Hurricane Agatha makes landfall in southern Mexico with 105 mph winds

Hurricane Agatha made landfall in southern Mexico Monday afternoon, just west of Puerto Angel, according to the National Hurricane Center.

Two suspects arrested for allegedly assaulting a journalist in Sheikh Jarrah in East Jerusalem

Two suspects were arrested on suspicion of assaulting a journalist who was covering clashes in the Sheikh Jarrah neighborhood in East Jerusalem on Sunday, Israeli Police said in a statement.

Cuban anti-government activists face trial

Two of Cuba's most prominent anti-government activists are set to go on trial as early as Monday, according to fellow activists, proceedings that human rights groups have criticized as political persecutions.

Egypt uncovers large trove of ancient bronze statues and sarcophagi in Saqqara

A large trove of ancient bronze statues and well-preserved sarcophagi discovered in Egypt's Saqqara were revealed to the public on Monday, the Egyptian Ministry of Tourism and Antiquities said in a statement.

Israelis lament 'racism problem' as Jerusalem march turns ugly

A march on Sunday to commemorate the establishment of Israeli control over East Jerusalem in 1967 was marred by incidents of violence and hate that left some Israelis disturbed.

German Chancellor accused of comparing climate activists to Nazis

German Chancellor Olaf Sholz was accused Monday of comparing climate activists to Nazis, in allegations that his spokesperson said were "completely absurd."

Lionel Messi reveals his behind-the-scenes Covid-19 struggle

Paris Saint-Germain and Argentina superstar Lionel Messi has revealed the difficulties he faced after contracting Covid-19. The 34-year-old contracted the virus in early January, as reported by CNN.

On the front lines with a family fighting for Ukraine

In a shallow trench in a narrow strip of trees that offers the only cover in this Ukrainian landscape in the Mykolaiv district, a man stands with his two adult sons.

The patients at this New Zealand rehab center aren't people -- they're penguins

Sassy, hardy, and vicious: that's how yellow-eyed penguins are fondly described by the people who spend their days working with them.

Violence erupts around Jerusalem during controversial flag march

Thousands of Israelis marched in a controversial flag-waving procession through east Jerusalem on Sunday, after Palestinian factions warned the event could ignite a new round of tensions.

Colombia's presidential vote headed for a runoff

Colombia's presidential election appears destined for a runoff, after preliminary results on Sunday showed no candidate had garnered over 50% of the votes.

Devastating rain kills dozens in northeast Brazil

At least 44 people have died in northeast Brazil amid heavy rains over the weekend.

US 'troubled' as UN rights chief urges China to review counter-terrorism policies

UN human rights chief Michelle Bachelet, whose rare visit to China was criticized by rights groups and Western countries, said she urged Beijing to review its counter-terrorism policies to ensure they comply with international human rights standards.

Cardinal Angelo Sodano, Vatican power broker, dies

Cardinal Angelo Sodano died Friday at the age of 94 in Rome, according to Vatican News.

More than 30 people, including children, killed in stampede at church event in Nigeria

More than 30 people were killed and others injured when a stampede broke out at a church event in the southeastern Nigerian city of Port Harcourt on Saturday, according to police and security officials.

Book Review ‘‘Film Appreciation’’ written by Mr. Utpal Dutta, translated by Dr. Dipshikha Bhagawati © Mr.Lalit Rao 28.05.2022

Book Review ‘‘Film Appreciation’’ written by Mr. Utpal Dutta and translated by Dr. Dipshikha Bhagawati © Mr. Lalit Rao (FIPRESCI) dated 28.05.2022.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Time and again, teachers at media institutes in India have rued the fact that there is an absolute dearth of good books about cinema, books which can teach the intricacies of cinema to Indian students. For this reason, most people teaching cinema in India use foreign books about cinema as reference material. This situation is bound to change with the arrival of a new book on cinema especially its film appreciation aspect. This book is called ‘‘Film Appreciation’’. It has been written in Assamese language by Utpal Dutta. Acclaimed film critic and translator Dr.Dipshikha Bhagawati has carried out its translation into English language. 

 

As a reference book, ‘Film Appreciation’ is extremely handy and easy to use. It is one of those rare books on cinema which can be read in a single sitting. There is something which intensifies its reading pleasure. One derives a lot of pleasure in reading it as it has been written in a simple language which can be understood by anybody. There are hardly any jargons, heavy words or any terms or expressions which can be construed as a hindrance to comprehension in this book. The book ‘Film Appreciation’ has been written by Mr.Utpal Dutta, a veritable expert on cinema who has rendered valuable services as a broadcaster, writer of literary books and a film critic who has attended numerous film festivals in Indian and abroad as a juror. As a respectable figure in the Indian film festival circuit, Mr. Utpal Dutta has seven books about cinema to his credit. He has been helped in this noble initiative by an erudite scholar Dr. Dipshikha Bhagwati who is well versed with two idioms: the idiom of cinema as the seventh form of art and English language as an idiom used by human beings. She has carried out an excellent translation from the original Assamese language into English as the book is replete with passages which bear the mark of ‘good English.’  

 

 

One of the major highlights of this book is the easy to follow content. There are 10 chapters and 3 additions which can all be read as a separate unit. This is not the case with many reference books as their content has to be read in a sequence. It is believed by many dedicated readers that in times of Internet and multimedia, book reading is a tedious business as too much of attention is paid to the written content. This aspect has been tackled through the judicious balance of both text as well as images. If there is only text then the book will become ‘prosaic’ and if it carries only images then it would be labelled as ‘frivolous.’ There are a lot of bibliophiles who opine that a book must be felt, touched and smelled as a work of art. One cannot get this feeling while reading an E-Book on a laptop or on a Kindle device. Fortunately, the book ‘Film Appreciation’ is available as a physical copy. This is going to be a major boost for readers in India, a nation where books are easily shared among friends. As it has efficiently proven its utility, 

 

Utpal Dutta’s book ‘Film Appreciation’ is worthy of a wide distribution in India. Apart from film schools run by private bodies or central and state governments, this book should be made available to all major colleges and universities in India. This would enable many students to improve their knowledge about cinema especially cinema as an appreciable art form. The success of a book especially its commercial success also depends a lot on its pricing structure. ‘Film Appreciation’ can be purchased by most people including students in India as it is modestly priced at 200 ₹ (2.57 $ / 2.04 £/ 2.40 €). Lastly, it has been published in 2021 by Blue Rose publishers. It can be ordered from online outlets such as Amazon, Flipkart and ShopClues.

[672 words]

    

 

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14-year-old Palestinian shot and killed by Israeli forces, says Palestinian health ministry

A 14-year-old Palestinian boy was shot and killed by Israeli forces in the West Bank town of Bethlehem late Friday, according to the Palestinian Ministry of Health.

Boris Johnson has done huge damage to his reputation. His colleagues fear he will now cost them their jobs

On Friday afternoon, a small but heated demonstration took place outside the gates of Downing Street.

Imran Khan claims there's a US conspiracy against him. Why do so many Pakistanis believe him?

Standing atop a truck, thronged by a huge crowd, a visibly enraged Imran Khan repeated the claim that has become a rallying cry for his millions of supporters.

The volcanic paradise in the middle of the Atlantic

Traveling to a paradise on Earth doesn't necessarily require a long, arduous or perilous journey.

US and Taiwan could begin talks on closer economic ties 'in a few weeks'

Taiwan and the United States could begin talks to deepen trade and economic ties "in a few weeks," two senior Taiwanese government officials told CNN on Friday.

Man dies in Brazilian police custody after being restrained in car filled with unknown gas

Protests were held in the Brazilian city of Umbauba on Thursday following the death of a man in police custody.

Vietnam keeps its death sentences quiet. Rights groups say it's one of the world's biggest executioners

For months, Mai Linh prayed.

China and Russia veto new UN sanctions on North Korea for first time since 2006

Russia and China on Thursday vetoed a US-drafted United Nations Security Council resolution to strengthen sanctions on North Korea in a vote the US ambassador to the UN called dangerous, disappointing and likely to fuel Pyongyang's program to develop nuclear-capable missile systems.

Russia is depopulating parts of eastern Ukraine, forcibly removing thousands into remote parts of Russia

Hundreds of thousands of Ukrainians have been processed through a series of Russian "filtration camps" in Eastern Ukraine and sent into Russia as part of a systemized program of forced removal, according to four sources familiar with the latest Western intelligence -- an estimate far higher than US officials have publicly disclosed.

