Shubh Mangal Savdhan: Movie Review

A Guy and a girl fall in love, decide to have a ‘love-cum- arrange-cum- love’ marriage and their elated families plan a typical North Indian wedding for them. Sounds perfect? Well, it isn’t always Shubh Mangal because sometimes, some things aren’t ‘Up’ for a celebration!

There are three things this movie is high on- Entertainment, Acting and metaphors. Bollywood has progressed by dealing with a bold and tabooed subject of erectile dysfunction in a hilarious yet subtle way. A remake of a Tamil film Kalyana Samayal Saadham,

SMS is a light-hearted comedy with a powerful undertone. The story revolves around the shy Mudit Sharma (Khurrana) who is in love with the starry- eyed Sugandha (Pednekar), who craves a dramatic Bollywood-ishtyle type of romance
before saying ‘I do’. After several failed attempts to approach her, he sent her an online rishta which her family immediately accepts. After their rishta is pakka and roka, very pheeka, she decides to bring that ditzy drama in their courtship. A chance meeting alone in her house heats things up between the two. Alas! steam is blown when he realises he has ‘Gents problem’. Family pressure and a wedding around the corner, he tries to ‘cure’ himself trying every herb and hybrid. What follows next is a series of comic events where the families are also involved in the ‘matter’.

Despite the absence of explicit terms in the dialogue, the film beautifully conveys the otherwise stigmatized issue by using a lot of metaphors (yes, Parle G falling into tea- disheartening!). Bollywood films in the past have always shied away from portraying such taboo issues but movies like Vicky donor and SMS showing it with such ease is a welcoming move.

It was not just Mudit and Suggu who engaged us but also their family members, who tickled our funny bone. As for the ending, it was a sheer disappointment. The idea to make the characters reconcile after a James-bond style Ariel adventure was a turn off. It was sad to see such an interesting built up of storyline get marred by an over-dramatic, clichéd end.

The flow of the film was linear with a foot-tapping soundtrack. While the climax could have been achieved in an interesting manner (100 puns intended), the quirky lines and the typical middle class-Delhi mannerism of the characters along with lots of metaphors, made the film quite an entertaining package.

Image Source: Movie poster from Aajtak

‘Wanted’ actor Inder Kumar suffers cardiac arrest, passes away

Bollywood actor Inder Kumar, popularly known for his supporting role in Salman Khan starrer ‘Wanted’ passed away after suffering a cardiac arrest at his residence in Mumbai on Friday, July 28. He was 45.

Making his debut in 1996 film ‘Masoom’ as the lead opposite actress Ayesha Jhulka, Kumar acted in almost two dozen films in his career including some well-known movies like ‘Wanted’, ‘Tumko Na Bhool Paayenge’ and ‘Khiladiyon Ka Khiladi’. He is also known for portraying the character of Mihir Virani in Ekta Kapoor’s TV soap ‘Kyunki Saas Bhi Kabhi Bahu Thi’.

Inder Kumar’s former father-in-law Raju Kariya revealed the tragic news. He is survived by his second wife Pallavi Sarraf and daughter Khushi, who was from his first wife Sonal.

The actor last appeared in 2011 film ‘Yeh Dooriyan’ and was to also appear in in a film titled ‘Who Is The First Wife Of My Father’, which is still waiting for a release. Kumar was currently playing a role in a film titled ‘Phati Padi Hai Yaar’.

His last rites were conducted on Friday along with the cremation held at Yaari Road Shamshaan Bhoomi.

Sources: TOI, NDTV

The political commentary of Salman’s Tubelight

To start with let’s be very very straight about this; Salman Khan’s latest venture ‘Tubelight’, directed by Kabir Khan is bad. And when I say ‘bad’ I mean that it is Prem Ratan Dhan Paayo bad. Then the obvious question comes up that why even bother writing about it? And the answer is simple; Tubelight is a film that has come out at the time of a dire need. Tubelight touches upon extremely sensitive subjects very innocently and the movie makes sure that it doesn’t preach upon it.

As mentioned before that the movie fails miserably considering all the aspects of a feature film, even the cameo of Shahrukh Khan seems extremely fake. But it doesn’t matter; ‘Bhai’ had already said pre-release that it doesn’t matter to him if the critics give his movie a zero star, people will come to watch it anyway and they will have a good time.

For a bad movie as this one, it is very surprising that it has such a sarcastic political undertone to it. Salman Khan’s ‘Tubelight’, which revolves around the Indo-China war in 1962, strikes the chord with it audience in its constant commentary on “Nationalism vs Anti-nationalism”. The scenes are better written that constructed through the camera. Kabir Khan tries to tell his audience time and again in the movie that no one in a country should provide certificates to people that classify them as Indian or an Anti-Indian.

