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Udta Punjab Review: It Is The Most Original & Jolting Film Since Rang De Basanti!

Subhash K . Jha



Udta Punjab

Starring: Shahid Kapoor, Kareena Kapoor Khan, Alia Bhatt,Diljit Dosanjh

Directed by: Abhishek Choubey

Movie Review: Who thinks of such a story to tell?! Only a  mind that is either supremely screwed-up  or stunningly sorted. In director Abhishek Choubey’s case, I’d go with the latter.

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Udta Punjab is a work of  contemporary art  so audaciously unprecedented in its vision and execution of a subject that is topical and timeless , you wonder if Bollywood , as we love and hate it, is finally growing up.

On the other hand lest we forget,filmmakers in the past  like Bimal Roy, Guru Dutt and Gulzar constantly prodded and pushed mainstream Hindi cinema into areas of darkness, not fearful  of the unlit interiors of the human heart.

Abhishek Choubey takes forward to an altogether new high ,  the politically empowered human drama of BimalRoy’s Do Bigha Zameen(the migrant’s plight in the city ,as played out by Alia Bhatt’s character) and GulzarMaachis(Punjab, bloodied battered and wounded, no more romanticized ).

I use the term ‘high’ quite deliberately. At least one of the film’s four protagonists , the subversive rock star Tommy Singh is zonked out of his mind most of the time.So is the hauntingly persecuted Bihari migrant Pinky, the reluctant drug addict pumping her veins with dubious drugs to numb herself against constant violation.

Shahid Kapoor and Alia Bhatt are born again as they play the two traumatized  characters (at one point he stares at his ravaged reflection in a toilet bowl, she bawls her messed-up head into a well) journeying from the opposite directions of the moral scale .And yet their pained lives converge at one point in a strange unexpected and life-changing encounter.Both actors bleed brilliancy into their roles, bringing to the screen an electrifying authenticity with their sheer understanding of the complexities that define the drug politics of Punjab.

No  actor in Udta Punjab plays his or her part in isolation. Everyone contributes persuasively and comprehensively  to the director’s grand design whereby “reality” is transmuted into a kind of cinematic language which we have never experienced before. And I don’t mean the profane dialogues, of which there is no dearth.Sure, the characters barring Kareena Kapoor Khan’s doctor Preet Sahani who is immunized against the filth of  moral debasement, talk dirty. Somehow their language is so much in keeping with their characters, we stop flinching to their ma-bahenfussilade 15 minutes into the film.

There is so much to appreciate in this amazing film, the unparliamentary language becomes the least of the take-aways. Specially impressive are the Punjab locations and the way they are shot and fitted in with incidental music and sounds that appear to demolish and break down the distance between the director’s vision and the audiences’ perception. Meghna Sen’s editing is razor-sharp. It allows the depraved disoriented people in Choubey’s film to open up their minds and emotions just enough for us to get a vivid glimpse into their troubled lives .

Though the playing-time clocks at 2 ½ hours, the burden of the duration is never felt by audience.

This time, the creator of the chaotic world of moral compromises takes full responsibility for his actions. DirectorAbhishek Choubey looks at the wound-up characters in all their emotional nakedness, staring at their exposed lived without pity anger or revulsion.

For the audience it is hard to look away from the realm of brutal self-interest built around the renegade characters. It’s specially heartbreaking to see what the script has in store of Alia Bhatt’s character. But then , this is no country for the week and infirm. Udta Punjab is not only about Punjab  and its drugged youth. It is also communicates with furious fluency a far-reaching statement on our wounded civilization which thrives on inequality, injustice and exploitation.

The complete breakdown of the moral order and the subversion of law and order, are issues that govern the characters’ lives, twisting and changing their destiny in cruel ways.

Amongst all the devastation and decimation of humanism Udta Punjab gives us flash-moments of redemption and enlightenment. For the debauched rock star Tommy Singh it comes when thrown into jail for his obscene antics. There,he meets his fans ,one of whom has just killed his mother when she refuses him money for drugs. The incident awakens Tommy’s conscience . He is ready for the change.