100,000 Chinese officials attend emergency meeting to revive Covid-hit economy

China's cabinet held an emergency meeting with more than 100,000 participants on Wednesday, according to state media, as top leaders urged new measures to stabilize an economy battered by the country's stringent Covid-19 restrictions.

Philippine Congress declares Marcos as next president

A joint session of the Philippine Congress on Wednesday declared Ferdinand Marcos Jr., the son and namesake of the notorious late dictator, the winner of this month's election and confirmed he would become the country's next president.

Tolyatti Adrift, Russia, 2022, Laura Sistero, Spain

Premiering at the Toronto Hot Docs documentary film festival, TOLYATTI ADRIFT is a persuasive account of the decline of Tolyatti, a city created by the Soviet Union in 1966 as a response to the US car industry and built by Russian and Italian engineers. Built on virtually empty lands, huge car factories and a large city were constructed. The city was named after Palmiro Togliatti, leader of the Italian Communist party, and manufacturing was carried out with the Fiat corporation building Lada cars resembling their own. Taking an ethnographic perspective, Sistero focuses on the contemporary experiences of three young people in Tolyatti. After the breakdown of the Soviet Union, Tolyatti experienced a shrinking population and the de-industrialization of its car manufacturing base; accompanied by the rapid decline of employment and suspension of future prospects. Once presented as a symbol of socialist pride, Tolyatti is now the poorest Russian city with the nation’s highest youth unemployment rate. The previous generation is still enamored by the past, chanting patriotic songs, and praising the past. The current existence of their children is defined by the miasma of a city with no future and dreams of leaving it. The older and younger  generations live in different worlds. Some of the young escape their dismal existence by becoming part of the Boyevvaya Klassika group, which  focuses on recuperating old cars and drift racing them. Those iconic cars are symbols of the past and become the center of their current lives. Elders suggest joining the army, which is rejected by the young as a waste of time because nothing of any occupational value is learned in the armed services. Instead, ways of using bribes to avoid compulsory service are explored. Popular songs express Tolyatti’s fractured experiences, “We died a long time ago, here we are born old and are waiting for our youth. I live in Russia, and  I am not afraid”

Claus Mueller  filmexchange@gmail.com

 

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Indian court sentences top Kashmiri separatist to life in prison

An Indian court on Wednesday ordered life in jail for Kashmiri separatist leader Yasin Malik for funding "terrorist" activities and many other charges, prompting street protests outside his residence and condemnation from Pakistan's prime minister.

Hot Docs 2022

Founded in 1996 and based in Toronto,  Hot Docs Canadian International Documentary Festival has developed into the largest North American documentary film festival.  As a no-profit enterprise, it has the objective of supporting Canadian and international filmmakers and fostering excellence in documentary filmmaking. From April 28 – May 8, 2022, the 27^th edition of Hot Docs was held, organized as a hybrid festival with live audiences in Toronto and nationwide online streaming of official selections. It programmed 225 films from 63 countries with 318 live screenings accompanied by 223 Q&A sessions with the filmmakers. The festival’s link to educational institutions continued with the well-received Docs For School program which offered Canadian instructors free access to 13 films with five official selections alongside teaching resources and material.

A crucial component of Hot Docs rise is the industry conference held during the festival. Organized with a hybrid track, it attracted 1,941 delegates from 74 countries this year and featured 3 days of live knowledge sessions, workshops, and networking events covering marketing and distribution. Among the delegates were commissioning executives, distributors, buyers, programmers, filmmakers, and media professionals from all over the world. Part of what makes Hot Docs resilient and successful is the inclusion of innovative groundbreaking documentaries.  The Hot Docs program has an intentionality which ensures  audience are forced reflect and reconsider their preconceptions. Reviewed here are two empirically based and data driven examples. In Frankie Fenton’s production ATOMIC HOPE  nuclear energy is cogently suggested as a solution to the progressing global destruction of the environment.  Cody Sheehy  explores in the case study MAKE PEOPLE BETTER the problematic consequences of genetic engineering of human embryos, already caried out at least once by a Chinese scientist.

ATOMIC HOPE, filmed over the last decade by the Irish director Frankie Fenton, records the activities of a group of pro-nuclear activists. They are guided by the conviction that green nuclear energy provides a solution to the  massive global environmental problems, but the group faces an uphill battle. Humanity is faced with ever-increasing deforestation, rising sea levels, mass extinction, desertification,  and increased deathrates due to record-breaking rising temperatures. The destructive process is seemingly accelerating. Environmental catastrophes impact all parts of the human habitat, Earth. Three well publicized nuclear disasters, Three Mile Island, Chernobyl, and Fukushima have turbocharged  anti-nuclear sentiments. Fenton provides a reasoned  summary of the pro-nuclear movement interviewing activist and scientists in many countries and documenting the factual basis of positions taken by experts who support the development of nuclear power energy as the only carbon neutral energy source. The perspectives of these well informed professionals and the readily accessible data indicate that the need for energy will at least  double by the mid-2050s.  Even a tremendous expansion of solar, wind and hydro alternative energy sources cannot meet current or future energy needs or replace fossil fuel which currently meets 83% of the global energy needs. Some countries have embraced nuclear energy  with its zero carbon emission, investing in the development of new nuclear reactors to reduce the enormous cost of building and maintaining  reactors. Among them are China, USA, France, Sweden, Belgium, the UK and Finland. France as well as Sweden are leading in expanding their nuclear energy power base. Germany, the largest European economy, is not among them because the German Green party set the stage in 1980 for terminating nuclear power when it was in the governing coalition. There are now only three operating nuclear reactors in Germany,  running out of fuel, which will be  decommissioned by the end of 2022.

The ironically entitled MAKE PEOPLE BETTER documentary by Cody Sheehy about an apparently successful  2018  DNA genome editing experiment on embryos by Dr. He Jiankui, a biophysicist, known as JK, and his Chinese colleagues. The filmmakers went to China, suspecting that any revolutionary human genetic editing would take place there first, and were able to speak with JK before he disappeared. JK’s experiment led to the implantation of altered embryos into a woman’s uterus. In 2019.  two fraternal twins were born, the first genetically modified babies, named Lula and Nana by JK.  A third child was born the following year. JK used the gene-editing CRISPR technology to alter the genetic structures of embryos to make the babies resistant to the AIDS virus, motivated by their fathers living with HIV infections.  As he articulated, CRISPR could effectively intervene to shortcut genetic diseases by deleting  genetic defects, thus enhancing immunity. Widespread condemnation of his experiment ensued when JK described his work at an international conference. Research on human genome editing had been carried out for a long period of time by most  genetic research labs and JK had been in close contact with international scientists working on  genetic manipulation. Many encouraged and supported his research projects. He received his rational of  “making people better” directly from James Watson, who discovered the DNA double helix when JK queried him about the application of the new knowledge. Once the news of JK’s work made the media headlines JK was placed under house arrest by Chinese authorities, lost his university position, and was condemned to three years of prison for violating official research guidelines on human experimentation. Recently released from prison, JK  refused to be  interviewed but clarified that he had been in touch with many researchers and scientists. Little is known about what happened to the three children he helped to create. Some senior Chinese scientists have now suggested that the government set up a research program to ensure that CRISPR created children do not transmit genetic errors to the next generation, thus improving JK’s work.  In the US, genome experiments and research are outlawed.

 

New York: Claus Mueller,  filmexchange@gmail.com

 

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Haemolymph-The Invisible Blood, Review: Mumbai Police’s worst kept secret

Haemolymph-The Invisible Blood, Review: Mumbai Police’s worst kept secret

Some real-life stories have been turned into good films, some have not. Haemolymph belongs to the latter category. Had we not seen 500+ Hindustani films about police excesses and third degree torture, Haemolymph (Oxford definition: a fluid equivalent to blood in most invertebrates, occupying the haemocoel) would have had some novelty. As it transpires, the real-life story of a man falsely accused of the 2006 Mumbai blasts, held in custody for about nine years, subjected to various forms of abuse and torture, only to be finally exonerated. It comes across as an amateurish attempt at making a tear-jerker, and breaking the myth that all Muslims are terrorists by nature and implicating them in terrorist acts is a cake-walk. It is made with laudable intentions, but has low cinematic values. There is also the issue of severe censorship, which has ‘cleansed’ the film, albeit leaving many abuses and naked beatings intact, making sure that images are either blurred or shown in long shot. Excision of a lot of footage has left continuity jerks, further affecting the narrative.

