Monthly Archives: January 2024

Fighter Review: Regular cross-border action drama

Filmmaker Siddharth Anand’s Fighter is touted to be India’s first aerial action film. It revolves around a group of Indian Air Force officers. The story starts off in 2019 when a combat unit Air Dragons is created in response to the increase in the illegal cross border operations by Pakistan. The unit consists of Squadron Leaders Shamsher Pathania aka Patty (Hrithik Roshan), Minal Rathore aka Minni (Deepika Padukone), Sartaj Gill (Karan Singh Grover), Basheer Khan (Akshay Oberoi) and Sukhi (Banveen Singh), a junior officer. The group is headed by Rakesh Jai Singh (Anil Kapoor).

The Air Dragons officers are asked to bond with each other. During this time, Patty and Minni get close. There are issues between Patty and Rakesh Jai Singh due to a disturbing past incident. Meanwhile, the officers are sent to Jammu for an operation. During this time, a suicide bomber kills a large number of CRPF (Central Reserve Police Force) jawans in an attack in Pulwama.

The incident, obviously, enrages Patty and team. They decide to fight back and take revenge. Air Dragons succeed in their mission. However, the dreaded terrorist Azhar Akhtar (Rishabh Ravinder Sawhney) has more deadly plans up his sleeve against India.

A major highlight of Fighter is the aerial action scenes and there are plenty of them. Apart from keeping you thoroughly interested and, at times, at the edge of your seat (especially if you see the film in Imax, like I did), these scenes also boast of good VFX and camerawork. Of course, a good amount of creative liberty is taken since it’s a mainstream commercial film. The movie also deserves to be praised for the detailing it follows with respect to the professional lives of the air force pilots.

Fighter, however, at the heart of it is just like a regular cross-border action drama with loads of patriotism. Anyone following Hindi cinema for even around 25 years would have seen plenty of this in a number of yesteryear films. The movie has all the clichés one would expect from a film of this type, from half-baked, half-intelligent and immature Pakistani military officers to the heroic dialogue baazi between the good and the bad guys.

The film also suffers from being lengthy. This is felt in the second half where, surprisingly, action and the subject of terrorism take a backseat and the narrative switches onto a number of emotional moments born out of the interpersonal relations between the characters. All those who saw the trailer and felt that this would be an out-and-out action thriller are bound to have an unpleasant surprise. Thankfully, the film makes up for this in the climax.

Vishal-Sheykhar’s music is decent. Apart from ‘Sher Khul Gaye’, the theme song ‘Vande Mataram’ is not only touching but it also adds to the emotions in a lot of situations. But by the time the film ends, one starts feeling that the track is overused.

Fighter is helped a lot by the performances. Hrithik Roshan fits the character of Patty to the T. He is impressive while portraying different shades of his character. And it’s difficult to believe that he is 50. Deepika Padukone is likeable and determined as Minni. Anil Kapoor commands respect, even with a single glance. Akshay Oberoi and Karan Singh Grover offer fine support. In the role of the mastermind terrorist, Rishabh Ravinder Sawhney is just average.

Overall: Despite the negatives, Fighter still turns out to be a one-time watch and for this, the revenge operation in the first half and, more importantly, the climax are largely responsible.

Rating: 3 out of 5

Also read: Merry Christmas Review: Sriram Raghavan leaves behind his stamp yet again

Merry Christmas Review: Sriram Raghavan leaves behind his stamp yet again

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When a filmmaker consistently leaves behind his signature stamp on all his films and, barring one attempt, has a super successful record, he becomes a genre in himself. Sriram Raghavan is easily one such filmmaker. His latest Merry Christmas has all his thriller elements along with his trademark humour.

Merry Christmas is based on the French novel ‘Le Monte-Charge’ by author Frédéric Dard. This is for the first time that Raghavan has tried a period film. The story is set in Mumbai in the 1980s (then Bombay). It’s the Christmas Eve (December 24). Albert (Vijay Sethupathi) returns to Bombay after quite a while. He goes out to eat at a restaurant where he meets Maria (Katrina Kaif) and her mute daughter Annie (Pari Maheshwari Sharma) under weird circumstances.

