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Reviews
Oti Uttam (2024)
Missable
Made an effort to watch "Oti Uttam" in the theatre for the following reasons: 1) The trailer promised a unique premise and smart placement of footage from Uttam Kumar's films to tell a contemporary story, 2) Why miss the chance of watching Uttam Kumar in a 2024 film on the big screen? Turned out to be a bad idea.
Uttam Kumar's ghost lays down some ground rules via grandson Gourab Chatterjee's body to justify the film's poor VFX, limitations in the tech and the rushed editing, then appears in black-and-white to help his conjurer and ardent fan Krishnendu (Anindya Sengupta) woo his crush Sohini (Roshni Bhattacharya). But Sohini falls hard for Uttam Kumar instead (but obvio). "UK" saves the love-stricken girl by feigning a relationship with her, only to break her heart (that too with a little help from Supriya Devi's ghost) in order to drive her to seeking some rebound love from her "friend" Krishnendu. Really? That's what they came up with? Hadn't expected greatness but was hoping for something actually worth bringing our Mahanayak back from the dead - not a poorly spun retelling of "Kal Ho Naa Ho"!
The persona we know and adore as Uttam Kumar is too mountainous and too profoundly woven into our collective consciousness to be "used" like a court jester on a whim. From "Guru" switching guises innumerable times in the same scene to him addressing the same person differently to his painfully drab "AI voice" - nothing worked for me. Everything felt forced and unnecessary, as if to merely try and elicit some form of nostalgia. The short Kolkata tour, the luncheon scene, the Subhasis Mukherjee-Laboni Sarkar comedic duo and a couple decent songs were the only saving grace.
Bramayugam (2024)
Style over Substance, Star over Story
Pros: 1) Incredible cinematography - a visually stunning piece of art, 2) Unique script with an artful, minimalistic, impeccably Indian approach, 3) A towering Mammootty, 4) Booming background score, 5) Socio-political relevance.
Cons: 1) Stretched out narrative, 2) Leaky storyline - the apparent loose ends should have been tied up to cater to the more critical viewers.
Verdict: How often do we get to see an Indian film made with a vision that goes above and beyond established norms of mainstream (?) cinema? However, the writing could've been more taut to complement the visuals, the telling and the performances.
Modern Love Mumbai: My Beautiful Wrinkles (2022)
Sometimes all you need is a little validation
Watched the episodes of "Modern Love Mumbai" in order of IMDb ratings (highest to lowest, with the exception of the last episode obviously) and found this one to be quite poorly rated with respect to its content. Even though the performances weren't up to the mark and clichés in the narrative could've been avoided, the story and the underlying emotions did move me.
Dilbar is too complex a character to be taken as lightly as she's been portrayed on screen. She's got so much going on inside her! She ended her marriage in her forties, fell for another man thus breaking social constructs, then lost him in a car accident she blames herself for. Yet she's strong in her sixties and tries to be social, but is conflicted about attending a reunion partly because of her own demons and partly because she feels she hasn't achieved anything in life worth celebrating in a reunion with her successful batchmates.
Along comes Kunal (her...student?) with an erotic drawing of her, telling her how he feels about her and that he fantasizes about having sex with her. She tells him off of course, but can't help wondering if it was her who led him on. Even with an "inappropriate advance" dropping out of the blue, Dilbar's initial reaction speaks volumes about her. And then the drawing sparks a flame inside her and intercut shots of Kunal practising for his marathon suggests her own attempt at fantasizing about him. She decides to speak to him about it, but drops that idea. Kunal grapples with his feelings while under pressure of finding a job. He destroys his drawings of her, thus getting over her in his head but the hurt still remains.
Dilbar slowly finds herself again and comes to terms with her grief and guilt. She gets rid of the rusty car in which her lover Iqbal died and throws away his last worn clothes and wallet. She finally comes clean with Kunal, telling him of her reciprocative fantasy, but makes it clear that that's where it ends. This closure turns out to be enough to give Kunal the push he needed to take light, pursue his interests and socialize again. Dilbar looks more beautiful than ever as she attends her reunion, partying with her old friends, living life again. She acknowledges her "wrinkles" and chooses to wear them like battle scars (like her actual scar from the accident), only to make her stronger.