For the corrupt cop Sartaj Singh(played with persuasive sardonicism by Diljit Dosanjh) the moment of awakening comes when he meets the spiritually and well, just, literally beautiful Dr Preet Sahani. Kareena is   perfectly cast in the part and so at home playing the seductive saviour-angel that when Diljit looks at her adoringly and says she is perfect, we know exactly what he means.

The supporting cast, specially  Satish Kaushik as Tommy Singh’s beleaguered uncle, adds a zing to the proceedings.

Two love stories , one redemptive the other tragic,grow out of the desperate crisis in the plot, leading the screenplay through a maze of haunting and  hilarious incidents that leave us exhilarated and exhausted.

Udta Punjab is replete with   encounters where strangers meet and strike up a rapport that changes their lives. Understandably this is a film that changes the audiences’ life too. No sensitive rational viewer can come away from this experience without in some way feeling transformed.

Feral Frenetic, riveting,hypnotic, hallucinogenic and altogether incredible we’ve never  seen anything quite like Udta Punjab before.

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Peppermint Movie Review: It Is A Self-Justice Abomination

Subhash K . Jha



Peppermint Movie Review
Peppermint Movie Review: It Is A Self-Justice Abomination


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 (Jennifer 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 ice cream the daughter enjoys before the gruesome tragedy) doesn’t allow us to feel any of the protagonist’s unspeakable pain.

In Peppermint 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 plows 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 self-control. Rage is a good remedy for wrong-doings but only when used with prescriptive restrain. The narrative of retribution goes berserk in this film.

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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.

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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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Bollywood Actors who gave up their lucrative jobs for film career

It is rare to find actors and actresses who give as much of an importance to education as to their...

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WOW! 10 Bollywood actors who can even become sports personalities!

Bollywood industry comprises of talents that stretch beyond acting and dancing. Many of our actors and actresses are trained in...

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Accept It! Amir Khan’s ‘Pehla Nasha’ makes you remember your first love!!!!

Old is gold’ comes in here. Let’s go back to those beautiful days of 90s when love meant sending letters,...

Kaun Banega Crorepati Kaun Banega Crorepati
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Some backstage secrets of Amitabh Bachchan’s KBC will surprise you !

KBC next session is round the corner, have you ever wondered that what happens at the backstage of Kaun Banega...

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Nonsense THINGS!!! Bollywood Films tell the world about India!

Everyone knows that Bollywood tends to exaggerate every little thing on-screen. But while the Indians can sit and scorn the...

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12 Reason Why Foreigners Consider Bollywood Stupid!!!

I know some die-hard Bollywood fans are going to hate me for this. But let’s accept it. Most of today’s...

प्रभाष प्रभाष
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What To  Expect In  Baahubali 2. Revealing Facts That Are So Far Unknown

The pressure to deliver more of everything—drama, spectacle, razzdazzle and mystery—in the second segment of Baahubali, entitled Baahubali 2 The Conclusion, shows in the trailer...

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10 Unknown Facts About Prabhudheva

  Those lightening moves that gallop along the grooves are self-made. The only teacher Prabhuhas ever known is his father choreographer Mugur Sunder...

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Baahubali 2: Revealing Facts That Are So Far Unknown

What To  Expect In  Baahubali 2.  The pressure to deliver more of everything—drama, spectacle,razzdazzle and mystery—in the second segment of...

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90% 0f People Don’t Know These Facts About  Deepika Padukone

She was to be cast a member of a rock band.That film never got made. 4. She was meant to...

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10 Facts You’d Want To Know About Harshvardhan Kapoor

Meet the newest star-kid in town. Anil Kapoor’s son Harshvardhan Kapoor is as intense and passionate about his work as his father, and a lot...

Hema Malini Takes An Auto After Atalji’s Cremation Hema Malini Takes An Auto After Atalji’s Cremation
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7 Unknown Facts About Birthday Girl Hema Malini Who Turns 68 On October 16

1.     She is by far the most successful female actor of Indian cinema with a hit ratio that makes the...

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Why Akshay Kumar Is a ‘Chupa’ Rustom, 7 Unknown Facts About Akshay Kumar

Rustom is Akshay Kumar’s fastest-earning blockbuster. It has almost  touched the magical 100-crore mark in a week. Of course the...


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