A year of sports, a year of feminism. A year of drugs, a year of kisses. A year of low-budget films, a year of 100-crore club. 2016 has been a hell of a ride. TALK gives you a sneak peek into the good and bad side of this year through a 2-part series, ‘The Paisa Wasools’ and ‘The Paisa Fizools’:
THE PAISA FIZOOLS
It’s mushkil to appreciate Ae Dil Hai Mushkil
In this make-believe world of Karan Johar, nobody talks ‘normally’, but only in dialogues, be it Bollywood-themed lines in the first half or the Urdu-strewn lines in the second half. The Rahul-Anjali of Karan Johar refuse to grow up here and the basketball has been replaced with Bollywood. *Fawad Khan flashes and vanishes* The only person you end up feeling sorry for is Ranbeer Kapoor. Ranbeer is perhaps the only reason you might survive ‘Ae dil hai mushkil’. Else, trust me, Ae dil hai mushkil jhelna yahaan, zara Katti, zara Batti, yeh hai copy meri jaan.
Akira suffers from amnesia
A corrupt cop. A hostel thief. A college student. And all these three strands connected to a highway accident thread. Result: An entangled coil of a film with multiple loopholes, which prevent ‘Akira’, directed by AR Murugadoss to be one of the finest films this year. But it’s Anurag Kashyap who steals the show, so much so that the film could have well been christened as ‘Rane’. Think it of as the weed that Anurag Kashyap’s character Rane smokes in his ‘entry wala’ scene, which you could only enjoy while it lasts. Like ‘Rane’ would love to put: Acha hai, lagta hai South ka maal hai…
Baaghi is a rebel without pause
He can balance his entire body on two fingers. He can do flying kicks even in his sleep. He can dance like he’s auditioning for ABCD-3 (Hopefully not). But this Pappu can’t act saala. Sabbir Khan’s ‘Baaghi’ showcases every imaginable action that Tiger Shroff can pull off with Bruce Lee’s ease. Shraddha Kapoor is consistently irritating as damsel-in-distress. The antagonist, Sudhir Babu seems promising in this debut and we wish he doesn’t end up being typecast as Prakash Raj. After ‘Heropanti’, this film is Tiger Shroff’s second show-reel, and one just can’t wait to watch his ‘first film’.
Imagine watching a love story in slow motion all through the film, making you wonder why these guys don’t utter a single word. Artistic expression, did you say? So what explains a film on Mirza Sahiban which tells you nothing about Mirza Sahiban? The only good thing about Rakeysh Omprakash Mehra’s ‘Mirzya’ is the songs, especially Mirzya, Hichki, Ek Nadi thi and of course the visual treat by Polish cinematographer Paweł Dyllus. But then they could have made a music video. Why Mirzyaaawwn?
Raman Raghav 2.0 is all sizzle and no steak
What goes into the mind of a criminal when he is about to commit a crime? What does he tell his family while having breakfast before going for the kill? Ram Gopal Varma pondered over such questions and came up with the brilliant Satya. The film’s writer, Anurag Kashyap attempts to explore similar insight with ‘Raman Raghav 2.0’. The only plaint here is there’s no story in farthest sight. For a change, it was the audience who were abusing in an Anurag Kashyap film instead of his characters.
This Fan is beyond repair
Maneesh Sharma’s ‘Fan’, despite all its hype and hoopla, fails to make the audience invest in its superstar’s character. The yawn-inducing screenplay pays no heed to an iota of logic. For instance, why would a superstar not approach the cops when someone has trespassed in his home and damaged his property? Why is the superstar never mobbed by his ‘fans’ while loitering around and chasing his lookalike fan? Nobody realizes that the fan looks like the superstar until the director wants them to. Having said so, one must admit that Shahrukh Khan’s interpretation of Gaurav’s character is spot-on, but it’s the script that fails him.
Wazzzzzir: Khel khel mein…film ban gayi
Beejoy Nambiar’s ‘Wazir’ begins on a high note, promising you the moon and ends up eclipsing your logic and power of reasoning, which are precisely what you need in a game of chess. This one’s a film that thrives completely on the performance of its leading men Amitabh Bachchan and Farhan Akhtar, who pull of a half-baked story and deep-fried plot towards the underwhelming climax – which finally reveals that the joke is on us – the audience.
The other films in this category include Fitoor, Sanam Teri Kasam, Sanam re, Direct Ishq, Jai Gangajal, Laal Rang, Azhar, Buddha in a traffic jam, Te3n, Junooniyat, Madaari, Dishoom, A Flying Jatt, Shivay, Tum Bin 2, and Wajah Ho Tum. Wait, there are far worse films we endured like: Kya Kool Hain Hum 2, Grand Masti, Tera Surroor, Rocky Handsome, Mohen Jo Daro, Fever, Banjo, MSG-2, and Tutak Tutak Tutiya. Phew!!
Well, let’s hope that our films in 2017 will make more sense. Happy New Year!