Through this little kid of 5-year-old Kabir portrays the rebellious and the liberal class of the country. The Indian child of Chinese descent refuses to talk in Hindi to an Army Officer despite knowing the tongue for Hindi is not a validation to his Indian identity.

In a mixture of poor music and horrible acting there is this little competition between the specially abled Salman Khan and the child who can scream “Bharat Mata Ki Jai” louder. The innocent kid asks (rather tells) Salman that if he screams louder than him does it make him more Indian?

The stage that Indian politics is in at the moment, a particular political party has found out the most effective tool to propaganda and that is over-simplification and repetition. And they have realised that the public does not want facts. It wants rhetoric, it wants to listen to a story, a common story that one can relate to. And that they want it simplified.

A section of India in the past years was attacked, rebuked and mocked for staying neutral. This section was called with many names, they were given the tag of “Libtards” anyone in the press who would disagree was called a “Prestitute”. They were all put into one common column “ANTI-NATIONAL”. This liberal section found it very hard to simplify a very complex matter which was propaganda. And that is what exactly Kabir Khan has done for them.
The simplicity of the movie is commendable and the movie starts with the note called “This is to all those people who fight their own wars while their loved one is away”.

Late Om Puri who has been casted as a fatherly figure talking about Gandhian non-violence is a message in itself.
The film has given something to hold on to a diminishing sect of Indian society, those who think that it’s fine not being a radical nationalist.

I have never been a Salman Khan fan, not of his movies, never of his acting, but this movie although I went to watch reluctantly, I will never regret.
Nor for its acting, neither for its music and direction; but for it was needed…it was needed in these desperate times.

Strong Script saves Salman’s Tubelight from going off

Cast: Salman Khan, Sohail Khan, Zhu Zhu, Matin Rey Tangu, Om Puri, Mohammed   Zeeshan Ayyub.
Director: Kabir Khan
Rating: 2.5 stars (out of 5)

As the Bollywood tradition goes, 2017 also witnessed actor Salman Khan celebrating Eid with his fans with his latest venture ‘Tubelight’. The Salman-Kabir Khan actor-director duo famous for Ek Tha Tiger and Bajrangi Bhaijaan, delivered another film for ‘Bhai’ fans to enjoy during the festival.

The movie claimed to be an emotional and family watch by the star is set in the backdrop of the 1962 Indo-China war and tries to portray the consequences of war on not only the soldiers’ lives but also the lives of their loved ones who are left behind waiting for their return.

Salman Khan has been trying to reinvent his image with projects like Bajrangi Bhaijaan and now Tubelight. The 51-year-old actor has attempted to venture far from his hero image to the vulnerable character of a man with the innocence and understanding of a child. The film, an official adaptation of the 2015 Hollywood film ‘Little Boy’ puts Salman in the role of a brother Lakshman, determined to bring back his younger brother Bharat, portrayed by Sohail Khan, who has gone to fight the 1962 war.

The chemistry between the Khan brothers manages to come out beautifully in some moments, but also becomes a drag many times. The awkward stance of Sohail Khan is clearly visible in the film, who doesn’t look at ease with his character. Playing a mentally-disabled character, called Tubelight by everyone around him, Salman is somewhere able to make up for his otherwise expression less face.

The makers of the film possibly tried to use the adorable child actor formula to add to the charm of the film again;eight-year-old Matin Rey Tangu failed to capture everyone’s audience unlike Harshaali who had managed to outshine even Salman in Bajrangi Bhaijaan.

The scripting and camera of the film manage to win hearts to quite an extent. Scriptwriters Kabir Khan, Parveez Sheikh and Sandeep Srivastava deserve all the appreciation for the political commentary included in the film. Statements like “I don’t need a certificate to prove that I am an Indian” by Chinese actress Zhu Zhu who plays Matin’s mother clearly takes a dig at the constant certification of patriotism being awarded in our country recently. Mocking the concept of the person shouting ‘Bharat Mata ki Jai’ the loudest to be the real Indian, again proves to a very smart and much needed take on the pitiable definition of nationalism gaining popularity in our nation. Lens work done by Aseem Mishra beautifully captures places like Ladakh and Manali, at the same time managing to recreate the 1960s aura.

The message of inclusiveness and Gandhian ideals and making friends with the enemy, although sounds cliché but comes out very innocently and beautifully on the screen. The acting definitely disappoints, but the script manages to save the film to some extent. The first half is far more engaging as the second becomes a bit of a drag. The female actors in the film aren’t able to leave their impact, while the supporting cast including Mohammed Zeeshan Ayyub as Narayan and Yashpal Sharma as Major Tokas manage to do justice to their parts.