This is the true story of Wahid DeenMohammed Shaikh, who was one of the accused of the 7/11 serial bomb blasts in the Mumbai lifeline, the local train services of the city, that operate between the south and north of Mumbai. A Master of Arts and a Bachelor of Education, Wahid was a teacher at the Anjuman-e-Islam school in central Mumbai. He was accused of being a member of the banned organisation, Students Islamic Movement of India (SIMI), and of hosting Pakistani nationals, in his extremely tiny home. The police pick him up from his school, and thus begins his ordeal. Wahid is tortured in an attempt to extract a confession, or, to force him to take the blame. He is shifted from Police lock-ups in one Station to another, and even lodged in various jails. A young advocate, Shahid Azmi, takes up the cases of Wahid and the other accused, only to be shot dead by unknown assailants. His story was featured in the film Shahid, made some years ago. But the die-hard spirit of Wahid sees him through the nine years it takes for him to be pronounced not guilty.

One day, writer-director Sudarshan Gamare read the horrific experience of Wahid Sheikh, during the police custody, and in prison, and thought it could be the subject of a film. In the beginning, there was a lot of scepticism about the project, but with rigorous research, and after conducting several interviews, Gamare was convinced and motivated to make the film. The result, though, is amateurish and bookish, with a weak screenplay. Dialogue is full of expletives, when it comes to the police, but the Wahid family speaks very natural dialogue. Urdu-speaking Muslims do not use words like ‘sapna’ (dream) or ‘man’ (heart), but Gamare makes them say these words more than once.

Haemolymph is produced by Tikatbari and AB Films entertainment, in association with Adiman Films, and ND9 Studio as a Co-producer. Saurabh More is the Executive producer. The film stars Riyaz Anwar as Wahid, and he has done a very good job. Also in the cast are Ruchira Jadhav as Sajida Shaikh, Rohit Kokate as Javed Shaikh, Neelam Kulkarni as Wahid’s mother, Datta Jadhav as Wahid’s father and Sayli Bandkar Javed’s wife. It must be noted and appreciated that almost all the Muslim roles have been essayed by Maharahstrian non-Muslims.

The film's soundtrack has is composed by Mujtaba Aziz Nazan (son of famous Qawwal, late Aziz Nazan), and lyrics are written by Nasir Faraaz and Mumtaz Aziz Nazan (wife of Aziz Nazan). There is only one real song, the long Khwaja qawwali, punctuated by dialogue. Director of Photography is Rohan Mapuskar and Sound Design is by Avinash Sonawane.

With a title like Haemolymph, and content that is an exposé of the worst kept secret about the disdain and contempt with which most police officers regard ‘suspects’ of the Muslim community, or, indeed, of the community as a whole, the film is not likely to attract audiences.

Rating: * ½

Trailer: https://www.youtube.com/watch?v=f45CW4NHY-U

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World's fastest passenger jet goes supersonic in tests

The race to resume supersonic passenger flights nearly two decades after the retirement of Concorde was offered a glimmer of excitement on Monday when plane manufacturer Bombardier revealed high speed achievements while confirming the launch of its new business jet.

Four missing miners found dead in Burkina Faso

Rescue workers in Burkina Faso have recovered the bodies of four miners who had gone missing after floodwaters submerged a Canadian-owned zinc mine in Perkoa, in the Sanguié province of the West African country.

India, the world's largest producer of sugar, is restricting exports

India has decided to restrict the sale of sugar on international markets, just days after it banned wheat exports.

Indian man jailed for 10 years over wife's 'dowry death'

A court in southern India on Tuesday sentenced a man to 10 years in prison in a ruling that found he abused his wife over their wedding dowry, leading to her death by suicide.

One of the three missiles North Korea tested presumed to be an ICBM, South Korea says

North Korea tested a presumed intercontinental ballistic missile (ICBM) in one of three missile tests on Wednesday, according to South Korea's Joint Chiefs of Staff.

Police raid leaves at least 22 dead in Rio de Janeiro

At least 22 people have died in the bloody aftermath of a raid carried out by Rio de Janeiro's military police on Tuesday.

An off-script Biden works to erase Trump's legacy in Asia

When President Joe Biden stated unequivocally Monday he was willing to intervene militarily to defend Taiwan against a Chinese attack, it was not the first time this city has seen a US president catch his national security aides off guard.

Bolsonaro fires Petrobras CEO who warned of diesel crisis

Brazil's right-wing president Jair Bolsonaro fired the chief executive of oil producer Petrobras -- the second in two months -- after the company refused to sell fuels at a discount to consumers warning it would lead to diesel shortages.

Ruling on Jews who prayed in Al-Aqsa compound ignites controversy

A court in Jerusalem has issued a controversial ruling that critics say threatens the fragile agreement regulating access to Jerusalem's most disputed holy sites.

The bull market minted millions of day traders. They're in for a rough ride

In early 2021, in the midst of speculative stock market euphoria, a pair of day traders went viral on TikTok with a video explaining their winning strategy.

Nissan is launching a comeback. Here's what it's like road tripping in its newest sports car

The new Nissan Z is one of the most important models in the car maker's recent history — not for any concrete business reason (two-seat sports cars aren't big sellers), but because even a car company needs a soul.

Inspired by spiders, one Japanese startup is inventing a new generation of textiles

Five times stronger than steel, spider silk's unique qualities were recognized by the Ancient Greeks — and more recently, scientists have looked at applications from medicine to engineering.

Germany is keen to pursue gas projects with Senegal, says Scholz on first African tour

Germany wants to intensively pursue gas and renewable energy projects with Senegal, Chancellor Olaf Scholz said on Sunday during his first trip to Africa, against the backdrop of the war in Ukraine and its impact on energy and food prices.

7 dead after blaze on Philippine ferry

Seven people have died after a high-speed Philippine ferry carrying 134 people caught fire on Monday, with seven passengers still missing, the coast guard said.

You can get unlimited summer travel for $9.50 in this European country

A whole month of unlimited transport for just $9.50 -- that's a great deal at any time, but in a time of fuel price hikes, rocketing car rental rates and a worldwide cost of living crisis, it becomes unbeatable.

Makgeolli: How Korean rice wine is stepping out of soju's shadow

Kim Kyung-seop recalls going to cheap bars after class with his friends, where they binged on as much makgeolli as possible.

Australia has a new left-leaning government: Here's what you need to know

Australia's new leaders are yet to be sworn in following the Labor Party's victory Saturday, but the nation is already dissecting what seems to be a seismic shift in its politics.

North Korea claims 'positive trend' in Covid outbreak, but no reply to Biden's offer of help

North Korea claims its Covid outbreak is slowing, with its state-run media reporting on Sunday a "positive trend" that has seen the daily number of new "fever cases" drop below 200,000.

Biden's North Korea strategy is a major shift from Trump's showman diplomacy

President Joe Biden did not sound Saturday like he was expecting any "love letters" from Kim Jong Un -- he can't even get a response to an offer of coronavirus vaccines as the hermit kingdom is hit by its first major Covid-19 outbreak.

Palestinian teen shot and killed in exchange of fire with Israeli military in Jenin

A 17-year-old Palestinian was killed and an 18-year-old was critically injured by Israeli fire during an Israeli military raid in Jenin in the West Bank Saturday, the Palestinian Ministry of Health said.  

Australian voters deliver strong message on climate, ending conservative government's 9-year rule

Labor Party leader Anthony Albanese will be Australia's next Prime Minister, according to projections by three major news networks

Adrushya, Review: Invisible man meets blind twins

Adrushya, Review: Invisible man meets blind twins

In the last two decades, Marathi films have thrown-up some real gems. They have also not fought shy of experimenting with both form and content. We have been treated to some films that were rooted deeply in Marathi culture and ethos, while there were others with more universal themes. Non-Marathi speaking producers, directors and writers have made their way towards Marathi filmdom, with varying degrees of success. Directed and co-written by a name that is non Marathi, and a cinematographer-turned-director making his debut, this remake of Los ojos de Julia (Spanish; Julia’s Eyes; 2010), with a dash of, perhaps unintentional, Wait Until Dark (1967), is not the best debut that he could hope for. While making a psychological thriller, the makers of Adrushya (Invisible) have left gaping holes in the narrative, leaving the audience tight-rope walking between a psychological thriller and a supernatural, and the film is rescued, only partially, by the performance of the leading lady.

