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Chef Movie Review: Saif’s Careers Best In Heartwarming Culinary Drama!

Subhash K . Jha



Chef ,Chef movie, Bollywood, Bollywood news, Saif Ali Khan

Chef Movie Review: There is a lot of teasing between the father and son ,played with endearing casualness by Saif Ali Khan and Svar Kamble.Aptly , Chef teases our appetite for cinema. It’s a culinary delight—warm tender, inviting and appetizing– served  up in a dainty dish with a dash of debonair but played-down posturing, like  a masterchef who is shy to show off his skills but can’t help it. He’s so adept at what he  does.

Movie: Chef

 Starring: Saif Ali Khan, Padmapriya Janakiraman, Svar Kamble

Directed by: Raja Krishna Menon

Rating: **** ½(four and a half stars)

Chef conveys the kind of sagacious  skill born not out of arrogance but wisdom sometimes misplaced.Like the protagonist Roshan Kalra’s traditionalist father who believes the kitchen is for women.

Speaking  of which—arrogance more than wisdom—Saif Ali Khan’s Roshan Kalra(from Chandni Chowk Delhi married to and divorced  from the lovely Malayali danseuse Radha Menon)  is  portrayed as an  epitome of  prideful arrogance waiting to fall.

The fall comes sooner than we expect. Director Menon wastes no time in taking on his protagonist’s burnished ego and cutting it down to size, piece  by  piece.

Come to think  of it,Roshan’s downsizing needs no push. Saif Ali Khan’s inbuilt nawabi pride and  an urbane  humour that often hurts others in ways that are more permanent than permissible,seize the character to make it so imminentlyrelatable ,I felt someone had stolen parts of my life.Saif’s Roshan says things to earn points as a clever conversationalist. Much like the prestigious Michelin star rating for food which determines quality to the point of rendering the pleasure of food  into an exercize  in technical grading .

And here’s where director Menon and his co-writers Ritesh Shah and Suresh Nair score resoundingly over the original Jon Favreau film. Food, as a cultural binder, is a far more vital metaphor  in  India  than in America. Instinctively,Menon  understands the deep and indelible  connection between food and family in our culture.

Much in the same way that music binds human relationships, food is great unifier .

The narrative teases the cooking and food into the human relationships without making culinary conceits a fetish in  the plot. Food is vital  but not in-your-face in Menon’s Chef. This  director understands the difference between appetites and feelings. He tightens the screw on his protagonist’s arrogance whenever Roshan Kalra’s failings become the food for his feelings.

This guy,played so intelligently and  persuasively  by Saif, doesn’t know  where to stop. Sometimes the banter between Saif’s Roshan and those close to him, turns ugly.  But that’s life. The relationships that govern  our existence are not always based on sweetness and positivity. The dark side is always there, lurking in the corners of life…lurking lightly and gently at  the backdrop of Raja Krishna Menon’s fourth feature film(he actually came into his own with his third,Airlift).

It is to Menon’s credit that he keeps the proceeds  airy and  light on the top  but allows us a peep into the darkness beneath just when we begin to savour the blitheness. The father-son relationship is paramount to the  plot. It works with blessed vigour . Saif and the boy Svar Kamble  look and feel for their parts.They are born to play a family.

Menon is not impatient to tell Roshan Kalra’s story. The narrative’s pace in unhurried  but never dull. There is a lingering grace to the mise en scene. And I refer  not  just to the father-son scenes. Saif’s longish sequence with his girlfriend(Sobhita Dhulipala) in New York after she takes over his chef’s job in  a restaurant where he altercates with a client, is written with so  many subtextual interjections and prickly hurt-points polished down to injury-proofness, it’s like walking a terrain mined with explosives .

I only wish the music and songs were better. If food is seen  as  the strongest cultural metaphor  in  Chef, music which has been described by a wise man as the food of love , gets a raw deal here. Also  the climactic denouement(airport run, traffic snarl, breathless reunion) could have been avoided in a film that pretty much dodges all the signposts of smart-mart filmmaking to  forge its own languorous grocery-store  language of estrangement and reconciliation.

