ACP Sanjay Kadam starts his day early at the gym, before heading to his office in Bandra West. Pic/RANE ASHISH

Right opposite Dongri police station, cut only by a turning road-strip, is a small ground that sees a flurry of activity every evening. Men in khakhi head out here post work, and engage in a few minutes of pushing and pulling under the dim street lighting, before finally calling it a day.

The open-air gymnasium was started 18 months ago. Until then, the vacant plot doubled up as a makeshift storage area for seized goods. But, with a fitness-conscious senior police inspector, Nitin Bangale, at the helm of affairs, the force had a slim chance of escaping a tough physical regime. When not manning his jurisdiction, Bangale goads his juniors to train with him. In 2015, when Sangram Balasaheb Kadam, a trained body-builder, joined as sub-inspector, Bangale found a willing partner to fuel this obsession. Together, they pump enough iron to put Salman Khan to shame. But, could that be said of the rest of the force serving in the 97 police stations within the city's jurisdiction?

Last month, after the Mumbai police fired back at author Shobhaa De for a tweet that fat-shamed a cop, whom she had incorrectly assumed was from Mumbai Police, the force made no pretence at hiding its disdain. Whether this confidence had anything to do with the healthy turnaround that they have witnessed of late, was what piqued our interest. What we learnt on our 'fit cop' trail was that Bajirao Singham and Chulbul Pandey aren't just figments of Bollywood's popular imagination. Some of them are right there in your nearby police thana. The success stories, however, weren't written overnight. They have been in the making for years.

Seasons of change
Mumbai Police historian Deepak Rao says it was Arvind Inamdar, who first introduced the rigours of exercise within the force as joint commissioner of police, crime, in 1987. Now, 77 years old, the retired Mumbai-based top cop, recalls, "Back in the 1980s, the gang wars in Mumbai were at their peak. To tackle them, we started the Special Operations Squad (SOS), with brand new weaponry. But, unless they were physically fit, they wouldn't be able to fight anyone. So, every morning, I would meet them and run with them for at least six kms." However, this fizzled out after five years.

While some health initiatives were revived years later under former CP MN Singh (2002), the noose around ill-health only tightened during the last decade, says Rao. "Unlike earlier, 80 per cent of the force takes fitness seriously. You don't see hawaldars or officers smoking on duty these days," says Chimaji Adhav, inspector, crime branch, Unit 11.

When the present CP, Datta Padsalgikar, took over the post on January 31, 2016, he was confronted with disturbing figures from the previous year's health report. Of the 163 policemen, who reportedly died in 2015, 30 per cent had suffered from heart-related ailments. Long-work hours, stress, and poor-eating habits, were leading contributors to the problem.

Work hours re-jigged
Within a few months of taking charge, Padsalgikar called for a meeting of all senior cops to discuss possible solutions to the problem.

Top on the to-do list was slashing work hours of constables, who form 80 per cent of the force, from 12 to eight. "The idea was to ensure that the constable gets enough time to spend with his family and also exercise. This would ultimately make him mentally and physically fit," said joint CP (Law & Order) Deven Bharti. However, the project is still a work in progress.

Eight months ago, the Mumbai police also launched a free health-check drive, which made it compulsory for every cop to get an annual medical test done.

Defining a cop's fitness
What makes for a fit cop? Someone who has "learnt to start his day with fruit and not chai," says nutritionist Rujuta Diwekar, who has been working with the Mumbai police since 2016. Phase 1 of the Mumbai Police Welfare Project kicked off in October, in Zone IX wherein for over three months, she and her team visited all police stations on Tuesdays and Thursdays to conduct morning and evening sessions. Here, they would share inexpensive tips on diet and relaxation. They also tied up with gyms to help policemen get access to quality workout facilities. "They were reluctant at first — the eight chais a day didn't come down to two for everyone, but we got it down to five. The banana became the first meal of the day. As they observed positive changes in their body, they became more receptive," says Diwekar. The second phase of the programme will see her working with police representatives, in a more feedback-led module.

For holistic health professional Mickey Mehta, who continues to work closely with the Mumbai police, fitness in the force is more about mental resilience. "A cop who can clock in 15 hours a day and still has the energy to go on, is a fit cop. They, I feel, are more tenacious than their counterparts in Delhi and Haryana. The amount of pressure these guys can take is not funny," says Mehta, who conducted a training camp at Naigaon last year. The road to fitness, he says, is an uphill one for the police. There aren't enough training facilities, and maintaining a diet is a challenge. But, he rules out the need for gyms. "We don't want beefcakes. We are looking at resilient cops, not athletic ones. I recommend a desi workout — 21 minutes of dand baithak (push-ups/squats), stretching, naukasan (boat pose), chakrasan (wheel pose), dhanurasan (bow pose). They need more of military drills and agility training. For instance, I'd scatter potatoes on the ground and make them collect them in the least time possible."

While expert guidance is always at hand, the force too, has its own set of in-house experts. Inspector Sanjay Nikam, crime branch, was a fitness enthusiast even before joining the force in 2001. However, for him the need for mental strength trumps physical fitness. "When you don't have the opportunity to maintain a proper diet and get good rest, it is only your mental strength that keeps you going," says the 41-year-old, who set up a gym at the Wadala (East) police station, which was his first posting. "That gym is still used by policemen. Later, when I moved to Unit 4, I built one on the upper floor," says the inspector who would organise body-building competitions between 2001 and 2006, for the police force. Nikam's sustained efforts also inspired his seniors, who have followed his example and provided fitness equipment at their respective outposts.

DCP Dr Vinay Rathod enjoys the advantage of being a medical expert himself. "Having worked as a resident in one of Nagpur's busiest medical colleges has helped me deal with stress and pain. That comes handy when my staff approaches me for help. If someone has migraine or acidity, I'll recommend anulom vilom. The body's well-being impacts the mind and vice versa," says Rathod, who has run the half marathon for five years.

An endearing image
Sub-inspector Sangram, who grew up idolising Ashok Kamte, former additional CP, Mumbai police, still remembers the late cop toiling away at his gym in Kolhapur, during a brief posting there. Another popular role model is Himanshu Roy. ACP Sanjay Kadam says, "He changed how people perceived the police force. When he walked into the crowd, people scattered, not out of fear, but respect."

The ACP says that when a cop is fit, his confidence "increases by 100 per cent". "It boosts your morale," he says, adding that you begin to feel like a 'superhuman,' which changes how you handle work too.

Image consultant Rukhsana Eisa stresses on the importance of a smart-looking cop, because that has a direct impact on how the public perceives them. "Fitness will translate into confidence and that in turn will lend them a positive demea-nour while interacting with people. If they maintain a correct posture and a level of hygeine, it only adds to the overall image of a fit cop. This way, the feeling of negativity that people generally tend to associate with the police, will fade away."

ACP Sanjay Kadam starts his day early at the gym, before heading to his office in Bandra West.  PIC/SHADAB KHAN

Sanjay Kadam, 56ACP, Bandra police division
I begin my day at 6 am with a glass of milk and four almonds. An hour later, I head to the gym. I become a child in the gym, working out for at least two hours. I do a combination of weights, cardio and functional exercises. If I had to give advice on staying healthy, I would suggest taking packed lunch from home. On most days, my dabba comprises four to five rotis and sabzi. I eat rice only on Sundays. I don't smoke, drink or have tea.

Mickey Mehta, holistic health professional
Mehta says, "A cop who can clock in 15 hours a day and still has the energy to go on, is a fit cop. Mumbai cops, I feel, are more tenacious than their counterparts in Delhi and Haryana. The amount of pressure these guys can take, is not funny." For tenacious cops, not beefcakes, he recommends a desi workout of dand baithaks and yoga asanas.

Rujuta Diwekar, nutritionist
Diwekar and her team have been working with the force since 2016, sharing inexpensive diet and fitness tips. She says making the banana the first bite of the day is a small victory.

Arvind Inamdar is believed to have introduced the rigours of exercise within the force as joint commis-sioner of police, crime, in 1987

Himanshu Roy, former ATS Maharashtra chief, says ACP Sanjay Kadam, changed how people perceived the police force with his image.

Sub-inspector Sangram Balasaheb Kadam often works out with his immediate boss, senior PI Nitin Bangale, at a gym near Dongri police station. Pic/SHADAB KHAN 

Sangram Balasaheb Kadam, 29 Sub-inspector, Dongri Police Station
There's never a fixed schedule [for a police officer]. But, if I start work at 8 am, I wake up at 6.30 am. My diet is different because I am training to become a professional bodybuilder. I begin my day with six boiled eggs, one boiled sweet potato and oats soaked in water. I pack my own dabba. So, around 10 am, irrespective of where I am, I eat three boiled eggs, and a sweet potato. For lunch, I eat two chapatis and 300gm boiled chicken. This is followed by a cup of brown rice and 2 boiled eggs at 5 pm. At 9 pm, just before my workout, I have 3 boiled eggs again and mosambi juice, followed by a protein shake. Dinner is at around 12.30 and is the same as lunch.

DCP Vinay Rathod runs at least 15-20 km each week. Pic/BIPIN KOKATE

Dr Vinay Rathod DCP (Detection), Crime Branch
I joined Force 1 (a specialised counter terrorism unit) in 2011. For this, you need to undergo commando training for two months, where you run 25 km in full gear, while carrying 30 kg. I completed my training and then ran my first half marathon in 2011. Since then, running has become a part of life. I run three times a week and try to clock 15-20 km over seven days. As marathon season approaches, I increase the mileage to 17 km and then leave it at that. Also, while running the race, I am not keen on minimising time. I finish it comfortably in 2.5 hours. I intend to take my officers on regular treks as part of their physical training.

Inspector Chimaji Adhav swims twice a week to stay fit. Pic/NIMESH DAVE

Chimaji Adhav, 47 Inspector, Crime Branch, Unit 11
I wake up at 5.30 am and head out for a one-hour morning walk. I follow that with an hour in the gym in my housing society, where I do weights, skip-jumping and walk the treadmill. Twice a week, I swim. For breakfast, I have chapati-bhaji and do a light lunch if I get the time, which is usually three days a week. Else, I make do with a vada pao and bananas. For dinner, I have chapati-bhaji and one glass of milk.

Inspector Sanjay Nikam carries a mobile workout kit wherever he goes, so that he doesn’t miss a session

Sanjay Nikam, 41 Inspector, Crime Branch, Unit 4
I follow a seven-day workout rule because during a work week, you are bound to miss at least one day. My morning and evening workout schedule lasts from 6.30 to 8.30 am, and 20 minutes after 9 pm. In the morning I do cardio and weights. In the night, it's walking, running and lunges. I also carry a mobile workout kit, comprising extension, rollers and dip sets. That helps me maintain my schedule even when I'm on duty, especially out-station. I begin my day with 15 egg whites and a glass of protein shake, followed by a light lunch of three chapatis and bhaji (if possible). Between 4 and 5 pm, I have 100 grams of chicken. At 7 pm, I have a light snack with coffee. This is my last meal for the day. I only have a glass of warm water before going to bed.

Constable Sushant Mohite is professional body builder and continues to participate at events

Sushant Mohite, 30 Constable, LOCAL ARMS DIVISION, MAROL
I wake at 6 am, and eat an apple, three boiled egg whites, and brown bread or chapati. At 10 am, I eat two to three idlis, a banana and drink a glass of mosambi juice. If I don't manage to get my hands on this, I eat a sandwich without butter and potatoes. For lunch, I eat boiled chicken, chapatis and salad. Around 5 pm, I eat dry fruit, apple and some boiled eggs. Dinner is light with salad and fruit. I work out twice a day — 20 minutes in the morning and another 20 in the evening. I have struggled with my fitness, but a disciplined lifestyle has helped.

Raj Khatri at his Malad home. Pic/NIMESH DAVE

As a teen studying at a Khandala boarding school, Raj Khatri was an ardent fan of Hardy Boys. Every week, he’d head to the school library to pick up a copy from the limited edition series, The Hardy Boys Casefiles, that explored mature, espionage-based themes. But he never read a single one. "It was to gaze lovingly at the cover," he laughs. "If you remember, the cover always carried an action shot. Sometimes, it was of a car chase or a person fleeing an explosion or a man hanging precariously from a bridge. They [covers] had a dynamic, kinetic energy that I loved." He would then return to the dorm, sit with a paper and recreate the cover of the week in his notebook.

Khatri, now 35, continues to nurture his fascination with pop art and posters. He spends hours recreating posters of iconic Hollywood films and television shows, presenting his own unique interpretation. Spearheading the alternative movie poster movement in India, now a global phenomenon, Khatri creates re-imagined posters using bold brushstrokes and vibrant colours. Kill Bill, The Dark Knight and The Matrix have all got a cover each. "What artists usually do is take one object from the film and create a poster around it. I decided to make posters that look like abstract paintings, but when you place the movie’s name below them, you get the message."

Most Hollywood films, he explains, have a thematic colour palette. "Uma Thurman’s yellow costume became synonymous with Kill Bill. I watched it and made notes of all the focal elements in the film," he says, adding that he makes posters keeping a film’s fans in mind. "For instance, in the 2014 film, Night Crawler, there’s an iconic red car that the protagonist drives. You’ll get the poster only if you’ve watched the film."

It was on an impulse, that he decided to upload the posters on social media in 2010, not realising they would get him recognition. The artworks later landed him a chance to exhibit his work at a Los Angeles exhibition in 2014. The following year, he launched his first minimal series posters — a take off from alternative posters that instantly went viral.

As creative head with a city-based ad firm, Khatri is also the man behind original posters for Hindi cinema projects Neerja, Phantom, Kahaani 2 and Bang Bang. "Of course, I love the process of digitally creating movie posters, but more often than not, there’s a filter between what I conceive and what is released. It’s not entirely indigenous because there are so many people involved and they all have an input to offer. After a point, fatigue develops," he says.

It was the creative release that alternative posters offered him and a Wacom tablet that his girlfriend, now wife, gave him that saw him through. "No pesky clients and deadlines. I was free to use my own style, and that’s what I love about this," he says.

Create an arty shoe
12 PM: Here's your chance to add some pop and colour to your feet. A workshop in town will teach you how to create your own hand-painted shoes. You will also be initiated into shoe art, with lessons in unique patterns and designs. All materials, including the pair of shoes, will be provided.
WHERE: Doolally Taproom, Ground Floor 1, Plot 75/77, Park House, Colaba
ENTRY: Rs 1,250
TO BOOK: doolally.in

Pamper your pet
5 PM to 9 PM: Attend a dog carnival where your pet can have a fun day out. There will be interesting activities like pet personality contest, 'cool' dog pageant and special grooming sessions along with curated canine meals.
WHERE: Inorbit mall, Malad – Garden area next to parking lot of the mall
CALL: 66777999

Enjoy a Parsi meal
1 PM – 3 PM: Craving a Parsi delicacy? Feast on a special Navroze menu curated by Mahrukh Mogrelia, who will set a traditional table adorning seven auspicious items starting with the letter 'S', called the Haft-Sin. The dishes will include sherbets, sweets, dry fruits, and a variety of fruits.
WHERE: Nana Chowk, Grant Road (Full address will be shared on booking)
TO BOOK: www.eventshigh.com
CALL: 99201 50502

Sip natural beers
11.30 TO 1 AM: Get your spirits high later through the day with a new range that consists of exclusive artisanal premium craft beers. What's unique about these flavours is that they have no additives and chemicals and are wholly made up of natural ingredients.
WHERE: Woodside Inn, Link Plaza, Bhau Tatoba Toraskar Marg,
Andheri West
CALL: 26328963

Dig into egg kheema
7.30 TO 12 PM: Begin your weekend on a delicious note with your favourite breakfast dishes and cocktails. If you like it sweet, then chocolate pancakes are the best options. For desi lovers, there is anda gadbad (egg kheema) stuffed in omelette topped with spicy gravy.
WHERE: Light House Café, Love Grove Flyover, Siddharth Nagar, Worli
CALL: 9967414148

Seek the divine
11 AM – 7 PM: What if you could connect with the divine though art? A new exhibition, brought together by art curators Payal and Bindal Shah, hopes to extend this experience through the works of 19 talented artists. Around 100 artworks, inspired by the artist's connection with their spiritual self, will be on display at the exhibition titled The Seeking Artist. From abstract, composition, point of view and more, the art pieces will see an array of mediums, including watercolour, oil paints, pastel, charcoal, portrait and freestyle, work magic on canvas.
WHERE: Cymroza Art gallery, 72 Bhulabhai Desai Road, Breach Candy
CaLL: 9820148450
FREE

Dive into theatre photography
5 PM: How do you capture a dynamic world like theatre in the still world of photography? What does the photographer need to understand about theatre to capture dramatic moments on camera? Ace lensman and theatre insider Nemai Ghosh will answers these questions and more at the new edition of Mumbai Local. Ghosh will take the audience through a selection of his photographs, and share his experience of the process.
WHERE: Dr BhauDaji Lad Mumbai City Museum, 91 A, Rani Baug, Veer Mata Jijbai Bhonsle Udyan, Byculla.
TO REGISTER: mumbailocal@junoontheatre.org

Soak in jazz music
APRIL 11, 8.30 PM ONWARD: Immerse yourself in a live music experience at Andheri's The Little Door, which collaborates with jazz ensembles every Tuesday. This time around, you can listen to Karim Ellaboudi (keys), Heather Andrews (vocals), D Wood (bass) and Aron Nyiro (drums). You can wine and dine while you soak in some free
flowing jazz.
WHERE: The Little Door, ground floor, plot B31, Shree Siddhivanayak Plaza, opposite Citi Mall, off New Link Road, Andheri (West)
CALL: 9920983833
FREE

Attend a hybrid dance show
APRIL 15, 7 PM: Catch a breathtaking amalgamation of Bharatnatyam and Lavani dance forms at the Sindhu Dance Festival. While the former is bound by rules, the latter is free and fluid. Here you'll see the lines blurring. Renowned lavani performer Shakuntalabai Nagarkar and Bharatnatyam dancer Vaibhav Arekar will perform at the event.
WHERE: Sheila Gopal Raheja Auditorium, next to Patwardhan Park, Bandra (West)
ENTRY: Rs 200 - Rs 1,000
CALL: 9820984699

Sign up for an artistic exchange
MAY 20 - 29: Here's a good opportunity for artists to work and interact with their ilk in this 10-day art residency programme that rolls out in May. Organised by Mumbai-based NGO, ICAC-International Creative Art Centre, the initiative seeks to connect artists from various genres fostering cross-cultural dialogue, artistic exchange and creates an environment for research and creativity. It will have 25 emerging artists working under one roof. Last date of registration is
April 15.
WHERE: Akhil Bhartiya Manav Vikas Sanstha, Dehgam, Gandhinagar, Ahemdabad
ENTRY: Rs 6,500
CALL: 9820151415
LOG ON TO: http://www.icacart. com/residency

Dil mango more

If there's one reason why we still like summer, it's because of the season's only saving grace — mangoes. So, if you want to satisfy your craving, restaurants in the city have a lot of in store

8.30 AM - 11 PM: If you're thinking healthy, AKA has the mango quinoa salad with pink ginger, baby spinach and bell peppers finished with mango and apple cider vinaigrette. For the experimental foodie, there's mango chili popsicle prawns marinated with mango aioli and roasted, served with house salad and raw mango salsa and grilled chicken breast with mango butter on a bed of peri peri sauteed vegetables.
WHERE: AKA Bistro, 123, Nagindas Master Road, Kala Ghoda, Fort
CALL: 9029293968

10.30 AM - 11.30 PM: Chef Bunty Mahajan of Deliciae Patisserie has created a mango special dessert menu for you. You could pick from options like mango kiwi short cake, mango macaroons, mango mousse cake, mango meringue and mango mousse rhapsody.
WHERE: Khar Danda Road, Opposite Curio cottage, Khar (West)
CALL: 9029021200

8 AM - 11.55 PM: Poetry by Love & Cheesecake has rolled out a delicious mango-based breakfast menu. Starting with mango muffins, macaroons, tarts and smoothies, the options get more decadent with mango basil chocolate cups, where mangoes are tossed up with basil leaves and served in a cup made of chocolate, and chocolate marquise topped with chilli mangoes. If you want something quirky, there's honey nut and gouda with a verrine made with mangoes.
WHERE: Poetry by Love and Cheesecake, Pali Darshan, 33rd road, Bandra West
CALL: 9819935135

Two other must catch shows:

Shutterbug love
While FOCUS Photography Festival 2017 has drawn to a close, the flagship exhibition is on view. Curated by art historian Prajna Desai, Autobiography as Memory presents works by 18 photographers from around the world, selected through an open call for entries.
WHERE: Museum Plaza, Dr Bhau Daji Lad Museum, Byculla (E)
WHEN: Till April 30
ENTRY: Rs 10 (adults); Rs 5 (children)
CALL: 23731234

Views on dwelling
Dwelling Part II, the second and final installment of Galerie Mirchandani + Steinruecke's tenth anniversary show curated by Ranjit Hoskote features the works of 12 artists including Manish Nai and Kiki Smith.