For some reason (and I believe it is a sop/grant offered by the government), the film is set in Uttarakhand, where it begins with a business conclave chaired by a Maharashtrian, and consists of several other fellow Maharashtrian. Soon, it moves towards the story of twin sisters, Sanika and Sayali, who suffer from progressive blindness. Sayali is already blind and Sanika has lost 20% of her vision. Sayali is soon found dead, hanging by a rope. The consensus is suicide, due to depression about her eyes. But Sanika suspects this was a murder. Her husband also subscribes to the suicide theory, but agrees to help her investigate the murder angle. They make inquiries with a neighbor, a very old blind woman, and another neighbour and his daughter. Sanika finds some clues and takes her husband to a honeymoon resort hotel, where she believes Sayali stayed with her boy-friend. There, a waiter seems to have some evidence. And then she finds persons dying one after the other, and her own life is in danger.

Contributing the screenplay himself, Kabir Lal has the services of Nikhil Katare and Chetan Kinjalkar as dialogue writers. Little was needed in terms of original writing, and if there is some original writing indeed, it only complicates the issues, instead of simplifying it. Dialogue is a mix of Marathi, Hindi and English. How did so many Marathi-speaking personnel land-up in Uttarakhand, is beyond belief. A couple of persons do speak Hindi, not good Hindi at that. The suspect is shot below his neck, always, leaving little doubt that he is the culprit. An eye surgeon has within his premises a mortuary, with embalming facilities! There are many more gaffes, but listing them here will take away what little suspense the film might hold for the viewer who wants to have a go at Adrushya.

Doe-eyed Manjari Fadnnis in the double role is a treat to watch, whether she is wide-eyed and wonderstruck, or blind and terror-struck. Pushkar Jog makes a soft, understanding, compatible husband. Saurabh Gokhale as the mentally disturbed perpetrator looks really menacing and single-minded in his behavior, as the role demanded. Both Pushkar and Saurabh are of medium height, and Pushkar has been gymming since the film was made, it would appear. Both were present at the screening held at InOrbit Mall's INOX multiplex, at Malad, suburban north Mumbai, on 20th May.

Veteran Usha Nadkarni is cast in a role that is a perfect blend of black and white, and she does it with élan. Anant Jog, another old-timer, with his features, makes a natural negative character, and is used as such. Inspector Deepak is played by Ajay Kumar Singh, whose talent must be inspected. As the hotel maintenance man, Sanjay Bhadane is made to behave rather spookily, for undisclosed reasons. Routine to below par support is provided by Shravani Abhang, Ashok Palwe, Shyam Bhimsariya, Kavita Tripathi, Garvit Singh, Pawan Kumar, Nikhil Kumar Singh, Vishal Kumar Singh and Nirmal Jani. Special mention must be made of the ‘blind’ girls Hemangi Surve, Harshada Patil, Pranjali Kanzarkar and Dipinti Bhobaskar, who never let you feel that they are anything but fully blind. Interestingly, Chetan Kinjalkar, joint dialogue writer, puts in a cameo as a waiter.

Kabir Lal does not go behind the lens himself, having concentrated on writing and directing, though he has worked as a cinematographer on more than 100 films, across Kannada, Tamil, Telugu and Hindi. These include Pardes, Apne, Yuvaraaj, and Welcome Back. That should have allowed him to avoid those loopholes that are strewn across the narrative of Adrushya.

His son, Syed Shahid Lal, makes his full-fledged foray as cinematographer, making it the third generation. Kabir’s father, S.S. Lal was a DoP. Shahid assisted his father for four years, and the commendable results are there for us to see. Editor Sanjay Ingle gives us the usual jump scares and fleeting shadows, which are never explained. Amar Mohile’s symphonic background score is a highlight of the film, with a theme allotted to every character or every scene, enhancing every moment when it is heard. Produced by Ajay Kumar Singh and Rekha Singh (non-Maharasthrians, one could wager) have produced the film, which took over three years to reach the screens.

You could go to the cinema where Adrushya is being screened if you are hungry for something different, only don’t come out scratching your head and rubbing your eyes as you try to sight the invisible.

Rating: **

Trailer: https://www.youtube.com/watch?v=9VcKEjkf5Jo

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Dhaakad, Review: Kan-gana Ran-aut-do Charlize Theron?

Dhaakad, Review: Kan-gana Ran-aut-do Charlize Theron?

Whenever director Razneesh ‘Razy’ Ghai shouted action on the sets of this film, he must have meant either of two things: A. Kangana Ranaut, Arjun Rampal and a battalion of cronies get at each other, either with arms and ammunition, or fists, kicks and ambition. B: Some version of a lullaby is sung by someone, from at least four characters. There is little else happening. So, what? Is something more needed? Yes, surely! But where have you seen such fast and brutal action on the Indian screen, and where have you heard a lullaby being used to….? Wait a minute! It wasn’t exactly a lullaby, but a song united the family, decades after it was scattered, in film called Yaadon Ki Baaraat, released in 1973. Now for the fast and brutal action, and a drinking, smoking female protagonist, with no holds barred, that was the stuff that Atomic Blonde was made of, released in 2017. Dhaakad was announced on 20 October 2020. Both the earlier films were impressive films, notwithstanding that Atomic Blonde was released here in a sanitised version. Guess the writers and director of Dhaakad (Formidable) were more than impressed by these films. So, move over Charlize Theron, aka Atomic Blonde, here comes Kangana Ranaut. On second thought, don’t move over just yet.

An orphan raised by a Handler of the Indian International Task Force (ITF), after her parents’ murder, Agent Agni is ruthless in her tactics of dealing with terrorists and criminals. The film begins in Budapest, Romania (Romania is not named, the caption says Budapest, Central Europe), where Agni is sent to ‘extract’ a foreign agent, who could give leads about a human trafficking and prostitution racket involving Indians. Informed by her boss during the mission that the mission has been compromised and should be aborted, she refuses to abort, and continues the battle. She battles a hundred assassins, involving guns, swords, hand and feet, yet fails to bring back the agent alive. Out of mercy, she shoots the agent dead.

Agni and ITF then get some information about the mastermind of the racket and its headquarters, and it turns out that the operation is conducted from a coal-mine in Central India. The mastermind of this racket is one Rudraveer, his partner is a woman named Rohini and his right hand is a man named Khalid. Rudraveer is a mysterious character, very rarely seen, who operates from Sohagpur Coal Fields, near Bhopal, Madhya Pradesh, India. Agni is sent to collect information on Rudraveer so that he can be nabbed. Agni is not keen on going back to India, where she has memories of her parents being shot dead in front of her eyes (suggesting that she has lived abroad for many years without ever visiting India), but her Handler persuades her. He warns her, though, that a failure like Budapest will not be tolerated, and also that she will be dismissed from service if she fails. Her brief is to just collect information, with the help of ITF’s local contact, Afzal. Agni, being Agni, has no intention of merely collecting information.

Another example of a film written by a writers’ pool, Dhaakad has five writers credited: story by Razneesh ‘Razy’ Ghai, Chintan Gandhi and Rinish Ravindra, screenplay by Razneesh ‘Razy Ghai and Rajiv Menon and dialogue by Ritesh Shah, merging of details obtained from two different websites. The plot of a girl seeing her parents getting killed and living the trauma to grow-up and seek revenge has no novelty whatsoever. And spy action thrillers full of hi-octane action are a dime a dozen. Yet, it must have taken some courage on the part of the writers to develop Agni as a single woman who drinks, smokes, (suggestively) has casual sex, treats her own wounds herself, maintains her own private arsenal, goes into action with her legs and thighs showing, astride a motorcycle, and bounces back after every defeat with rigorous training to get back into action. She is not afraid to disobey her Handler, but has a very human side to her too, which is triggered when she meets Afzal’s young daughter, Zaira. Dialogue is not memorable, except one line that is easy to recall, the reaction of the onlookers when they are told that her heart is not where it should be.

To continue the story and the action, the writers have her deeply wounded once and almost dead at least twice. The first time around, she gets a gash on her thigh. She drowns herself in alcohol, washes the wound too with the spirit, and then uses an instrument to extract the bullet and treat the wound. As far as the near death experiences go, both times, it is an incredible sequence of events. She is brutally stabbed on the first occasion, by the dark forces, and yet, the hardened professionals cannot kill her. They leave her for dead, and guess what? She recovers. Not taking any chances when they encounter her on the second occasion, the Head Honcho shoots her in her heart, from very, very close quarters. She collapses, and her ‘corpse’ is left behind. Later, it is airlifted to a hospital. There, a doctor tells the Handler that she will survive, because her heart is not in the normal position, like everybody else’s, and is a bit to the right, a one in millions occurrence So, the bullet missed her heart.