Yes, I'm aware that this looks more like a synopsis than a review, but Dilbar and her story is all the review the episode really needs.
Kadak Singh (2023)
All over the place
Are you a cinephile like me who has, at some point or another, rewritten/reshot/recut a movie in your head right after watching it? If you are, you'd probably do the same after watching "Kadak Singh" too.
Even with an acclaimed director, an award-winning editor and a talented BGM composer working on this film, I fail to comprehend how a story with such potential could go so wrong on screen. We could've had a taut, darkly humorous thriller made up of a plethora of mysterious and intriguing characters (played by great actors) had the narrative and the editing allowed the same.
Disappointing. Frustrating.
Olokkhis in Goa (2023)
Better than Rough Night
"Good artists copy, great artists steal." And the makers of this series have literally given away its source material on a calling card.
I have seen "Rough Night". Didn't really care much for it. Why I watched "Olokkhis in Goa" even though it was pretty clear from the trailer that the series has been lifted from the 2017 film isn't much of a mystery - I had time to spare.
I liked the series better. Smart changes in storyline, good backstories and character arcs and a mostly coherent narrative. Well acted too. I really liked Priyanka Mondal's Titas and Priyanka Bhattacharjee's Hoi. Anuradha Mukherjee as Ranita holds her ground well. Avery Singha Roy's Barsha has been written as the "class clown" so she's supposed to deliver anyway.
Goa has been used well. They've managed to get some great shots.
Overall a good time and a fun watch.
Onnyo Basanto (2015)
Underwhelming
Televised back in 2015, "Onnyo Basanto" is still fondly remembered and much talked about on social media platforms. I watched it only recently and, surprisingly enough, found it quite underwhelming.
Tannistha (Amrita Chatterjee), engaged to her long-term "friend" Sounak (Rajdeep Gupta), meets the unambitious yet sensitive perfumer/entrepreneur Abhimanyu (Kaushik Roy) and falls for him. She sees glimpses of her father in him. Her father (Kamaleswar Mukherjee), on the verge of getting a "golden handshake" is more of a thinker, with a doer wife (Pallavi Chatterjee) who is clearly the alpha breadwinner. She chastises her husband's life choices quite vocally, and approves of the career-oriented Sounak. Sounak seems to be full of himself, with a clear set of goals and a "selfish" approach towards life. While Tannistha and Abhimanyu grow platonically close, Sounak decides to prepone their marriage so that he can move to Delhi with his newlywed bride to pursue a better career opportunity. What will Tannistha do? Whom would she choose?
Even with a promising start and good performances, the narrative fails to bind it all together. It's mostly incoherent; subpar music and bland songs ruining moments with potential. The little things do work for me, but the film as a whole fails to make an impact. The characters are well-written but don't really coalesce. The notion of being ambitious has been misrepresented; portrayed in a grey light with a prejudiced vision. Tannistha's relationship with Sounak fails to hold any weight, and the viewer wonders why she'd agreed to marry him in the first place. Abhimanyu's crises seem forced. The turn of events feel biased and too predictable. The closing moments seem pretentious.
I wonder if I've outgrown the intended appeal of the film or whether the film itself has failed to age well. Maybe the dawn of OTT and the wide range of far more realistic, relatable and well-made content have ruined it for me.
Biye Bibhrat (2023)
A Defiant Rom-Com
Shakyo (Abir Chatterjee), a banker/YouTuber with commitment issues gives in to his mother's decision of looking for potential brides for him. He meets Mohor (Lahoma Bhattacharya) in the process, and they click. Things are going well when Shakyo gets an anonymous letter, warning him about Mohor and his family. Shakyo shows the letter to Mohor and traces it back to Mohor's former music teacher and ex-boyfriend Chandramouli (Parambrata Chatterjee), who's still smitten with her. Hilarity ensues as Shakyo tries to help Chandramouli win Mohor back.