WHERE: Galerie Mirchandani + Steinruecke, Colaba
WHEN: Till May 31, 11 AM - 7 PM (Sunday and Monday closed)
CALL: 22023030

Order of the day

Go on a wild safari
TILL APRIL 11, 11 AM - 7 PM: Photographer Hussain Nalwala, who has obtained a fellowship from UK's Royal Photographic Society, will take you on a wild safari through his paintings. You'll see delightful shots of horses galloping away at sunset, leopard perched on a tree and zebras fighting.
WHERE: 161B, Mahatma Gandhi Road, Kala Ghoda
CALL: 22843989

Have fun with colours
APRIL 11-12, 3 PM: Learn the art of watercolour painting with artist Bhavna Shah. At this workshop, you'll be taught techniques in paint application, brush-work, colour mixing, rendering light and shade, tonal value, and design in this medium. By the end of the class, you will learn to develop your own style.
WHERE: ARTISANS' Gallery 52-56 V B Gandhi Marg, Kala Ghoda
ENTRY: Rs 2,500
LOG ON TO: insider.in

Watch an Urdu play
APRIL 12 , 6 PM and 9 PM: Watch the Urdu version of Moliere's 14th century classic 'Ecole de femmes or School for Wives' by Balraj Pandit. Beewion Ka Madrasa is about Haneef Mohammed who would not marry because he believes all women are dishonest.
WHERE: Prithvi Theatre, 20 Janki Kutir Juhu Church Road
ENTRY: Rs 300
CALL: 26149546

Dine like a star
8 PM: Benares London, where Adele, Justin Beiber, Robby Williams and Tom Cruise have dined, has launched a new pop up menu. Chef Atul Kochhar will present a six-course meal which includes all the signature dishes from the restaurant.
WHERE: NRI, Maker Maxity, North Avenue, Bandra Kurla Complex, Bandra (East)
ENTRY: Rs 5000 ++
CALL: 30005040

Groove to Gurdas Maan
APRIL 14, 8 PM: Celebrate Baisakhi with the legendary Punjabi singer Gurdas Maan, who will feature his never-seen-before act at the Punjabiyaan Di Shaan Gurdas Maan, live in concert. The show will remind the patrons of Punjab and its culture.
WHERE: Shanmukhananda Hall, behind Gandhi Market, Comrade Harbanslal Marg, Sion
ENTRY: Rs 500 - Rs 5,000
LOG ON TO: bookmyshow.com

Celebrate Easter
APRIL 15- 23, 10 AM - 12 PM: With Easter around the corner, Sassy Teaspoon has already rolled out a range of fun Easter specials. Bite into chocolate Easter eggs, mini Easter eggs in a chocolate nest and cupcakes decorated with Easter eggs. The decadent treats are available till April 23.
WHERE: Express Towers, Next to HDFC Bank, Ramnath Goenka Marg, Nariman Point
CALL: 7666222777

RD Burman composed for more than 300 films in a career spanning 30 years

This weekend, a group of music enthusiasts is going to deconstruct the thin line between imitation and inspiration at a talk on Hindi film music. The works of RD Burman, Shankar-Jaikishan and OP Nayyar will be discussed at the event.

Shankar-Jaikishan ruled from 1949 to 1986

“Many tried to imitate a sound that worked well with listeners in that period. In fact, film producers would encourage music directors to do so. The music of Laxmikant-Pyarelal and Kalyanji-Anandji was close to the sound created by Shankar-Jaikishan and Burman,” says Ramesh KV, one of the speakers. “If you listen to the orchestration of a song, you will think it belongs to Burman, but it actually is by someone else,” he adds.

The full panel includes R Balaji, Shankar Iyer, Archisman Mozumder and Subramanian Iyer.

On: April 15, 7.30 pm
At: Pitaara – The Art Box, Yashwant Nagar, Goregaon (W).
Call: 9820393001
Entry: Rs 250

Learn to breathe and heal
12 PM to 3 PM: Sometimes just breathing the right way, can heal. Attend a work-shop organised by Dr Harsha Khand-elwal, who will teach you breathing techniques to help release tension.
WHERE: Bhagirathi Banquets, Jagjivan Ram Nagar, Mulund West
ENTRY: Rs 250
TO BOOK: www.eventshigh.com

Watch a comic play
7 PM: Don't miss a comedy about the rat race, how we cope with it, and what we put our lungs through, in the process. Set in the smoking area of a corporate building, Dhumrapaan offers a hilarious take on every employee's nightmare.
WHERE: Experimental Theatre: NCPA, NCPA Marg, Nariman Point
ENTRY: Rs 400 –Rs 500
CALL: 66223737

Visit a museum
10 AM: Witness the city's cultural heritage at an ongoing exhibition at the Dr Bhau Daji Lad Museum. The museum will showcase a rare collection of 19th century fine and decorative arts that highlight early modern art practices and craftsmanship in the erstwhile Bombay Presidency and beyond.
WHERE: Dr Bhau Daji Lad Museum, Rani Baug, Byculla East
COST: Rs 100
Log on to: bookmyshow.com

Attend an art sale
10 AM to 10 PM: It's our natural tendency to put a face to everything and anything. Without it, the world almost seems illusionary. Artist Trishna Patnaik explores this concept with a new exhibition titled FACES, where she creates a range of face paintings using various mediums. You can also own these artworks.
WHERE: The Cuckoo Club, 5AA,
Mc Ronnel's Compound, Pali Hill Road, Bandra West
CALL: 9619962969

Spread the Easter cheer

From preparing sweet treats to digging into lavish meals, here's our guide to celebrating the festival

Sip fruity cocktails
7 PM to 1.30 AM: Whether it's late lunch or an early dinner, you must celebrate with cocktails. Complete the festivities with a new range of refreshing Easter drinks. From the Cotton Tail, which is a mix of vodka, passion fruit puree and lemon, to the Starfruit Spritz, made with gin and starfruit, there's something for every cocktail lover.
WHERE: One Street Over, Off Linking Road, Khar West
PRICE: Rs 350 – Rs 400
CALL: 26002224

Enjoy an egglicious treat
12 PM to 1 AM: If you want a break from the usual chocolate fare, head to Myxx. Dig into their fruit flavoured white chocolate eggs with dark chocolate sponge cake or indulge in their white chocolate egg stuffed with mango crème.
WHERE: Myxx, Navaratan Apartment, Near Juhu Post Office, Juhu
CALL: 60226700

Learn to make truffles
11 AM to 1.30 PM: What better way to spend Easter than learning how to make handmade truffles and some luscious drunken gingerbread. They'll be ready just in time to share with family.
WHERE: Flavour Diaries, Above Khar Social, Rohan Plaza, Khar West
ENTRY: Rs 3,499
CALL: 9022270033

Go brunching

12 PM to 4.30 PM: Fancy a lavish Easter brunch with family? The Seven Kitchens' lavish spread of traditional delicacies may just be the answer. From glazed ham and roast chicken to hot cross buns, and different types of baked quiche, stuffed breads and cocktails, this will surely cheer you, and everyone else, up.
WHERE: Seven Kitchens, Level 9M, St Regis, Senapati Bapat Marg, Lower Parel
PRICE: Rs 3,000 and above
FOR RESERVATIONS: 61628422

Chill with tigers

MAY 17: This summer, gift your child a real Jungle Book experience. Heart and Soil is organising a three-day trip to the Pench Tiger Reserve, in Madhya Pradesh, fondly called as the Kipling country. Kipling wrote Jungle Book after spending his days in and getting inspired by the forests of Pench. The kids will see wildlife in its natural habitat and not in the crammed confines of a zoo.
WHERE: Pench National Park, Dharna Kalan, Madhya Pradesh
ENTRY: Rs 39,000 for a parent and child
CALL: 9819923115

Visit the Golden Temple vicariously
11 AM - 7 PM: Dr Mahesh Kharde, an orthopedic surgeon from Mumbai, will display his latest photographs on contemporary life. The series covers monuments in Rajasthan and Punjab and urban vignettes from smaller towns. Noteworthy among his photographs are the shots of the Golden Temple at Amritsar, turban seller in Rajasthan, ancient forts and palaces in Rajasthan and Karnataka.
WHERE: Jehangir Art Gallery, (Terrace Art Gallery), MG Road, Kala Ghoda
CALL: 9923660056

Take home an amrapali
APRIL 22-23, 11 AM ONWARDs: Angiya is organising a sample sale of indigenous bras that puts form, style and comfort before convention and constriction. This garment will combine organic cotton, deeper cuts and freer design. You could sample the Yasodhara, their version of a push-up bra and Amrapali, a crop-top bra.
WHERE: The Vintage Garden, Patkar Bungalow, 34D, Turner Road, Bandra West
LOG ON TO: https://m.facebook.com/theindianbra/

Create your own comic
APRIL 22, 10.30 AM: Have you ever dreamed of creating your own comic strip? Sign up for a workshop helmed by Mumbai-based architect and urban designer Nikhil Chaudhary who will introduce you to a rich medium of comics and graphic novels and show you how to create comics as a medium to express your thoughts. You will be guided into a hands-on session to create your own short comics.
WHERE: 91 A, Rani Baug, Veer Mata Jijabai Bhonsle Udyan, Dr Baba Saheb Ambedkar Marg, Byculla East, Byculla
ENTRY: Rs 500
CALL: 23731234

Meet Master Tusk
APRIL 18, 12 PM: Watch Elephant in the Room, a play about a boy named Master Tusk, who has been given a new head — that of an elephant. Confused and bewildered, he finds himself lost in the forest. He encounters a motley couple — Makadi (spider) and Moork (poacher) — a clumsy duo in search of a big-ticket ransom. They kidnap Master Tusk, but their scheme goes awry when a prophecy is revealed.
WHERE: Prithvi Theatre, 20, Janki Kutir, Juhu Church Road
ENTRY: Rs 300
CALL: 2614 9546

Pedal for peace

7 AM: Cycling could well be a way of spreading the message of environmental conservation loud and clear. Caravan Trips and iKheti have organised a cycling session at the lush greenery of Aarey Gardens where, due to construction of the Metro, many trees in and around Aarey have been destroyed.
WHERE: Aarey Colony entrance, Goregaon East
ENTRY: Rs 750
LOG ON TO: www.insider.in

order of the day

Watch a French period drama
6.30 PM: Catch writer-director Francois-Xavier Vives's debut period drama starring Marie Gillain, Jalil Lespert and Miou-Miou. In 1920, when her husband dies, Liena is left alone with vast plantations of pines. She is determined to finish her husband's work and provide electricity to all her employees across her lands.
WHERE: Alliance Française de Bombay, 40, Theosophy Hall, New Marine Lines
CALL: 22035993
FREE

Participate in a public adda
5 PM: Attend an interesting panel discussion organised by the Godrej India Culture Lab and Point of View where four feminists, Mona Eltahawy, Paromita Vohra, Geeta Patel and Bishakha Datta, will talk about sex, feminism, lipstick and other female-oriented issues. Titled 'What's Sex Got To Do With It? A Public Adda', the event is in celebration of Point of View's 20th anniversary.
WHERE: Auditorium, (1st Floor) Godrej ONE, Vikhroli (East). (On Eastern Express Highway)
RSVP indiaculturelab.@godrejinds.com.

Listen to a story

TILL 28 APRIL, 10 AM - 12.30 PM: Make it a productive vacation for your little one (aged 2 to 4 years) at a summer camp organised by Kangaroo Kids. There will be fun activities like art and craft, music, jewellery making, storytelling and puppet shows that will keep your kid engaged.
WHERE: NESCO Compound, near Hall No. 3, Western Express Highway, Goregaon (E)
ENTRY: Rs 4,500
CALL: 9820855659

Enjoy mango dhokla
ONGOING: Khandani Rajdhani is celebrating Aamlicious festival, where the fare goes beyond regular aamras and mango shrikhand. Enjoy some delicious kairi cabbage tikki, mango kofta pulao and more. Priced at `499, the menu will be rotational with two to three items made out of raw or ripe mango every day.
WHERE: Level 2, Phoenix Market City Mall, LBS Marg Kurla (West)
CALL: 9819555196

Groove to Burman hits
7.30 PM: Diehard Burman fans can head to Ravindra Natya Mandir for a musical extravaganza titled Forever Pancham where Sudesh Bhonsle will sing in the voice of SD, RD, Kishore Kumar and Amitabh Bachchan. Others like Mohan Shetty, Pooja Sadarangani, Bipin Bhalerao and Aditya Salvi will join him in crooning a variety of numbers composed by the legend.
WHERE: Near Siddhi Vinayak Temple, Sayani Road, Prabhadevi
ENTRY: Rs 200-Rs 1000
LOG ON TO : bookmyshow.com

Paint like a child

3 PM: Hone the artist in you at this painting party organised by The Bombay Drawing Room titled Doorway to Bliss. With no prior painting experience required, this will be a guided session, shedding light on the basic strokes, sketches and techniques and helping you getting in touch with the artist within. You'll have to paint the 'Doorway to Bliss' with acrylic paint on canvas.
WHERE: Independence Brewing Company, New Link Road,
opp. Citi Mall, Andheri (W)
LOG ON TO: www.bookmyshow.com

April 23, 5 PM: Do you believe you have the coolest dog on the planet? Maybe it's time to let the world know that too. Vile Parle's ZooBar is organising Dog's Got Talent, where your mutt can show off his skills right from his obedience levels, fetching ability, turning tricks, love for food, loudest bark or even for simply looking the cutest. The Applausometer will reward the swaggiest waggers in multiple categories, because we all believe every dog's got a talent."

Humans have had enough fun, it's now time for our paw friends to enjoy. This event will see dogs indulging in a lot of games, competitions and delicious canine goodies. It gives pet owners the time and opportunity to take their dogs out and spend some quality time with them and be a great change and source of entertainment for dogs," says owner Nishant Joshi. The highlight of the event will be some summer treats for y our furry friends by K9 professionals, a nice grub by Mutt Hutt, a photo-op and accessories sale.

Go funky with Benny
Dance to the tunes of Benny Dayal and Funktuation this weekend. The band, formed in 2011, has the Bollywood singer on vocals, Joshua Satya on guitar, Carl Fernandez on bass, Alok Merwin on keys and David Joseph on drums. Dayal's popular songs include Badtameez Dil and Daru Desi. He is mostly known for his work with AR Rahman in both Hindi and Tamil.
TIME: 9 pm onwards
AT: Todi Mill Social, Lower Parel.
CALL: 65110361
ENTRY: Rs 500 (includes a beer)

Friday

Catch a tribute gig
Catch the band, The Big If, at a Pearl Jam tribute gig. Relive the early '90s classics like Alive and Jeremy. They also draw inspiration from Alter Bridge and Nirvana. The band comprises Sumeet Menon (vocals), Rohit Murugan (guitar), Kartik Gopalkrishnan (guitar), Aaron (bass) and Chirag Vachcha (drums).
TIME: 10 pm
AT: Tuning Fork, Hotel Unicontinental, 3rd Road, Khar (W).
CALL: 9833358490
ENTRY: Rs 500

Get your Bawa facts right
Ever wondered how the Parsis arrived in India? Do you know the story of Zarathushtra and his disciples? Learn more about the community at a three-day exhibition conceptualised by Cyrus Dastoor. There will be cultural activities, and stalls featuring Zoroastrian books, artefacts and cuisine.
TIME: 6.30 pm
AT: All Bless Baug, opposite Charni Road Station.
CALL: 65069313

The flavour of mint
On the occasion of the first anniversary of Mintageworld.com (an online museum of coins, stamps and currency notes), you can gift them a currency note from your collection, which is not in circulation, and it will be clicked for you professionally.
TIME: 11 am to 7 pm
AT: Stall 69, Numismatics Fair, World Trade Centre, Cuffe Parade.
CALL: 8976001704

Saturday

Of marriage and bride
Catch the play, Beewion Ka Madarsa, which is about a character named Haneef Mohammed. He did not marry thinking all women are dishonest and they cheat on their husbands but then, life takes a turn. He decides to customise his bride.
TIME: 7 pm at NCPA, Nariman Point.
CALL: 39895050
ENTRY: Rs 300 onwards

Keep it stylish
Attend a fashion styling and design and trends workshop organised by Mod'Art. Popular designer Babita Malkani (in pic), who has been in the field for over a decade will helm the workshop.
TIME: 2.30 pm to 4.30pm
AT: Mod'Art International, Rama Gulab Apts, Subash Road, Vile Parle (E).
RSVP: 9619777841

Revel in poetry
Add a poetic touch to your weekend as award-winning poets including Adil Jussawalla, Jayanta Mahapatra, Keki Daruwalla, K Satchidanandan and Eunice de Souza read from their work alongside prominent Gujarati and Marathi poets. The two-day poetry festival has been organised by Paperwall Media & Publishing.
TIME: 10 am to 5.30 pm
AT: Tata Institute of Social Sciences, Chembur.
CALL: 49235008

Sunday

Flavours with a twist
Tuck into a new menu at a restaurant that celebrates the legacy of Irani cafés. The offerings include staples like Boil Egg Sandwich and Bhuna Chicken Sandwich, Bacon Vada Pav, Persian Soup, Crispy Corn Bhel, Khattu Meethu Pumpkin, and innovative desserts and cocktails.
TIME: 12 pm to 1.30 am
AT: SodaBottleOpenerWala, BKC.
CALL: 9892841456

Listen to the expert
Attend a talk by Amol Palekar as the veteran actor, director and producer discusses a new wave in Marathi cinema. He will explore a paradigm shift in the last decade.
TIME: 11 am
AT: Dr Bhau Daji Lad Mumbai City Museum, Byculla.
CALL: 23731234

Soak in art by kids
Landscapes, portraits, still life, flora and fauna and social issues are only some of the many themes you will find at Yellow Canvas 2017, a group exhibition of artworks created by 71 students from across schools in Mumbai. The canvases have been created in various media like water colours, acrylic, mix media among others.
TIME: 11 am to 7 pm
AT: Cymroza Art Gallery, Breach Candy.
CALL: 23671983

Deal with the weekend

Sip and munch to glory
Ongoing Avail a flat 20 per cent discount on all food and beverages at a newly launched restaurant. The menu includes appetizers, juicy burgers and sandwiches. You can also dance to the beats of the in-house DJ.
TIME: 12 pm to 1 am
AT: Nerve, Hill Road, opposite Le Reve (Globus), Bandra (W).
CALL: 9930008049

Add to your collectibles
till april 23 Replenish your wardrobe at a thrift shop for a cause by Back Alley. There will be pre-loved products including crockery, home décor, gift items, western and ethnic wear up for grabs. The initiative is by Radhika Dhawan and Maya Bhogilal Goyel.
TIME: 11 am to 3 pm
AT: Ave 29, Kohinoor Mansion, 29 Hughes Road.
CALL: 23804981

Grab a meal between work
ongoing Taste the 'Working Lunch Menu' at a five-star by chef Shadab Qureshi. The planned luxury meal will feature the chef's delicacies from the North West Frontier.
TIME: 12 pm to 3 pm
AT: Jyran-Tandoor & Dining Lounge, Sofitel, BKC.
CALL: 8268152597
COST: Rs 1,500 (veg), Rs 1,700 (non veg)

Bhrigu Sahni at a concert at antiSOCIAL earlier this week. Pic/Satej Shinde

The use of guitar isn't limited to playing solos and rhythms using a plectrum (a small flexible piece of plastic). When a discussion emerges about the co-existence of genres within the guitar language, there is a lack of clarity between Flamenco, Western Classical and finger-style. One can pluck (guitar) strings with their fingers but finger-style is a technique that involves the usage of fingertips, nails and the palm. You need to hit the woodwork for percussions. The sound is a perfect balance of bass, treble and harmonies. These days, Mumbai is witnessing the rise of finger-style guitarists. While some learnt from watching videos of legends like Andy McKee and Tommy Emmanuel, others took a cue out of popular songs.

