Chakravyuh | Mess As Expected | The Critique

While Arjun was far, Abhimanyu entered the Chakravyuh setup by Kauravas. In the end he dies while Arjun goes on with the fight. This is an easy way to summarize the story. Though it can be denied, Chakravyuh is definitely inspired from Drohkal. A cop plants his man as a bug in Naxal group. This is what happens in Drohkal and this is how story begins in Chakravyuh. Rajneeti failed the viewers. Aarakshan was a celebral tragedy. Chakravyuh is a blunder. At least by Jha's standard.

 

The biggest problem with the story is the characterization. Characters and sometimes scenes are straight lift from different movies with similar backdrop. Spicing it up with too much grey characters doesn't help the cause. At some point you believe that one side is right and at a later point you support the other. As you go about with story, you end up in the middle. As aloof as you were before entering the theatre. To screw it up more, there is no conclusion. It might have helped a thriller but not a social drama.

 

Manoj Bajpayee, Om Puri and Abhay Deol were wasted. Arjun Rampal is still growing and is definitely better than the rest from his batch. Esha Gupta had less to do and she managed to screw it as well. Applause. Anjali Patil is NSD grad. That shows up. She is the highlight of the movie. The angst in her eyes is real.

 

Story is weak. Dialogues rarely leave an impact. More than often you end up sympathizing with yourself than the characters. Cinematography is just okay. Music lacks the local touch. Direction is really weak. Development of scenes look so clichéd. Prakash Jha needs a rejig. Nothing else will work. He is a great director but unfortunately he is losing his grip.

 

Written By: Sujoy Ghosh

Bedabrata Pain Takes You To Chittagong | Golden Podium

TheReelMag team got an opportunity to talk to Bedabrata Pain whose story is not only motivating, it’s also very soul stirring. His movie – Chittagong has started getting appreciation. Here we go.

 

Q1: Hi Bedabrata. First of all, many congratulations for appreciation you are getting for your movie 'Chittagong'. How are you feeling now? Satisfied, elated, restless?

 

BP: Chittagong has been somewhat of an epic journey. Against all odds and personal tragedies – some of which will always remain behind the curtains – I finished this film. Chittagong is dedicated to my son – who was the biggest supporter of the film. And I have given better than my best … so I have that satisfaction. The rest, who knows!

 

When I began the film, I didn’t know if I could make a film. Now I know that I can. And I know that my instincts are right – whenever I have trusted them, I have got good results. That’s my take-away. I am not trying to think who will like my work or in what form my work will be appreciated. That’s not in my hand – only the effort is!

 

Q2: Your story... IIT-Kgp, University of Columbia, NASA and then a movie about a forgotten revolutionary. Reminds me of SRK in Swades, incidentally made by a very talented Ashutosh. When did you took the decision to quit the NASA and why? Isn't science your call?

 

BP: Ha ha ha … art imitates life or something like that? One of the worst things about modern life is that you are almost forced to be one-dimensional robotic person – feeling little, and thinking even less.

 

But I guess I grew up at a time when being multi-dimensional or embracing life to the fullest or having a social consciousness were considered very precious. It is something I have that ingrained in me – a notion that you might find in Nazrul’s Bidrohi. I think, as human beings, we are capable of processing a plethora of information and take any number of initiatives. I think I can contribute equally to the field of arts as well as to science. Perhaps this whole journey was an experiment to break these conventional constraints of unidimensionality.

 

Have I succeeded? I don’t know. But I have tried and I will remain just as committed to science as to art. Both require tremendous fidelity to real life and whole lot of creativity. Let’s see how far I can go …

 

Q3: Why you chose such an offbeat topic? What was your inspiration behind Chittagong?

 

BP: Actually Chittagong is not an offbeat film. When I started it felt like that there is a stasis in the world. And today – you see simmering discontent everywhere in the world – from the Americas to the Africa. The way my film ends, it makes it so relevant for the world today. Indeed that’s the inspiration. I wanted to tell a story of victory – but a victory not by a big boss or a super-hero – a victory that is won by the ordinary people – people like you and me. My film underscores the point that at historic moments, it is the ordinary people who can and do prevail. And perhaps today we are reaching such a historic moment.

 

Q4: Manoj Bajpai is a very talented actor. Was he your first pick for role of Masterji?

 

BP: Manoj is one of the best actors I know. Masterda’s role is a very difficult one. Because he’s a different kind of a hero. He’s not a chest-beating, bicep-flexing hero. Masterda led from behind. He was a visionary man. He was an inspiring man. To play such a person, a very versatile actor was needed. It is easier to play a cynic, but to play a visionary, it requires an actor par excellence. And that was Manoj. He had done an absolutely fabulous job of playing Masterda with sensitivity and restraint.

 

Q5: There was a little controversy over release of Khelein Hum Jee Jaan Sey and your movie. Some people hinted at some arm-twisting. Your thoughts...

 

BP: Let’s not drag the past anymore. What matters is the present. Today Chittagong stands on its own. And it should be viewed as an independent film – not in association or comparison with anything else.