The cameo of Shah Rukh Khan comes out as a surprise but doesn’t really impress. The music of the film is way too loud, the songs are shot very well and manage to convey the emotions of the moments, but the makers could have possibly toned the sound a bit down as it unnecessarily overshadows the film.

The film being the late veteran Om Puri’s last, stars him in a fatherly role and plays out as a poetic eulogy to the legend.

*Spoiler Alert*

The symbolism in some of the scenes such as the one where Lakshman spreads Bharat’s ashes in the river with the latter’s soul running forward and mixing with the ashes comes out very strongly and conveys the emotions spot on. Although the scene is a copied one, it still plays out strikingly and creates a mark on the audience’s minds and hearts.

 

Overall, the simplicity in the approach and the attempt by Salman Khan to depict the naivety works out to some extent, although the scope of improvement is very much there. It might have been interesting if more emphasis could have been on child actor, still the film passes on as a one-time watch

Dangal declared Bollywood’s highest grosser

Aamir Khan starrer Dangal has raced past the 350 crore mark and shows no sign of slowing down. The film, which was released on December 23, 2016 crossed the much-desired mark on Day 19 of box office collections, grossing a total of Rs 353.68 crore in India as of January 11.

Dangal hit 300 crore on Day 13 and went on to add another 50 crore in just six days. It also holds the record for highest box office earnings in a single day, which was previously held by Salman Khan’s Sultan. According to reports, with overseas earnings of Rs 174 crore, Dangal has become the highest-grossing Hindi film in USA, Canada and Australia.

The sports biopic is based on the life of former wrestler and Olympic coach Mahavir Singh Phogat, who encouraged his daughters Geeta and Babita to take up wrestling and rise to excel at it in a small, conservative village in Haryana.

The film has already been declared Bollywood’s highest grossing film, overtaking the previous film which held the record, also an Aamir Khan starrer, PK, which had total earnings of Rs 340.8 crore.

Dangal, which is co-produced by Disney India and Aamir Khan Productions was made on a budget of approximately 90 crore and its unprecedented success at the BO has the entire team overwhelmed.

Sources: Forbes India, NDTV, Hindustan Times

Image source: The Indian Express

Arjun Kapoor’s terrace gym demolished by BMC

The Brihanmumbai Municipal Corporation (BMC), has crushed gym developed by Bollywood actor Arjun Kapoor, on the terrace of his Juhu building in Mumbai on Monday evening. The Times of India revealed that this move comes days after the community body issued a notice to the star for infringing the terrace by developing a 30-by-16 sq ft block room without consent.

The Asian Age reports that the first show-cause notice to present legal documents of the gym in seven days was sent to him in March. It would have taken a month for the BMC to check the papers and make any move if essential. But Kapoor could not assure BMC of the legality in stipulated time.

No complaint was made by the inhabitants of Raheja Orchid, yet rather by an activist who informed BMC about the room. A notice was served to the actor in March, trailed by another in December.

Hindustan Times reports that the BMC chose to obliterate the illicit structure in July. But Arjun Kapoor requested for seven days permission to move the machines and get the structure obliterated without anyone else’s input. While he got the machines migrated, he couldn’t get the structure decimated after seven days. So the BMC authorities moved in and decimated the structure. Kapoor will be required to pay a fine of Rs 8,000 as repayment of the obliteration.

 

Sources: DNA, Firstpost

ImageSource: TOI

India’s Viacom18 launches hindi movie channel Rishtey Cineplex

Viacom18, India’s leading entertainment conglomerate is set to venture into the films genre for the first time with the announcement to launch a new exclusive Hindi movie channel, Rishtey Cineplex.

The channel, in its attempt to break the clutter and provide a more holistic experience will be including several multi-genre films from their library of blockbuster films. Their list encompasses eagerly awaited upcoming films like Ae Dil Hao Mushkil, Kapoor and Sons, Force 2 and several other high grossing films like Airlift, Bajirao Mastani,Pyaar Ka Punchnama 2,etc.

Viacom18 operates popular Hindi entertainment channels like Colors, Colors HD, Rishtey, many regional channels and an English entertainment channel Colors Infinity and have now included Rishtey CINEPLEX as an extension to its already diverse portfolio.

Paving the way for new film acquisitions that offer quality film-based entertainment and huge television premiers to its audience, the channel is said to be making its mark.

Group CEO-Viacom18, Sudhanshu Vats said, “The movie channel will bolster the network’s reach across India and help us dial-up our engagement levels with our viewers. Rishtey Cineplex will also enable us to offer 360-degree value to our advertisers creating more opportunities for on-air promotions enabling optimisation of ad inventory across the network.”

Source: Indiatoday Business Standard