Manan Gupta

One-man band
"By playing finger-style, one can arrange a whole song by playing the bass line, melody, rhythm and harmony simultaneously without using any backing track," shares Manan Gupta. The 23-year-old started off as a pianist but the track Drifting (by McKee) brought him closer to guitar.

Gupta believes finger-style also helps a musician to be self-sufficient. "You are a one-man band; there is no need to rely on other musicians to co-ordinate rehearsal timings," chuckles Gupta, whose tune Dear Mother (released in 2013) is an online hit.

Local inspirations
Bhrigu Sahni, who has toured the Mumbai-Pune circuit, took to the genre after watching his father play Western Classical. "As a kid, I realised that this style had the ability to create a rich musical tapestry. It is challenging to sustain being just a finger-style player but that shouldn't deter one from following his heart," says Sahni, who is a Berklee graduate and has jammed with Karsh Kale and Angelique Kidjo.

Unlike others, he also pointed out a few names among Indians who inspired him. "I went to Rock and Jazz concerts when I was 15. I used to improvise after watching guitarists like Sanjay Joseph and Derek Julian," he adds. Sahni released his debut album, What is Now, last year in New York. "I shuffle between Brooklyn, Khadki (Pune) and Mumbai for gigs," he shares.

Varun Singh started his journey listening to Eric Clapton. He even played for Metal band Albatross for sometime, but the song More Than Words (Extreme) pushed him towards finger-style. He seconds Sahni highlighting guitarists from India who are fluent with it. "Mahesh Tinaikar (Indus Creed) and Floyd Fernandes are great examples. Clapton's Tears In Heaven is a finger-style song too," he shares. The 23-year-old recently released a video of a song called Midnight Express paying tribute to Nuno Bettencourt. "He is my hero."

Sanjay Sharma with his daughters Aayushi (left) and Shriya, both of whom enjoy skating. Pic/Satej Shinde

"When you get divorced, the people you used to hang out with disappear. Suddenly, you have no friends, and neither does your child," begins Hemant Amrute, 43, who has been raising his 12-year-old son as a single parent since 2010. Similarly, Goregaon resident Sanjay Sharma has had full custody of his daughters since 2013, when his older child was not yet five, and the younger two-and-a-half years old.

Hemant Amrute with his son Aryan before a parasailing trip in Goa last December

Taking on the role of both parents hasn't been easy for either of these single dads, but that hasn't stopped them from providing their little ones with an upbringing that isn't lacking.

Striking a work-life balance
Recently, actor Tusshar Kapoor and director Karan Johar made news when they became single fathers to children born via surrogacy. But while these men, who come from privileged backgrounds, presumably have help, this is not the case with most single dads who have to juggle work and kids.

A normal day in the life of the Sharma family is hectic. "Luckily for me, I run my own business, so I do all my work when the kids are at school. My job is to pick them up and later in the evening, drop them off for skating or swimming lessons. My older daughter has also been learning Kathak for two years, while my younger one takes singing lessons," shares 35-year-old Sharma, adding that his mother helps him out on the home front.

Amrute, meanwhile, is also a busy entrepreneur, but now feels confident enough to leave his son home by himself whenever required, as he's a little older. His challenge, however, lies in the kitchen. "I never learned to cook," laughs the Thane resident, adding, "We've had a string of cooks come and go, because both of us invariably end up not liking the food."

Not to mention that being a single parent still has stigma attached to it, which is multiplied when the single parent in question is the father. "In the beginning, people would say, 'Yeh nahin kar paayega (he won't be able to do it)'. Now, they've seen it for themselves," says Sharma. Echoing the sentiment, Amrute adds that once a couple gets divorced, people tend to look down on them, and your social circle shrinks to prevent the awkwardness.

Creating a lasting bond
Sharma's daughters and Amrute's son love being outdoors. Sharma takes his kids to the beach, park, as well as for kiddie events across the city. "We love going on holidays, too, even if they're to nearby places like Mahabaleshwar or Daman."

Amrute and his son Aryan spend weekends at their farmhouse in Yeoor Hills, and head to the cinema or the mall on other days. "We also spent Christmas in Goa last year, which was a lot of fun. A few years ago, I took him with me on a work trip to the US, and we visited a lot of places when I had some downtime," he shares.

Both men recently discovered and joined iSingleParent, a Facebook community that organises meet-ups and holidays for single mums and dads and their kids.

Amrute says that when not at school, his son would end up spending time playing with a smartphone. "We live in a standalone house, so there aren't any kids around for him to play with. But he loves technology, and scored full marks in Robotics. He also enjoys beatboxing and recently started trying out parkour. And now, thanks to the group, he looks forward to bonding with the other kids who come for the meet-ups," he says.

(From left) Kamal Sidhu, Purab Kohli, Dino Morea, Maria Goretti, Cyrus Sahukar, Mini Mathur, Cyrus Broacha, Luke Kenny. Location Courtesy/The Bombay Canteen; Pics/Rane Ashish

When video killed the radio star in the 1990s, we were not complaining. Our eyes were glued to the TV as cable television made its debut. We had heard our rock and pop idols on FM, and now, we had them, in our living rooms. MTV had landed, followed by Channel V. Along with them came a glam and chatty species called VJs. On them we pinned our hope for a favourite song, crushed on them, and sought fashion wisdom during our fumbling teenage years. Suddenly, we had new pin-up stars.

At a reunion of India's first set of VJs at Lower Parel's The Bombay Canteen, we saw model-VJ from MTV and Channel V Kamal Sidhu; the brain behind Channel V Luke Kenny; mad-hatter MTV VJ Cyrus Broacha; crush-worthy Channel V VJ Purab Kohli; model-actor with dear dimples Dino Morea; MTV's effervescent Mini Mathur; MTV's Mr Comical Cyrus Sahukar and MTV VJ-turned-food TV host Maria Goretti.

Madness ensued, with a whole lot of laughter and wisecracks. There were blows below the belt but not a brow was raised. For us, the '90s kids, they were the epitome of cool. It's true that we saw them in a different light — some of them are now parents — but they are just as charming.

Launching with the '90S
Kamal: I think I speak for everyone when I say, without the '90s, we wouldn't have had a career.

Mini: I was doing TV much before music television arrived. At that time, all of it was based out of Delhi, and only fiction came out of Bombay. But the music channels made it all cool.

Cyrus S: There were a handful of these networks in operation. It was a great time to be in and we got away with murder.

Luke: One of the things that happened was that the 18 to 24 demographic was created. That's the demographic for youth programming even today. Once 2000 rolled in, the concept of the TV anchor was born, but the VJ had died.

Kamal Sidhu makes a point as Purab Kohli listens in

Kamal: While the role of the VJ was fairly new to India, around the world there were VJs we were exposed to. In Canada, we had a local music channel, which didn't allow MTV to enter the country. There was Downtown Julie Brown (who hosted Club MTV from 1987 to 1992). On the show, the light switch went on, with the camera going up her legs and under her skirt, while she went, 'Waba Waba Waba Downtown Julie Brown'. She was among the real pioneers. When MTV launched in Asia, we beamed shows from Hong Kong. And, then, we launched in India with a party at the Taj Mahal Hotel [in 1992] in Mumbai. It was called The Bombay Blast Weekend. It received a lot of backlash, I remember, because the riots (Babri Masjid) had just happened.

Where i want to be: Vjing
Maria: I used to watch Kamal and Danny [McGill] VJ, and, suddenly, I was one of them. I didn't know what I was getting into until I did. The thing about VJing in the '90s was that it let you be who you wanted to be. I was lucky to be part of something I loved. Today, everyone wants to be something more, so, a lot of people get nudged out of television. MTV put Indian VJs on air and that changed something. It was now damn cool to be Indian; there was no need to have an accent. I didn't realise I was cool but apparently, I was.

Purab: I joined Channel V as a host for a travel show, and, gradually, when other slots opened, I started VJing too. There was a serious naiveté back then and VJing wasn't thought of as a stepping-stone to other things.

Cyrus Sahukar tells a story to Luke Kenny

Cyrus S: We were all there with the knowledge that this where we want to be.

Behind the scenes
Purab: There were times when we shot close to five episodes a day. It was intense. Sophiya [Haque], Laila [Rouass] and Meghna [Reddy] would do their own make up, write their own shows and select their own music. There was a transition, when I came in 1999 to Channel V. There was one show where we were asked to write and select songs. We would run it by Luke.

Cyrus B: Luke? Was everything right?

Purab: Yes!

Cyrus B: Luke himself didn't know what his designation was.

Purab: He would approve songs and that was our process.

Maria: Producers hated it when VJs would get together because that meant no one would be working. Once a year, we did a show together for Christmas or New Year and that would be a blast. I miss all of us working together — miss the travelling, the early morning flights, sleeping at airports because we had missed our plane. When I look back I realise that what I did was part of history.

Music then, music now
Luke: What do I think of the indie music scene? It's very niche, and some of the musicians have a chip on their shoulder. But, that aside, what business are they doing? Few manage to get paying gigs, and whoever turns up to support, comes, has a drink, pays R300 and then doesn't buy the album. How does it help the artist? I have been consulting with Channel V recently, and we are trying to go back to the model where the music channel only plays music, and supports indie acts by giving their originals air time.

Cyrus Broacha monkeys around as Dino Morea greets Kamal Sidhu

Kamal: I remember they would send us pop music videos at the Hong Kong office. And most of them were bad. We had to consciously decide to help some artists with their videos. And then Rahman and acts like Indus Creed came in, and the videos changed.

Luke: Kids today love their pop as they did back in the '90s.

Kamal: It was more authentic back then.

Luke: That's because the labels saw a market and invested in it. No one sees a market in today's indie scene.

Cyrus S: They were competing with an international kind of space and knew that spending money on videos was requisite. Everybody was trying to match international standards.
Kamal: And then everything got homogenised into one game plan — the Bollywood game plan.

The '90S role model
Dino: I landed in Bombay in December 1997, looking for opportunities and I remember sharing a room, not even a flat, with a girl who wanted to be a model too. Back in Bangalore, I remember seeing Kamal. I was in college and had to go meet a photographer. There she was, shooting for some perfume or cosmetics ad, and I was like, "Whoa!" Models were these superstars then. I did stare at her.

Kamal: Did I stare back at you?

Dino: (Laughing) I don't think you noticed me.

Sinking into reality
Kamal: A big change from the '90s, well, is that reality television came about, for better or worse.

Luke: One of the earliest reality shows to come was Channel V's Popstars, from which [girl band] Viva emerged. History rewrote itself in that decade with reality television.

Cyrus B: There was also MTV Bakra, which started towards the end of 1999.

Kids with an edge
Kamal: I think it was the time of the Asian liberation. Everything was booming. Also, it was a time for adjustment. Parents of '90s kids looked at people like us and questioned our place as role models. They said, we need to control the remote control.

Luke: No, there was no parental control at all.

Purab: I think it was because those kids were the first movers into the globalisation space.

Cyrus S: Even I used to come home and watch TV. It was a time when I had a VCP, not even a VCR.

Luke: Do you know why those kids had an edge over today's? Because they didn't have these. (Points to a mobile phone).

Maria: I think it was because there was a more organic interaction between people. The communication was real, which I don't see today. These days, it's about the phone. My kids just asked me why they don't have the blue tick on Instagram. Everyone is looking into their phones. We have become tech-savvy but have lost a bit of the soul. (Snapping her fingers). It's now all about reaching a place and changing the game.

Your fav music video of the '90S was?
Luke: Pretty Child by Indus Creed
Cyrus Sahukar: Ice Ice Baby by Vanilla Ice
Dino: Can't Touch This by MC Hammer
Kamal: Anything by AR Rahman
Maria: Freedom by George Michael
Mini: All Sukhbir and Lucky Ali videos

Harsha Dehejia looks at paintings by street artists on the Kala Ghoda stretch leading to Chhatrapati Shivaji Maharaj Vastu Sangrahalaya. Pic/Sayyed Sameer Abedi

Sitting under a tree on a footpath that connects Jehangir Art Gallery with CSMVS, an astrologer reads the kundalis and palms of those keen to know their future. Nearby, a quack sells jadi buti (herbal medicines) sourced from the jungles of India. "Sometimes, will digging up medicines, a snake or scorpion jumps at me," he regales Harsha V Dehejia, as the latter strikes up a conversation with him.

A hawker at Ranade Road in Dadar. “Even art comes alive on a footpath,” says Dehejia. Pic/Datta Kumbhar

These anecdotes that Dehejia, 79, indulges in while strolling down the heritage precinct of Kala Ghoda are part of a 30-minute DVD that accompanies the second edition of his book, Walk With Me On Mumbai Footpaths (Wilco), launched recently.

In the DVD, you'll also find tete-a-tetes with Amin Sayani and Shobhaa De. "Mumbai's footpaths have a life of their own. Many people have started their careers and lives on these footpaths and gone on to become billionaires and movie stars," says De in the video.

Look closer at Pedder Road: On an afternoon stroll on the street in 1980s, Dehejia spotted a cobbler solving a crossword puzzle and down the road, a man sleeping in a bathtub. Pics courtesy/Harsha Dehejia

Blast from the past
Born and bred in Malabar Hill, Dehejia's fascination with footpaths traces back to his college days when he would walk down from Flora Fountain to elphinstone College. That's where he first met the aforementioned astrologer and quack. "I would spend a lot of a time at a street bookstore near Central Telegraph Office. I would also spot artists sketching on the pavements. Today, even 50 years later, you still find these treasures on footpaths. If you talk to those who work or live on them, you'll realise that their courage in trying to make a living is exemplary," says Dehejia, who has a double doctorate, one in medicine and another in ancient Indian culture. Previously, he has authored books on Krishna.

In 1970, he shifted base to Ottawa (Canada) in 1970 where is a faculty member at Carleton University, and also runs a radio show. "However, I hold a strong connect with Mumbai, visiting it at least once a year."

What's in the book?
A condensed version of the previous edition (2011), the book features over 100 photographs, which capture interesting people, and activities that take place on the city's footpaths on a daily basis. In one, a typist sits with his instrument drafting a letter near GPO, while a man naps in a bathtub-turned-bed on Pedder Road in another. The frames also showcase clay pots filled with water placed at a footpath in Chembur, a student preparing for an exam under a street lamp in Worli and kids using a pavement to play gully cricket in Borivali.

"Mumbai's footpaths are full of life, brotherhood, colours, enterprise and commerce, and religion. You'll spot many roadside shrines, which may be illegal from the municipal sense, but offer solace to those living and walking on the footpaths. You'll often see passersby stop at the shrine to offer a prayer. However, to discover their true beauty, you need to rid yourself of the notion that they are chaotic and dirty, and meet them with an open heart."

Many frames date back to 1980s, when Dehejia would pick up his camera and roam around the streets of Mumbai. "Then, in 2007, I was at a coffee shop, showing these photographs to [late historian] Sharada Dwivedi, who suggested that I bring out a book. That's how the project began," he recalls. The book also features photographs contributed by his friends and photographers, Rafiq elias, Chirodeep Chaudhroi and Sailesh Mule among others, along with illustrations by cartoonist Hemant Morparia.

Friday

Laugh out loud
Kick-start your weekend with a stand-up special by Jeeveshu Ahluwalia. His jokes sway between the amusing life of chubby people, and his failed attempts at pleasing his over-optimistic mother.
Time: 8 pm at Bharatiya Vidya Bhavan, Chowpatty, KM Munshi Road, Grant Road West
Log on to: bookmyshow.com
Entry: '540 onwards

Shop till you drop
Get ready for the festive season as 17 designers and brands showcase apparel made from khadi, silk using ikat, jamdani, shibori and other techniques. You can also find accessories and home décor items at this two-day event.
Time: 11 am to 7 pm
AT: Tranceforme Designs, Laxmi Mills Estate, off Dr E Moses Road, Mahalaxmi
Call: 24939916

Groove to live performances
Listen to Arunaja aka Ammu, a gospel-inspired vocalist from Kochi, who is currently on the TV show The Stage 2, singer/songwriter Vedant Joshi and Vikram Nathwani aka DJ Mark IV.
Time: 8.30 pm
AT: Luca, Todi Mills, Lower Parel
Call: 49714450

Saturday

Watch the story of Gandhi
How did Gandhi become the Mahatma? What impact did his days as a barrister in South Africa have on his philosophy of peace and non-violence? Gandhi — The Musical, about the journey of the Father of the Nation, has the answers.
Till: August 15, 7.30 pm
AT: Jamshed Bhabha Theatre, NCPA
Cost: '500 onwards
Call: 22824567

Craft your own rakhi
Instead of store-bought rakhis, how about giving your brother a sweet surprise this Rakshabandhan with a handmade creation? Take inspiration by exploring the colours, patterns and designs at this museum's permanent collection. Pay for the entry ticket, while the activity and all materials come free.
Time: 11 am to 2 pm
AT: Dr Bhau Daji Lad Mumbai City Museum, Dr Babasaheb Ambedkar Marg, Byculla East
Call: 23731234

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Sign your little ones up for The Secrets of Still Lives, an art-cum-photography workshop. It will begin with an interaction with artist Shahid Datawala (whose works are on display), followed by a photography exercise on capturing everyday objects in a surreal way.
Time: 11 am to 1 pm age group Eight to 11 years
AT: TARQ, Dhanraj Mahal, Apollo Bunder, Colaba
Call: 66150424
Cost: '1,000

Sunday

Go for Lalbaugcha tour
Explore the history, culture and secrets of Lalbaug including a hidden agiary, temple of the buffalo god, the oldest dargah in Mumbai and more at a walk by Khaki Tours.
Time: 8 am
Starting point: Gundecha Gardens Gate, Godrej Gas Compound, Lalbaug
Call: 8828100111
Entry: '644

Dine with your bestie
This Friendship Day, spend a laid-back Sunday with your best friend by sharing punch bowls and comfort food such as Chocolate Gluten-Free Pancake and Waffles and Rocky Road Waffle (in pic).
Time: 7 pm to 1.30 am
AT: One Street Over ground floor, 35th Street, off Linking Road,Khar West
Call: 26002224

Raft through Kundalika
Pack your bags for a river rafting trip on the river Kundalika in Kolad. The organisers have also added archery and Burma bridge to the agenda.
Time: 6.30 am (meet at Kala Nagar junction, Bandra East)
At: Kolad
Call: 9867952811
Cost: '2,350 (includes transportation and tea and snacks)

Illustrations/Ravi Jadhav

Girgaum, Kamat Chawl Thakurdwar
Celebrating the festival for the last 122 years, simplicity is key for Kamat Chawl residents. And they are happy to share tales from the forgotten pages of history and freedom struggle. Here, they do not follow the concept of themed decor and celebrate the festival in an absolute traditional manner. The idol is made of eco-friendly material called shadu. Following the spirit of why the festival was started in the first place, the pandal is built by the residents and each one volunteers to manage the space and the stage area.