Going by the pace of the film, the ‘loree’ (lullaby) that her parents used to sing to her being repeated a dozen times comes as a dampener, especially when adults sing it. In fact, when it came the fourth or the fifth time, and every time after that, the audience jeered loudly. The story is set in present day, but no use of mobile phones is shown, which would have been an essential tool of the trade. Vowing to protect Afzal and Zaira from Rudraveer, Agni makes no attempt to keep in constant touch with them, which would be necessary, since she is often away on missions. Rudraveer’s back-story is not convincing. As a teenager, he resorts to coal smuggling, and when confronted by his moralistic father, he shoots him dead, declaring he has “overthrown the government”. He then forms a gang, but when and how did this coal smuggling gang develop into an international operation involving billions of Rupees and human trade is not written into the screenplay. Why does ITF need a deadly killer, just to collect information? It defies logic. And, to become a spoiler, almost everybody, on either side, is killed in the end. No. no, not Agni. Dhaakad 2 has already been announced, so Madame Atomic Blonde cannot die.

Director Ghai has used Romania and Madhya Pradesh as locations because, I am sure, he got shooting incentives and other sops from them, as the credit titles read. There was no other logical reason for setting the action in these two places. India’s biggest coal mines are in the Eastern State of Jharkhand, but perhaps the government there was not willing to offer sops, or their political dispensation was different from that of the film unit. It speaks poorly of the ITF and Indian diplomats if a wounded Indian operative in Romania, or India, for that matter, has to treat her wounds herself, and undergo a recovery and training routine all alone. Why does she reveal her legs during missions is beyond comprehension! Granted that some Indian songs have become very popular abroad, but when Agni, in disguise, breaks into a Hindi song at a Romanian Night Club, and the local musicians and singers join in, it appears a bit much. She agrees to be picked up by a customer at the bar and has simulated sex on the sofa, before they ask each other the most important question, Your place or mine?” When he comes back with his keys, she is gone. What was the scene all about? And can Agni walk into the open door of her Handler’s house and do what she does, unchallenged?

An ITF informer, Afzal appears a stool pigeon, with nothing to protect himself with. When his cover is blown, Rohini just walks into his home, toting a gun, and he falls at her feet, pleading for the life of his daughter and himself. In every fight, Agni gets the maximum battering and grunts loudly every second. Nobody else does. Luckily for her, she wins some of these encounters, or is left for dead. Who uses swords in 2022? A horde of Romanian baddies does. They come in batches, and Agni, after some deft moves, manages to de-sword them, and, in many cases, impale them. The usual face-off between the government ministry and the secret service (ITF) sounds as hollow as they come. A secret agent/spy/assassin going by her orders would be a novelty, where flouting instructions is the norm. When Agni does so, twice, it comes as no surprise at all. Maybe that is his style, for we see the arch-villain fist-fighting most of the time. And when he has his victim in his lap, he only then pulls out a gun and shoots her from close quarters. This is in reverse, compared to traditional villains, and I do not know whether it is a welcome departure or just a whim. Likewise, on some three occasions, somebody puts a gun on somebody else’s temple and the shot is cut there. By experience, you know that the trigger was not pulled.

Ladies and gentlemen, the heroine of the film Dhaakad is Kangana Ranaut, winner of four National Film Awards and five Filmfare Awards. She has also featured six times in Forbes India's Celebrity 100 list. In 2020, the Government of India honoured her with the Padma Shri, the country's fourth highest civilian award. This was on the back of Manikarnika: The Queen of Jhansi, Rani Laxmibai, a film that she co-directed too. The film won her both the big awards, Filmfare and National, for the same film. Ranaut identifies with right-wing ideologies, and is a supporter of the ruling part of India and the Indian Prime Minister.

Dhaakad was made to showcase her prowess in a genre she had not flirted with in the past. She has a very Indian face, which is often made to look Western, or Middle Eastern with the help of wigs, costume and make-up. In one case, she uses a rubber mask to take on the look of another woman. Except for the few moments when she gets emotional about her late parents and about, the missing Zaira, Kangana does not need to emote. Her voice does not suit the sex kitten image that she projects in many scenes, neither do her grunts sound those of a hardened fighting machine. Well, she played the fighting queen Manikarnika, who lived in the early 19th century and has now played Agni (which means fire), in the early 21st century. That still leaves many centuries and many action heroines to explore and embody.

What can you say about Arjun Rampal? I was not impressed with a few of his performances, but here, he goes all out, with no inhibitions. That his model looks make it difficult to accept him as a ruthless, cold-blooded villain and mass murderer is a professional hazard. Divya Dutta has a ball as the foul-mouthed child-prostitute Rohini, who turns Rudraveer’s mistress, and does a little gig whenever she or one of her men, kill someone. There is the faintest trace of, “Should I be doing this?” on one or two occasion, but for the rest, DD is in good form. Sharib Hashmi is endearing as Afzal, with the Bhopali accent to boot. It’s time he got meatier roles. Saswata Chatterjee as the Handler does a reasonable job in an ill-defined role. Names of other artistes were not available.

Japanese cinematographer, Tetsuo Nagata, who lives in France, makes Budapest look its best, from all angles, mainly top ones. If, during the fights, it is difficult to distinguish between Agni and her team, and Rudraveer and his retinue, we cannot blame him. There are several factors involved, and photography could just be one of them. It took a long time for Razneesh to persuade Nagata to sign on, and it has proved worth the time and effort. Dhaakad is edited by Rameshwar S. Bhagat, and editing is what gives an action film its pace and rhythm. That’s a good job done. And don’t blame him for the moments when the film drags; they are plot points in the screenplay which he could not possibly excise. One shot seems to be missing, about somebody at a bust stop, to which Kangana refers, while talking to Afzal. Music score by Dhruv Ghanekar and Sneha Khanwalkar is of a high calibre. Songs by Shankar–Ehsaan–Loy, Dhruv Ghanekar and Badshah (end credits, if I recall correctly) suit the film, but fail to linger in your memory, except ‘She’s on fire’.

At two hours and 11 minutes, the length is okay, if only the dull, forced emotional bits rare not there. Watch out! Here comes Charlize Theron…or is it the leggy Kangana Ranaut on her superbike? Fans will lap it up. Discerning filmgoers will have strong reservations. But when it comes to ratings here, every film gets what it deserves.

Rating: **

Trailer: https://www.youtube.com/watch?v=1XJ5t2maPno

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Trailer success meet and song launch of Major: Lookout, big fish, here comes the goldfish

Trailer success meet and song launch of Major: Lookout, big fish, here comes the goldfish

Three big, real BIG pictures are on the verge of release, simultaneously. Two are from the South, and one from Mumbai. Anybody who has been following release schedules will know that these three are Prithviraj from Yash Raj Films, KamalHaasan’s Vikram and a major film from Hyderabad, called, Major. I wonder whether the other two have been shown to anybody except the most selected of selective audiences, but Major’s makers have shown it to 1,700 viewers so far. That, they say, shows the confidence they have in their product. Equating Vikram and Prithviraj to big fish, writer-star Adivi Sesh defined Major as the gold fish that will stand out.

Present at a media-interaction at PVR multiplex, Juhu, were, besides Adivi, heroine Saiee Manjrekar, director Sashi KiranTikka, music composer Sricharan Pakala and singer Armaan Malik. Like Nikamma, this one is a Sony Pictures International Productions, collaborating with the veteran Mahesh Babu's GMB Entertainment and A+S Movies. Whereas it is easy to trace the roots of Vikram to the Tamil industry and Prithviraj to Mumbai’s filmdom, Major is genesis defying, at least partly, vehicle.

Saiee is the daughter of Mumbai-based actor and director Mahesh Manjrekar and played the lead in Dabangg 3. That’s one Mumbai connection. Armaan Malik’s mother Jyothi belongs to a Telugu speaking family, while his father is Daboo Malik. That’s half and half. Then there is Revathy, who has several successful Hindi film roles against her name. Prakash Raj, after so many villainous roles in Hindi films, might even be considering moving permanently to Mumbai, from Karnataka. And Murali Sharma? He is there in every second Hindi film for a decade and more. Adivi summed it up nicely, “We are all Indian film-makers, neither Tamil, nor Telugu, nor Hindi.”

