5 Films - That Best Represent the Indian Democracy

Nayak (2001)

Melodramatic performances, exaggerated scene construction, ridiculous, out-of-place romance and other such misgivings aside, this S Shankar film had an honest soul. Narrating the glorious story of a common man at the helm of power, the film journey's through the predicaments in the personal life of the man who puts his country before himself. Highlighting the point that power never corrupts, but when vested in the hands of corrupt people, gets corrupted; Nayak is a film that inspires you to lead and fulfill your duty towards your country, regardless of how direct and in-your-face the message may appear.

Gulaal (2009)

Love. Power. Revolution. This Anurag Kashyap film is a deep comment on many aspects of society, law, history and human relationships. Set in Rajasthan around the Rajputana movement, the film decodes regional politics, which have always been a divisive factor for our country. The noir treatment builds a dark image of a nation that is boiling under the skin and emphasizes the intractable pursuit of power. With black satire oozing through songs like Ranaji and a new-age rendition of Sahir Ludhianvi's Duniya by Piyush Mishra, the film is a visual manifestation of the thoughts of a cynical poet.

Yuva (2004)

India is a young country and it is today's youth that will drive the country forward. But is there just one Young India? Mani Ratnam brings the answer in a seemingly complex narrative and puts it forth in the simplest manners. Through its principle characters Michael Mukherjee, Lallan and Arjun; Yuva shows the face of the youth and categorises them into three types - the progressive, proactive reformist; the wishful, romantic escapist and the rigid feudalist. And after the three stands are displayed, the film intertwines the destinies of these characters, such that they project the image of the country as a whole. With elections and the dark side of power going head-to-head, Mani Ratnam's Yuva is an inspirational drama.

Welcome To Sajjanpur (2008)

From the minds of one of India's finest filmmakers, comes a gem of a film that represents the country to its fullest. Shyam Benegal, through Welcome To Sajjanpur, throws light on innumerable issues of a young country - right from urban aspirations to social inequality, and from oppression to a sense of freedom. The song Aadmi Azaad Hai underlines how the film believes in the might of democracy and with bouts of satire that go hand-in-hand with Munni Bai's character (a eunuch who is a mass leader), the film is a subtle encyclopedia which tells you a lot about India.

Peepli (Live) (2010)

Over time, there have been many films that address the issues in our legislative, executive and judiciary sectors; there have been very few films that focus on the fourth pillar of our democracy. Anusha Rizvi, in her film which focuses on the state of the news media and comments on the desensitization of the society, also shows the might of the pen. Through its light-hearted narrative, the film exposes certain elements of life in rural India. And while the film is an out-and-out satire, which means that the humour is fundamentally a polite pinch; as a whole, the film represents the hope that resides within every struggling Indian. From Mehengai Dayan to Des Mera, the film captures the essence of India - "Jeb kalandar, dil hai samandar"

Published in DNA After Hrs (Pune) on January 26, 2013

5 Films - Where The Cities Have Character

Paris Je T’aime (2006)

22 directors and 25 writers combined to bring you 20 stories from Paris that explored universal themes and specific emotions that one may find in this romantic city. Through the different neighborhoods of Paris, the film explores the journey of love, relationships as well as a journey that leads to awakening. The only theme that binds the 20 stories is the setting, and the emotion of love that is uttered synonymously with Paris. Paris Je T’aime is an example of how the people shape a city and how the city shapes its people in return.

Salaam Bombay (1988)

This Mira Nair work is one of those films that can be made only once. The neo-realist treatment showed the city of Mumbai from a completely fresh vantage point and the ease with which it was done was commendable. Shot on real locations, this film shows the dark side of the city of dreams – right from the cluttered, notorious red-light area of Falkland Road to the dark and eerie juvenile home. With character actors like Raghuvir Yadav, Nana Patekar and Irrfan Khan in the midst and most lead roles played by real kids from the slums, Salaam Bombay tears the mask off a lucrative city.

Delhi 6 (2009)

Rehna Tu, Hai Jaise Tu; Thoda Sa Dard Tu, Thoda Sukoon --- Hardly a handful of people noticed that this seemingly simple romantic song is being sung not to a person, but to the city. Rakeysh Omprakash Mehra’s Delhi 6 captures the essence of Purani Dilli by taking you through its narrow lanes, the Ram Leela celebrations and the tapestry of its people. The story is dipped in culture, and unfolds via a set of characters that are the most representative sample of the area. With a climax that didn’t go down too well with the audience, Delhi 6 was a photo album of moving visuals.