A major of  the film’s lingering charm emanates  from the casting.Menon has cast so authentically it almost feels as  though the actors were destined to play these parts.Whether it’s Saif’s Punjabi chef or his screen wife,  the very elegant Padmapriya’s  as his Malayali  wife, or Chandan Roy Sanyal as Saif’s faithful Bangladeshi pal, or Dinesh Prabhakar as the sodden cantankerous but ultimately  goodhearted driver chosen to man Roshan’s mobile bus-restaurant…they all exude the  scent of supremely believability without making a song-and-dance  of  it(wish they could ,though,  if only the music didn’t let them down).

And yes , cinematographer Priya Seth gives us  one more reason to  celebrate  life. Kerala  has never looked  more inviting. After watching Kerala play the lead in Chef(with due respect to Saif) I’ve decided to head there.Preferably  with my child.

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Peppermint Movie Review: It Is A Self-Justice Abomination

Subhash K . Jha




Starring Jennifer Garner

Directed  by Pierre Morel

Rating: **(2 stars)

The kindest thing I can say about this no-holds-barred vigilante drama is that it makes no bones about its elementary target. This actioner with many sounds and no substance puts the talented Jennifer Garner into a no-brainer bloodbath after her husband and little daughter are gunned down on the night of the daughter’s birthday.

When the law turns the other way Riley (Garner) must take it (the law, though not the narrative) in her own hands.

The film opens in the middle of the plot, with Riley savaging a distinctly despicable sort in a car. The wailing soundtrack aids the saga of violence much in the same way that an aphrodisiac helps the sexually disengaged sex worker. From there it pushes into a flashback on Riley North ko gussa kyon aata hai (what makes Riley mad).

The happy-family bit is rubbed in with the gleeful  accentuation of a  Bollywood  happy-family film. Only the song is missing.But then Peppermint(the title comes from the flavour of the icecream the daughter enjoys before the gruesome tragedy) doesn’t allow us to feel any  of  the protagonist’s  unspeakable pain .

Director Pierre Morel  is  so taken up with the  task of his heroines vigilantism in all its blazing-guns glory,  he barely gives the plot room to breathe.

 It’s all bang-bang with  not a  moment of tender introspection.  Strangely  as the story progresses  Riley loses  focus of her mission(to avenge her family’s death). Garner’s Riley  goes berserk with the gun. In one sequence she roughs up an alcoholic father  of a little girl after threatening a storeowner  warning him  not to sell the sodden father  any hard beverage.This kind of collateral  Justice serves  no purpose in  the plot.

In scene after scene Garner  ploughs through  showy,thunderously  staged shootouts and then sits  down to sew herself together.Alas,   there is no sowing-and-mending for the script  of this  tacky flashy tawdry revenge drama which could do with a lot more selfcontrol.Rage  is  a good remedy for   wrong-doings but only when used with prescriptive restrain.The narrative of retribution  goes  berserk in this film.

  On the  plus side Peppermint  does have some  exciting shootouts and the sheer  idea of a  woman training herself to beat the hell out of her venomous adversaries is  an incentive to  see the  film. If you  like that  kind of a thing.

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Manto Movie Review: Nawaz’s Manto Echoes Guru Dutt’s Pyaasa

Subhash K . Jha




Starring: Nawazuddin  Siddiqui, Rasika Duggal,Tahir Raj Bhasin.

Star **** ½(4 and a  half stars)

Jaane wohkaise log the jinke pyar ko pyar mila….Echoing  the disenchantment  of  a post-Nehruvian  generation trapped between Partition  and  modernization, Guru Dutt in Pyaasa epitomized  the poet’s disenchanment with a  world he  never asked for.Yeh duniya agar mil bhi jaye toh kya hai?