"Biye Bibhrat" is a genre-bender in terms of content and style. Yes, it's a desi rom-com with a quirky love-triangle, bromance, loads of laughs and good music. But, surprisingly enough, it's a great character study as well. The narrative isn't the loud, masala-driven kind popularised in quintessential "commercial" cinema either. It's more grounded, more real. Loved the organic turn of events - neither forced, nor overdone. The comedy rolls out seamlessly. The emotions are quite palpable too.
Loved how the film itself references films like "Kal Ho Naa Ho" and "Hum Dil De Chuke Sanam" and still succeeds in telling an unconventional story. The film's take on love and relationships feels both relevant and familiar, unlike most other films of its genre. Less mush, lesser cheese and no corn. Loved the contrasting trio, their individualistic character arcs and backstories. The "conflict" and "resolution" scenes have been written really well. Special mention to the scenes depicting Mohor's dilemma.
Chandramouli is clearly the USP of the film; evident from the trailer itself. Parambrata Chatterjee fits the role beautifully. His characteristic put-on works in this film to his advantage. Loved the little things he throws in throughout the course of the character. Lahoma Bhattacharya fills every frame with inexplicable charm and grace. There's something very fresh about her screen presence. Given the characterization, Mohor needed to stand out from the pool of rom-com ladies, which she does. Abir Chatterjee does what he does best. Sudipa Basu plays the perfect modern mother we all deserve.
We all look for light-hearted entertainers when it comes to watching a movie on the big screen on a Friday night or a Sunday afternoon (especially with all the dark, gritty content streaming on OTT platforms), but over the top commercialization and recurring clichés ruin most such releases. "Biye Bibhrat" is a must watch.
Lust Stories 2 (2023)
LackLUSTre
Female protagonists, layered narratives and a particularly salacious intimate scene made 2018's "Lust Stories" a pretty good film to watch. The stories dealt with the complexities of human relationships stemming out of primal designs - the funny, messy, flawed and chaotic aspects associated with the titular subject handled (mostly) with deft poise. Its successor, however, falls short of such machinations.
This one's got a more over-the-clothes kind of approach. All four stories lack the deep dive I was looking forward to - especially with quite prominent directors at the helm of things. No nuanced characters, no relationship arcs and, above all, unrealistic. Nevertheless, let's take a look at the individual segments.
"Made for Each Other" - A doting desi Grandma insisting on pre-marital sex as a tool for ensuring a happy married life in an arranged marrige setup would surely turn heads, but I found it unpretentious and funny. There've been criticisms for its "sterile approach" but that's kind of the point. Neena Gupta slays as the "sexy" Dadi and Mrunal Thakur is effortlessly real and charming as Veda. 7/10 for R. Balki's segment.
"The Mirror" - Voyeurism and exhibitionism have been done in films before, but Konkona Sen Sharma's take on it feels fresh and unprejudiced. However, it's the performances that stand out. Tilottama Shome as Isheeta blew me away; that altercation scene gets too real too fast. Amruta Subhash as Seema could've been better, for she's always good. Shrikant Yadav as Kamal plays his part surprisingly well. The somewhat gratuitous sex scenes play to the gallery at times and feel stretched out even with minimal screen time. Didn't really care for the way it ended. 6/10 for Isheeta.
"Sex with the Ex" - I'm conflicted with Sujoy Ghosh's offering. The premise is interesting and quirky. The much promoted Vijay-Tamannaah coupling works, but not quite. Both physical lust and the lust for money and power have been referenced here. I give it 5/10.
"Tilchatta" - I personally feel they should have ended with the Balki film - on a lighter note. The final segment directed by Amit Sharma is too dark and depressing, with Kajol horribly miscast as a former prostitute and sexually abused wife of a wealthy former Zamindar. She looks so out of place that everything else just pained me as a viewer. Torturous ending too. 1/10 only for the unsettling ambience and Kumud Mishra.
Tooth Pari: When Love Bites (2023)
Still a better love story than Twilight
I'm from Kolkata. I'm Bengali.
Now with that out of the way, let's delve in deeper, keeping the language, the locations and the popular regional actors aside.