Albert and Maria meet again at a cinema hall. They then start talking and form an unusual bond. Hence, Maria invites Albert to her place. Albert has had a dark past and Maria is not happy with her married life as her husband Jerome (Luke Kenny) is cheating on her. Albert and Maria both start feeling for each other. After Annie goes to bed, they both go out to celebrate Christmas. But, out of the blue, a deadly crime takes place, which puts Albert and Maria in trouble.

Sriram Raghavan’s movies are known for being right on the money from the start, with something or the other continuously taking place. But Merry Christmas is an exception where during most of the first half of the film, nothing much happens. This, however, doesn’t trouble you since the proceedings are thoroughly engaging, especially due to some witty humour taking place in some of the most unexpected places.

The film changes gears once the crime takes place. Police procedure and the behavior of cops is always unique in Raghavan’s films and Merry Christmas is no exception. It also doesn’t repeat any of the traits of the cops from his earlier films.

The only firm issue with Merry Christmas is its abrupt climax. It seems that the film is ended in a hurry and you don’t feel like leaving the cinema hall. However, one also can’t deny that the manner in which the narrative reaches the climax and a major twist coming from a character who didn’t seem important before, is praiseworthy. Hence, the ending portion is a mixed bag. The other concern here is one activity a couple of characters engage in in the second half, which could have at least given less importance and shortened.

Merry Christmas is also brought alive by Mayur Sharma’s production design of the bygone era of Mumbai. The old bus stop of Bombay is enough to invoke nostalgia for those grown up in this city in the 1980s and 90s. As one would expect from a film by this filmmaker, the technical aspects in terms of the camerawork, background score and editing are praiseworthy.

There was always eagerness to see how Vijay Sethupathi would perform in a Sriram Raghavan film. The actor delivers a top-notch performance and gets every ounce of Albert right. A special mention should be given to his subtle humour. This is one of Katrina Kaif’s better performances, although her usual limitations are noticeable.

Sanjay Kapoor and Tinnu Anand succeed in being hilarious. Vinay Pathak and Ashwini Kalsekar leave behind an impact despite arriving late. Radhika Apte is fine in a cameo. The child actor Pari Maheshwari Sharma shows impressive acting abilities.

Overall: Although Merry Christmas isn’t among Sriram Raghavan’s best works, the movie definitely works for thriller lovers and is worth watching for its key moments.

Rating: 3.5 out of 5

Also read: K ennedy review: Anurag Kashyap’s political cum crime drama is impressiv e

Panchak (Marathi movie) Review

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Beliefs in different superstitions is a part and parcel of live all over India, including among the educated class. Superstitions often make way for comedy if looked at them from a distance. This tussle between superstitions and science is tackled by directors Rahul Awate and Jayant Jathar’s Marathi movie Panchak in a humorous way. The film is produced by Madhuri Dixit Nene and her husband Dr Shriram Nene.

Panckak is a belief where if a person from a family dies during a certain astrological time, it is followed by five more deaths within a year either from the same family or from people close to that family. The story takes place in the interiors of Konkan. Ananta Khot (Dilip Prabhavalkar) dies in his old age. The family’s priest Joshi (Vidyadhar Joshi) realizes that the man passed away during Panchak. Hence, the entire Khot family and their near and dear ones get scared as they feel five more deaths will follow in a year’s time.

However, Ananta’s son Madhav (Aditnath Kothare) finds this laughable since he is an atheist and a believer in science and rationality. He also works in the field of science. He faces the wrath from Joshi and the entire family (played by Satish Alekar, Bharti Achrekar, Anand Ingle, Nandita Patkar, Deepti Devi and Ganesh Mayekar) for his outlook but he is unperturbed. What actually happens till a year from that period forms the rest of the story. Madhav also shares a complicated romantic relationship with Revati (Tejashri Pradhan), who stays in the same village.

Panchak had the difficult task of creating a dark comedy out of someone’s death. The narrative and dialogues maintains the balance and ensure that nowhere does the proceedings become insensitive. The film also goes onto the extent of providing some rib-tickling and crazy humour all within the parameters of the subject. The confrontations between Madhav and his family members is funny in a natural away, even though it becomes slapstick at times.