Manhattan (1979)

Starring Woody Allen and Diane Keaton, this is a classic Woody Allen film that tells a profound story in the simplest of forms. The story revolves around a divorced New Yorker who is dating a high-schooler, who brings himself to look for love in his best friend’s mistress. An Allen trademark, Manhattan also encompasses the predominant lifestyle of a particular city, and chronicles it through the well woven story of deep and real characters. It is just another film where the city rises from merely being a backdrop for the scenes but merges with the lives of its people, turning it into a magnificent metaphor.

Gangs of Wasseypur (2012)

Set in a turbulent yet obscure town of Wasseypur, this marathon film by Anurag Kashyap is an epic noir tale of revenge where three powerful families vie for control in the region. Beginning in post-independence India, the film throws light on a lot of socio-political issues like the pre-liberalisation socialist mentality, the coal scams as well as covers the post-liberalisation capitalist mindset. What stands out in this ‘muslim mahabharat’ is the setting that is explored in a very rooted yet global manner and shows the town of Wasseypur in a way no one had imagined.

Published in DNA After Hrs (Pune) on January 20, 2013

A Fresh Old Tale

After being read in several languages, and being staged as a play and a musical in theatres all across the world, the Victor Hugo classic from the post-revolution era returns; this time on celluloid. Les Miserables, directed by Tom Hooper, is one of the rare films which comes very close to doing justice to its book, save for the details that are lost in transforming a text into visuals. A multi-starrer musical, Les Miserables is a melodious lesson in history – a history of one of the most turbulent times of the millennium.

Following the narrative structure of the book, Hooper’s film begins with the release of protagonist Jean Valjean after completing a 19-year sentence for stealing a loaf of bread for his sister’s sick child. From that starting point in 1815 till the June Rebellion in Paris in 1832, the film chronicles the superb journey of the five main characters in their individual struggles and redemption. The Dickensian plot exaggerates the oppression to a high magnitude which compels you to feel the pain. Be it Jean Valjean’s fateful encounters with Javert, be it Fantine’s helpless submission to her fate, be it Cosette’s tale of hope, be it Marius’ socialistic struggle or Eponine’s sacrifice; all the elements create a compound effect which make Les Miserables the popular classic that it is.

As far as the plot and story are concerned, the film accurately reflects the pages of the book. However, its screenplay and the musical treatment that gives the film its character. Most of the musical numbers in the film revolve around the character’s innermost emotions which when classified, fall into four broad categories that are incidentally the byline of the film – fight, dream, hope, love. In terms of its production, Paris of the 19th century is visualised just as brutally as Victor Hugo’s novel does, which makes the struggles of these characters amplify against that cruel and morose backdrop. Add to that, the accuracy of costumes and the impeccable make-up paint the most amazing picture of the period.

A musical always gives additional responsibility on the characters to take the narrative forward and that task is handled with grace by all the lead characters. Hugh Jackman as Jean Valjean does more than enough to project the life of a prison-worn veteran who picks up life from where he left it. He, along with his antithesis, officer Javert, played by Russell Crowe, recreates the confrontations of two characters that have become literary archetypes since. Anne Hathaway impresses as Fantine, especially in her soliloquy ‘I dreamed a dream’ where she grabs on to your collar and makes you feel her angst. Sacha Baron Cohen and Helena Bonham Carter are by far the best suited pair to play the Thenardier couple.

 

Les Miserables is one of the most personalised fictitious accounts that tell you about the socio-political history of the disorderly post-revolution France. Like a survivor of an apocalypse, the film is a retelling of a horrifying account, such that you almost feel like you were there. Categorising the film as anything would mean undermining it, but Tom Hooper has definitely made a film that has the potential to be a modern classic.

Rating - 4 out of 5

Published in DNA After Hrs (Pune) on January 20, 2013

Refusals Of An Escapist

Unlike the promotional material suggests, Sudhir Mishra’s Inkaar isn’t as confusing with its premise. No, it’s not about sexual harassment at work; it’s not about the dark practices inside an advertising agency; and it is definitely not about giving a message. Inkaar boldly tells a tale of love that is hurdled only by strong ambition. It sees the return of Mishra’s muse Chitrangda Singh along with a surprising male lead in Arjun Rampal.