 

Most importantly, Indian film market has changed a lot in recent times. There is a significant rise of non-traditional Bollywood films – which above all, are good films. Why, only this year, we have had successful films such as Kahaani, Paan Singh Tomar, Gangs of Wasseypur, Shanghai and others! I strongly believe that Chittagong is part of this new wave. I am extremely hopeful about Chittagong, but then you know as they say – it’s after all luck by chance.

 

Q6: What will you like to say to people who want to submit their resignations and pursue their hobbies?

 

BP: I don’t know what I tell somebody who’s only pursuing his or her hobbies. Because, by definition, a hobby is recreational.

 

I wasn’t pursuing my hobby. I was going for the long haul. So, if anyone is serious about pursuing something, my only advice is to go headlong for it. No regrets, no leaving a backdoor open. For me to have tried to make a film on my own towards the end of a successful and very different career was a tremendous leap of faith – it’s like skydiving without knowing if everything will work out. But I don’t think there is any other option. You have to go out on a limb.

 

TheReelMag team wishes the entire team of Chittagong all the success. Bedabrata has endured a lot for this moment. We know somewhere Ishan must be very proud.

Gangs Of Wasseypur | Pure Awesomeness | The Critique

In Bollywood, we rarely come across a movie so story driven that characters, no matter how well done, are reduced to particles. They never dominate the story. Last time, I saw such a movie it was Black Friday. GOW belongs to that league. Anurag Kashyap reinvents his brand with this epic. The way story about Wasseypur and the gangs is told, it will give you that feel of fables told by elders about mysterious world of crime. First nail well nailed.

When you hear the title, what do you think - Mafia, crime, gore, sleaze? You will find every element. At no point Anurag tries to glorify the virtues which people usually do to give a moral shade. He doesn't need it. The characters are not grey. They are like coal... black. All they care about is their life and their desires. Morality has no place as crime is so rampant that the human sensibilities tend to lose their meaning. Though each character has a moral stand at some point, the means to achieve that is not always right. Thats where the line fades away. The story is about a goon who is murderded and his son decides to take revenge. Its not about just revenge by violence, its about crushing the opposition, take away their pride and self respect and let the pain take over. This is how Sardar wants to take revenge from killer of his father Shahid. Its about rivalaries and socio-political dominance in Dhanbad and suburb Wasseypur.

Manoj Bajpai as Sardar is a pure delight. He is so perfect that it can leave goosebumps on you as you leave the theatre. Nawaz, in a short role he has, is brilliant. Richa Chadda, what a powerful bomb she is. She got perhaps the most difficult role to play and she is scores birdie. Chemistry between her and Manoj is a delight. Reemma is looking hot but not much to offer. Piyush Mishra is usual self. His control on his voice can be a case study for any artist. Its in perfect sync with his subtle character. Tigmanshu is good. As a matter of fact, each sub-plot and side character has been brilliantly devised. Another rarity.

Sneha Khanwalkar and Piyush Mishra created the music this movie needed. It not only adds to the impact of story, its perhaps the soul of the movie. Direction is freaking awesome. At moment you might find scenes a little vague only to realise later that why it was vague. Anurag Kashyap has proven a point to all mass-critics. He made a mass movie with a class. Bravo to entire cinematography and editing department. The smooth and crisp transition between different stages of the story captivates the imagination of audience. Whistles and hoots for this piece of pure awesomeness... aur haan... kahaani abhi baaki hai.

Written By: Sujoy Ghosh

Rajneeti | Movie Review | Critique

Rajneeti, released on June 4th, this year is a movie that is going to influence cinema for some good time. Director and co-writer Prakash Jha is one of the most respected name in current scenario in Indian Cinema and with this movie, strengthened his claim of respect. This movie delivered what the viewers wanted. Great performances and awesome dialogs carrying a strong script.

Movie is undoubtedly written on the lines of Mahabharat and took subtle but evident inspiration from The Godfather. Political background drew attention but barely has anything to do with Gandhi family (except a small part in climax where Katrina, a widow leads the party). These inspirations were the basic problem. In Mahabharat times and in Mafia, so much bloodshed seems logical but in current political scene, it’s not logical at all. Violence should have been substituted with more subtle alternatives like jail and political stalemate. Mindgames would have been a better way to show it.

Notable performances by Ranbir Kapoor and Arjun Rampal. Rampal performed like one who has a National Award on his rack. Ranbeer excelled his past performances. Nana Patekar and Manoj Bajpeyee were simply awesome in their portrayals. Ajay Devgn got a raw deal in a highly underwritten/ edited role. He deserved more space. Katrina and Sarah (Ranbeer's lady in movie) put apt performances. Everybody else including Chetan pandit (Ranbeer's father) did a fine job.

Music was okay but editing was good considering the canvas of movie. Direction and writing deserves praise as they won the battle for the movie. They were the real stars. Watch it if you want to play with your gray cells.