Khetwadi, Tulsi Building Sarvajanik Ganeshotsav Mandal
This is the 75th year of the pandal and, like each year, the Ganesh idol is made up of different things, mostly edible. For instance, dry fruits, cereal and pluses, chikki, and stationery and diamond have been used. This year's focus is on kids and the theme is Disneyworld. The idol is made of Cadbury chocolate and the children cannot wait to see their favourite sweet take the shape of their favourite deity.

Malad, Shree Sai Darshan Mitra Mandal
For the last 11 years, this eco-friendly Ganesha has been a hit with devotees. Made from paper and cardboard, the organisers use various concepts including football erasers, pencils and cars. This year, Bappa is giving a shout out to nostalgia as the idol is made of old coins of 1 paise, 10 paise and 20 paise. The mandal's focus is to create awareness and education, especially about global warming.

Ghatkopar, S G Barve Nagar Sarvajanik Ganeshostav Mandal
Since 1966, the pandal's idols, one large and one small, have been luring devotees to this suburb. This year's theme is a dreamy fusion of a golden pillared palace, the religious oeuvre of Om Ganapataya namah and the galaxy. A daily bhandara of rice, dal, chole, bhaji, papad, pickles and gulab jamun feeds a thousand people. A blood donation drive along with free blood test and blood group check is done during the 10 day period.

Fort, Fort Vibhag Sarvajanik Ganesh Utsav Mandal
Celebrated since 1956, this is one of the biggest fully centralised pandals in the city. This year, they have invited special artists from Rajasthan to create a palace setting. Their finesse and specially crafted artwork adds to the grandeur of the pandal. While you are here, you can easily spot a celeb or two. The maha aarti, especially for the police department, is scheduled for tomorrow.

Thane, Narvir Tanaji Mitra Mandal
For the last 38 years, this pandal has been not only known for its large murti and grand themes but also for reaching out to those in need, especially in rural areas. Bappa will happily rest in the grand Rajasthani Palace and overlook the tasks the members of the mandal will take up. Medical camps and a beautifully curated cultural programme that will see participants sing, dance and create beautiful flower arrangements and rangolis are in store for the Utsav.

Tilak Nagar, Sahyadri Krida Mandal
For the last 41 years, this pandal has been dedicatedly putting up themes on social awareness. This year, their theme is 'Jai Jawan, Jai Kisan, Jai Vigyan' and will include artworks illustrating places from Kashmir to Kanyakumari, highlighting important destinations like the Himalayas and Madurai's Meenakshi Temple. These will be interspersed with reproductions of the metro, rail space research, army personnel and agricultural families to show how they co-exist to form an integral part of society.

How do you improve on a 1998 game that is so good it is still played today? Not many games can make that claim but Starcraft can with legions of fans and stadium level competitions not bad for a 20-year-old game.

The original Starcraft is free and so anyone with a battle.net account can potentially download and play it, no fancy hardware required. The remastered version, however, costs $15 and it is worth every penny. The game's graphics and sound have had a major update, you can also play multiplayer online complete with leaderboards.

While the new game is friendly to first-time players the online multiplayer is brutal. Prepare to die in minutes. Unfortunately, there is no system in place to train players in the complexity of multiplayer battles in a game that people have been potentially been playing for 20 years.

For fans of Starcraft there is everything that you would ever want in the game. The original game mechanisms are untouched which means everything plays as it should.

Starcraft Remastered
Rating: 4/5
Developer: Blizzard Entertainment
Publisher: Blizzard Entertainment
Platform: PC, Mac
Price: $14.99 (Rs 960 approx)

Make heads turn by carrying a stylish umbrella that tells a story. In this engaging art revival workshop, you could learn to paint with a play of colours to create an illusion of varying textures that ensures that it isn't any run-of-the-mill print. Hosted by Blue Bulb, the workshop starts with an introduction to Gond painting, a folk art of the Gondi people of Madhya Pradesh. It then progresses into understanding freehand drawing and painting, directly using paints and pens. "One need not be an artist to be a part of this workshop. Once you've got the hang of it, you could even paint your t-shirt, canvas bags, shoes, stoles, wall art and furniture too," informs Ritika Jhunjhunwala, co-founder of Iteeha, organisers of the event.

Our society thrives on myths and fictitious stories and Gond art is an embellishment for those stories. The art form allows the artists to use more of their imagination than the somber rules. However, it has evolved considerably from its ritual storytelling days.

"The fine lines, dots and dashes of traditional Gond Pradhan motifs were introduced to the world by the late painter J. Swaminathan, who discovered a talented 17-year-old Jangarh Singh Shyam decorating the huts of Patangarh in Madhya Pradesh. The combination of vivid colours and distinctive forms, gives the traditional art a modern look and yet maintains its originality," says Jhunjhunwala for whom monsoon is the perfect time to unleash the creative side. "What you get is a full-size umbrella, all art supplies required and garma garam chai and kande pohe to enjoy the rains," she adds.

What: Umbrella Gond Painting Workshop
Where: Shivaji Park
When: August 27, 10.30 am - 1:30 pm
Fees: Rs 1,200 + plus taxes
Call: 7506122332

Uncharted has dropped its latest installment and it is significant simply because there is no Nathan Drake, the protagonist of the previous Uncharted games. Instead, this time, you get to play with Chloe Frazer backed with Nadine Ross, who are in India searching for the Tusk of Ganesh. We don't know if Naughty Dog planned this, but a game featuring a Ganesh related artifact releasing just around the time of Ganpati Utsav is pretty good timing.

The game unfolds in the mountains of India during a civil war, with everything you would expect, in an Uncharted game — lots of fast paced gun play, spectacular ancient ruins, overgrown jungles and easy to solve puzzles. It is a formula that has worked well for the series in the past and why would you mess with something that works.

You may find both Chloe and Nadine familiar if you have played Uncharted before, they have appeared in the previous games. Chloe as a sidekick in two games and Nadine as the antagonist of the last Uncharted. To get the artifact that leads to the Tusk of Ganesh, Chloe infiltrates the war-torn city dressed in a kurta, she looks very Indian in the outfit. This is very different from any other Uncharted game because it deals with claustrophobic, garbage-filled city streets instead majestic jungles the game is used to. It's a nice change but a short one, once you manage to find the relic it is straight off to the jungle for you.

The Lost Legacy is a lot like Uncharted 4, it plays almost similar, some of the guards look familiar and even some of the ruins. The game is comfortable with what it is and there aren't any new surprises that push the gameplay forward. What it excels at is the ride and that is an action-packed ride that would put Indiana Jones to shame. What you can do is enhance the experience with their new photo mode, it makes everything a little more fun. The photo mode lets you change the expression of Chloe's face temporarily. This, of course, can be used to take hilarious screengrabs.

The game looks amazing on the PS4 Pro, the jungles and the ruins are grand to say the least, enough to make you want to go a nearby forest in search of ancient picturesque monuments. It's a nice use of local mythology to create a brilliant fantasy world.

Uncharted: The Lost Legacy is great for newbies. Since it doesn't require you to have previous knowledge of the characters or any hard to play sections, it is pretty much a no-brainer for any gamer.

Uncharted: The Lost Legacy
Rating: 4/5
Developer: Naughty Dog
Publisher: Sony
Platform: PS4
Price: Rs 2,499

As promised during the 2016 Auto Expo, Honda Motorcycle and Scooter India (HMSI) brought 50 units of the Africa Twin to India, all of which have been booked and many delivered to enthusiasts across the country. We convinced HMSI to give us some saddle time on what they term "the most reliable, versatile and proven adventure touring motorcycle". Here are six reasons why the Africa Twin stands out.

Planning to go off-road? Press 'G' for Gravel mode

1. Design
The Honda has an imposing stance and the bright red-white-black colour combination is difficult to ignore. Not intimidating maybe, but surely attractive. The Africa Twin has been conceptualised on the company's current Dakar competition bike — the CRF 450. Many parts are very similar to the rally bike including the frame and the brakes. This gives the 2017 Africa Twin the necessary genes it needs to live up to its iconic predecessors that have conquered the Dakar Rally, the world's toughest raid.

Rally style console shows information including speed, gear position, odometer, trip metre and a clock

It's a tall bike with fully adjustable front forks. The dual LED headlights and tall windscreen accentuate the bike's towering figure. The seat's almost triangular shape makes it very comfortable for long rides as well.

2. Engine
This is the largest capacity Africa Twin ever made. Its 999.11-cc twin-cylinder, liquid-cooled engine produces 88.4 PS and 91.9 Nm of torque. The six-speed gearbox is managed through Honda's Dual Clutch Transmission (DCT), which changes gears automatically. The way it delivers power isn't too exciting. Instead, it comes in as a steady flow. However, the convenience of having a DCT makes it very friendly off the roads.

These buttons help engage the riding mode - Auto Drive, Manual or selecting Neutral

3. Using DCT
We have to admit that not having a clutch lever or gearshift felt quite unusual at first, but one can adapt to this in no time. It's brilliant because while off-roading, one can focus on the tricky sections, or stand on the pegs and ride, while the DCT takes care of the clutch modulation and gear selection on your behalf. All you need to do is select the drive or sport riding mode. If you like, you can select manual gearshift too and there are buttons on the left, that can be used to change gears manually on the go.

The seat narrows down as it meets the slender fuel tank, which makes the bike  manageable

Since the bike doesn't come with a clutch there are two things to keep in mind. Firstly, on an Africa Twin, one needs to ensure that the bike is in neutral when stationary, else it might pounce forward if one blips the throttle out of habit. Secondly, the DCT equipped bike comes with a handbrake on the left side of the handlebar, which can be mistaken for a clutch lever.

4. Off-Road Features
The bike comes packed with riding aids, which can help setup the bike in dozens of ways. It gets dedicated switches for gravel riding and one for ABS specifically for off-road, which allows the rear to lock and it can be activated by a simple push of a button. For now, it doesn't include Cornering ABS. There's a dedicated toggle lever just above the passing light on the left switchgear that changes the level of HSTC (Honda Selectable Torque Control).

5. Riding Dynamics
The Africa Twin comes with a massive 21-inch front wheel and an 18-inch wheel at the back, shod with dual-purpose Dunlop tyres. These did manage to give versatile grip on tarmac, wet roads, and even on some loose off-road surface. Long distance touring is what most buyers will be doing with it. There are slots to mount panniers on either side, and hooks to harness your saddlebags. Honda is offering accessories to make the bike more touring friendly.

6. Price and Fuel Efficiency
Honda claims that the bike returns 21.5 km/l, which is pretty decent from a bike of this size. The DCT has a big role to play in this. The 18.8 litre fuel tank will give the Africa Twin a range of close to 400 km. Coming to on-road price, depending on which part of country you belong to the Honda Africa Twin will cost you between R15-R16 lakh (on-road) and will compete with the likes of Triumph Tiger and Ducati Multistrada. The biggest advantage Honda has is its goodwill for making reliable products, and the convenience of having a DCT.

Traipse through America
Sunset Cinema Club (SCC) is holding a Travel Movie Night in association with travel start-up Unpland. The movie to be screened is Into The Wild, a 2007 film about a young man who decided to renounce his possessions and hitchhike across America. "We have hosted several themed movie nights in the past. This time, we wanted to do something travel-centric. We ran an online poll to pick the movie for the screening," says SCC co-founder Sanchit Gupta.
On: September 3, 8.30 pm
At: The Barking Deer, Senapati Bapat Marg, Lower Parel. log on to insider.in
Entry: Rs 312 (includes a beer or mocktail)

Understand the works of Renaissance masters
This evening, Dr Bhau Daji Lad Mumbai City Museum, in collaboration with Alliance Francaise de Bombay, is showing three documentaries on Renaissance painters by filmmaker Alain Jaubert. The first film delves into Grünewald's painting Retable d'Issenheim (Altarpiece of Issenheim), while the second focuses on Baldassare Castiglione (Portrait of Baldassare Castiglione) by Raphaël. The third film is about Le Repas Chez Levi (The Meal at Levi's; in pic) by Veronese. If you walk in after 5.30 pm, entry is free.
On: Today, 6 pm to 7.30 pm
At: Dr Bhau Daji Lad Mumbai City Museum, Byculla East
Call: 23731234

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The dim light of candles engulfs Andheri's Harkat Studios in a warm glow. A 25-member audience settles on the mattresses around an elevated gadda under a spotlight. The mushaira's (poetic symposium) setting is perfect. Before seven Urdu shayars begin the performance, Devroop Sharma of Irshaad poetry collective acquaints the audience with the basics: Say 'mukarrar' for an encore and 'waah waah' as applause.

(Clockwise from top) Artistes Devroop Sharma, Khan Faisal Barkaati and Ashwani perform at the mushaira held last weekend. Pics/Tanvi Phondekar

For the next two hours, the fragrance of Urdu fills the room as the shayars - including 20-year-old Khan Faisal Barkaati, and Ashwani, who recites poetry in a Haryanvi accent - share original nazms on love, heartbreak, politics, education and motherhood. They make it interactive, asking the audience to complete a misra (a couplet line). They also ensure the guests aren't overwhelmed by the language, by explaining the meaning of lesser-known words like ilm (knowledge) and baa-safaa (chaste) before narrating the verses. Some members in the audience repeat the words under their breath to savour their taste. One of them, Sankalp Rawal, tells us after the show that was held last Saturday, "I understood 70 per cent of what was recited but still enjoyed the performance."

Shamir Reuben and Hussain Haidry

For Sharma, that's an achievement. "The idea isn't to spoon-feed but help expand your vocabulary. When you don't understand a word, you look it up and then, enjoy the shayari more. It stays with you even after the performance," says the 29-year-old poet and salsa dance teacher, who launched Irshaad six months ago, to promote regional language poetry.

Mohammed Sadriwala

Urdu takes the centre stage
Recent months have seen a spurt in groups supporting the language. Earlier this year, Studio Tamaasha kicked off Urdu Readings, a series of dramatic readings of Urdu short stories, conceived with the help of academic Aslam Parvez. Its finale will be held on October 28.

The Poetry Club (TPC) introduced Mehfil, where members discuss popular Urdu poets, besides Hindi and English. "We wanted to challenge the notion that Urdu is difficult to understand. We use words from it in everyday conversation without realising it. Like, darwaza," says Ankita Shah, co-founder of TPC, which will host the next session in November at G5A.

Write and learn
Workshops that help you hone Urdu poetry skills are also finding takers. Last month, Karan Talwar, curator at Harkat Studios, collaborated with Sharma to present a ghazal-writing workshop. Led by college professor Abhishek Choudhary, it deconstructed the form to drive home the point that every ghazal uses the same kind of metre. "The idea was to help the participants realise that a ghazal isn't difficult to master, if you know the math of it," says Talwar. On October 27, the duo is also collaborating for Kissagoi, comprising theatrical readings of original Urdu stories by three young poets.

Meanwhile, a Hindi and Urdu spoken word masterclass, titled Lafzon Ki Kaarigari, saw 15 participants aged 18 to 40 in attendance. Held last Sunday, it was curated by YourQuote, a mobile app for writers to share original poetry. The 25-year-old poet Mohammed Sadriwala, who conducted it with fellow poet Rakesh Tiwari, says he was impressed at the turnout. "When I started out in 2014, I saw eight out of 10 poets performing in English at open mics. Today, over 50 per cent use Urdu in their performance. It's more expressive. There's also a certain pride in performing in your own language," he observes. Another masterclass is scheduled for next month.

"Of the 2.5 lakh Indian users of our app, 35 per cent [87,500] prefer writing in Hindi and Urdu. That's also because today, more content consumed online is in regional languages," says the app's co-founder Harsh Snehanshu.

Case in point: 31-year-old Indore-born, Mumbai-based Hussain Haidry's poem, Hindustani Musalmaan, which went viral as soon as Kommune launched it on its platform in February, and at last count had seen 5 lakh views. "People are more receptive and attentive to Urdu. Credit goes to [Delhi-based] organisations such as Rekhta Foundation, which are responsible for reviving and preserving the language," says Haidry, a go-to artiste to add to the line-up at Hindustani poetry performances. He also narrated his poems at The Urdu Exhibit, a launch event for Design Fabric's latest issue featuring artworks themed on the language.

Haidry will perform next on October 12 at a Hindi-Urdu poetry open mic at The Cuckoo Club, curated by Kommune as a prelude to their debut spoken word festival. "We've also prepared a list of new, young poets writing in the language. A pure Urdu poem may be difficult to understand but the younger poets are mixing it with Hindi to make it conversational and audience-friendly. It also has a greater impact when used to make a political and social commentary. While at it, they are keeping Urdu alive," says Shamir Reuben, member of the storytelling collective.

Poetry meets activism
Talwar adds that celebrating Urdu is important in today's political scenario. "Recently, at a curatorial workshop in Delhi, I learnt that India doesn't have an Islamic art gallery. That's strange considering it's an integral part of our culture. At a time when Islamic influences in Indian art and culture are being underplayed, curating Urdu-focused events is our shot at activism, where we try to rediscover the language in a safe space."

BMC Spares No One

Atul Kasbekar helps Vidya Balan navigate her way on a dug up street near Kala Ghoda, as she arrives to launch a saree collection inspired by her latest film. pic/suresh karkera

On stage for the first time
It was their on-screen chemistry that led to a happily-ever-after life off screen. But actors Varun Badola and Rajeshwari Sachdev, who have worked together on several projects, hadn't shared space on stage until Ila Arun roped them for Shabd Leela, a dramatised reading of iconic Hindi writer, poet and playwright Dr Dharamvir Bharati's works. Directed by KK Raina, and adapted by Arun, the play will premiere at a festival to be held next week. "We are reading from Bharati ji's Kanupriya, Andha Yug as well as letters he had written to his wife. Such is the language of the letters that he has set major couple's goals for us!" Sachdev told this diarist. What is it like to be on the stage with Varun? "Such creative pursuits add a new, exciting dimension to the relationship," she says.

What's your Hindi word of the year?
After more than a decade of their much-anticipated English Word of the Year, the Oxford Dictionaries are launching their first ever Hindi Word of the Year. The initiative is calling on Hindi speakers from across the country to help choose a word or expression that has attracted interest over the last 12 months and reflects the mood, or preoccupations of the year, The word needn't be a new one. A panel of language experts including Namita Gokhale, Kritika Agrawal, Saurabh Dwivedi, Malika Ghosh, and Poonam Nigam Sahay will choose the winner from public suggestions, and announce it in January. Given that 'fake news' (Collins Word of the Year 2017) and 'post truth' have been the favourites recently, we wonder if 'jumla' has a chance.

