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Pitch Perfect 3: It Is Hardly  Perfect, But Fun In Parts

Subhash K . Jha



Pitch Perfect 3

Starring Anna Kedrick, Rebel Wilson

Directed  by Trish Sie

Rating: **(2 stars)

Thankfully, this  franchise has run its course. Though I  enjoyed parts of it I really can’t take  the showy sassiness  of  the  Bellas  any more. The all-girl band with more attitude than altitude seemed funny in their  misplaced  selfworth earlier. Now they look like  a bunch  of losers  held aloft by a script that has seen  better days.  Indeed  the  plot is so thin it stretches itself out   into 90 minutes of  meandering soggy girl babble, best left to dry itself  out in the sun .

 Sunny locations in Spain, Italy and France do add some badly-needed pizzas to  the  artificially pepped  up plot that’s  peppered with precocity and puerility.

 This time the all-girl band gets together  to impress DJ Khalid.

 That’s it.That’s the sum-total of  the plot. The rest  is  padding, improvised musical gigs, doctored  romances and staged  musical numbers  done up with a vestige  of verve  that tries to make up for the absence of  a genuinely inventive plot line and a cohesive narrative structure. Very often  I could see the girls struggling to  keep the goings-on sturdy on its feet . More  often that  not  the laughably meager  storyline makes the narrative come apart at  the  seams  .

 The acting even by a veteran like John Lithgow(playing the  obese  Rebel  Wilson’s  Mafioso dad)  is largely awful and the dialoguessound like whats app jokes strung together  to create  a sense of artificial  kookiness.  Every member  of the Bella band  seems  to believe in the  dictum ‘Bland Is Grand,  Bling Is King’.  By the time  the bland band  jumps into a river from  luxury boat(don’t ask why or how) the    narrative has sunk to a deplorable low.

If you have an appetite  for blingy blandness served  up with dollops of self-deprecatory tongue-in-cheek humid humour,go for it. But be warned. There  is nothing here  you would want to take  home to sleep over with.

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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.

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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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Paltan Movie Review: Unmade In China!

Subhash K . Jha



Paltan Movie Review
Paltan Movie Review: Unmade In China!


Starring Arjun Rampal, Harshvardhan Rane, Gurmeet Chowdhary

Directed by J P Dutta

Rating: ** (2 Stars)

For what seems like an intermittent period of acute stock-taking Paltan looks like J P Dutta’s LOC Kargil minus the stars. In LOC we had the likes of Sanjay Dutt, Saif Ali Khan, Abhishek Bachchan and Nagarjuna playing soldier. In Paltan it’s the likes of Arjun Rampal, Gurmeet Chowdhary and Luv Sinha playing soldier-soldier.

The recession is upon us.

The film is very beautifully shot in a toasted-brown splendor and the background score (by Sanjoy Chowdhary) is effective even when it has to support some of the cheesiest dialogues on valor written outside Doordarshan’s Shaktimaan. But the songs by Anu Malik are insipid re-hashes of what Malik made in Dutta’s Border. Where are the great J P Dutta melodies from his war movies?

And where are those heartstopping moments of patriotic heroism that made Border so unforgettable? In sequence after sequence, we see Indian soldiers indulging in juvenile fistfights across the fence (more barbed than the verbal abuse) as though they were fighting for a spot in the school playground rather than land for the country.

The Chinese soldiers are portrayed as buffoons and caricatures. But then that is only to be expected in a film that mistakes border-bashing as patriotism. To his credit, J P Dutta manages to make the frames look energized when the soldiers run across the borderline with rifles. However repetitive shots of the border dispute and territorial skirmish make this war film a tedious watch.

Among the performers, Harshvardhan Rane acts with passion his part of a hotheaded Sadar soldier determined to avenge India’s humiliating defeat with China in 1962. But to have Rane and Gurmeet Chowdhary take off their shirts merely because they have the physique is akin to triggering off a war just because the troops are ready. Esha Gupta appears in two shots wearing a white saree.

Hard to recognize her fully clothed.

Fine actors like Arjun Rampal and Jackie Shroff struggle to keep the proceedings dignified in the midst of a maelstrom of hefty hamming. The actors playing the waiting and wailing family members of the soldiers pull out all stops.

In an early sequence, a postman delivers sobering news of martyrdom in the house after house in one housing colony. The sounds of wailing are so clocked to seem like recorded messages. The emotions are thus rendered clinical.

The flashbacks are platitudinous to the point of being absurd. In one such romantic flashback Gurmeet Chowdhary’s screen beloved nibbles on a large container of gur (jaggery) as he suggests they move into the nearby khet for some serious hanky-panky.

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I almost expected the above scene with the gur to merge into a pun-filled dig at the ‘Chini’ (Chinese, also sugar). But it seems no one thought of getting clever at the characters’ cost. It is not their fault if they are in a film that is relevant but ultimately of no consequence to us. We expected J P Dutta to tell us why war is not a viable option for India at any given time.

Instead, all we get is repeated shots of the soldier-heroes exercising their soldierly right to be a bully with the neighbors.

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