Through a non-linear narrative that oscillates between a sexual harassment court hearing in the present and several instances from the past that are referred to by those involved. Yes, reminds you instantly of what you saw in Social Network, a couple of years ago. But the flow of the screenplay keeps you glued to it without focusing on the inspiration. The treatment fits the plot very well, especially the element where the audience isn’t exterior to the film, but a part of it. Deepti Naval, who plays a social worker who is presiding over the case, becomes the representative of the audience. Her roles and responsibilities where she has to process all the facts before passing a judgment makes you do the same and her dilemma is your dilemma. Inkaar forces you to think and judge the characters’ actions and makes you take sides before ultimately ridding you off all those responsibilities by dumping a conclusion upon you.

Arjun Rampal plays Rahul Varma, a CEO of an advertising agency and recruits Maya Luthra (Chitrangda) who is a prodigy. He trains her, makes her able and while their professional relationship grows, romance also grows under its skin. But Maya’s ambitions exceed all other priorities and the couple fall out of favour with one another. Then begins a saga of bitterness where both parties get hurt and just when the situation reaches boiling point, the film turns off the stove. Mishra builds a strong plot, strong characters and takes the story to a high point, but ends it like an escapist. An ending that might not appeal to a lot of people, Inkaar leaves you wanting a different conclusion to a problem that demands more than a passive submission. The battle between love and ambition, at least in the context of the film, should not have ended in a ceasefire.

Chitrangda Singh shows glimpses of her potential in certain scenes. Her character of Maya, whose journey through seven years is shown in the film, ages well and portrays a 22-year-old girl with equal conviction as a 30-year-old-woman, who is a national creative director of an ad agency. Sadly for Arjun Rampal, the aging through years happens only on paper. He fails to bring the necessary changes in his body language in an otherwise satisfactory performance. With Vipin Sharma and Deepti Naval in important supporting roles, the overall cast ensemble does a good job.

With a terrific first half, Inkaar takes you into the interval on a high, it raises your hopes and makes you wait for an equally intense second half. Unfortunately, the second half only begins where it left and ends up like a completely different film. The typical Sudhir Mishra twist does provide a satisfactory solution which is a grammatically correct full stop for a film. However, as a viewer, one might feel that Inkaar is a sentence that is correct, but just doesn’t sound right.

Rating - 2.5 out of 5

Published in DNA After Hrs (Pune) on January 20, 2013

Samba Magic on Screen

If you are a football fan, who has vivid memories of the 2002 FIFA World Cup, you most certainly remember the moment when a lofted shot from over the half line beat the out of position David Seaman and hit the net. Yes, that was Ronaldinho's doing. If that is too old a reference for you, you might recollect the time he knocked Chelsea out of the Champions' League in '04 - '05 with an unconventional toe-punt which stunned more than just the Chelsea defence. Yes, the legend of Ronaldinho, which when literally translated means Little Ronaldo, is a major chapter in football history. However, the Olympic medalist and World Cup winner, who has been a real-life hero for many, is now planning to become a reel-life hero.

In a film that is to be released in lieu of the next FIFA World Cup in 2014, Ronaldinho stars in and as R-10. The animated film co-produced by Bala Entertainment (from the group that owns Venky's and Blackburn Rovers), has the lead character inspired from Ronaldinho's on-field heroics. It will see the footballer showcase his skills in football to fight off aliens and save the world. "It is a dream come true for me. I am honored to be chosen as the athlete to play the part of the hero in the film and I hope it does well when it releases," he says while talking to the press on his recent visit to Pune. The film has brought the football legend to the country as the venture is half Indian. Ronaldinho, who is in India for the first time, has already fallen in love with it. "I love India. I want to see a lot more and I want to visit again and again. If possible, I would love to buy a house here and make it my second home," he says.

Ronaldinho, 32, who plays professional football at Atletico Mineiro in the Brazilian League, is in the twilight of his career. After spending some illustrious years in Europe playing for Barcelona and AC Milan, he is way past his prime and is now at a stage where he is closer to being a player you'd love to have in your history books, but not your team sheet. And like many footballers before him, who tried their hand at something other than football, Ronaldinho is trying his hand at films.

We have seen players like Vinnie Jones, the British footballer who made a name in Hollywood as the stereotype hooligan with a British accent, Eric Cantona, who made his film debut in Looking for Eric and we have seen a lot of footballers like Pele, Beckham, Zidane, Ronaldo and many more play cameos in films like Goal, Escape to Victory and the likes.

Some have succeeded and some have failed miserably. For Ronaldinho, 2014 will be the time he finds out his fate. "I would love to be a part of the team that plays the 2014 world cup and at the same time I am looking forward to the film doing well," he optimistically states.