The vampire lore, though age-old and weathered, feels fresh and looks delectable in this series thanks to enough fun (original?) elements sprinkled in throughout to charm and entertain. Funny with thrills; neither too dark nor too deep. The leads have been well written, with contrasting personalities and purposes. Good/evil, hero/villain lines have been blurred out, and it's not about taking sides with this one. The narrative manages to keep the turn of events quite interesting - nothing forced, nothing bland. The visuals look great too.
The "love story" has been given a fresh perspective. It's 'woke' and it mostly works for me. Rumi complements Roy in an 'opposites attract' kind of way, hence the lack of chemistry between the actors works in their favour. Loved the interactions between Rumi and Roy's parents. Loved how David and Meera also complement the Roys.
The Rumi-Kartick angle would surely turn heads, but I found it both relevant and relatable.
Tanya Maniktala looks ravishingly beautiful as Rumi (her eyes do most of the work though). Shantanu Maheshwari as the meek and likeable Roy plays his part really well. But it's Sikandar Kher who takes the cake. There's this uncut jaggedness about Kartick which he pulls off so well. Loved his scenes with the veteran actor Anjan Dutt. Revathi as Luna is a breath of fresh air.
I'd probably have done away with a few plot points. Didn't really care for some of the costume choices. The music's not that great either.
The season finale has set the stage for something bigger and probably better. Let's see whether we get there.
Avijatrik (2021)
A Take on Timelessness
I haven't read "Aparajito" (I've read "Pather Panchali"), so I'm not in a position to draw comparisons between "Avijatrik" and its source material (well, not yet). And there's absolutely no point in comparing the film with Ray's Trilogy. However, any actor put in the shoes of the immortal Apu has to fit them well. Arjun Chakraborty manages to do so in his own way. The rest of the cast too embody their respective roles with visual finesse. The performances and dialogues do feel a tad theatrical, but there's this unfathomable poignancy and inexplicable nostalgia seamlessly woven in the narrative that has lingered with me since watching the film.
The people, the places and the times feel so familiar, like long lost faces and fond moments bygone, bringing back core memories that don't really exist. Supratim Bhol's cinematography works beautifully, the lack of colour filling every frame with tones of pathos, reminiscence, trepidation and joy as Apu takes us on his journey back to Benaras, back to Nischindipur, running full circle before setting out on an adventure of a lifetime with his adorable son Kajol. Loved how Aparna has been written into scenes, creating visual poetry at times; her presence so moving, so touching.
The music adds to the warmth. Anoushka Shankar's variations of the legendary theme music fit in perfectly with the story.
While creating timelessness is a rare feat, taking on timeless films and stories is audacity. I'm glad Subhrajit Mitra dared to take that leap of faith with "Avijatrik".
Hatyapuri (2022)
Felu Failing?
Let's be honest here - Srijit Mukherji has clearly bagged better leads. However, "Darjeeling Jomjomat" fell flat on its face and left me both annoyed and crestfallen. "Hatyapuri" is clearly what Ray's Feluverse is supposed to look like, but it's still missing the essence of 'my' Feluda.
Indraneil Sengupta, though promising and fresh, doesn't really embody Prodosh C Mitter. His portrayal is somewhat paradoxical - he looks the part but doesn't act it. Ayush Das' Topshe doesn't work for me. Abhijeet Guha's attempt at Jatayu needs more heart and more humour.
Paran Bandopadhyay and Subhashish Mukhopadhyay prove their mettle yet again.
The whodunit works well, but the narrative doesn't really engage the viewers' attention until the final act. The telling lacks pace and urgency, quite unlike most Sandip Ray films.
Even with three parallel Feluverses currently out there, Feluda's future seems to be on shaky ground unless Sandip Ray redeems himself with his next film.
X = Prem (2022)
The Arnab-Aditi Story
Yes, Dr. Kaufman, I have seen Eternal Sunshine of the Spotless Mind. In fact, it's one of my favourite films; right up there with Being John Malkovich and Synecdoche, New York. Having said that, X=Prem neither emulates nor plagiarises Charlie Kaufman's work. Rather, it creates a world of its own - a diorama of love-stricken characters.
It's not the story that works. It's the characters and their almost impeccable portrayal. Given the premise, the clichés, a few forced plot points and a somewhat predictable, flat ending, making the characters both believable and relatable is a feat in itself.
