In 1979, Basu Chatterjee made Baaton Baaton Mein and unobtrusively brought to us the dating and courtship rituals of a community that was till then either caricatured or just overlooked in Hindi cinema. Nancy Perreira and Tony Braganza…
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Matriarchal manipulation in a patriarchal world is depicted unsparingly in Usha Priyamwada’s Pachpan Khambe Laal Deewarein (Now playing on Prasar Bharti). The mother resentful of her lecturer daughter’s comfortable life in her college residence because the younger daughters…
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“Start with hope..always start with hope. We went from being a shitty team to become one of the biggest dynasties in the sport and all it needed was one match to light this fire,” says Michael Jordan at…
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In 1947, my grandparents brought three children and the remains of an uprooted life from Pakistan to India in a train. One of those children was my mother. I grew up hearing a lot of stories about the…
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Three documentaries streaming right now show the ultimate culmination of the Bois Locker Room culture. And what happens when one gender is taught to mistrust its instincts of self-preservation and the other does not even learn something as…
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In Sudip Sharma’s Paatal Lok (Now streaming on Amazon. Co written by Sharma, Sagar Haveli, Hardik Mehta and Gunjit Chopra. Directed by Avinash Arun and Prosit Roy), India’s disowned inhabit the headlines we turn away from. A young…
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Nikhil Advani’s Katti Batti reminded me of one of his earlier films, Salaam-e-Ishq which had moments of real resonance interspersed with what can be only described as visual white noise. Like that strange scene in a foreign location (London?) where Salman Khan appears with a make-believe baraat to woo Priyanka Chopra. What was that, really? […]
The idea of entitlement is not new to the Indian film industry. Nor is the hegemony fuelled by privileged stars and their coteries. So it took someone of Nawazuddin Siddqui’s talent, 15 years to land his first solo lead in Manjhi (though he played a pivotal part in Gangs of Wasseypur) but all it took […]
The writing in Revolver Rani winks at the seventies and the jargon of hero-centric block-busters so “Police ne tumhe chaaron taraf se gher liya hai ” becomes, “Police ko hamne chaaron taraf se gher liya hai.” The menace of a hero or a villain once conveyed through lines like, “Teja..Tejja..Teja..kaun hai yeh Teja,” turns into, “Alka..Alka..Alka..kaun hai […]
So Gulaab Gang is not really about Gulabi Gang or Sampat Pal. They just decided the colour pink was fetching, the lathis provocative and the idea of a gang of self-willed, rustic women commercially viable and they went for it. The intention was never to give credit where it is due. I also find it […]
Aanand L Rai’s cheeky Tanu Weds Manu begins with the nostalgia evoking voice of Ameen Sayani announcing farmayashi names of the protagonists and the song, ‘Bhor aayi gaya andhiyara’ from Hrishikesh Mukherjee’s Bawarchi. We see a time dappled home in Kanpur that hasn’t been painted in a while, getting ready for a guest while the patriarch sits blissfully lost in […]