An artist's homecoming
In the early 1960s, Gujarat-born artist Natvar Bhavsar moved to the US for further studies and ended up making New York his home, developing a distinct abstract style of painting, influenced by the colour-field artists of that time. In the last five decades, the feted artist's works have been widely collected by international art connoisseurs and museums, including Metropolitan Museum of Art, New York. Next week, the octogenarian will host his first retrospective in India, aptly titled Homecoming, presented by DAG Modern. It features smoky, layered compositions created by Bhavsar by sifting powdered pigments on canvas and allowing air currents, his breath and body movements to determine where they fall.

Natvar Bhavsar with his works. Pic courtesy/Janet Brosious Bhavsar

Eat this colour
An Italian research scholar in India has, quite literally, given us food for thought. Chiara Colombi (in pic) is in Thane at present, carrying out a project on chromotherapy called Eat Your Colour. It involves her organising seven lunches, each based on a different colour, over one week. Once the lunch is done, all the participants will use the leftovers from their plates as well as the kitchen to create a shape that embodies what they felt about the colour of the day. "I will then put the collective creation in a lunchbox and then display it in a public space," Colombi says, adding, "The idea is to explore how colours can be used in a therapeutic way through the process of creation."

Clinton junior, the author
Now, here's one family that's keeping publishers happy all year through. Close on the heels of mum and former Democratic presidential candidate Hilary's tell-all about her loss to eventual winner, Donald Trump in What Happened, daughter Chelsea Clinton's title, She Persisted Around The World is already creating a buzz in literary circles. The book, packed with delightful illustrations by Alexandra Bolger, and expected in March 2018, is the companion to her earlier New York Times bestseller, She Persisted. Publishers Penguin took to social media to make the announcement.

The follow-up, like the first title, will salute little activists, feminists and kid influencers who dared to dream big. Armed with Bolger's art, and featuring icons like JK Rowling and Malala Yousafzai, we can expect this one to top the bestselling list too.

Ben is Back

U/A: Drama
Director: Peter Hedges
Cast: Julia Roberts, Lucas Hedges, Courtney B. Vance, Kathryn Newton
Rating: 

A family drama that makes substance abuse look like the enemy of humanity it is, this Peter Hedges directed film dramatically shifts its moods from celebration to welcoming to fearful – all in the span of a few minutes.

When Ben(Lucas Hedges) shows up skulking around at his home driveway in a hooded wind-breaker the audience is unsure as to his antecedents. Then his mother Holly(Julia Roberts), his teenage sister Ivy(Kathryn Newton) and two half-siblings (Mia Fowler and Jakari Fraser) arrive home and we see the trepidation tinted welcome he receives. When his step-father Neal(Courtney B Vance) rushes home after receiving Ivy's urgent message, we understand there's further gravity to the situation.

Director Peter Hedges opens up his pages slowly allowing us to experience in some measure as to what the family is going through. Eventually it becomes imminently clear that Ben's return for Christmas from a rehab program he was recently inducted into, is unexpected and ill-advised.

Check out the trailer here:

While 'Ben is Back' is not exactly a dense suspense drama it draws up intensity from a construct that questions the integrity of it's lead character. Since it's a story about an addict and his struggle with addiction the question that haunts his family and himself is 'Will he use again?' He has sworn and swears again that he won't but he has lied before and given his track record should his family believe him? It's a tough ask. But then what about love, compassion and forgiveness? Can a mother really abandon her child to the vagaries of a habit that could eventually destroy him? The film deals with all these questions and more and the answers that it comes up with are neither easy nor universally applicable.

As Holly takes on the onus of keeping Ben in her sights, she uncovers secrets that test her mothering skills –throughout an increasingly harrowing day and night exposing her to an underbelly that she never opened her eyes to in the past.

There are times when the plotting seems contrived and questionable but by and large Peter Hedges does a good job plying a pathway that has hurdles at every turn. The dramatic tension though is not sharp enough and that's one of the reasons why you feel rather ambivalent about this tale. Performances are universally good though!

Catch up on all the latest entertainment news and gossip here. Also download the new mid-day Android and iOS apps to get latest updates

Aquaman

U/A: Action, Adventure, Fantasy
Director: James Wan
Cast: Jason Momoa, Amber Heard, Patrick Wilson, Willem Dafoe, Nicole Kidman
Rating: 

Aquaman - a largely underwater flight of fancy, amounts to a herculean attempt by custodian Warner Bros. to right its wonky DC cinematic universe and it's success is moderate at best. A large part of the credit should necessarily go to the charismatic Jason Momoa( ex Baybatch ) who got promoted to this leading role after showing face in 2016's Batman v. Superman : Dawn of Justice and Justice League.

This superhero saga is mostly origin story myth building through fantasy VFX, so don't expect real characters, adherence to the laws of physics or conversations beyond the monosyllabic. In this film, anything goes - even a ring(chasm) of fire in the midst of a deep blue sea and an ocean of wealth under the Saharan desert. Reality rarely pokes its ugly head into this gamey underwater universe that heralds the dawn of a new King Arthur(Momoa), a half-breed(Human-Atlantean mix) who is expected to prove his worth against the might of his firmly ensconced younger half-brother Orm(Patrick Wilson).

Aquaman's tall-tale is embellished in Royal shenanigans, incorporates themes of environment pollution and engineers a war between the water world and the land world under the pretext of righting the wrongs of a selfish civilization. The attempt here is to create an underwater 'Lord of the Rings' but without the majesty, profundity or significance of that telling.

Check out the trailer here:

Making an oblique nod to 'Splash,' the film opens with Queen Atlanna (Nicole Kidman), fleeing Atlantis, getting washed ashore at Amnesty Bay, Massachusetts, meeting solitary lighthouse keeper (Temuera Morrison), falling in love and subsequently birthing the said, Arthur and then going right back to Atlantis- the underwater city, in order to save the lives of her loved ones. Punctuating the drama is Orm's attempts to amalgamate the seven wondrous oceanic kingdoms and become undisputed Ocean master. Vulko (Willem Dafoe), Princess Mera(Amber Heard) and to a lesser extent King Nereus (Dolph Lundgren) put a spoke in his wheel, so-to-speak.

The film has some stunning imagery but most of the action feels random and incoherent. The narrative is overlong in its desire to include every embellishment possible. There are a few engaging moments but the in-between humdrum is pretty much taxing. Weighed down by its watery excesses, the narrative feels terribly labored and over-done. James Wan ( with his Horror oeuvre) was probably not the right man for this DC recreation. He makes this watery epic a kitschy showboat instead of lending it acuity and memorability. This is a story of excess but even so, it's hard to resist the charms of the lead actors, their outlandish costumes and some wondrous aqua sequences.

Catch up on all the latest entertainment news and gossip here. Also download the new mid-day Android and iOS apps to get latest updates

Zero

U/A: Comedy, Drama, Romance
Director: Anand L Rai
Cast: Shah Rukh Khan, Katrina Kaif, Anushka Sharma
Rating: 

For a couple of decades now, relentlessly citing exceptions like Swades (2004) and Chak De India (2007), viewers (and fans) of actor Shah Rukh Khan have often complained about how he plays SRK on screen, regardless of the script, which pretty much is designed around him playing himself, in some form or the other, anyway.

Alert to this obvious feedback, and with audiences, in general, upping its expectations, even from wholly star-driven pics—demanding a certain level of authenticity in stories regardless—you find SRK trying hard to up his own game. Which is great, of course. Raees (2017) and Fan (2016) are relatively good examples on that front. With Zero, as actor-producer, he appears to be trying a bit too hard, I suspect.

For one, this SRK film doesn't star SRK at all! He plays a Meeruthiya, uneducated 'bauna' (dwarf) Bauua Singh, obsessed with two women, almost simultaneously. Both ladies seem out of his reach. One's a fully celestial Bollywood heroine. That's Katrina Kaif. Tells you a lot about this film that she comes across as by far the most credible character around—a heart-broken drunk, dumped by a certain superstar with the surname Kapoor, who "pretends to be a misunderstood, shy type, but is actually a full-on ch*****."

Check out the trailer here:

The other woman (Anushka Sharma), strangely modeled on Stephen Hawking, in a high-tech wheelchair, her mouth contorted, wrist twisted and shaking, is a space scientist. She meets the vertically challenged dude through an odd, offline version of a matrimonial site. What she likes about him is that he can overlook her disabilities and see her as the person she is, rather than somebody one must simply sympathise with.

There is much banter between the two. This is tricky stuff. I understand that all humour is at the expense of some person/group or the other, and we mustn't get all too sensitive about such matters. But I just felt slightly discomfited throughout—mostly in anticipation of a poor joke, punching downwards, rather than one that actually occurs (expect tonnes of think pieces on the web soon though!).

As a viewer, you are rarely made to look beyond the fact that she suffers from cerebral palsy. More so, that he's about a foot shorter than usual, a man-child at the centre of this film— in his late 30s, wholly jobless bloke, blowing up his father's money. You can't tell if he's a duffer or just a dwarf. As if the two were even vaguely related. He is supposed to be a die-hard romantic. Your heart must melt for this simpleton still.

It's hard, if not impossible, to feel anything for such a parody of a person, as Zero jerkily jostles between heartland, rustic realism (Aanand L Rai's Tanu Weds Manu), and a far-out romantic fantasy, vaguely along the lines of SRK's wonderfully sorted Om Shanti Om (2007), also partly set in show-biz. You're in fact bored rather than bothered by all the travels on screen.

The only take-away is how tough it must've been to pull this off. Which is true for films of this massive scale—regardless of the emotional payoff. The VFX work, cutting down SRK's size, is by itself a work of art. And that's just a fraction of the craft and cost involved in a picture perennially on a flight of imagination—whether the penny drops, or not.

Guess it'd be impossible for filmmakers to attempt a leap of faith so high, without quite convincing themselves that they're on to a masterpiece. One hopes (for them), others feel so too. Clearly, I didn't.

Also Read: Zero Movie Interview: Shah Rukh Khan, Katrina Kaif And Anushka Sharma Reveal All

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Simmba
Director: Rohit Shetty
Actors: Ranveer Singh, Sara Ali Khan, Ashutosh Rana
Rating: 

With this film, a super-star is born. Why would one risk this over-statement? Because super-stars in Bollywood, or in the Indian movie context, have remained, for decades, the most apt equivalent to Hollywood super-heroes.

They come with little or no back-story. As in the case of Simmba - being an orphan is good enough. The front-story, as it were, is neatly split between the hero, and the villain, along with a prologue, epilogue, heroine, comedian, extras, and the all-important 'takiya-kalaam' (stock refrain): "Tell me something I don't know!" The motivation, like with super-hero flicks, is rather rudimentary. Saving a girl is as good as repeatedly saving the world!

What matters is how the super-star, by sheer dint of his vigorous personality - where you can't distinguish between the actor and character - carries along an entire movie, and indeed the audience, on his strong shoulders alone.

Once the image is set, the penny drops, and while the going is good, the super-star on screen is good enough to ensure audiences in theatres. And there's got to be a reason why no star ever since the '90s, in a real sense, has been able to convincingly play this part that, I suspect, is the hardest to hit home with, anyway.

Ranveer Singh does just that. And how! Part Govinda, from Raja Babu type pictures in the '90s, part Anil Kapoor from Ram Lakhan in the '80s, but wholly holding his own in a typically Rohit Shetty action-entertainer, Singh adds tremendous credibility to a character that had begun to tire us over time.

For one, given his robust résumé (if you only compare this performance to the anti-hero Alauddin Khilji's in Padmaavat earlier this year), you know he isn't casually reprising a role, given a captive audience (that '90s super-stars had begun to). He puts in as much effort into Simmba as he might into a Bajirao Mastani, say, mastering the Marathi twang (without quite coming across as a parody of Nana Patekar); killing it softly with well-written one-liners; setting the dance floor on
fire; romancing like a dude; doing action, like a proper, desi hero!

You fall for Inspector Sangram Bhalerao (Simmba)-a cartoonish, corrupt cop, who wants to eventually right the society's wrongs-essentially, because, you fall for the stupendous Singh on steroids. Every scene works, because he does; and vice versa. The net result is a movie that, within the same space, seems better than Ajay Devgn's Singham (2011). But for the middling soundtrack, it would've been better than Salman Khan's Dabangg (2010).

Either way, what you won't go looking for is the picture's plot, based on the Telugu potboiler Temper (2015). Because you already know what to expect: Singh as a hero. Sonu Sood as a villain. Villain ke haraami brothers. Hero ki abla nari sister. And the rape, and the revenge drama, that follow.

I'm unsure if one adequately appreciates how hard, bordering on the near impossible, it is to engagingly pull off a masala-melodrama such as this. Shetty knows more than a thing or two about this timeless genre. Yet, this may well be one of his rare movies where the connoisseur and the crackling masses are most likely to seamlessly converge.

As an audience, the only way to know if a film of this sort is working (for you), is when you find yourself (sometimes guiltily, but mostly in a carefree sort of way) smiling, responding, and along with a packed theatre, reacting to shenanigans on screen-whether they entirely make sense or not ain't the point.

The script can be full of holes. You hope your brain isn't. This is how I caught this picture, with folk in the front-benches-whistling, clapping, making loud noises, and then going quiet, during dramatic sequences.

This only brings back strong memories of large single-screen cinemas - on the verge of extinction - with people on both cheap and super-expensive seats, sharing entertainment as a common, tribal experience. That's where you should go for this. As if on cue, to Ajay Devgn walks in as Singham. As does Akshay Kumar, announcing his next film cop-flick with Shetty, Sooryavanshi (2019). You might think this is meant to be a Ranveer starrer piggy-backing on '90s super-stars - inhabiting the same Marvel-like super-hero, cinematic universe. Look at him. I think it was the other way round!

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Mary Poppins Returns

U/A: Comedy, Family, Fantasy
Director: Rob Marshall
Cast: Emily Blunt, Lin-Manuel Miranda, Angela Lansbury, Ben Whishaw, Emily Mortimer
Rating: 

Disney drums up age-old magic by picking up the threads of an unforgettable original which had the unassailable diva Julie Andrews mesmerize way back in 1964. This time around Emily Blunt essays the all-important role of the magical nanny whose job is to put things right in the Banks’ siblings Michael(Ben Whishaw) and Jane’s (Emily Mortimer)now adult world just as she did when they were kids – with Lin-Manuel Miranda doing a Dick Van Dyke in this Rob Marshall sequel.

The setting is 1930’s London, Michael is a widower with three lovely kids and his sister Jane is an activist who appears to have lost out on love. Burdened by debt and threatened by the bank, Michael can barely keep his head up when Mary Poppins flies into their lives and makes all the difference!

Check out the trailer here:

Director Rob Marshall manages to tie-in to the original with enchanting ease - spelling forth a magical 130 minutes of music and fantasy that keeps you reminiscing while laying out an entirely fresh scenario that’s just as trippy as the original. Marshall reteams with cinematographer Dion Beebe, to give the narrative an inveigling widescreen luster, with production designer John Myhre and costume designer Sandy Powell chipping in with their nostalgia imbuing contributions. The pre-war 1930s setting is superbly presented just as the bath-time routine, excursion in the park and journey into an all-too brittle adventure, rekindle the vivacity and colorfulness of yore. It’s a wondrous amalgamation of ideas from the past and present, merging together in synchronicity of technique and wonder that is entirely enthralling.

Also Read: Emily Blunt Got Scared With Mary Poppins Returns Offer

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The Mule
Director: Clint Eastwood
Cast: Clint Eastwood, Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, Andy Garcia, Alison Eastwood, Taissa Farmiga, Ignacio Serricchio, Loren Dean, Eugene Cordero, Robert LaSardo
Rating:

Eighty-eight-year-old Clint Eastwood’s 37th feature has him directing and acting in a drama about an elderly man whose late-life drug running — egged on by desperate circumstances — becomes a tool for heavy rumination regarding conscience, morality, and reclamation. Nick Schenk (of Gran Torino fame) fashions this screenplay inspired by the New York Times Magazine article The Sinaloa Cartel’s 90-Year-Old Drug Mule, about a true event, written by Sam Dolnick.

The original mule was Leo Sharp, a World War II veteran and great-grandfather. But, for this film, Eastwood and Schenk take some creative liberties to present a sensibility that is more Eastwood than the real-life event would oblige. The experience delineates the nearly destitute senior Earl Stone’s (Eastwood) tryst with criminality conspired by an alienated family construct, and a flagging business. Earl was never there when he was needed by his family, ex-wife Mary (Dianne Wiest) and, especially, daughter Iris (Alison Eastwood). Their rejection of him when he runs out of money may be painful to watch, but it is fairly justified in the schema of broken relationships damaged by ego trips.

Eastwood, of course, lives the part. He fits the role, but as far as the fan-image goes, he seems frailer and less imposing than he did in his last cinema outing. But that physical deterioration doesn’t take anything away from the manner in which he has constructed this slow-burning, contemplative, engaging, humorous tale, which appears to be somewhat autobiographical in the manner in which it deals with relationships that are central to the story here.

We can see that Federal agents, led by a DEA Special Agent in charge (Laurence Fishburne), and newbie Colin Bates (Bradley Cooper), trying to nail some cartel drug runners out West, are eventually going to come across this unsuspicious drug-runner. But the film is not about that cat-and-mouse chase as much as it is about a conscience finally coming awake, and Earl making robust efforts to atone for his past mistakes.

Eastwood’s mule seems to bask in the freedom that easy money brings him, and appears to be unaware of the hellish depths that the murderous cartels would reach — and that’s precisely how the film plays out. With every film, like in this one too, Eastwood’s politics also comes out, loud-and-clear. He may be intriguing as a person, but not always politically correct as an actor-director voicing his personal world-view.

Earl’s eventual redemption also comes a little too easy, given the havoc he may have engineered by his flirting with the cartel. The tone shifts are jerky, the narrative veers to the ponderous and the experience doesn’t come across as entirely fulfilling — even though the cinematography and minimalistic appurtenances lend shadowy depth to the experience.

The supporting characters don’t get much screen-time, even though they are integral to the plotting. Eastwood hogs the show here. His apparent disconnect with the consequences relating to his actions is a hurdle that’s difficult to overcome. And that’s also because Eastwood’s image still manages to over-power his latter-life performances. As an audience, we are more likely to be distraught over his real-life physical deterioration than we are about the reel life character’s disempowerment.

Watch The Mule Trailer

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Uri: The Surgical Strike
U/A: Action, Drama
Cast: Vicky Kaushal, Yami Gautam, Paresh Rawal
Director: Aditya Dhar
Rating: 

Like with several others, you may not find a single bloodthirsty, jingoistic-militaristic bone in my body. And yet, there's a scene in this film, focused on a little girl, whose father, an officer, has just died in the recent attacks on the Army base in Uri. She walks up to the casket, surrounded by soldiers in attention, at his state funeral.

The moment freezes for a second. The little child, rather unexpectedly, exults the regiment's war cry. Soldiers instantly respond. Emotions naturally heighten. It's hard not to feel a lump in your throat.

This is the sort of visceral 'josh' that the film organically excites, which makes it work, almost through and through. And yet, for a movie wholly centred on a mission and the military, it is a rare desi one—Sankalp Reddy's under-rated The Ghazi Attack (2017), being another recent exception—that never meanders from the actual minefield: Not a minute wasted on sundry peripherals, songs, love-story, and the like, that most Hindi war films (Border, LOC Kargil, Lakshya included) have had to resort to, in order to fit into a more mainstream, Bollywood format.

But, first, let's settle the apprehension that many might rightly share: Is this a propaganda picture? In so much as it places to the extreme fore the might and valour of unsung heroes of Indian Army, who risk their lives in covert operations, details of which, for reasons of state secrecy, go unreported? Sure. And that's pretty much true for all patriotic, war movies, regardless.