But for a player whose only role in the team in 2014 can be that of a relic, the dream seems too far-fetched. However, if we know Ronaldinho for anything, it is the fact that he is an artiste and has a charm in whatever he does. But whether that means he can replicate the unscripted brilliance of sport onto the screen, only time can tell.

Published in DNA After Hrs (Pune) on December 30, 2012

Peachy but Preachy

After receiving a tremendous response for his previous films, Natarang and Bal Gandharva, Ravi Jadhav brings Balak Palak to the big screen, a film which tells a story that someone needed to tell. Having recreated the life of a legend in Bal Gandharva and having boldly narrated the struggle of a folk artiste in Natarang, the prodigal son of Marathi cinema digs deep into yet another matter of contemporary parenting concern - how to deal with curious teenagers?

The story revolves around the pubescent curiosities of four teenagers, who stand at the doors of a new experience, which requires one to leave innocence behind. In a crisp and focused narrative, the film covers a lot of aspects involving the matters of sex education, curiosity and the dynamics of a parent-child relationship. Set in sub-urban Mumbai of the 1980s, the film throws light on the typical, cultured, middle-class mindset and quite rationally unveils the transactional relationship paradigm that exists within the family. However, this delicate issue is treated in a very light vein. And nowhere does the humour interfere in the deep and observant presentation of the subject at hand.

We have seen a lot of Marathi films set in an archetypal sub-urban chawl but few get it right. Balak Palak paints a great picture of the culture and the period through its distinctly designed characters. The four teens Bhagya, Avya, Dolly and Chiu, played by Madan Deodhar, Rohit Phalke, Shashwati Pimplikar, Bhagyashree Shankpal, along with their friend Vishu (Prathamesh Parab) are characters that are perfectly designed to take the narrative ahead.

Apart from that, the minor characters like the nosey neighbour Pednekar Kaku (Vishakha Subhedar), the colony elder Kadam Kaka (Kishore Kadam) and the adult video store owner (Satish Taare), all add a little something in creating the setting too. The characters each have a different sense of humour and sensibility which blends very well with the plot.

What the film would have done without, is what many Marathi films get wrong. They start off by trying to tell a story, which they do very well until the end where it becomes necessary for them to give out a message. It shows a lack of confidence the maker has in his audience, which probably would understand the underlying message. There is no need for the characters to have a dialogue among themselves, like Sesame Street puppets, in order to convey a moral. A subtle hint or an open end without the final words being spoken would take the film to a whole new level.

Having said that, a part of what can only be described as the Marathi New Wave; Balak Palak is one of the remarkable films of the day not only in terms of the content, but also its execution. For decades, Marathi cinema has been known for quality content that lacks the proper treatment, but that paradigm shift is a welcome change. Balak Palak is a tightly knit story, based on a fairly unexplored subject that is treated with consistency, not only in terms of its narrative, but also its imagery, cinematography and editing.

If you are a proud Marathi manoos, or just a cinema-holic, this is a good film to watch. If you are a parent at that stage of your life wherein you need to have "the talk" with your child, take them with you and watch it. Have a good laugh, learn a little something, and come out with a great experience. This is good ol' cinema.

Rating - 3.5 out of 5

Published in DNA After Hrs (Pune) on January 6, 2013

Camping At The Cinema

Remember the first time you saw Lord of the Rings - Return of the King or Lagaan or Apocalypse Now or Jodha Akbar or Mera Naam Joker; and thought to yourself, "man!! I was in there for a long time!!"? All those films will appear like a 10 second TV commercial after learning about the scale of a film made by Swedish pair Erika Magnusson and Daniel Andersson  - artists and initiators of Logistics.

Erika and Daniel have made a documentary with a running time of approximately 35 days and 17 hours (51420 minutes). The idea for this film, which documents a journey, came from a curiosity of how certain appliances and gadgets are made available. 

"In 2008, we came across an article in the German weekly Der Spiegel about an electric toothbrush, whose parts came from 10 different countries. We were fascinated by the complexity of the world economy and that the gadgets that surround us in our daily life come from all over the world. Our seemingly familiar, physical world - what do we really know about it? Could one say it gives us a false sense of familiarity?" says Daniel. The little idea grew into this month-long documentary.