What comes as a big surprise is the fact that Adivi speaks good Hindi! How did that happen? “I grew up in the USA, where all my friends were either Punjabis or Gujaratis. So, to communicate with them, I picked up Hindi. Sadly, they did not pick up any Telugu. But let this debate rest. We just make films, whether in Tamil, Telugu or Hindi. Bi-linguals and remakes are not new. They have been there since Ram Aur Shyam, which was a remake of a Telugu hit (Chanakya's 1964 Telugu film Ramudu Bheemudu), and before. In fact, one can find at least 182 remakes of Telugu films in Hindi on the web. We are releasing Major in three languages, Telugu, Hindi and Malayalam. Telugu, because that is the language in which it was first conceived, Hindi because we want to reach a wider audience with this story of a soldier’s bravery and Malayalam because Major Sandeep Unnikrishnan hailed from Kerala, and we want his family and friends to watch it in their language.”

November, 2008, left a scar in memories of all Indians, especially those who live in Mumbai. In a terrorist attack that lasted four days across South Bombay, at least 174 individuals lost their lives, including 15 policemen, and 2 NSG Commandos. Among these Commandos was Major Sandeep Unnikrishnan, who was serving in the elite 51 Special Action Group of National Security Guards. He was posthumously awarded India’s highest peacetime gallantry award, Ashok Chakra. He was born on 15th March, 1977 in Calicut, to retired ISRO Scientist K. Unnikrishnan and Dhanlaxmi Unnikrishnan. He grew up in Bangalore and later graduated from the 94th Course of NDA and 104th Course of IMA. He was commissioned on 12th June, 1999 as a lieutenant, in the Bihar Regiment of Indian Army. In his years of service, he served in Gujarat (during Gujarat riots, 2002), Jammu and Kashmir, Hyderabad, Siachen and Rajasthan. He was later selected to join National Security Guards, and underwent training. He was assigned the training officer of 51 Special Action Group, in January, 2007.

This is the true story. The film, Major, is merely inspired by it and pays tribute to him. No attempt is made to replicate his life or the operation against the terrorists, as it occurred. Why did Adivi choose to play the title role himself? “I look quite a bit like him. In fact, some of my cousins look even more like him. Moreover, I have done many action films, so this was not a major challenge.” Did the writer and actor combo in Adivi lead to confrontation on the sets? “No,” replied Tikka, “the writing was all done behind walls, while on the set, he was playing the character and following instructions.” Added Adivi, “We did have a few run-ins, but after each argument, I always emerged the richer in knowledge.”

Someone asked Saiee whether she got Adivi to taste Mumbai street food, like vada pav and samosa pav, and she said “No. He has had vada pav so many times before we met.” Corroborating Saiee, Adivi revealed that his earlier film was processed in Mumbai, so he had so many vada pavs during those days. “In fact, she ordered a pizza for me here.” Saiee corrected, “No, that was in Hyderabad.” She went on to add that she was super-thrilled to have a song dedicated to her character, titled ‘Oh Isha’! which was superbly performed by Sricharan and Armaan, in both Hindi and Telugu, with only a ukulele for accompaniment.

Major will find Saiee grow from the age of 16 to the age of 28, and it will be worthwhile watching her performance graph too. Meanwhile, Adivi kept on parrying questions put to him like a veteran. Almost every reply drew applause. And his language was a judicious mix of Hindi and English. He stated that during the making of the film, Sandeep’s real-life parents became like his second parents, and he would like to become their second son. This, coming from a man who is a very funny person in real life, has deep meaning.

Very protective about Sandeep’s life, his parents, family, friends, army colleagues etc. did not reveal too much about the brave-heart, so taking cinematic liberties became a necessity. Yes, they did share some of the info, but what the unit found remarkable was that all those persons were not sad or gloomy, but, rather joyous and happy. In fact, it was after several phone calls that Sandeep’s father picked up Adivi’s phone, and agreed to give permission to this unit only because he felt that many others who had approached him had come with an attitude of “we are doing you a favour”. This team, he felt, would do justice to the story about the feelings and emotions of Sandeep, besides his bravado on the action front.

Asked by this writer whether they had shot at real locales, or sets and VFX/CGI were used, Tikka confirmed that real locations were not used. Sets, VFX and CGI were indeed employed to recreate the venues. Adivi pointed out that the first 30-40 seconds of the trailer are slow, mushy, romantic, featuring Adivi, Saiee, Revathy, Prakash Raj, and Saiee’s sister. This is because the film, too, has 30-40 minutes of emotions and romance, before the action kicks in. Yes, you will see both of them aged around sixteen, in school uniform.

What stays with you after the trailer is over is Prakash Raj’s booming baritone, stating that a soldier is one who says I will give my life, but I will not give my country. That is true patriotism and nationalism, if it needed to be defined. There are patriots and nationalists in every corner, but a soldier is the true protector of patriotism.

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Kismet, Trailer launch of Nikamma: Useful insights into the making of a ‘Useless’ (Nikamma) film

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Sony Pictures International Productions have put their faith in producer-director Sabbir Khan and a relatively new hero, an absolutely new heroine and a veteran who made her debut 30 years ago to deliver a vehicle that goes by the moniker of Nikamma. Translated, it means Useless. Abhimanyu, who has already acted in Mard Ko Dard Nahi Hota and Meenakshi Sundareshwar, is the son of Himalaya Dassani and Bhagyashree née Patwardhan, the latter being an accomplished actress while the former is better known as her husband. Shirley Setia is a social media queen (YouTube sensation) for whom this will be her dream come true. And then we have Shilpa Shetty, who made her entry with Baazigar, in 1993, is now in her mid-forties, looks fit as a fiddle, and plays Abhimanyu’s mother.

All of the above, including Bhagyashree and Himalaya, were present at the Juhu PVR multiplex for the launch of the trailer of the film, which has, since, already garnered more than 1 crore views, and 65,000+ likes, in just a day. It begins with the captions that read ‘Once every few years Comes a boy Who is perfect. Adi is not that boy.’ And soon, it explains why…because Adi is a nikamma and being a nikamma is an art, that one can learn from him. You see the muscles that would be the envy of anybody who has less than six six-packs. Shirley is introduced in the familiar way in which lead actresses are introduced in Hindustani films, shot first with her back facing the camera and them turning towards it, face revealed in mid shot. She proposes marriage to the boy right away, who, taken aback, asks whether she is an alcoholic or a drug addict. She replies with a disarming and passionate, “Love addict”.

Looking hot and sexy, admittedly, Shilpa thanked Sabbir (pronounced Saabir) for breaking her 14-year hiatus from films with such a lovely script that she could just not say no to, and agree to go for shooting, leaving her babies behind. She plays a powerful woman in the film, named Avni, but not the Wonder Woman in costume that we see fleetingly in the trailer. That is only Abhimanyu’s imagination. She felt like a newcomer, among the two millennials (not really; Abhimanyu was born in 1990, and Shirley Setia, who was born in India but grew up in New Zealand, has been active on social media and as a singer since 2012; neither is a millennial), and always refers to herself as a “newcomer” when she talks to Sabbir. “I am not Shilpa Shetty in this film, I am Avni. If you are coming to watch Shilpa Shetty, don’t go to the theatre. Come in to watch Avni.” She also shared the nervousness she had experienced while shooting for her debut film Baazigar, mainly because she could not speak Hindi at all, and used to blurt out her lines.

In consonance with this strong woman avatar, Abhimanyu calls her “Avni Devi”. “It was a fantastic learning experience working with her. A lot of fitness tips. I had to check my diet every single day.” Responding to a comment that he did not get the kind of recognition a newcomer wants with his first film, he said that his first film got him what he wanted and more than what he asked for. From his first film, he started believing in himself, and even won a best debut award at an international film festival.

Incidentally, he made a sensational, never-before, rehearsed and pre-shot entry on the screen, wherein he is being stopped by security personnel from entering PVR Juhu because he has no entry pass or ticket, and never mind if he is the hero of the film. Expectedly, he manages to get the better of them, with some action and a few slippery getaways, and finally runs up the steps and lands up inside the auditorium. This was inspired, he said, by an incident, when his first film was being shown at Toronto, and he landed-up without a pass, convinced that he, as the hero, would not be stopped from entering. But he was stopped, and it took the intervention of some authorities inside the auditorium to get him in. Also, Abhimanyu began his journey in the film industry as an assistant director, and has done at least two films in that capacity, so he does have a director’s mind. For the role, he put on 10 kg, and was definitely looking leaner, some 2-3 years after the shooting of Nikamma began.

