Shonali played by Kangana). Success comes, but at a price, and when Meghana realises that she’s hit rock-bottom and burnt her bridges there is almost no one left to turn to . . .

Priyanka is the poster-girl for glamor, so it is quite fitting that she play the lead. Kangana Ranaut, very model-like too, appears as model Shonali, who’s too entrenched in her drug-prone habits, to ever reclain the top spot in the modelling world again. She does good, as she always seems to in such manic-depressive roles. Mugdha Godse who plays Janet Sequiera, Meghana’s street-smart, model friend who didn’t quite make it, plays her part quite realistically. After many years, we see Kitu Gidwani in a short role as smart, sleek Anisha – the owner of a fashion agency. And there is also Arbaz Khan, the king of the fashion of the world, who takes Meghana under his wing.

Everyone is quite gay in this film, and I mean that literally. From Rohit, the assistant designer who helps Meghana take her first baby steps in the world of fashion, to Rahul Arora, the big-time fashion designer who concocts a marriage of convenience to keep nosy society at bay, the men of the fashion industry are quite queer (straight men have no creativity, huh ?). The women are hard-nosed, it’s a dog-eat-dog world, you’re up one day and down the next. The film is peppered with cliches – there are the drugs, the easy lapses of morality, and the air-kissing. Even so Bhandarkar manages to tell the story well, and without overtly trying to shock or sensationalize – something which a less talented director might easily have done.

This is a good film – it’s not spectacular. Any by that I mean that while it does keep you interested in the happenings of the film, you don’t feel very much for the main protagonist, Meghana. And that is partly due to the fact that Meghana’s character does not have adequate depth – yes, she is believable enough in her fresh-from-Punjab bangs, and her salwar-kameezed portfolio, but could have been better sketched. A finer actresss might have gone the extra mile, but Priyanka, although doing a commendable job, has as yet to hone her skills.

Please note that the subject matter is on the sad (if not depressive) side, and does not lend itself to being the Friday night entertainer. If you’re in a sombre mood, and ready for a thoughtful watch, this will probably interest you.

Films like this : If you liked this film you will also probably like
– Page 3
– Traffic Signal

Rating : Above Average (3.8/5)
Genre : Drama
Year : 2008
Running time : 1 hour 45 minutes
Director : Mehreen Jabbar
Cast : Nandita Das, Syed Fazal Hussein, Rashid Faroqi, Maria Wasti
Kid rating : PG 13

RAMCHAND PAKISTANI : HEART-WRENCHING DRAMA !

Ramchand Pakistani is about a lost little boy. The boy is a Dalit Hindu, of a tribe in the Thar desert of Pakistan. Ramchand, for that’s his name, is angry at his mother Champa (Das), and in a fit of pique, such as the very young have, walks away from his village Bhimra, and across the India-Pakistan border. There he, and his father Shankar (Rashid Farooqui), who comes after him, are captured by the Indian border patrol and jailed. Their fellow detainees are mostly people who like them, have walked unwittingly across the border (what is it but large white rocks placed at regular distances ?) and have remained incarcerated for many years, some losing their minds and others losing hope. Amid despair, red tape and the bureaucracy of two nations almost at war, Ramchand and his father remain hopeful . . .

It is a simple story, detailing lives lived in waiting. While Ramchand and his father wait to be released, Champa waits for her son and husband to return home. They are all innocent people, swallowed and chewed up by the monster of suspicion. They are helpless, and at the mercy of the state. The state is personified by well-meaning, if straight-jacketed male prison wardens, and one female warden, who is made responsible for Ramchand’s education. She sort-of mothers the hapless child, although will not touch him because of his caste. Ramchand weathers his time in jail, among adults (he is the only child) mopping floors, learning to read, and somewhat indulged by fellow prisoners.

Syed Fazal Hussain plays the 7 year old Ramchand, with an innocence and naivete that strums the heartstrings. He is a mischievous little child who won’t go to the rudimentary village school, sasses his mother, and demands the full cup of chai that his father receives. Hussein puts in a finely nuanced performance, and pretty much carries the film. His mother’s role, essayed beautifully by Nandita Das, is of a rural woman, who waits for years for the return of her husband and son. Distraught as she is, she refuses to give up hope, even when everyone else (including her husband’s brother) does. Das, clad in colorful clothes and arm-lengths of bangles, masterfully underplays her character.

Farooqi is Shankar, a poor farmer, living in poverty. He is also the father caught in a no-win situation, watching his life wasting away amid the narrow confines of a prison cell. He is anguished, sorrowful, and at times angry, at the drone-like officials, who won’t let them return home, and at his son, who started it all. Maria Wasti, who looks a little like Sameera Reddy, plays the prison warden, and does well.

Mehreen Jabbar does an adequate job of direction. The storyline is fairly straight-forward, and emotion is built up by delving into details of village life, prison life, and the travails of both. Whereas the lonely Champa cleans, cooks, and works in the fields and refuses to move from the village when other villagers move in search of work, Ramchand pines for his mother, and cannot understand why the prison guards won’t let him go home. He also learns many new things in the prison. There is some education, yes, but there is also a worldliness, an introduction to urban life (such as it is within the confines of the jail).

This is not a fast-paced film, and the characters are built up carefully. We feel for the protagonists because they are the common man, poor and desperate, wanting only to be free, but kept captive for crimes they haven’t committed. It is the case of the little man against the bloated, bureaucratic state, a state which keeps innocent people hostage because of mere suspicion.

The characters are also very “human”, in the sense that they have their own little quirks. The female prison warden, is partial to Sridevi films, which she lets Ramchand watch, and he then, just stepping into adolescence, develops a crush on her (the warden). Ramchand’s mother, Champa, alone, although living with her brother-in-law’s family, develops feelings for a local merchant. Her hopes, however, are thwarted by class and caste barriers. She is never allowed to forget her presumed-dead husband, as depicted in a scene where she buys herself new clothes, but is reprimanded by her brother-in-law, “for dressing up like it was Diwali”.

The film does not take sides, it is not preachy – it simply tells a tale, and let’s you judge. There are no rants about one country being better than the other, and there is no pointing of fingers, or shifting of blame, which lets us, the viewers focus on the human story it tells. It’s a poignant tale, and a moving film (I wept buckets).

Ramchand Pakistani is not your average Friday-night entertainer – it is infact a sad film, the way films are when they speak of anguish and suffering. It is based on a true story, and while it is only Ramchand and his father that we care about in this film, it is well worth noting that there are many such “prisoners” rotting away their lives in the jails of India and Pakistan. For getting out the message on them, and their pitiful condition, this film is to be commended.