Alternative history enters Hindi cinema

Film: D Day

Director: Nikhil Advani

Let us keep aside the coincidence that D Day released on a dry day, and focus on the coincidence of how Rishi Kapoor's character of Goldman resembles Dawood Ibrahim. But apart from playing it safe by not naming the character after the real life kingpin, Nikhil Advani gets his basics right. From using verbal and non-verbal codes that convince you who the man really is, D Day takes you on a journey no Hindi film has embarked upon.

The film opens with a R&AW team consisting of Wali Khan, Rudra Pratap, Zoya and Aslam (Irrfan, Arjun, Huma and Akash Dahiya) undertake the cohort mission (Operation Goldman) of striking at a wedding to seize India's most wanted criminal. The film then takes you backwards and counts down to how they all came to be in one place. Developing every character's back story without playing to the gallery at any given point, the film makes you root for the foursome.

Why D Day is an important film is that it introduces a genre in Hindi cinema previously unknown. Although we have had plenty of historically inaccurate films, cinema about alternative history (like Inglorious Basterds) has never really been made. In doing so, the film shows you things you had never dreamt of seeing.

Unlike Once Upon A Time In Mumbaai and Shootout At Wadala, where we are indirectly introduced to the Bhai in the past, and unlike films like D, Shootout at Lokhandwala and others, where he is simply shown as a shadow who runs the show while safe in his house in Dubai; D Day imagines Goldman as he is today - wise and frail with age. From the red aviators that never leave his face to each and every dialogue he mouths, the film tries to give an insider's perspective on the don.

The complex flow of events is simplified, but not over-simplified and keeps you interested in the proceedings. Huma Qureshi and Arjun Rampal stick to their characters and are pretty convincing. Irrfan Khan as Wali Khan would steal the show on any given day, but comes second to a phenomenal show put up by Rishi Kapoor. Adding a little royal demeanour to his Rauf Lala from Agneepath, he (with a decent contribution of the makeup) has you convinced that you are seeing the man who has terrorised this country for over two decades.

Playing to its strengths, the film is entertaining through and through. A few action sequences are very well choreographed but there are some that appear just too choreographed and leave a scratch on an otherwise job-well-done.

Now that this weekend has you spoilt for choice, this would be a safe bet to take. Because White Houses will be blown many more times and producers will introduce their sons again, but India will only strike back once in a while. Make the most of it.

Rating: 3 out of 5

Published in DNA (Pune) on July 20, 2013

Fine Daayan

It is sickening to see how the genre of horror, thanks to the lacklustre productions that have been made in this country, has ended up being a branch of comedy (unintentional). Just a month ago, we saw Aatma trying to break that clutter but only managed to scare you. But finally the tried and tested myth of the daayan has attempted to revive this genre. Kannan Iyer's Ek Thi Daayan is positively chilling, hair-raising and is capable of being responsible for some sleepless nights.

Vishal Bhardwaj's disciplined screenplay creates a setting, which from the very beginning creates an eerie atmosphere of thick fog which makes you see only what the maker intends you to see. Ek Thi Daayan is a story of Bobo (Emraan), a famous illusionist, who is betrothed to his girlfriend Tamara (Huma). However, the ghosts of his past are a roadblock to their future together. He therefore revisits his old shrink only to recollect a horrifying regressed memory of how a daayan killed his sister and his father. Tormented by the memory, Bobo decides to move on, only to find Lisa Dutt (Kalki), an NRI come to India in search of him. This opens a can of worms and Bobo's life takes a turn for the worse. Has the old daayan returned? If so, why is she after him?

Just over two hours long, the film has a smooth flow to it and builds up suspense one-step at a time. By the end of the first half, you only have a lot of questions about what is going to happen and are in half a mind to get it over with soon. In the second half, the film answers most of your questions, but not before it descends into that part of your mind which feels ticklish when scared.