Logistics is produced like a road movie recording the journey from Stockholm to Bao'an in China; from a freight truck, to a freight train, to a container ship and back into freight trucks. Erika says, "It is a documentation of a transport route between Sweden and China. Since the documentation principle is absolute - the trip is shot and screened in real time - this documentary in a sense transcends the boundary of the documentation genre and steps into the art world."

The film has broken the record for being the longest film, formerly held by Modern Times Forever. At 240-hours (10 days), MTF too is a documentary, which highlights centuries of decay, compressed into the span of the film, marking Helsinki's Stora Enso headquarters building. "In a direct sense, Logistics is about consumption and time. In a wider sense, it is about the complexity of our society, and our possibility or inability to understand it," Daniel explains. He also adds, "We sometimes think of the film material as poetry. Watching the film in its real-time tempo makes the journey seem almost endless, and might be perceived as a state of mind as well as a physical transportation. The waves moving, the sun rising and setting, the dark nights - the picture is contemplative and beautiful."

There are other lengthy experimental films _ some like the aptly titled The Cure for Insomnia (1987, 5220 minutes) and The Longest Most Meaningless Movie in the World (1968, 2880 minutes). But none have crossed the 10-day mark, at least not in recorded history. Although, if the footage recorded from one CCTV camera is considered to be a movie, we could very well have year-long and decade-long films. Alfred Hitchcock once said, "The length of a film should be directly related to the endurance of the human bladder." If that is true, these films are going to require the audience to evolve into people with massive bladders.

Published in DNA After Hrs (Pune) on January 3, 2013

** Watch this space for the longer version of the interview with Daniel and Erika

On Screen in 2013

Yeh Jawaani Hai Deewani

Ranbir Kapoor, after his much-appreciated performance in Barfi!, has two movies slotted for release this year. Apart from Abhinav Kashyap's Besharam, he will be joining forces with two very interesting colleagues. Being directed by Ayan Mukerji, Yeh Jawaani Hai Deewani, which releases on May 31, will see Ranbir work with Ayan after the successful and fresh Wake Up! Sid. Ranbir will also share screen space with ex-flame Deepika Padukone. Their personal history aside, whether the duo will be able to recreate the chemistry on screen is a question that needs to be asked. But between that film and this, Ranbir has definitely charted an impressive career graph, with films like Rockstar, Rocket Singh and Barfi!, which has set him apart from his contemporaries.

Bhaag Milkha Bhaag

For a country that is known to forget its heroes, Bhaag Milkha Bhaag is one of the rare reminders of one such hero, the Flying Sikh, Milkha Singh. After the reception Tigmanshu Dhulia's Paan Singh Tomar received, it is fair to say that the life of Milkha Singh will definitely draw audience into the theatres. Rang De Basanti director Rakeysh Omprakash Mehra returns to the helm after Teen They Bhai. Farhan Akhtar's astonishing resemblance to the Olympian, captured by legendary cinematographer Binod Pradhan adds real value to the film. And with Shankar-Ehsaan-Loy and Prasoon Joshi's hit music and lyrics combo, the film seems to have got it all right before the release. Looks like Milkha may not fall short of a medal this time around.

Nautanki Saala

Slotted for an April release, this Rohan Sippy film is a hilarious real-life drama. Built around the journey of two central characters and a comedy of errors that befalls them, it appears to be a breath of fresh air that one needs when the summer gets unbearable. Starring Ayushmaan Khurana, who amused us with his Vicky Donor performance, and Kunaal Roy Kapur, who has shown tremendous potential and brilliant comic timing in Delhi Belly, in the roles of Ram Parmar and Mandar Lele respectively, Nautanki Saala has the potential of becoming one of this year's best comedies. Whether it is or not, time will tell.

David

Bejoy Nambiar, known primarily for his out-of-the-box film Shaitan, returns with what looks like an equally fascinating film. From the trailers, it projects an image of yet another well-crafted film. The plot revolves around three main characters, all named David, who are about to take a decision that is going to change their life forever. The leads are played by Vikram, who we know from Mani Ratnam's Raavan, Neil Nitin Mukesh, who was at his best in his debut film Johnny Gaddaar and Vinay Virmani, the Canadian-Indian actor from Speedy Singhs. This web of intrigue will open to audiences on the first day of February.

Matru Ki Bijlee Ka Mandola

Releasing next week, this Vishal Bhardwaj movie marks his return after 7 Khoon Maaf, a film that received fairly mixed responses. However, if the quirky trailers are not enough to get you excited to watch this film, maybe this will -- Pankaj Kapoor collaborates with Bhardwaj after a long gap, and a pair that gave Indian cinema two gems in Maqbool and Blue Umbrella. To add to that, the film also brings with it a chance for Imran Khan to catapult his career graph that has been quite inconsistent.