 Saadat Haasan Manto was  poet posing as a prose writer. He thought and  responded  to social stimuli  like  a true poet,  When his  best friend Shyam(the matinee idol  of  the  1940s who died young after falling off a  horse) blurts  out that during the post-Partition communal  riots he would have killed any Muslim , including Manto, Manto knew  it was time to quit India.

 When  Nandita Das’s Saadat Haasan Manto leaves Mumbai for Lahore,the  film and the  protagonist falls into a melanlcholicmeditative mood mourning the passing of an era when the country and  its people  were  split into two messy halves.

Nawazuddin Siddiqui’s  Manto taps into  every  feeling and mood  of his complex erudite  character. The actor doesn’t miss a single  heartbeat of  his character. Nawaz takes proprietorial  control of  Manto , not letting  go of his grip over the  obstinate genius’ glorious grammar of inspired rebellion. It  is as though Nawaz was  destined  to play Manto from  the day  they both were born. The literary genius and the actor.

Nandita Das shoots  Manto’s  life and  writings as  vignettes of invaluable splendour.We are provided insightful glimpses into the  man’s private  life  with a supportive but disenchanted wife (played with sensitivity and affection  by Rasika Duggal) trying hard  to cope with the financial  constraints ,  trying to wrap her spousal instincts  around the mind of man who was not only ahead of his times,  but also not afraid of defying norms even if it meant taking on the  law and  the government.

Nandita Das’s colour palate  for the 1940s is a striking  deep  rich  selection of carefully chosen colours that range from the sepia of nostalgia  to the crimson of the  blood that flows when two communities  decide they abhor one another enough to embrace barbarism.

 Rita Ghosh’s production design and Kartik Vijay’s  cinematography are  impeccably understated.Nandita has a  propensity for played-down  periodicity. She barely resorts  to using the songs of the era(the oldest and simplest cinematic trick to recreate the era).And the one time that Jaddab Bai(played unremarkably by Ila Arun) bursts  into a song at a  party, we feel the flavour and flair  of the  times  more in the reaction of the guests  than the  song or singer.

 The vibrancy and vitality  of Mumbai in  the 1940s comes alive more through the  characters’ zest for seizing day than through strained attempts at getting the period details right.Not a single shot of an old gramophone playing 78 rpm  records ! Miracle!!  Nandita Das invests in her characters . They bring alive  the theme and the protagonist’s deepest thoughts and flaws with a fluency that  is impressively underplayed and quietly consistent.

The film has some of the  most inspired casting I’ve seen in  recent times. Rasika Duggal, of course as Manto’s wife. She is always  a delight to watch. But also Tahir Raj Bhasin as   the matinee idol Shyam. Bhasin plays  the  superstar with such arresting elan, why don’t we see more of this  actor? And how on  earth did the  director think  of Bhanu Uday Singh as the actor par excellence Ashok Kumar?  Dadamoni has one disarming  moment when potential Muslim rioters recognize him and give him right of way.

Remarkably  a slew  of  brilliant actors  make a lasting impression in  fleeting appearance: Rishi Kapoor as an abominably lecherous  producer, Paresh Rawal as a slimy  pimp,  Tillotama Shome as tired prostitute(who just wants to sleep alone for a change), Divya Dutta as  a  fiercely jealous Punjabi wife whose  husband  has come home after raping a corpse(the inspiration for Manto’s story Thanda Gost) and  most surprising  of all,  writer Javed Akhtar(making his acting debut) as poet and educationist Ali Abid Ali who exonerates Manto of obscenity charges in the courtroom.

These actors collectively sparkling  in this archingly defiant  film ,  reminded of a line in Orson Welles’ Citizen  Kane where  a character says he once saw a woman on the ocean when their boats crossed. “Not a day has passed when  I haven’t thought  of her.”

These  actors in Manto  create  equally strong impressions even in  a fleeting moment, like the when Purab Kohli smiles at  a girl-child whom three men intend  to  rape later on.  But God  has other plans.And who knows this better than Manto?