As soon as the script was ready, Sabbir said he instinctively thought of Shilpa as Avni. A man of few words, Sabbir has some big ticket films against his name, like Kambakht Ishk, Baaghi and Heropanti. According to the Net, he is the son of poet-lyricist Noor Dewasi, who wrote that evergreen song, ‘Aao huzoor tumko’, from the 1968 movie, Kismet. Sabbir joined films in 2014, so he completes a decade, while Nikamma is the first film that he is producing himself. Talking about the title, he said, “It is 100% Nikamma and 100% entertainment.” He is just about as old as Shilpa Shetty, the two being born in 1975 and 1976 respectively, so no wonder the thought of casting her came to him in a flash. Amidst infectious laughter, Shilpa said that Sabbir had extracted so much good work from us “Nikammas”. Sabbir responded with, “There is little point in repeating it, but all three of them have put in so much hard work, and the trailer gives you a glimpse of all that went into the film.”

Bhagyashree, best known for the film Maine Pyar Kiya, came up on stage and was visibly choked with emotion as a mother, “He’s put his life into in to this film,” she could barely utter. She hugged Abhimanyu, and added, “Sony Pictures have waited two years to get this film on to the big screen (instead of releasing it on OTT), so the public will have to come to cinemas to watch this Nikamma.” Himalaya confided that Abhimanyu is Nikamma in real life, “I have scolded him many times in life for this, but it is the faith shown by Sabbir that has taken him where he is. Everybody, please bless the Nikamma team.”

This writer asked Abhimanyu how much does he think success owes to Bhagya (a pun on his mother’s name) ‘destiny’ and who are the actors who he thinks have reached the Himalaya (pun on his father’s name) of acting? Abhimanyu gave a good reply, remembering his father’s advice to him, when he was young, that whatever you do, give it 100%, and then leave it (if it does not work). “Whether destiny supports you or not, be proud that you put in your 100%. Don’t leave anything to ‘What if?’ and one day, cumulatively, today, tomorrow, day after, your time will come.” The reply got him a round of applause.

That ‘time’/date could be four weeks from now, 17 June 2022, when Nikamma releases in cinemas all over.

A couple of snapshots of the event.

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Jayeshbhai Jordaar, Review: A ban on soap and kisses instead of foeticide

Jayeshbhai Jordaar, Review: A ban on soap and kisses instead of foeticide

Even a relatively small budget film from Yash Raj Films (YRF), with only two known names to tout, succeeds to a large extent in highlighting the hideous Indian social practice, seen predominantly, in a few states, of killing/aborting the girl child. Since marriage involves a large sum as dowry, which is given by the girl’s family to the boy’s family, the birth of a girl child is considered the genesis of a major liability. She is to be raised, educated and then married off, with the dowry as the necessary accessory. A boy, on the other hand, brings in the booty, so is welcomed with great joy. Jayeshbhai Jordaar (Brother Jayesh, the strong man) is set in Gujarat, in a village where such a practice is in place, and the protagonist rebels against it. Had it not been cluttered with slapstick and co-incidences, it would have made greater impact, but even as it is, it is watchable.

Son of the village Sarpanch (Headman) Pruthvish and Jashoda, Jayesh has one daughter, Sidhhi, about 11 years old, and has had to abort six female foetuses, because his family will not allow him to father another girl. His wife Mudra is pregnant again, and his parents want to make sure the foetus is that of a boy, before they sanction its birth. If it is a girl, it will have to be aborted. The family wants an heir, and only a man can be an heir, so they egg Jayesh to keep producing children. A sonography, which is illegal in the country, does not reveal the sex of the child, and the doctor says it will take a few weeks more to be visible. But Jayesh has been told in secret by the doctor that it is a girl again. Unlike most men in such situations, he realises that it is no fault of Mudra, who he loves dearly. So, the two together keep planning how to allow the girl to take birth, without earning the wrath of Jayesh’s parents, and, by extension, of the entire village.

The families in that village have another custom. Marriages are decided at birth, and if there are a boy and a girl born not too far apart, they are paired with a similar boy and a girl from another family. When they grow-up, the marriage is solemnised. The rule is, “We will treat your daughter, our daughter-in-law, exactly as you treat our daughter, your daughter-in-law.” Jayesh’s sister is married to an alcoholic, abusive husband. So, when she sends a video of her battered face to her father, he orders that Mudra be given the same treatment. Far from carrying out his father’s orders, Jayesh only pretends to beat her up behind closed doors. Not only that, he makes elaborate plans to escape with his wife to Haryana, where there is a village with no women, and where every villager is a trained wrestler. Their leader, Amar, offers protection to the couple and their daughter, and, of course, their daughter-to-be, and the skeletal family sets off on that journey.

Having directed two Gujarati films, Bey Yaar (Two Friends) and Chaasnee (Syrup?), this must be the Hindustani debt of writer director Divyang Thakkar. On the writing front, he has contributed the bulk, the additional stuff coming from Anckur Chaudhury. What could have been a family drama, with some involvement of the village council, is given a much larger span by converting half the film into a road movie. To counterpoise the four central characters – Jayesh, Mudra, his parents and Siddhi, there are five others in the story – Jayesh’s sister Preeti, the Haryana village headman AmarTau, a couple where the husband is Gujarati but the wife a Bengali and a Sardar dhabevaalaa. Of course, there are many other minor characters, like the doctor and one hapless person who is treated like the village idiot. What Jayesh does as a vocation is never revealed, leading one to believe that he merely lives off his father’s earnings. The road movie begins with Jayesh teaching his wife driving, at dead of night, and then the three of them sneaking off, en route to the Haryana village, which is 1200 kms away. Doesn’t sound a bit far…fetched? There are some funny and suspenseful twists to the tale, as the trio are chased by a posse led by Pruthvish, but then there are an equal number of incredible scenes and several coincidences.

How can he teach his wife driving, even if it is at the dead of night, for several days, if not weeks, without anybody in the family or the village getting a whiff of it, is hard to digest. The appearance of a black cat on cue, saving Jayesh from sure capture is, well, a co-incidence, to say the least. Again, how does Jayesh manage to arrange in advance for Preeti to help him knock-out the entire posse when the trio land up at her house is another unbelievable development. Both these narrative points are thoroughly enjoyable, though, and even hilarious. It is hard to believe that the entire village in Haryana has no women, that all the inhabitants are body-builders and wrestlers, that they believe in non-violence, and will stop anybody who uses any kind of force to achieve his objective. Very few women in the village? Acceptable! None at all! Incredible! Here’s report from the web, dated around the same time when this film was launched, 2019: Haryana has historically had one of the lowest sex ratios in the country--it had 833 girls for 1,000 boys at birth in 2011, according to the government’s Civil Registration System (CRS) data. However, for close to a decade now, the state has shown a steady improvement in its sex ratio at birth, and reported 920 girls for 1,000 boys in August 2019, as per state-level CRS data.

Hindustani films have tackled the subject of female foeticide many time in the past – Me and My Sister, Kajariya, and more – so Divyang Thakkar had to be ‘different’. He decided to make it a road movie, with comedy as a strong under-current. As a result, while the film definitely entertains, it does not focus on the dead serious theme enough. Doing so can lead to a documentary-like treatment, which is the last thing the producers Adiyta Chopra and Maneesh Sharma might have wanted. So, when the roadie part runs out of petrol, he leads us to a never ending climax, inspired from Mirch Masala, Gulaabi, Gulaabi Gang, and Hellaro Gujarati), which should have been at least 10 minutes shorter. Also, there is little justification behind naming the film Jayeshbhai Jordaar, and having the actors speak with that touch of Gujarati accent, unless this problem is widely prevalent in Gujarat and the film is a symbolic representation of a larger malaise.

A welcome departure from his mannerisms and wardrobe, Ranveer Singh puts in an understated performance, and will prove many of his detractors wrong. He is never in full control of anything and is just hoping against hope that things will work out in the end, an uncharacteristic Ranveer screen trait. Neither is Ranveer Gujarati nor is his wife, Shalini Pandey from Gujarat. She makes a fine debut at the age of 28, looking just about right for the part. Shalini emotes well, though it will take more than this film to assess her potential well. Both parents of Ranveer are played by Gujarati speaking actors – Boman Irani is a Parsee, who speak their own version of Gujarati, while Ratna Pathak-Shah is a proper Gujarati. Boman gets to bulge his eyes very often, while Ratna is the strong yet submissive wife.