Arnab and Aditi stand out. So profound, so nuanced, so moving. Arjun Chakraborty's performance takes the cake. Madhurima Basak both looks and plays her part to the T. Even though I don't fully like how Joyee and Khilat have been written, Shruti Das and Anindya Sengupta look so good together.
I've been thinking about this film for some time now; unlike the filmmaker's other works (except Nirbaak, maybe?).
Special mention: "Priyo Jhhor" and the music.
Ajeeb Daastaans (2021)
Tales of the Selfish
Sexual orientation/identity, class divide/casteism and adultery have been the consistent themes in all the notable anthologies with A-Listers involved in the making since "Bombay Talkies", and that's quite an odd choice to make given the vast library of untouched ideas out there (films like "Shorts (2013)" and "Unpaused (2020)" are worth mentioning here). "Ajeeb Daastaans" (what's in a name?) follows the same tradition but the content varies in appeal, selfishness being the only thread that binds the four tales together. Well, that and the fact that they all have plot twists.
Where Shashank Khaitan's 'Majnu' feels like something inspired by Alt Balaji shows and happens to be a blatant waste of Jaideep Ahlawat, Raj Mehta's 'Khilauna' manages believable performances by the leads but builds to an incoherent, torturous climax.
The much talked about and critically acclaimed 'Geeli Pucchi' directed by Neeraj Ghaywan clearly deserves all the praise as it works on every level. Konkona Sen Sharma shines bright as always. Aditi Rao Hydari too embodies her role to a T. The story touches all three aforementioned themes, and delivers. The ending is bound to strike a chord with its viewers.
Kayoze Irani's 'Ankahi' left me with mixed feelings, for the performances do resonate with the viewer but the story doesn't really make its mark.
I really love anthologies and would like to see more creative ideas and actors put on screen.
The Booth (2019)
A Story Unrequited
Short films usually tend to leave a lot unsaid with a strong focus on showcasing filmmaking skills and/or framing a moment or an array of events to tell a story through nuanced performances.
But, any film, short or feature-length, is supposed to give the viewer some form of closure, and that's where this film falters.
"The Booth" is more like a clip from an untold story. Despite the unique premise, multifaceted events and some beautifully emotive moments between the characters, the viewer doesn't really connect, nor respond. It leaves one wanting more - both the before and the after is what the viewer is really interested in when the film ends. There's so much happening, and yet it's all for naught!
Amruta Subhash fits Rekha's shoes perfectly. Parna Pethe as Sargam looks promising.
Here's hoping for a script awaiting production.
Break Up Story (2020)
What a Waste!
As an optimistic viewer with a subscription, it's painful to watch well-written, star-studded stories fall flat on the face just because of blatant misdirection.
I wonder how filmmakers like the one in the director's seat for this series continually deliver mostly wasted opportunities and still get more projects.
As redemption, Hoichoi should consider the script for a feature-length film (with a non-linear narrative for flavour, maybe?), starring the same actors, with good music, darker undertones yet happier endings and a better director.
Do Not Disturb: Plastic (2018)
OTT Worthy
Anything put on screen should either be well written or well shot. The two together work wonders for me. A good script and/or a beautifully filmed frame is enough to fill in fitting characters, just like the dreamer's subconscious fills the dream with people in "Inception".
Anthologies/shorts were big with Hoichoi in its prime. Out of the many attempts at serving good content in under 30 mins, "Plastic" clearly stands out.
It's witty, pretty and quite the sincere take on 'matters of the mind'; the subject and it's treatment almost epochal, reminiscent of Richard Linklater's "Waking Life" - the Jesse and Celine scene in particular.
"Plastic" is my kind of film - the sort of stuff I'd like to see on OTT. Sunny Ray, if you ever read this, despite "Rubberband" I will be watching out for your next project.
Modern Love: When Cupid Is a Prying Journalist (2019)
The Defining Episode
The cheese and corn aside, every ingredient put together to cook up this episode somehow align to form the spectrum of my interpretation of the blasted word. The whole nine yards.
There's this effortless depth in its telling that hasn't been put on film in quite some time...let alone in rom-coms. Almost perfect casting too.