But, no: Is it a propaganda film for the BJP government, few months before the general elections, seeking credit for a military operation initiated/executed under its watch? Well, the magnanimous Prime Minister modeled on Narendra Modi (Rajit Kapur) is very much omnipresent. Which, going by trailers and posters of late, he's likely to be, on the big screen, over the following months, with several films based on/around him—bit like a super-hero from the Marvel/DC universe!

The PM is well represented along with his cabinet, given lookalikes of Parrikar, Jaitley, Rajnath Singh, and the hand-picked National Security Advisor Ajit Doval, played by BJP MP Paresh Rawal, as a shrewd, sharp sleuth, right at the centre of the high-table, leading the military operation from a snazzy war-room.

Check out the trailer here:

Whether this story "based on true events," liberally mixing fact with fiction, has been actively sponsored by the government or not; can tell you this, they will like what they see. Folk on the Pakistani side though come across as total 'phateechars', ever willing to sell their soul and their nation's secrets. Either way, what the endorsement from the Indian Army (its publicity wing is prominently credited) evidently earns for the pic is incredible access to top-notch military hardware, hitherto unseen in the history of Hindi films.

Supremely competent first-time director Aditya Dhar uses these weapons—sophisticated machine guns, grenades, rocket launchers, top-grade fighter aircraft—to hit home with a winning plot, over two hours, 10 minutes of stunningly shot (Mitesh Mirchandani), non-stop, military-action drama, packed with pyrotechnics that appear authentic, world-class, technically kickass.

Background score (Shashwat Sachdev) is pitch-perfect. Some of the combat sequences (Stefan Richter) are sensational. Sparks fly, quite literally; even as sentiments are firmly in place, to keep you engaged with the characters, and their emotional motivations.

Yeah, it's hard to evoke both. No better actor to lead this charge than the fully fired-up Vicky Kaushal (Raazi, Sanju, Love Per Square Foot, Manmarziyaan, Lust Stories)—bulked up like a sniper, menacingly calm as a military mind—inspiring his peers (Yami Gautam, Kriti Kulhari etc) in the film, and patrons in the theatre, with an infectious energy that is impossible to resist. Kaushal's had a phenomenal 2018. Clearly, the dream run continues.

The film is primarily set in 2016. The basic premise is known. It concerns a top-secret, low-intensity, shock-and-awe assault, or a surgical strike, on hideouts in Pak-occupied Kashmir, responsible for terror attacks across the border—more specifically, by four militants, allegedly of the group Jaish-e-Mohammed, on the Indian Army brigade headquarters in Uri, near the Line of Control, less than a fortnight before.

Very little—next to nothing—is known about these 'surgical strikes'. How does this revenge operation pan out in the picture, then? Given multiple Abbottabads being mounted, a lot like a desi Zero Dark Thirty (2012)—Katherine Bigelow's brilliant docu-drama detailing capture of Osama bin Laden. As compliments go, that's as huge as it gets. No?

Also Read: Watch video: Vicky Kaushal gives us a sneak peek into his prep for Uri

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The Second Act

U/A: Comedy, Romance
Director: Peter Segal
Cast: Jennifer Lopez, Leah Remini, Vanessa Hudgens
Rating: 

Jennifer Lopez probably fancies herself as a 'Working Girl' and that explains her producing and acting in a film that has shades of the Oscar winner mashed up with done to death romcom elements. The script credited to Elaine Goldsmith-Thomas and Justin Zackham transforms an uneducated, street-smart 40-year-old woman, Maya(Jennifer Lopez) into a winning corporate consultant – and to get there she jumps the truth about her background, gets a resume makeover and wins the confidence of the head honcho. The boss (Treat Williams) sets up two teams, one lead by Maya and the safer one led by his daughter, Zoe (Vanessa Hudgens). But no prizes for guessing who won that battle. The usual alienation from old friends is followed by a redemptive effort at truth-telling.

Peter Segal's Second Act tries to do too much. The impetus for Maya's cheat makeover comes from professional rejection - We meet Maya the day she loses out on a big promotion at Value Shop, because of her lack of an MBA and a dopey idiot gets it because he does. We see Maya reconciling with the daughter she gave up for adoption and then losing her again for a bit before they reconcile again. The same happens with her friends and colleagues from her former workplace. They are the ones who support and encourage her (to hilarious results sometimes). Corporate skulduggery notwithstanding there's also the romantic interest whom she failed to confide in. It's all too complicated rather than complex.

Check out the trailer here:

The few times the film manages to perk you up involves an impromptu dance with Maya leading her office nemesis (Freddie Stroma) onto the dance floor in an attempt to sideswipe his attempt to expose her. And another time you feel the passion is when she and her girlfriends (Remini, Lacreta, Dierdre Friel) do a "Push it REAL good" dancing sing along. The writing is not without its frivolous light-hearted banter but much of it is lost in the attempt to paint Maya in a gratifying light. This romcom is fairly bearable but not exactly likeable.

Also Read: Jennifer Lopez explains why she did Second Act

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The Accidental Prime Minister
U: Biography, drama
Dir: Vijay Gutte
Cast: Anupam Kher, Akshaye Khanna
Rating:

Given the imagery in the trailer, it is impossible to walk into The Accidental Prime Minister anticipating anything. The intent of its makers is evident: its strategic release, months prior to the election, solidifies its positioning as a propaganda film. Films are meant to have fodder for debate and discussion. And the topic of discussion here, I propose, is how Mayank Tewari, the writer of Newton (one of India’s most balanced political films) and Hansal Mehta (Shahid) came up with something as abhorrent as this.

Probably hoping to pitch this as India’s answer to House Of Cards (HOC), the film’s narrative is too incoherent to make a political statement, let alone start a dialogue. HOC, of course, made with tremendous gumption, never has a political bias. It merely mirrors the goings-on behind the closed doors of the White House. Based on the book by Sanjaya Baru, this movie attempts to make sense of power games in the corridors of the coveted bungalow No. 7, Race Course Road (the official residence of PMO). But there’s no escaping the fact that it can only pass as a run-down, Made In China version of HOC.

If at all the idea was to shame and embarrass the Congress party, the writing here lacks the desired punch. The onus of shaping the material lies in the hands of the director, and Vijay Gutte is visibly inept. Of course, the lofty and on-point casting of Akshaye Khanna as Baru and Anupam Kher as PM Dr Manmohan Singh, salvages the situation considerably, but there’s no saving the film from shoddy direction.

Baru’s book walks the tightrope carefully, making ground-breaking political revelations, but never reducing Dr Singh to a laughable figure. Even his worst critics would agree, Singh was a man of poise. On Gutte’s insistence (or so I would like to believe) Kher turns Singh into a mute cartoon, who deserves to be pitied. It almost feels like the makers want to mock Singh — mimic his voice, slouch his gait. Baru had carefully carved Singh as a fiercely loyal man, standing strong on his ideals; one who is manipulated by the Gandhis (Sonia and Rahul). Gutte never focuses on the vulnerable equations between Singh and the Gandhi family.

He, in fact, allows Khanna to get disturbingly Frank Underwood-ish, turning up the dark humour in every third sentence. Khanna is great at what he does, but he makes Baru seem more like a saffron loyalist, not a Congress insider. Gutte takes us through the hallmarks of the Congress government, from the nuclear deal to the 2G scam, in a news bulletin, decade roundup-sort of a fashion, creating the build up for the film’s Singham (PM Modi). Do we know how Singh felt through it all? That’s for another film. There’s enough to laugh about in this offering, but the joke here is that while Hollywood continues to make great content, we are still nitpicking and name-calling.

Watch The Accidental Prime Minister Trailer

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Why Cheat India
U/A: Drama Satire
Director: Soumik Sen
Cast: Emraan Hashmi, Shreya Dhanwanthary
Rating:

The 'curse of the second half' in Hindi pictures is simply so severe, especially when it comes to films with well-known faces, that even as I find myself really enjoying a movie, there's a radar at the back of the brain constantly cautioning one to only hope that the post-interval portions even live up to the first half — by half. If so, then as an audience, you're pretty much through.

Is this movie an exception in that regard? Well, it eventually starts descending to such levels of random, thoughtless spinning of the yarn that by the end of it you're not even too sure it's the same film that you had started with in the first place. And hell yeah, it begins really well, what with highlighting the academic strains of being a teenaged 'padhaku' kid, Sattu (the boy's so brilliantly cast), in a lower-middle class family in Lucknow, coaxed into cracking a coveted engineering entrance exam (they don't call it IIT for some reason). For, how else does the father who's invested all his money into his child's supposed dream see his pension scheme through?

The film shines much-needed light on a common Indian teenaged nightmare, as sincerely presented in stand-up comedian Biswa Kalyan Rath's rather under-rated Amazon Prime series, Laakhon Mein Ek (2018). While sticking to searing realism — getting its time-setting, the year 1998 right, down to baggy trousers, and Force 10 type sneakers — the filmmakers manage to give the hero, Emraan Hashmi, a filmy sort of entry, smartly slipping in a soothing ballad, as well. Well done!

Hashmi plays a one-man racketeer who sneaks in smart kids, with counterfeit hall tickets, to max entrance tests on behalf of rich children, sitting at home, paying their way to top colleges as a result. You sort of know where the film might be going with this. And, maybe, that's the problem. Proxy contestants at overcrowded competitive exams for key educational institutions, where even well-prepared students wait for Godot to get in, is a huge multi-crore, organised industry, involving a system wholly corrupted, from top to bottom. Technology would have plugged some of the holes already; one's unaware to what extent.

If you haven't heard as much about this underworld, one should legitimately blame the news media for it — particularly in the case of the 2013 Vyapam (Madhya Pradesh Professional Examination Board) Scam, for instance, where close to 40 people, most of them whistleblowers, have mysteriously died, while the investigations are still on (or not quite) —but largely under-reported in the mainstream press.

And I thought this is what the film could be about — unearthing an earth-shaking scandal that should ideally knock you off your head. But, no, this is a film that attempts to combine strong commentary on the education/examination system, with a high-paced, heist thriller, with belaboured twists and turns, while trying to balance all of it with the urban slickness and high-life that Hashmi's inevitably romantically inclined, unscrupulous characters aspire for, and achieve, in his typical capers.

Watch Why Cheat India Trailer

So whatever fault you may find in the film possibly exists in the story/script to start with. And perhaps the reason is Hashmi himself, for he can't help but get on the big screen with strong baggage of the sort of flicks that have made him the star he is. The audience is obviously to blame for it, and the fact that Hashmi remains still an under-rated actor, because he is hardly commercially lauded for parts where he wholly goes off the beaten path — Dibakar Banerjee's Shanghai (2012), I'm told, tanked; Danis Tanovic's Tigers (2018) went straight to OTT (Zee 5), both being his career's best works.

And so he goes back to being himself: the trademarked flawed hero, who eventually justifies his wily actions as a natural outcome of a multiple-choice, rote-learning system that gives very few kids a choice beyond acing it to get ahead. How a scamster like his character is the solution still, and not the issue, is beyond me. Have to say though, what the audience will empathise with is the fact that far too few fine courses/colleges exist for far too many desi children: a progressively massive problem staring us in the face and an even uglier future. This affects everyone. To be fair, the government is just as clueless on how to deal with it as this totally confusing 'pop-con' pic.

Also read: Emraan Hashmi: Change of Cheat India title is illogical, ridiculous

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Replicas
U/A: Crime, Mystery, Sci-Fi
Director: Jeffrey Nachmanoff
Cast: Keanu Reeves, Thomas Middleditch, Alice Eve, John Ortiz, Emjay Anthony
Rating: 

The bland, expressionless Keanu Reeves as a scientist is a hard sell for even the most gifted filmmaker so one can't understand why he was chosen to lead the cast as an obsessive scientist wanting to clone his family back to life after a drowning accident. And that's not the only bad choice here. The story itself never develops beyond the perfunctory -allowing for quick jump forwards into sci-fi territory that doesn't appear conclusive in the least. The script appears to be written by novices who have little idea about the subject matter. Neither the Director, the tech team nor the cast seem to believe in this story. So they all appear to be playing a game of make-believe that only they enjoy. For the viewer the experience is sheer tedium.

Playing God in a high tech world is not a new concept but the treatment, tone and momentum must be good enough to gain attachment and believability. There's no such thing here. At no point are we ensnared by Will Foster's (Keanu Reeves) need to bring back his family from the dead. Neither his guilt nor his love for them are established here. And his corralling of his lab partner Ed (Thomas Middleditch) for support, is also not believable in the least. The talk of neural maps, synthetic brain, algorithms and consciousness sounds like mumbo-jumbo in such an unbelievable set-up – even when it's done in a futuristic facility called Bionyne.

Check out the trailer here:

When Will persuades his friend Ed to dispose the bodies of his dead family members it sounds insane and when he pretends to be his kids and responds to text messages from their friends it becomes all the more ridiculous. We never see his grief or experience his pain. And that's also because Keanu Reeves doesn't go beyond harried and lost in terms of expression. Both writer Chad St. John and director Jeffrey Nachmanoff don't appear to have figured out what exactly they wanted to convey here. They just run with the tide and make a mess of it. There's no style or mood to hold this sort of idea through. Nachmanoff hits the bland and straightforward route – on e that leaves the audience totally distended and discontent. This is the kind of hare-brained unbelievable stuff you wouldn't waste your hard-earned money on!

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One Less God

U/A: Drama, Thriller
Director: Lliam Worthington
Cast: Joseph Mahler Taylor, Sukhraj Deepak, Mihika Rao
Rating: 

As a film that hopes to capture the terror heralded by the 26/11 attacks on Mumbai, 'One Less God' is rather feeble, nondescript and ineffective. The scope is narrow and the budget too small to do justice to a disaster that is amongst the most unforgettable in recent history. This is drama written around a real-life crisis but at no point does it feel real. The 2008 Mumbai attacks included a series of terrorist strikes that felled 164 people across south Mumbai - carried out by 10 members of the Laskar-e-Taiba, an Islamic terrorist organisation based in Pakistan. But none of that drama or tragedy is captured here with any grit or enticement.

The Mumbai siege is presented in a slap-dash fashion that never really gets the audience involved. The focus is largely on the Taj Mahal hotel and what it's guests went through in the final hours before their falling victim to the terrorist onslaught. The film focuses its efforts on the men and women attempting to survive, while intermittently cutting across to the two men perpetrating the attack. The bits of humour that creep in at odd times appears to be in bad taste.

Check out the trailer here:

Everything here seems rather pretentious and ineffective. The general cross-national mix of characters, their touristy experiences and the aftermath of the siege may have some diverse moments but we never feel attached or interested enough to be affected. There are barely any validating moments here. The performances are bad, the direction is sloppy, there are continuity breaks that look ridiculous, the art direction and production values leave a lot to be desired. Even the attempt to go one-up on the much awaited Dev Patel, Armie Hammer, Nazanin Boniadi, Jason Isaacs starrer 'Hotel Mumbai'- (a film that covers the same territory), by releasing earlier, reeks of Opportunism.

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Glass

U/A: Drama, Mystery, Sci-Fi
Director: M. Night Shyamalan
Cast: Sarah Paulson, Bruce Willis, James McAvoy
Rating: 

Shyamalan’s earliest films (The Sixth Sense, Unbreakable, Signs) were brilliant, they intrigued, shocked and entertained all at the same time. The same cannot be said about the films that came later. The big budget ones especially were all jumbled up and schlocky. It felt as though the director never really achieved his vision. ‘Glass’ is a far better effort in terms of visual context but it fails on cohesion and lucidity – especially in the third act dominated by Shyamalan’s signature twists.

Glass, a sort of sequel to both Unbreakable and Split, spends its two hours plus without a strong story to tell. It is every bit as inconceivable and snaky a film as his worst but it still has a psychological depth that could have amounted to much more - if only the director had been a little more focussed. There’s so much he is wanting to say that it all gets lost in the confusion and incoherence brought on by a lack of emphasis.

Glass opens with Dunn(Willis) tracking down Split's villain, Kevin Wendell Crumb aka 'The Horde' (James McAvoy), a serial killer suffering from multiple personality disorder who has been preying on girls in the Philadelphia area. After some visceral action Dunn and Crumb are captured and taken to a secret wing of a psychiatric hospital also housing Mister Glass(Jackson) – to be studied by Dr. Ellie Staple (Sarah Paulson), a psychiatrist obsessed with decoding the phenomenon of men who believe themselves to possess the powers of comic book characters.

Check out the trailer here:

This is an indie film (in partnership with Blumhouse)with no big studio backing it so there are budget constraints which Shyamalan could have overcome by running a tighter ship. Shyamalan manages to get close to poignant and memorable but the third act(rather threadbare) pulls you off that track all the way through. The twists don’t make much sense and in fact renders the entire work rather directionless.

The build-up is pretty good even though the action is all visual, internalised and verbose but the third and final act fails to make something out of that. The director and DP Michael Gioulakis manage to compose some fascinating and striking visual mayhem but it doesn’t amount to anything powerful. If you followed ‘Unbreakable’ and ‘Split’ then there is a chance that you might cotton on to Shyamalan’s wavelength but for a large part of the audience this is going to be a film without a strong sense of purpose.

James McAvoy is simply the best thing about this movie. His enthusiasm and effort in playing out multiple personalities is extraordinary. Jackson wakes up from his stupor a little late and loses out on creating an impact while Willis looks on strategically- the thing he does best I guess. This is at best a baffling and inconsistent exercise in cinema!

Also Read: James McAvoy on Glass co-star Bruce Willis: He is most chilled dude

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Manikarnika: The Queen Of Jhansi
U/A: Biography
Director: Krishna Jagarlamudi, Kangana Ranaut
Cast: Kangana Ranaut, Danny Denzongpa, Ankita Lokhande
Rating:

As a film, this might seem a bit too ultra-patriotic/nationalistic for the fact that it's set in the mid 1800s, when the idea of India itself wasn't as concrete, let alone the concept of "Swarajya" (used here often), which was first popularly coined by Lokmanya Tilak, only born in 1856. The film itself though, right in its opening disclaimer, washes its hands of any pretense towards complete, uncontestable historical accuracy, which is only for the better. Helps you view it as a fabulous legend/fable first.

Be that as it may, the fact that the Indian Revolt/Rebellion of 1857, that began with the Sepoy mutiny, with Mangal Pandey firing the first shot, is widely considered the First War of Indian Independence, among Indians, can't be denied either. At the centre of this piece though, with absolutely no other players even in the periphery, understandably, is Rani Lakshmibai, born Manikarnika, a bibliophile 'brahmin' girl, raised by the Peshwa as a warrior, who eventually takes over as the Queen of Jhansi (currently in Uttar Pradesh). Yes, this is a big-budget, wholly star-driven, action-packed, period picture. Except the star is female, which is rare enough. Even if you consider Sanjay Leela Bhansali's Padmaavat (or Padmavati), where Deepika Padukone played the eponymous character all right, but the film focused on Ranveer Singh as the antagonist Alauddin Khilji far more. Speaking of which, this is the sort of passion project that Bhansali, as master of magnificence (Padmaavat, Bajirao Mastani, Ram-Leela), has excelled in to a point that subsequently similar works, by most other craftsmen, are likely to somewhat pale in contrast. And so while the inspirations here are obvious, it might be unfair to compare still. This holds just as true for any allusion to SS Rajamouli's astoundingly massive Baahubali, given that the screenwriter (Vijayendra Prasad) is the same.

For, the story here has to be enjoyed for its own worth. It relates to a legend that pretty much remains unsurpassed in Indian history—of a woman, who lost her husband, the king, and her little son, the heir, giving way to the British to take over her kingdom, with help of locals (as they almost always did), and a 'doctrine of lapse', which applied to heirless princely states.