In the supporting cast are Puneet Issar as AmarTau, who maintains a physique that would be the envy of many 62 year-olds. In an interesting departure from the normal, he plays a strong-man sworn to non-violence, like his fellow villagers, and that leads to some very funny moments. Deeksha Joshi as Preeti draws applause due to some favourable writing, while Jia Vaidya as the precocious Siddhi is a delight, never mind the over-the-top and way above her age lines she is made to mouth. The Sardar character and the couple where the wife is Bengali are not identified, though the abuses she hurls at her spouse, in Bengali but sub-titled in Hindi, will tickle the funny bone.

Looking behind the camera, we find Siddharth Diwan ready for the chase, and sending-up the drones. Editing by Namrata Rao has surely massacred a lot of undesirable footage, yet left the film longer than desired.  Background music score by Sanchit Balhara and Ankit Balhara is often loud and tries hard to enhance the effects of the on-screen goings on. Vishal–Shekhar (spelt Sheykhar in the credit titles, if I recall correctly, have done a great job with the songs. Both versions of ‘Firecracker’ are infectious. ‘Jordaar’ is a bit overdone, though. Frankly, the film did not need 18.15 minutes of song-tracks. Including the following ten lyricists and singers, twelve talents have pooled in to give us these songs: Kumaar, Vayu, Vishal Dadlani, Shekhar Ravjiani, Jaideep Sahni, Priya Saraiya, Keerthi Sagathia, Katyayni, Jonita Gandhi.

YRF’s Jayeshbhai Jordaar is no path-breaker or milestone, partly because it defies being classified in any genre and exuding appropriate, identifiable vibes. It is difficult to accept a long discourse on the important of conjugal kissing and a ban on the use of soap by females, squared with the condemnable practice of female foeticide. Throwing in a road show and some twists in the tale does sustain interest, but, in the end, the coincidences, the improbability and the precociousness prove too much to swallow.

Rating: ** ½

Trailer: https://www.youtube.com/watch?v=fppJtxJ7RWY

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by Quendrith Johnson, Los Angeles Correspondent

After watching documentary HOW THEY GOT OVER, directed by Robert Clem, more than the music of the Soul Stirrers, Dixie Hummingbirds, Five Blind Boys of Mississippi, Sensational Nightingales, the Davis Sisters, and other featured artists stays with you. There’s Sister Rosetta Tharpe in all her glory, guitar on the lap, kind of changing the world for all to see. Released this month from First Run Features, Clem’s sonic odyssey is a history lesson, a celebration, and a glimpse into the sound that listeners now have baked into their musical memory.

This is the power of the Gospel influence that pushed greats like Sam Cooke once of the Soul Stirrers, Lou Rawls, and Wilson Pickett to “cross over” to the so-called mainstream. They blazed a musical trail not just in America, but around the planet and into the foundation of a movement that became Rock’n’roll as we know it today.

Here’s Alabama naive Robert Clem, who is actually the proverbial ‘son of a Preacher man’, on this astonishing look-back at a moment in time, geopolitics, and at the unexpected birth of a new rocking sound that continues to shape our lives in real time.

First Look from First Run Features - HOW THEY GOT OVER

 

How They Got Over - Official Trailer from First Run Features on Vimeo.

 

Q: This documentary is so sweeping in covering Gospel groups, how did you choose?

ROBERT CLEM: I selected what I thought were the best performances from TV Gospel Time, the low-budget, syndicated program from the early 60s produced for a Black audience. Where possible I located and interviewed surviving members of the groups whose performances I wanted to use. Most were in their 70s and 80 and most have since passed away. Some groups like the Swan Silvertones and Pilgrim Travelers were left out for lack of any footage we could use but we do have audio tracks from many of the these other legendary groups.

Q: Perhaps the first question for you should have been, what took you on this sonic journey?

ROBERT CLEM: I am from Alabama, my father was a preacher, but I never heard of these quartets, since they played to black audiences and were pretty much invisible to whites. For example, they received no press coverage in the major white-owned newspapers and were never on network television. Then I saw, and was blown away by, the Blind Boys of Alabama in The Gospel at Colonus, the hit show by Lee Breuer at the Brooklyn Academy of Music in the 1980s. Years later I had the idea of making a film about them, but was told a film was already underway (I don't think it was ever completed). I have always been a fan of African American music dating from Bo Diddley to Motown to Soul to the Chambers Brothers and so on. With black gospel quartets I found myself drawn to the sheer passion and high energy in their music. So off I went.

Q: These foursomes, as pointed out, are the forerunner of so much in music, can you condense it?

ROBERT CLEM: If you look at the music that was popular with white audiences up into the 1940s and 50s, it was pretty staid by today's standards. The Hit Parade on national TV in the mid 50s had songs like “How Much is that Doggy in the Window?" Perry Como and Lawrence Welk were hugely popular. Harmony groups like the Andrews Sister pretty much stayed tied to the microphone like the old fashioned white barbershop quartets. Black quartets through sheer ambition, competitiveness and a desire to put on a show developed new techniques of showmanship designed to fire up their audiences with religious fervor. Mick Jagger's moves come directly from gospel quartets; it was all about working up the crowd, to make them laugh, shout and move to the beat. Their emotion was another big factor; whether it was real or not -- and with most of these singers it was because of where they came from -- this too became a goal of subsequent popular music, to "move the audience to another place."

Q: It is heartrending to see how many of these great artists have passed away, how did that effect your putting the final cut together?

ROBERT CLEM: Their passing was expected. I am just glad I was able to make a connection with them and was able to get them to tell their stories before they died. They're still alive to me.

Q: Is it a fair argument to say that Rock’n’roll took the thunder from these groups, or can the two stories exist in parallel without casting a bad light on either?

ROBERT CLEM:  Gospel, the Blues, and Rhythm and Blues all became the major influence for Rock’n’roll, and although some people see cultural appropriation in this, to me it simply a tribute to the people who created the original forms. Their music was transformative and we were the beneficiaries. White rock-and-rollers have produced some great music, and they knew and often acknowledged what their sources were even if many in their audiences didn't.

Q: What do you think are the groups people have never heard of that should be remembered by everyone?

ROBERT CLEM: That's a hard one. Most people know the Blind Boys of Alabama because of their recent success but few of the others. I think we should remember them all. And by the way, the female groups in the film are especially unknown but truly phenomenal.

Q: Is singing something that can address repression or other issues like no other art form, or do you think these visuals in the documentary speak louder, and, also is this how they finally “got over” in your film?

ROBERT CLEM:  African slaves adopted Christianity because of its message of salvation, future redemption, hope of eventual freedom. In the Jim Crow 20s, 30s and 40s, Gospel music was spiritually uplifting, its message hopeful, as quartets crisscrossed the South dodging the police and carrying a message to Blacks that was subversive: We shall overcome. The popularity of Gospel quartets dovetailed with the rise in Black expectations and the evolution of Black civil rights. ‘How They Got Over’ as a title has three different iterations: how these individual singers were able to get over poverty, and find a way to a dignified way of making a living, how blacks as a culture got over their repression by working together, and how singers found ways in their performances to move their audiences and lift their spirits. I think another outcome of this whole story is how black music ultimately did cross over, and in the process was a major force in bringing whites and blacks into a common culture. It "opened the door" as Linwood Heath says in the film. We all know there is a lot of coming together that still needs to happen.

In closing, Clem adds, “besides watching the film, people can find most of these groups still have LPs and digital music online.” Streaming of the documentary, and the DVD Launch day dropped in early May, so  HOW THEY GOT OVER is now on Apple TV, iTunes & Vimeo On Demand, and there is also a DVD Bonus Features.

The DVD Bonus items include: Sister Rosetta Tharpe hosts TV Gospel Time and performs Down by the Riverside (5:44). Also The Barrett Sisters of Chicago singing Jesus Loves Me on TV Gospel Time (3:10), and the Blind Boys of Mississippi host TV Gospel Time with a hard gospel rendition of Leaning on the Everlasting Arms (4:21).

Thanks so much to Robert Clem and all the musicians features in HOW THEY GOT OVER, and noting the theme, if you listen to Curtis Mayfield, from his album “Superfly” the lyrics talk about “the game he plays, he plays for keeps… trying to get over. Gambling with the odds of fate trying to get over, trying to get over.” The power of this theme is still very relevant.

Please visit HOW THEY GET OVER, and seek your own path to the sound that changed the world here.

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