As played by Nawazuddin ,Manto is a magnificent mix of suppressed rage and expressed bitterness. The  authority with which he articulates lines from Manto’s stories  made me wonder if Manto wrote  his stories so that one day an actor of Nawazuddin’s skills   would own them.Indeed the director with her  astute yet subtle eye  for historical  and ‘period’ detail couldn’t have  hoped  for a better actor to play Manto.

Nandita makes sure Nawaz gets  into the skin  of  the character. This is an invasion  of  Manto’s private world but an exceedingly affectionate and reverent  invasion.

 Manto  is a work of many virtues and minor vices. On the negative side, the Lahore portions in the second-half lack the pulsating seductiveness of  the Mumbai episode where the beau monde  comes alive in scattered  montages of teasing hedonism  .

Maybe by the time  he was forced to migrate to  Lahore, Manto’s heart was just not in it.

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Manmarziyaan Movie Review: It Is Kashyap’s Moun Ragam!

Subhash K . Jha



Manmarziyaan Movie Review
Manmarziyaan Movie Review: It Is Kashyap’s Moun Ragam!


Starring Abhishek Bachchan, Tapsee Pannu, Vicky Kushal

Directed by Anurag Kashyap

Rating: **** ½(4 and a  half stars)

Imagine if Mani Ratnam had sex in his mind for Moun Ragam. Yes, the same story that Sanjay Leela Bhansali made into Hum… Dil Chuke Sanam about a marriage of inconvenience where the kind patient husband desists from consummating the marriage until the wife comes out of her earlier relationship.

Imagine if the wife can’t come out of her stuporous obsession with her first love because, hell, the sex with Vicky (Kaushal) is toooooo good.

The girlfriend-wife is played by Tapsee Pannu who seems to get more confident with every film. Her Rumi is no walkover for sure. Nor is it someone you would want as your wife, or your son’s wife or even as son’s friend’s wife. She is an unabashed epicurean and the fact that Tapsee can play this super-annoying selfish woman without making us cringe is in equal measures a triumph of writing (Kannika Dhillon) and performing.

Take the sequence where Tapsee’s Rumi rides a mobike to her future husband’s home and tells him, sorry, she can’t marry him. But hey, she can talk to him on Facebook. And she rides off.

Outrageously self-absorbed Tapsee plays Kangana’s smalltown harridan from Tanu Weds Manu multiplied by 10. She is vixenish yet spontaneous, arrogant in her selfishness and yet not unlikeable. Tapsee brings out all the contradictions in her character. She spares us none of Rumi’s churlishness. By the time she heads to Kashmir for her honeymoon with her husband on the rebound, I was hoping someone would slap this unapologetic self-server hard.

Fate does that. The trouble with a pleasure-seeker like Rumi is, she is given a lot of leeway by the people around her. Her Punjabi joint family consternation at her sickeningly self-gratifying behaviour with Vicky comes through in spurts of hurt and indignation.

Not that Rumi cares. She is arguably the most annoyingly self-absorbed romantic heroine seen on screen. Vicky Kaushal as her cheesy DJ lover has worked hard on looking his part. The hair and the clothes and the body language exude a sense of self-limiting rebellion. It is never very clear whether the passion between Vicky and Rumi is all about sex, or something more.

While Tapsee and Vicky give bust to their robust parts, it is Abhishek Bachchan, whose quiet character creates a space in the heart of the plot and lodges itself in the library of the luminous by respecting the character’s need to remain noble without seeming over-sweetened or simply stupid.

Trending: Are Siddharth Malhotra and Kiara Advani the New Couple?

Manmarziyan takes the traditional love triangle to a new level of expression, articulating an idiom that cannot entirely avoid tedium. After Rumi marries Robbie the narrative runs out of steam. There are repetitive scenes in the second-half which could do with some serious pruning. In spite of its flawed flow due to its extended length, Manmarziyan is a winsome romantic tale which dares to ask a very basic question from diehard romantics: love is all very well, but what else?

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