Published in DNA After Hrs (Pune) on January 5, 2013

Hungover Master

The veteran actor-director Jackie Chan, who made his place in the world of cinema with his action flicks and humorous presentations that built an image of China as a country where everyone can walk on tight-ropes, returns with Chinese Zodiac 12, a film that can be seen as a continuation to the Armour of God franchise.

As a stand-alone film, Chinese Zodiac 12 has nothing new per se. It is same old Jackie Chan with the same old stunts that only he could pull off in a fresh setting and for a partially different purpose. This time around, he is a mercenary who is in search for a set of lost mystical artefacts from China.

The 12 bronze heads of animals that form the Chinese Zodiac, that were stolen by the invading British and French colonisers, are now being sought after by the antique collectors from across the globe and Jackie has been hired to retrieve these items by the corporation that auctions them. So, Jackie and his troupe embark on a journey to retrieve all the 12 artefacts, during which he is faced with hounds, pirates and a lot more.

Its typical plot and narrative structure means that the plot points occur at regular intervals just as you expect them. And the USP of the film, which are its action sequences, are nothing but distant reminders of Jackie Chan's previous films. To add to it, the novelty value that Jackie added to his films by doing all the stunts himself, takes a beating with the arrival of high-end graphics. Although most of hand-to-hand combat is still a choreographed routine that he does himself, the more advanced stunts have been visibly done in front of the blue screen.

Chinese Zodiac 12 is mildly entertaining and is recommended for a mindless leisurely activity. But that is all the stimulation one can expect from the film. Jackie Chan is no more the Drunken Master he once was, he is now, albeit a little hungover, a legend.

Rating - 2 out of 5

Published in DNA After Hrs (Pune) on january 5, 2013

Truth of a Lie

It tries to be a thriller, it tries to build suspense, it tries to pump up the adrenaline, it tries to surprise you, it tries to introduce you to a problem and it fails miserably on all the accounts. Aditya Datt's Table No. 21 is a film that wants to make a point and does eventually make it, but by the time it does, you would have already lost interest.

Critically acclaimed for his performance in Aamir and applauded for his role in Shaitaan; Rajeev Khandelwal stars opposite model-actor Tena Desae as a mediocre couple, Vivaan and Siya, who win a lucky trip to Fiji and find themselves playing a game conducted by one Mr Khan (Paresh Rawal). The game of truth, which has a prize money of Rs21 crores, requires Vivaan and Siya to truthfully answer eight yes-no questions and complete the tasks associated with each of the questions. The only catch being that they cannot quit the game and the only binding rule, "If you lie...you die."

Your mind makes the subconscious association of Rajeev Khandelwal and lie detectors to a similar television show which he used to host; and that, when combined with a few stunts from poorly scripted reality shows, is the resultant plot of the game that is Table No. 21. 

By now, you must have realised that the number 21 has got some significance; precisely the point the film tries to make. It is simply the longest and most uninteresting anti-ragging PSA (public service announcement) which highlights Article 21 of the Indian Constitution, that entails a person's right to protection of life and personal liberty. However, the game, which is used as a metaphor for the atrocities and trauma caused by the violation of the fundamental right is too loose and doesn't blend well throughout.

The inconsistent narrative, coupled with mediocre imagery and unnecessary cuts, leaves you irritated by the time the film goes the ill-timed interval. The dialogues are too suggestive and appear too crafted and unnatural. Rajeev Khandelwal tries his best to deliver a flawless performance but there's only so much an actor can do with a bad script. Tena Desae, who is a household face, thanks to TV commercials, is tolerable on screen only for the duration of a TV commercial. Paresh Rawal's intriguing character is not half as mystical as his Baba Bangali in No Smoking. His unusual hairstyle, for which the film gives a subtle explanation in the end, isn't enough to establish him as a fearsome bad guy and his repetitive catch-phrases and untimely shayari add to the ridicule. 

Table No. 21 is a noble thought, but is poorly crafted and fails as a drama on more levels than one. The least that can be expected from such superficial attempts at spreading awareness is some craft and Aditya Datt's film lacks that. If you are looking to spend some quality time at the cinemas this weekend, go through all your options before you choose this. Remember, once you enter, you can't quit, apparently.

Rating - 1 out of 5

Published in DNA After Hrs (Pune) on January 5, 2013