In an attempt to avoid the in-your-face horror, even the spookiest, eeriest scenes have a sense of believability about them. And although you don't feel the tremors of fear shaking your skin while the scenes take place, you may feel them later that night when you are lying awake in bed, in the presence of numerous moving shadows. The final ten minutes of the film are fairly ordinary, but you tend to go forgive that in the larger scheme of things.

The background score, by Clinton Cerejo, is largely under-utilised and could have added so much more value to the film. The music and lyrics are top notch, especially the title song Lautungi Main by Rekha Bhardwaj. Her haunting, melodic voice welcomes you into the film, before the actors take over and deliver some memorable performances.

Emraan Hashmi, although the protagonist of the film, has very little to do. Most of the times, his character is only reacting to situations. Huma Qureshi, positively shrugging off her image from GOW, is refreshing in her portrayal of Tamara. Kalki, who plays Lisa Dutt, also fits well into the shoes of a chirpy, outgoing girl. But Konkona Sen Sharma is the pick of the lot. Her character, Diana, is the personification of black magic itself. With subtle change in looks, she can go from being loving and adorable to deadly and vicious.

This psychological, super-natural thriller of a film is a great kick for horror junkies; and for the faint- hearted, stepping in elevators or being in the same room as a lizard will be hard for a few days.

Rating: 3 out of 5

Published in DNA (Pune) on April 20, 2013 

Finger Licking Good

Contrary to the promotional campaign and the notions about the film that are created from its trailer and other publicity material, Luv Shuv Tey Chicken Khurana is not a comedy. At least not an outright laugh riot, no. The film is a delicate look into the mundane and is a slice of life drama with a good sense of humour.

The film tells the story of Omi Khurana, who, in order to clear his debt to a goon in London, comes back home to raise money. There, he finds his family – a senile grandfather, a loving aunt, a strict uncle, a cousin and a crazy uncle Titu. Omi soon realises that the only way to get the money is by selling his grandfather’s Dhaba which has been shut ever since his grandfather lost his bearings. However, the recipe of Chicken Khurana is a highly elusive entity and Omi tries to recreate the brilliance, thanks to the help from his college sweetheart, Dr Harman, who is engaged to his cousin now. All doubts, all predicaments and all past grudges assemble in a pot as Omi’s grandfather dies with the secret recipe buried in his chest. The pot is lit from under and a delicious drama cooks itself.

Subtlety is the primary parameter of this film and at times, barring the language, builds an ambience of a well crafted film from Central or Western Europe. However, the reminders Omi keeps getting about his impending debt breaks the subtle drama and points towards a crass attempt at making everyone understand the plot. The screenplay is such that most of the first half is spent simply building the premise. But, like any good recipe requires more time in making the ingredients ready, the film chops, cuts and grinds the ingredients before lighting the stove in the second half.

Director Sameer Sharma has shown a never-seen-before side of Punjab with minimum stereotypes and looking at people as people and not mere cut outs. The setting of rural Punjab fits well with the other elements of the narrative and the characters look like they belong to the place. Kunal Kapoor as a confident ambitious young lad gives his character of Omi Khurana the perfect justice. This is perhaps his return to the league of actors where he truly belongs. Huma Qureshi is magnificent as Harman, and after her quiet performance in Gangs of Wasseypur (which was mainly about men trying to kill each other) she has proven her mettle in a much more significant role this time. The overall cast ensemble are an extension of the setting and Rajesh Sharma as Titu Mama is one of the better supporting roles we’ve seen this year.

For a mainstream film, Luv Shuv Tey Chicken Khurana is a refreshing change going into the festive season where big productions will churn out multimillion star studded films. The motifs and themes used by the director, be it Harman’s helmet, Jeet’s glass eye, or the crow which is apparently Omi’s deceased grandmother suggest the depth of work that has gone into making this simple film.

In a week where James Bond hits the screens, this film is going to make news for the right reasons. A light-hearted story of a small group of people told in a simple yet elegant way, Luv Shuv Tey Chicken Khurana is a pleasant surprise from a masterchef in the making.

Rating: 3.5 out of 5

Published in DNA After Hrs (Pune) on November 3, 2012