Instead of wallowing in widowhood, as per tradition, the Queen got on the white horse-back, and led a full-frontal attack against the mighty British, all by herself, holding fort until the point that she could, and then creating alliances, organizing her brigade, to go at the Brits all over again. Her valour is a common, modern metaphor. You see a fearless woman, and inevitably go: "Aa gayi Jhansi ki Rani!"

Frankly, as a public figure from Bombay films, I can't imagine anybody as naturally earning that sobriquet as Kangana Ranaut. Dainty but fierce, Ranaut plays Rani Lakshmibai with the ferocity that suits her character best. She leads the charge not just as an actor, but also as director, the baton she took over midway through the making of this film. One can't help but conjecture if there are really two separate movies here, given that two directors were helming it at different times.

Well, there are two huge battle sequences in the picture. And one could argue that the second one, the climax, in its tone and shot-taking, looks considerably different from the first. But then, that could just be me as audience noticing, because consciously searching. Either way, there is nothing to hugely fault this film on technical competence, and indeed the scale at which it's been mounted.

Watch Manikarnika: The Queen Of Jhansi Trailer

The sets are grand. Extras, both Brits and desis, fill up the screen. War scenes look reasonably authentic. Mortal combats appear real. Riding through the artillery lined-up on either end is Manikarnika with her sword, the ultimate symbol of female power, from around the time that feminism as a word had only but been coined (in the West). It is an aspect that's thankfully quite dialed -down here. You can see it. You don't need to be incessantly told.

We've all read about Rani Lakshmibai in middle-school history. But we remember her best from the Allahabadi poet Subhadra Kumari Chauhan's long poem with the famous descriptor, 'Bundele har bole ki muh, humne suni kahani thi. Khoob ladi mardani, who toh Jhansi wali Rani thi.' A genuine, soul-stirring tribute to her phenomenal heroism can at best hope to come close to Chauhan's immortal lines. Yes, this one does.

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Thackeray
U/A: Biopic
Dir: Abhijit Panse
Cast: Nawazuddin Siddiqui, Amrita Rao
Rating:

Rather than a biopic, Nawazuddin Siddiqui's Thackeray tends to become a hagiography that doesn't offer an insight into the larger-than-life personality that was Balasaheb Thackeray. If you've wondered what lay beneath this powerful leader, or how he rose when the odds were against him, be warned this film doesn't answer those questions. Which is not to say it doesn't work.

Director Abhijit Panse's offering is an interesting drama for those who don't know much about Thackeray. The protagonist's journey from being a cartoonist at a newspaper to becoming a ruthless leader, insistent on the progress of the Marathi manoos, is captured well. But is this movie an image makeover exercise for the party, which is at loggerheads with its long-time ally, the Bharatiya Janata Party, ahead of the Lok Sabha elections this year? It definitely feels so. Interestingly, while the film starts with a disclaimer which reads that the makers don't support violence in any manner, they haven't shied away from showing Thackeray as someone who was in favour of using violence as a means to instill peace.

The film opens with the leader's trial in a Lucknow court as he is being questioned about his role in the demolition of Babri Masjid. When he is asked about his supporters tearing down the mosque, he replies, "Nahi, nahi. Toda nahi, saaf kiya." The film then travels between Thackeray's past — stylishly shot in black and white — and the courtroom where he has to justify his deeds and decisions.

From the rise of the angry Marathi consciousness against the dominant South Indians in Mumbai to the killing of Krishna Desai, a member of the Communist Party, to Thackeray supporting the Emergency because he believes that the country would finally be disciplined — various chapters present the protagonist as a tyrant.

The problem, however, lies in the most important chapter — the '93 Bombay riots. The film skims over the matter, and shows it as a conspiracy to kill Thackeray rather than people avenging the post-Babri riots, as is popular knowledge. The storyline then leaps to the bomb blasts that shook the city, and unsurprisingly, Thackeray and the Shiv Sena, rather than being depicted as the instigators of the communal riots, are shown as the city's saviours.

Siddiqui is riveting as Thackeray. It is his terrific performance that makes you invested in the film even when it trudges down a predictable path. But he falters with his voice; he can't match the deep baritone of his subject. Amrita Rao is convincing as Meena Thackeray. The movie ends with the victory of the Sena-Bharatiya Janata Party alliance in the 1995 state elections; the makers also use the opportunity here to announce the sequel. Produced by Shiv Sena Member of Parliament Sanjay Raut, the film barely goes beyond being the audio-visual version of Sena's official newspaper.

Watch Thackeray Trailer

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Mary Queen Of Scots

U/A: Biography, Drama, History
Director: Josie Rourke
Cast: Taylor Russell, Logan Miller, Deborah Woll, Jay Ellis, Tyler Labine
Rating: 

Director Josie Rourke and writer Beau Willimon's attempt to give two warring Queens, the widowed Mary Queen Of Scots (Saoirse Ronan) and Queen Elizabeth I (Margot Robbie) of England, a larger voice in their historic confrontation, makes for fairly compelling viewing. This is a tapestry of discontent woven with a rare female gaze and allows for greater involvement in the royal proceedings.

Mary, following untimely widowhood, returns to her native Scotland to assume her throne. Her half-brother James Moray (James McArdle) is not enthused and his peace-keeping allegiance to the Protestant regime in England may have well become meaningless. Mary's cousin, Elizabeth I, monarch of England is also wary of Mary's far more valid claim to her own throne. So the intrigue and betrayals begin. And it's the men on both sides who play out the deceit in bloody fashion.

Check out the trailer here:

This is largely a biopic on Mary, Queen of Scots beginning with her return to the throne, subsequent precipitous marriages, the power struggle with her brother and several other aspirants to the throne and eventually her tragic death on the orders of her cousin. So there's more than enough drama to be had. Unfortunately, clarity is not a strong point here. Framed largely as per the version put forward by John Guy's biography of the Queen, the film has some controversial moments but fails to concretize the reasoning for her eventual beheading.

We get to meet Mary's ladies-in-waiting, her attempts to solidify her claims to the throne of England, her fight with the clergy who are largely protestant, her brother James' attempts to undercut her authority, John Knox's(David Tenant) outrage at having to know-tow to a female ruler and Elizabeth's helplessness and insecurity in having to deal with a more beautiful, younger claimant to her monarchy. Most of the narrative gives vent to Mary's life story but towards the end the focus shifts to Elizabeth's, thus creating a dichotomy that is a little difficult to empathize with. This filmed drama is largely faithful to the established record, has authentic fashionably period costuming and make-up and intensely committed performances from the two leads as well as their co-actors in crucial roles. So it's a vividly engaging experience even if not an entirely lucid one!

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The Escape Room

U/A: Drama, Mystery, Sci-Fi
Director: Adam Robitel
Cast: Taylor Russell, Logan Miller, Deborah Woll, Jay Ellis, Tyler Labine
Rating: 

These so-called 'live' reality game movies occupy a sub-genre of their own and Hollywood has been churning out quite a few of them following the Young Adult's obsessive fixation with material that encompasses it in entirety. But they are not all as thrilling or compelling as the first few that made it to hit franchise levels.

'Escape Room' is basically a set-up to get rid of six nondescript lone survivors through a series of life-threatening puzzles designed to test their survival instincts. And why pray does that have to happen? There's not much explanation here for that. Just swim with the tide, is all they ask. Unfortunately, it's not that easy for the audience because the viewer has to constantly suppress the disbelief that springs up every time the participants go through haranguing moments that willy-nilly put their lives in peril.

Check out the trailer here:

This is a far more perilous version of the more recent spurt of high-risk Telly games and since we don't get to know or understand the participants' motives (other than the 10,000 dollar prize money) it's difficult to empathize or find a reason to pay attention to their trauma. The writers also use some uninteresting physics theory to justify the random six players' participation in a largely predictable schema of disjointed thrills. They are made to go from intense heat to intense cold, then to a gas chamber, a space crusher and a few more vicarious routines before the winner can be decided.

While the production design is vivid, there's not much holding it together. Nik Dodani as nerd Danny, Jason Ellis as irritating yuppie Jason, Tyler Labine as trucker Mike, Deborah Ann Wolf as the tough, capable war vet Amanda, Logan Miller as a young alcoholic Ben and Taylor Russell as a withdrawn college student Zoey put in imminently indistinct, forgettable performances. The writing is largely formulaic too and the helming lacks serious edge. There's really nothing here to hold your attention for the near 100 min runtime.

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Ek Ladki Ko Dekha Toh Aisa Laga
U/A: Drama, Comedy, Romance
Director: Shelly Chopra Dhar
Cast: Sonam Kapoor, Anil Kapoor, Juhi Chawla, Rajkummar Rao
Rating: 

Towards the film’s climax, Rajkummar Rao, who plays playwright Saahil Mirza in the film, tells those watching his play to do so ‘from the heart’. It’s imperative that we follow this instruction, because, like with every Bollywood film, it’s easy to dismiss this one on many technical frailties. But, what you can’t fault, is its intention to depict a love story for what it truly is — a love story. Why does it matter if it is about a woman falling in love with another woman?

Written beautifully by the prolific Gazal Dhaliwal, Ek Ladki Ko Dekha Toh Aisa Laga breaks perceptions to introduce to us what normal truly implies — being compassionate about one another’s uniqueness. The point, in this case, isn’t to merely celebrate homosexuality and treat it as the regular. It attempts to reiterate that even personal choices, like those of marriage, career, or love, must be respected. Being rendered claustrophobic shouldn’t be the outcome of accepting an emotion that goes against the tide of societal norms. The narrative’s tapestry is woven with care and compassion; it evidently comes from a personal space, for Dhaliwal.

Watch the trailer here...

The film kicks off with a play about love in the age of Tinder. Leading lady Sonam K Ahuja’s Sweety brutally criticises this as “upar-upar ki love story”. Sweety is forced to live a life of shame. A closeted lesbian, she struggles to come to terms with her own orientation. Her family’s unwillingness to acknowledge it, a brother who pressurises her to ‘fix’ herself, and persistent loneliness, makes her journey cumbersome.

Sonam plays Sweety with charm and earnestness, and is yet uninhibited when she must be fierce. It takes courage to back a script of this nature, and she gets full marks for doing so. Rao’s Saahil shows compassion in his scenes with Sweety. Another cast-member, Anil Kapoor is affable. Given that he is as closeted as his daughter in the film — Anil’s character is a chef at heart who is stuck in a business of garment — the final scene of acceptance seems to come from a place of empathy.

What doesn’t work, however, is director Shelly Chopra Dhar’s constant ploy to whip up mystery around Sweety’s orientation. Her big revelation comes with orchestrated music, a futile attempt given that the title and trailer are revealing of the plot. There is also a latent desire to underplay the theme. Sweety’s partner, Kuhu (played beautifully by Regina Cassandra) gets a mere 15 minutes of screen time. Yet, it doesn’t particularly take away from the final product.

Commendably, Dhar manages to keep the film from becoming preachy. But, what she achieves with this feat, she instantly loses when Sweety says Saahil must be a saviour for others like her. It is offensive, given that it treats heterosexuals as the all-powerful, while the unique as those who need rescuing. Despite the faltering and the flaws, this one is a hit for every romantic. It’s never too late to celebrate love without labels, right?

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Alita: Battle Angel
U/A: Action, Adventure
Director: Robert Rodriguez
Cast: Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali
Rating: 

This film, which has Robert Rodriguez and James Cameron working together with Peter Jackson's visual effects, has wonders never experienced before in cinema. The film may have taken a long while (twenty years) coming to screen, but the end result is fantastic enough to keep you asking for more. A manga-based action thriller, James Cameron's $200 million-worth, long cherished dream is aimed at young adults seeking fresher pastures from that of The Hunger Games variety and hopes to make it to bigger box-office returns than that sub-genre hit-starter.

Cameron started on the cinematic adaptation of Yukito Kishiro's original manga comics way back in the late 1990s, (much before Avatar), but the phenomenal success of Avatar had him relinquishing directorial control to Rodriguez while holding firm as screenwriter (with Jon Landau and Laeta Kalogridis) and producer.

The resultant kick-ass cyberpunk adventure may not be as original as he imagined it, but it has certainly got all the chops to make it to a long-term fan-following on its own.

The filmed adventure is set 500 years from now, in Iron city - a junkyard that is a wasteland for the flying citadel of Zalem. The city is peopled with AI controlled cyborgs mingling with real humans in a community so tech-spangled that it's hard to decipher one from the other. Kindly Doctor Dyson Ido (Christoph Waltz) reconfigures a former robot superweapon and rechristens her Alita (Rosa Salazar), after his own daughter. I do, who moonlights as a hunter-warrior, tries to protect the young Alita, but her mind has memories of a past that keeps haunting her present. She even develops a crush on handsome robo-junk dealer Hugo (Keean Johnson) and eventually ends up becoming the super weapon she once was.

The plotting here is a little too jumbled up, ensnared as it is in creating set-piece thrills and out-of-this-world experiences. Stereotype characters and genre tropes make the engagement less than wondrous. The tech-specs are certainly the best we've seen in a long time, the IMAX imagery is splendid and beguiling and the vivid expressions of the actors make it feel all the more real and intimately experiential.

Watch the trailer of Alita: Battle Angel

Even though Salazar is the most riveting and fascinating of characters, she does feel a little artificial at times. The CGI blends in effortlessly with digitally morphed motion-capture performance, but the artifice can be felt - too strongly at times. The array of side characters also feels like old hat killing the originality of the experience and allowing déjà-vu to creep in. Even so, there's no belittling this explosive cutting-edge adventure that takes cinema thrills to never-seen-before heights!

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The Lego Movie 2: The Second Part
Dir: Mike Mitchell
Cast: Chris Pratt, Tiffany Haddish
Rate: 

The Lego universe gets a sequel intended to keep the young fans happily engaged, but the film fails to come close to being entertaining, even if we whittle down expectations and limit them to their target audience.

The novelty that the first Lego movie had going for it, has, of course, worn off. First-off, the script by Phil Lord, Christopher Miller and Raphael Bob-Waksberg goes intergalactic in its attempt to give Lego Batman a life-partner. Their resulting union is meant to spread the message of peace and love in the universe. That's a place where no Batman sequel has gone before, and therefore, seems a little too contrarian and far-fetched to stomach. Even the threat to Bricksburg by Lego Duplo invaders from outer space, seems like a marketing gimmick rather than a believable story idea.

The usual characters Emmet (Chris Pratt) and Lucy (Elizabeth Banks) end up having to confront an alter ego that appears more sinister and powerful than it seems at first glance. The belief that kids from kindergarten and pre-primary school will relate to this sort of story ideation is preposterous. That they make it all link to everyday family friction may seem commendable, but the consequent labelling is not something to be proud of.

The ideation here is musty, the characters are no longer likeable, and the story is too tortuous to be considered engaging. Garishly coloured animation, sentimental live-action montages meant to connect the dots, and musical numbers (including a not so catchy, Catchy Song) make it all the more off-putting. There's over-abundance of elements here, which makes the experience jarring for the senses. The puns being bandied (including Ourmomageddon) about are silly and patronising.

The stray humour sputters to life in intermittent gurgles, but it's too little to be entertaining. This sequel reeks of commercialisation, and there are no two ways about that!

Check out The Lego Movie 2 trailer here:

Also read: Fun facts about The Lego Movie 2 we bet you didn't know 

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Amavas
U/A: Horror
Dir: Bhushan Patel
Cast: Sachiin Joshi, Nargis Fakhri
Rate: 

The experience of watching a Ramsay Brothers horror is unique. It's almost synonymous to buying a ticket for a comedy. Dealing with Amavas, is pretty much the same. It's the modern-day equivalent to a Ramsay product. Do you love it? Yes, to bits! It's a laugh riot. But, that's not how director Bhushan Patel designed it to be, which is why, it's disappointing.

Patel, who previously directed the Bipasha Basu and Karan Singh Grover-starrer Alone, takes the tomfoolery a notch higher with this film. We are introduced to the familiar 'praacheenkal' knowledge of 'bhooth-pret'. There is a haunted mansion - resembling a cross between that in The Conjuring and Sushmita Sen's Vaastu Shastra.

Familiar tactics - creaking doors, spooky scores and shadows - are employed to evoke fear. Yet, the idiocy on display doesn't occupy my mind. What does is the fact that viewers could have been spared from the goings-on had the cast simply travelled to Paris. Let me explain. Karan Ajmera (Sachiin Joshi) is coaxed by girlfriend Aahana (Nargis Fakhri) to take a trip to the former's Brit mansion, instead of taking off on a romantic getaway to the French capital. On arriving, skeletons begin to tumble out, and they learn the reason behind the house being locked up for eight years. All hell breaks loose.

Even the slightest mention can be a spoiler in a horror, so we'll leave the details aside should you wish to catch this one. But, we can reveal that this uninspiring story ticks every clichéd check box in the horror rule book, including possessed bodies, hapless spirits, barren trees, a grave and temple bells. In addition, there's a half-faced doll, and a bored ensemble of supporting actors who look more clueless than the doll in question. As lovers, Joshi and Fakhri certainly lack chemistry. In fact, the latter's visible disinterest even overshadows Joshi's ineptness.

What is really horrifying is the depiction of the psychiatrist, played by Mona Singh. 'Calm down' or an increase of medicinal dose, are apparently appropriate responses to paranoia and migraine. While the boyfriend battles serious issues, the girlfriend busies herself by exploring the estate, and playing hide-and-seek.

The incoherence is baffling, and one is only compelled to wonder why a team of qualified artistes would create this kind of cinema. But since the movie doesn't take itself too seriously -the quality of VFX and continuity being obviously ignored - it is best relished as a comic caper.

As for Fakhri, who makes a comeback of sorts to Bollywood with this film, she had more meat in her five-minute act in the American thriller, Spy (2015) than she does here. Pro tip for the writers - Just send them to Paris next time. It's always a good idea!

Also Read: Nargis Fakhri annoyed with press prying into personal life; leaves Amavas promotions midway

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Gully Boy
U/A: Drama
Director: Zoya Akhtar
Cast: Ranveer Singh, Alia Bhatt, Siddhant Chaturvedi
Ratings: 

What does it take to so gently bottle up an overflowing volcano like Ranveer Singh, into a completely subdued bloke like Murad? Who is yet someone with such seething anger within, wholly internalised, that you can almost sense his brain inhaling life and surroundings, and exhaling potent words of poetry, in response? It's the script/story, Gully Boy, of course.

Kya bolta hai, bhaay! Lead actor Singh, like this newspaper, grew up in the city this film is set in. He's perhaps, for the first time, playing a character so close to home, and yet so far. For it's also a city that so perennially lives in the cross-section of classes, that all it takes for you to see Bombay and Mumbai at once, is to draw your curtains wide, from any point in the bustling metropolis.

Singh's leading man Murad operates from right at that casual intersection - a college-going temp driver during day (or night), and an amateur rapper, 24x7. There's, on the one hand, plush interiors of high-rise Bombay. And, on the other, stuffy squalor of the city's lower-deck (worthy of poverty tourism), shot by Jay Oza, in a natural gold-dust palette - almost like a dream.

Around these two natural extremes, and with several layers between, Gully Boy is foremost a befitting tribute to Bombay - among very few places in the world where popular art has traditionally existed as possible exit-route for someone born into rags, or resigned to fate/naseeb.

A lot of the times, it's taken a full chawl/slum to raise a star (lyricist, composer, actor, name it). Besides, Internet has made showbiz redundant, making it possible for anyone to pole-vault into stardom, with growing hits, likes, and shares on social media - a fact that was equally well tackled, around a Baroda girl, in Advait Chandan's recent Secret Superstar (2017). And it's the same Internet providing access to inspirations, worldwide.