Asha Jaoar Majhe (2014)
The Little Things
I chanced upon the Iranian indie filmmaker Keywan Karimi's short film "Zan Va Shohar Karega" (The Adventure of the Married Couple) a few years ago. In spite of the obvious likeness, I prefer Aditya Vikram Sengupta's directorial debut.
The beauty of this film lies in the little things - the poetic collage of images ordinary lives are made of, artfully rendered and helmed with nuanced realism; every frame relatable, every moment pure, doused in everything Bengali.
Basabdatta Chatterjee outdoes the ever so brilliant Ritwick Chakraborty, so gracefully subtle in her expressions.
Arthouse films tend to be pretentious, mostly unappealing to us commoners, trying too hard to please global audiences. Asha Jaoar Majhe is a rarity; an unequivocal feat of grounded filmmaking.
X-Ray: Selected Satyajit Shorts (2021)
Great Expectations
If I had Netflix and Viacom18's dough, I would've chosen the curiouser Ray stories that have stuck with me over the years - stories like Khagam, Baatik Babu, Ratan Babu aar Shei Lokta & Bankubabur Bandhu. Ray makers have selected relatively simpler ones, adding plot elements and taking creative liberties of their own to try and make them Netflix worthy, it seems.
It's not all bad, though; surely not as bad as the series is made out to be - well, except for Spotlight, especially the trippy, silly, totally out of place "tribute" in it. Forget Me Not and Hungama Hai Kyon Barpa have been well told. Bahrupiya could've been better, but quite good.
The directors have stayed true to their own filmmaking styles, which is appreciable. All four stories have been well shot, and I'm a sucker for good looking cinema (yep, filters work for me). Some great performances too.
Taking on Ray is never easy, more so because the man was the filmmaker and storyteller he was. His music's dearly missed.
To conclude, it goes without saying that the retelling is bound to confuse viewers who aren't familiar with Ray's works and might incite a muddled perception of the man's genius. So, if you're reading this, please read the stories too before judging Satyajit Ray simply based on your reception of the series.
Charitraheen (2018)
A Review Untitled
To begin with, the series is not a modern day retelling of the Sarat Chandra Chattopadhyay novel. It merely borrows personae and underlying themes from the text and creates a world of its own; inhabited by dark, troubled, vulnerable characters vexed with devils of their own making.
The alluring Kiranmoyee is the central object of affection (and all sorts of primal human afflictions...even crimes), herself doused in bouts of unfulfillment. Pushed by her paraplegic husband Harius' little game, Kiran makes a choice - a choice to taint her own character to punish Harius...a choice that would change everything. As the series progresses, more and more characters are introduced, but Satish remains pivotal, possessed with Kiranmoyee's bewitching trance, trying to find her in every other woman after their time together.
Though both the writing and the performances mature with every new season, the tangled storyline and tangential tales seem forced and illogical. There's salaciousness strewn about throughout, the imagery teetering between art and fan service, yet mostly coalescent to the plot. It's all quite atmospheric and well filmed. The characters, though mostly miserable, are well built and well portrayed, some with relatable maladies and profound depth.
One cannot deny that Charitraheen isn't merely one of those explicit acts prevalent on OTTs these days. There's much more to it. The darker spectrum of the collective human consciousness is dealt well with; threaded by love, lust, loneliness, longing and grief. There are moments of artful beauty in the direction and the acting.
Special mention to the music. The songs are on my go-to playlist.
My Client's Wife (2020)
A hidden Hitchcockian-Lynchian psychological thriller
Told like 90s crime drama shows, the film initially feels like something out of the yellow tinted pages of those cheap pulp fiction novels one might find at a railway station bookstore. Don't let the tacky acting turn you off, or the sluggish Rashomon effect deceive you. Nothing's as it seems. Remember the incoherent interludes as they'll lead to the big climactic reveal.
While most OTT platforms fling visually "bold" content at viewers in hopes of more subscribers, cerebrally bold stories like this are rare and deserve a wider audience. Anjali Patil as the titular "Client's Wife" steals the show. And Sharib Hashmi's been signing all the right scripts, even before he became a household name.