Pankchak doesn’t have much of a story development. This isn’t felt much in the first half where the unfolding events keep you glued. But the same doesn’t happen in the second half where you start feeling that limited story material. Hence, more onus is given to gags and some incidents are stretched. The whole idea of hiding something from one character in the second half appears more like a ploy to keep the runtime over two hours, whereas it would have been fine if the film would have gotten over before that. The humour also appears a bit repetitive in the second half.

The finale, thankfully, is a nice and simple end to the debate and the story.

The performances fall in the positive. Adinath Kothare is thoroughly impressive as a firm but affectionate Madhav. He scores while portraying different moods of his character. Nandita Patkar gets more than noticed while playing an interesting character with perfection. Anand Ingle, Deepti Devi and the rest are also without fault. Veterans like Dilip Prabhavalkar and Bharti Achrekar leave an impact despite limited presence. Tejashri Pradhan is likeable in an extended cameo.

Like a number of previous Marathi films, the picturesque Konkan is explored richly here. Pooja S Gupte’s camerawork is impressive but at the same time quite simple and apt for the subject.

Overall: Panchak is worth watching for the humour and the ensemble cast.

Rating: 3 out of 5

Also read: Ole Aale (Marathi movie) Review: Nana Patekar starrer is a moving family drama

Ole Aale (Marathi movie) Review: Nana Patekar starrer is a moving family drama

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Filmmaker Vipul Mehta’s Ole Aale is the official Marathi remake of his Gujarati blockbuster Chaal Jeevi Laiye (which this reviewer hasn’t seen). The film is produced by the same banner Coconut Motion Pictures, which produced the original movie.

The title Ole Aale is a shortcut of the names of the two main protagonists of the film – Omkar Lele (Nana Patekar) and Aditya Lele (Siddharth Chandekar). The two share a bittersweet father-son relationship as they stay alone with a house help (Makarand Anaspure) in Pune. Omkar is a successful and wealthy businessman, who has absolutely no time for his father. In fact, he is so busy in making his dream of having an office in every country of the world come true that he hardly even acknowledges his father’s presence.

Omkar, on the other hand, is troubled by the fact that his son, who is his only family member after his wife died years ago, ignores him all the time. However, he stays in good spirits and sports a jovial mood most of the times. He loves irritating his son regularly in a playful manner to express his disappointment.

One fine day out of the blue, Omkar and Aditya are faced with a very serious situation, which compels the latter to look at life in a different way. The development ensures that the father-son duo goes on a holiday in the northern parts of India. Over there, they meet a young girl (Sayali Sanjeev), who becomes their companion. What happens with Omkar and Aditya forms the rest of the story.

Stories about a child or children being indifferent and rude towards a parent or parents isn’t a novel idea. But you won’t feel the redundancy in that topic in Ole Aale simply because of the fast pace and, more importantly, some simple and witty humour. The aspect of providing entertainment is kept as the topmost priority throughout the movie through the aforementioned factors.

The comic timing of the main cast also helps in keeping the entertainment factor alive. But at the same time, the actors also rise during the emotional moments. Nana Patekar succeeds in playing a man affected by his son’s behavior but not showing the same through a mature and subtle performance. Siddharth Chandekar also suits the character of a badly behaved son. But he scores even higher when his character goes through a transformation. Sayali Sanjeev once again displays her talent while Makarand Anaspure lives up to the humorous expectations from him.

The film also boasts of some enchanting visuals of Hrishikesh and other scenic areas of north India through the lens of cinematographer Gulam Nabi.

Ola Aale, however, isn’t completely a smooth journey. The twist before the climax is surely surprising but also questionable. The film could have also ended much before its duration of 2 hours and 22 minutes. The idea surrounding the two goons and its mystery is too far-fetched. A simple film like this could have used a much simpler idea. Needless to say, this angle played a major role in increasing the film’s runtime.

Overall: Ole Aale is a pleasant and entertaining watch for the family audience.

Rating: 3 out of 5

Also read: Naal Bhaag 2 Review: Continues the heartwarming tradition