This is in that sense a global story with a Mumbai heart - totally bereft of any obvious, on-screen self-awareness. Only fair that it should come from director Zoya Akhtar (Luck By Chance, Zindagi Na Milegi Dobara) who, if I'm not mistaken, first developed deep interest in filmmaking through Mira Nair's iconic Salaam Bombay! (1988).

Not one to make gender distinctions among directors, or indeed actors (talent's talent, of course), but I do feel it is Akhtar's deft touch that allows for the female lead character (25-year-old Alia Bhatt: astoundingly amazing, almost as always), and her life's story and insecurities, to take root, and equally flower within a film that is essentially centred on two Mumbai, local, raapchik Rap artistes.

And there's as much to be said about the fact that while the film entirely belongs to Singh, it's his co-rapper (brilliant debutant Siddhant Chaturvedi), who gets to walk around with all the swag instead. It's the interplay between the main and minor characters, spot-on twang, dialogues (by Vijay Maurya), and indeed a superb play-list (put together by Ankur Tewari) that truly makes this movie, the food of love - at 155 minutes, very much a long main course, too.

Maybe because I watched Gully Boy among an altogether Mumbai audience, or perhaps it would the same anywhere: Never have I observed folk at a press preview periodically break into loud claps during key dramatic sequences, especially given that the scenes have been quite subtly staged, in fact. This is a new kind of 'Angry Young Man' movie, in effect - seamlessly merging sub-culture with pop mainstream.

Also Read: From Scarlet Macaw to Unicorn - Ranveer Singh's flora and fauna inspired clothes are hilarious

People in my hall, or indeed outside it, would have first heard about a booming, Mumbai Rap/Hip-hop underground scene, with open-mic nights, and proper gigs at venues like Anti-social (also referenced in the pic), only a few years ago. It's almost at the same time that stand-up comedies in the city began to draw totally untested, raw greenhorns concentrating on the all-important self-expression - or content (which can't be taught) - and then, delivery (which can be learnt).

Rap, or Rhythm and Poetry, you can tell, similarly opens lines of (a very visceral form of) communication - between heartfelt (often antsy) words, thumping beats, and the crowds that instantly relate to both.

This film, as per its opening slate, is a "shout-out" to budding Mumbai stars Naezy (Naved Sheikh) and Divine (Vivian Fernandes). Their story, and of desi rap itself, is still unfolding, as we speak. When it's written in hindsight, I'm pretty sure, this film will be considered, the high-point, if not the turning point, for the genre, after all!

Also Read: Exclusive: Naezy on Gully Boy: People are looking at us like we're pioneers of Indian hip hop

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The Wife
Director: Bjorn Runge
Cast: Glenn Close, Jonathan Pryce, Christian Slater
Rating: 

The two lead performances are what make The Wife so special. In this unsettling drama - an adaptation of the 2003 Meg Wolitzer novel by Jane Anderson - Glenn Close plays Joan, the wife of a Nobel Prize-winning writer Joseph Castleman (Jonathan Pryce).

Directed by Bjorn Runge, The Wife opens in 1992 when Joe and Joan Castleman, in their Connecticut home, are trying to fall asleep when they get a call from the Nobel academy, informing them of the prize. It's their moment of triumph after 40 years of struggle with the written word, in which Joan, supposedly, has played a largely complementary role. Of course, there are flashbacks that hint at her own phenomenal ability to write prose, stifled by a marriage that demands she subjugate her talents to a life of reflected glory in a period (late '50s and early '60s), where women writers were not given the importance they command today.

There's no great suspense or mystery powering this tale of a breakdown that spirals into tragedy at the crowning moment of an author's accomplishments. In fact, Runge doesn't appear to be as interested in developing the suspense as he is in showcasing the unravelling of a suppressed human mind.

Close literally steals the thunder with her role as the devoted wife of a celebrated novelist. She is the keeper of his deepest, darkest secret; a stunningly nuanced expressionism that is more than likely to take your breath away. The restraint and modulation she brings to the role are simply phenomenal. It's a performance that is deservedly walking away with a slew of awards.

Pryce is no mean performer either. His role may not garner much sympathy, but his act complements that of Close so well that you begin to believe in their togetherness.

The Wife is a little compact and contrived, given its novel origins. The attempt to complicate matters for the Castlemans by showcasing their troubled relationship with their budding novelist son, David, seems passé. Also, Joan's seething frustrations don't seem completely justified, even whilst considering the period they take wings in. While the movie is not a great piece of work, the lead artistes definitely are worthy contenders for the awards.

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Total Dhamaal
U: Action, Adventure, Comedy
Director: Indra Kumar
Cast: Ajay Devgn, Anil Kapoor, Madhuri Dixit Nene, Arshad Warsi, Jaaved Jaaferi, Riteish Deshmukh, Sanjay Mishra
Rating: 

The first thing you notice about this Hindi film (or at least I did) is that it plays with English subtitles. Not that most need it; but great relief, nonetheless. For I had returned from the same Mumbai theatre only the evening before, within the first minute of a Malayalam film (a heavily recommended Kumbalangi Nights), having realised that the pic had no English subs, and people were laughing at jokes (presumably), that I couldn't access.

Would Total Dhamaal, in a language you didn't understand, be watchable still? Technically there is hardly a plot/story. So you'll follow what's going on, regardless. But this is the sort of deliberately-sasta, kaam chalau comedy that works on simplest set-ups, and pay-offs - or punch-lines - that you ought to be in sync with. Some jokes work - at a pure comic timing level. Several don't. But that's really what you walked in for. For the record, the first Dhamaal (2007) had entered theatres hot on the heels of the fab Golmaal (2006), with Arshad Warsi common to both - making the former seem like pretty much a sequel to the latter. Modelled along the lines of the Spencer Tracy epic It's A Mad Mad Mad Mad World (1963), Dhamaal actually had a lot of dhamaal going for it.

Ever since, Golmaal has turned into a four-part, money-spinning franchise (or as Devgn calls it, his "retirement plan"). As have similar all-star comedies from the time - Housefull (the fourth instalment is on its way), Kya Kool Hain Hum (in the screwball, sex-com space), Masti (there've been three so far - directed by Indra Kumar, as well).

This is the third in the Dhamaal series, and as a ride, perhaps mainly intended for kids, if you consider the amount of slapstick (instead of adult) humour, stereotyped 'Madrasi', Bihari, Gujju kinda gags, and tonnes of fine VFX paraphernalia - collapsing bridge, rickety helicopter, cute animals bumbling around in the farm, folk either hanging or flying off ledges… This is besides a lot of self-referential Bollywood one-liners that appear as stuck in time as, of course, the picture itself.

And so the password to open a door is 'one-two ka four; four-two ka one' as Lakhan, or Anil Kapoor, jumps off a wall. 'Ek do teen' as in the Madhuri Dixit Nene song is referred to, since Dixit is in the movie, along with Kapoor. Rohit Shetty is summoned in a line while cars fly. Ajay Devgn is of course the dude. His sidekick, Sanjay Mishra, whose refrain, "Dhondu, just chill," made him a superstar with Shetty's All The Best (2010), a similar mad-cap comedy, gets, "Bro," a new takia-kalaam here.

But my favourite guys in this movie have got to be Adi, and his man-child partner Manav (Arshad Warsi, Jaaved Jaaferi). Glad they've survived the franchise's original line-up (the only ones to, besides the perennial ensemble-com favourite, Riteish Deshmukh).

The entire lot is after a Rs 50 crore booty. All they know is that it's kept at a zoo. And with presumably someone called OK, which is what you must feel like - never mind what happens in the movie thereafter. Anything I say about this expectedly total dumb maal, should be construed as boring old me, coming in the way of your heightened, harebrained entertainment. Already have; read no further!

Also Read: Exclusive: Ajay Devgn on Total Dhamaal: It's very difficult to make people laugh

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2019 Oscar Nominated Short Films
U/A: Action, documentary
Director: Reyka Zehtabchi, Rodrigo Sorogoyen, Marianne Farley, Jeremy Comte, Vincente Lambe, Guy Nattivi
Ratings: 

This anthology film features five Oscar-nominated short films each in the Live Action category and one short documentary set in India. The live action line-up includes Madre, Fauve, Marguerite, Detainment, and Skin.

The documentary film Period. End of Sentence by Reyka Zehtabchi from the USA, tells the story of women, in a rural village just outside of Delhi, fighting the deeply rooted stigma of menstruation in India. It's factual, hard-hitting and exposes India's hinterland underbelly that puts premium on dogmatic tradition and self-defeating old school beliefs.

Stills from Detainment

Madre (Mother), a stirring short from Spain directed by Rodrigo Sorogoyen, has a single mother enveloped in a living nightmare - having to deal with her seven-year-old son, who tells her he can't find his father who he was vacationing within the French Basque Country. The film is a taut, frightening thriller that grips you till the end.

Marguerite, the short from Canada, by Marianne Farley, opens up locked-up memories through an evolving friendship between an ageing woman and her nurse, thus allowing her a sort of redemption from all the hurt and guilt accumulated over long lonely years. It's a human story that allows emotions to creep in steadily and eventually makes the precarious journey through memory lane a fulfilling one.

Fauve, another Canadian short, by Jeremy Comte, deals with an innocent, seemingly harmless power game between two boys that eventually turns scary. It's a stirring indictment on the brash, confrontational, competitive arrogance that has enveloped every aspect of young life today.

The most shocking of the lot are, of course, Detainment and Skin. Vincent Lambe's Detainment, a short from Ireland, based on the James Bulger case - for which two 10-year-old boys are detained by police under suspicion of abducting and murdering a toddler. It's a gruesome and harrowing tale told through interview transcripts of the case and the tension-ridden treatment is bound to leave you disturbed and despondent.

Skin, a short from the USA by Guy Nattiv, spins a horrific drama that has its origins in racial incrimination. A black man smiles at a 10-year-old boy in a small supermarket in a blue-collar town, and all hell breaks loose. This one's a blinder about how conditioning rules the way we think and behave even in such harmless, innocuous moments.

This entire package is a delightful showcase of talent and diversity and therefore, rightfully enshrined in the nominations for the best and worthiest shorts of 2018. They are definitely winners!

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Isn't It Romantic
U/A: Romantic comedy
Director: Todd Strauss-Schulson
Cast: Rebel Wilson, Adam DeVine, Liam Hemsworth, Priyanka Chopra Jonas
Ratings: 

How fresh can a rom-com be? Well, at least, Rebel Wilson attempts to lend a fresh perspective to the genre with Isn't It Romantic. It's interesting to witness how the film's writers have parodied the commercial prism through which love is depicted on celluloid.

Wilson plays Natalie, a closeted rom-com lover who wears the irreverent 'Love-is-bulls**t' veil to hide her softer side. After suffering a head injury from being mugged, she wakes up in an alternate universe - one that is straight out of a rom-com where the roses are brighter, her apartment resembles the enviable houses that are featured in glossies and she, too, is a peachier version of herself. Even her dog is less mischievous and better groomed.

But instead of being delighted at the situation, Natalie feels suffocated with the perfection around her. With its sharp writing, the film gets across the larger message that love isn't all peaches and cream in real life.

You can play spot-the-rom-com too -there are several references to major hits like Pretty Woman (1990) and La La Land (2016). The comedy offers more than its share of fun moments; my favourite is the scene where Blake (Liam Hemsworth) walks out of the shower and it is suggested that Natalie had spent the night with him. But like in the movies, the steamy details are snipped - a deliberate play on the inherent need to keep the rom-coms clean, never upping the passion despite it being an integral part of romance. The writers' ability to question the romanticism around happily-ever-after without letting the grime of cynicism seep in, is commendable.

Wilson does a top notch job of headlining a cast of fine actors - Liam Hemsworth, Adam DeVine and our very own Priyanka Chopra Jonas. For the desis, the last song and dance sequence will be a brutal reminder that we haven't seen her in a Bollywood film in four years. This dose of mush attack is strongly recommended; at least, it doesn't let you lose sight of logic in the face of love.

Watch trailer:

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Luka Chuppi
U/A: Romance, comedy
Dir: Laxman Utekar
Cast: Kriti Sanon, Kartik Aaryan, Pankaj Tripathi
Ratings: 

If you ever needed a better proof of the fact that most 'star-actors' (especially the new-age ones) are inevitably over-rated, given that the success of their characters, or indeed their films, depends so much on the script: Well, here is one.

This picture stars Kartik Aaryan, lately anointed the rising star among millennials, largely on the back of three super-hit rom-coms in a row - Pyaar Ka Punchnama (2011), its sequel (2015), and Sonu Ke Titu Ki Sweety (2018) - by the same director (Luv Ranjan).

Social media, and of course the usual entertainment portals, have been fired up ever since, capturing his newly captive mass-base. He walks into a picture of a similar genre, with hardly a story, let alone a screenplay, and you can watch the same actor, looking dumbfounded, fumbling all over the frickin' place - much like his film.
Which is about a girl, with a stock-expression (Kriti Sanon), taking stock of her young-adult life. She isn't quite ready to get married. But doesn't mind being with the guy she's just about met. She decides to live-in. For? 20-odd days, pretending to be married, in another town - sounds like a long vacation to me!

Either way, it's a logical step for a modern couple to take. Not for the characters in this movie, who live in seriously moronic times. Local news channels have gone berserk over, "Desh mein naya system aaya hai" - referring to an epidemic called live-in relationships! Goons, with the heroine's dad lording over them, are at every nook and corner, whacking/harassing couples over an inescapable pandemic. A top Khan Bollywood superstar has been boycotted/trolled nationwide for moving in with his girlfriend!

The hero-heroine in this pic play news reporters - continuously covering this earth-shattering story. Those behind the writing of this ultra-filmy picture were obviously born in PVR/Fun Republic. What happens next? Honestly, absolutely nothing. Or rather nothing that you may like to know, since the couple is still very much together, and their families seem okay with them being so forever. Eh?

This is supposed to be a comedy, exploring a perceived taboo, set in small-town India. Which, as a movie, is just the reverse from a decade and half ago, when Bollywood films just had to be set abroad, in order to do well - think Salaam Namaste (2005), also about a couple (Saif Ali Khan, Preity Zinta) living in, but in Melbourne!

Writer Javed Akhtar, astute cultural observer, ascribes this shift towards small towns as a fairly settled, secure, migrant Indian middle-class finding solace in its roots or where it came from. Given a massive string of commercial successes, emanating from stories from Meerut, Agra, Kota, Lucknow, Kanpur and the like, a formula is bound to set in.

This picture is placed in Mathura and Gwalior. An ensemble cast of rustic faces, dressed down, attempt some semi-rural humour, with odd, local mannerisms, and 'horny uncle' sex jokes. There is mention of caste and religion for the realism.

In walks Pankaj Tripathi, giving you a glimpse of how a performer can still rise above poor material - but only that much. Forget the audience, just wondering why/how they managed to chipkao this non-script on an actor, who's seriously in top form right now. Anyhoo, that's probably another story.

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Captain Marvel
U/A: Action, Adventure, Sci-Fi
Director: Anna Boden, Ryan Fleck
Cast: Brie Larson, Samuel Jackson, Ben Mendelsohn, DeWanda Wise, Samuel L. Jackson
Rating: 

Brie Larson's entry into the Marvel superhero fold as the titular hero in Captain Marvel is not the 'Wonder' we expected. Though Captain Marvel is the first Marvel Studios film to be built around a female superhero, it comes minus the savoir-faire that gave Marvel productions its high brand value over the years. There are two directors, Anna Boden and Ryan Fleck at work here, alongside several writers including Nicole Perlman, Anna Boden, Geneva Robertson-dworet, Meg LeFauve, Ryan Fleck, Jac Schaeffer, Liz Flahive and Carly Mensch. And it does feel like too many cooks have literally subdued the vivacity and nihilistic exuberance unique to the comic book cinema superhero universe.

The Captain Marvel female counterpart first appeared in comic books in 1977 but the real inspiration for this film comes from Kelly Sue DeConnick's series, beginning in 2012, that featured the alter ego of Carol Danvers.

Check out Captain Marvel trailer here:

While the experience of this film is not exactly unfavourable, the narrative never really takes off into the stratosphere even though it has a storyline that has Carol Danvers (Brie Larson) straddle a galactic war between two alien races. The narrative is a little jumbled up and the eventual aim to launch her into the Avengers team becomes a little too obvious even as the non-linear plotting is laid out with convoluted reasoning. Danvers' is with the Air Force, but she is also the eponymous warrior on behalf of Starforce, an intergalactic fighting squad committed to battling the fiendish, shape-shifting Skrulls. As the film opens we see her being tutored by her mentor, Yon-Rogg (Jude Law), leader of the intergalactic military force of the Kree. Danvers is shown as uncertain about her past and as the narrative trudges along things get a little too murky and distorted for comfort. Danvers may go from cosmic to earthbound (C-53) in the fraction of a second and then back up into the skies again but for the viewer, this is not much of a roller-coaster thrill ride. The action is set in the '90's, the storytelling is obligatory at best, none of the characters stay on in your mind after the movie is done and the writing and direction lacks definition and seems a little too obviously patched-up towards a grander purpose.

Brie Larson tries hard to instil humour into the role but there's only so much she can achieve in a jumbled-up universe. She is solid if not exciting and that's the mainstay of this film – if at all it can be considered to have one!

Also Read: Captain Marvel reviews: Here's what the critics are saying

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Badla
U/A: Thriller
Dir: Sujoy Ghosh
Cast: Amitabh Bachchan, Taapsee Pannu, Amrita Singh
Ratings: 

Sujoy Ghosh takes us back to the basics with his latest offering. Badla, as the title suggests, is a revenge-drama loosely based on the Spanish thriller, The Invisible Guest. Like with the original, it's not too difficult to decipher the end a good while before we get there.

Yet, Badla isn't predictable. What it certainly does lack, though, is the smarts that could be expected. Ghosh designs this film as more than just a whodunit. He lays out his cards neatly, unfolding one incident after another. So, it's all about cracking codes in the wobbly story, narrated by Naina (Taapsee Pannu), a top-notch businesswoman embroiled in a murder case.

She was found injured in a hotel room, with her lover lying dead on the floor. There is no sign of anyone else entering or leaving the room. Naina maintains, she didn't kill her lover. The film revolves around a single meeting with her potential lawyer, Badal Gupta.

Badla soars because of its unpredictability before we arrive at the end. The key lies in the names of its lead characters - Naina (eyes), a play on how truth depends on whose point of view is being considered. There is an inherent Rashomon philosophy in the narrative. Badal's name is a play on the film's title itself. Ghosh uses these props to confuse his viewers, create mirages that they are frequently misguided by in their tryst to keep the guessing game going.

At one point in the midst of this rigmarole, we look towards the screen and wonder why Bollywood doesn't exploit the terrific Amrita Singh enough. As Bachchan and Pannu battle it out in a verbal duel, it's Singh who does the emotional heavy lifting. Of course, both Bachchan and Pannu are terrific actors, but Pannu's Naina is played in a rather single note. Naina wins awards, is intoxicated by power, and is guilty about her affair. But the required nuances demanded by the narrative are missing from Pannu's act. There are a few genuine shockers, but it is largely a simplistic tale put together in a complicated fashion.

As admirers of thrillers, we are not failed by Ghosh. The tapestry of tension that he weaves is unparalleled. The camerawork by Avik Mukherjee deserves a mention. Set in Glasgow, the setting plays a part that's as essential as the characters. I was sold to the ride that Badla took me on; but, does it live it up to the thrill of Ghosh's Kahaani? Nah, that will need cleverer writing. Yet, this is worth a watch.

Also Read: Exclusive - Taapsee Pannu on Badla: I am a very vindictive person by nature

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