The Common Man Speaks

Photos: Kolkata’s old world charm captured on mobile

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After watching visuals of Kolkata in various movies, TV shows and reading about its local places in stories of Feluda and Byomkesh Bakshi, I became eager to visit that place. After a lot of thoughts and delays, the trip finally happened in January this year (2024). The capital of West Bengal and its spirit impressed me thoroughly.

Kolkata Taxi
The iconic yellow taxi

A major reason for this is the old-world charm that the city has still retained. I felt that the main city is found in its simple, everyday scenes that ooze the word ‘art’. Whether it is the old yellow taxi or simply an old structure standing tall while enduring the test of times. The place and its surroundings somehow reminded me of the nostalgic 90s of my home place, Mumbai (then Bombay).  

Needless to say, I clicked plenty of pictures throughout my trip of just under a week. Hence, it was quite a task to zero in on 10-15 pictures that I loved the most and fit well in the theme of Kolkata’s old world charm.

No need to name the city once you see the hand drawn auto and the structure
This conductor was in no hurry to give the tickets
These red buildings instantly remind me of Basu Chatterji’s iconic TV show Byomkesh Bakshi
Life going around the famous Howrah Bridge
The old door and the old-fashioned bicycle are enough to take you in the flashback mode
The hand-drawn auto taking rest
This ancestral building still has its old name plate
The building that has stood the test of times
An unfamiliar sight
Simple doors that give away the name of the place they are based in
Available on every nook and corner

Also read: South Korea through the eyes of a vegetarian Indian

Helly Shah and Barkha Sengupta starrer Zibah deals with Female Genital Mutilation

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Filmmaker Arunjit Borah’s short film Zibah is based on the sensitive issue of Female Genital Mutilation (FGM). Produced by Sanjay Singh, Vivek Agarwal, Swati Agarwal and Pawan Singh, it stars Helly Shah, Barkha Sengupta, Ram Gopal Bajaj, Riju Bajaj, Shivani Sopuri and Achal Tankwal.

Sharing about the subject of the film, Riju Bajaj told us, “It is a story of this young girl, who is very ambitious, aspirational and wants to conquer the world and make a career. She is a modern girl from Mumbai who wants to be like any other girl. Her marriage gets fixed. So, her family is worried whether she would be accepted by her in-laws. The reason is that her khatna hasn’t been done because her mother didn’t want that to happen. The father wasn’t happy with it. So, he said that although you have not done it, at some point you will have to do it because of the norm. The pressure mounts and the local clerics convince that it had to be done.”

He continued, “The issue of Female Genital Mutilation kicks in very strongly in the film. It is discussed and the repercussions of it are shown. Generally, this is done when the girl is a baby. At that stage, it’s easier to do. But after the girl has grown and turns above 15, it becomes very difficult and life threatening also. A lot of parents get into the pressure and put the child under the knife for this thing. A film on this subject is very relevant and new. When the script came to us, we were not aware that such a thing happens. So, it kind of enlightened us.”

After reading the script, Riju Bajaj immediately said yes while his father and veteran artiste Ram Gopal Bajaj found it beautiful. The latter was starring in a television show with Helly Shah. That’s how he asked her about acting in Zibah. “Being a television star, he was unsure whether she would do this subject,” said Riju Bajaj. “But Helly immediately said yes without blinking an eye. She is a TV star. So, for her to say yes for this kind of a subject was a great step.”

Zibah will be released on YouTube on August 21.

Also read: Stree 2 review: Niren Bhatt’s dialogues shine the most in this horror-comedy

Stree 2 review: Niren Bhatt’s dialogues shine the most in this horror-comedy

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Filmmaker Amar Kaushik’s Stree was about the villagers of Chanderi fighting against a female evil spirit called Stree, who attacks and takes away the men residing in the village. After a lot of twists and turns, the men are freed in the end and Stree vanishes after her long braid is cut. But in the end, the viewers are given a hint that the mysterious girl with no name (Shraddha Kapoor) is a witch after she leaves the village.

The story of Stree 2 continues a few years later when Chanderi is a peaceful place. Vicky (Rajkummar Rao) and his best friend Bittu (Aparshakti Khurana) are leading a happy-go-lucky life, except that the former is still waiting for the girl with no name (Shraddha) as he loves her. Their buddy Jana (Abhishek Banerjee) is in Delhi studying to become an IAS officer.

However, the peaceful life of Chanderi gets disturbed after Bittu’s girlfriend Chitti (Anya Singh) goes missing, as opposed to men going missing in the first part. This time, a demon called Sarkata (a man without a head) is responsible for the mayhem. The villagers believe that Vicky will once again free them from the evil force. Vicky takes help from his usual friends Bittu and Rudra (Pankaj Tripathi). They call back Jana from Delhi.

The basic plot of Stree 2 is not only similar to Stree but also akin to a lot of stories about a monster creating havoc in people’s lives. Plus, what happens in the end is anybody’s guess. Hence, it is important in such films for the journey to the end to be funny and gripping. This happens in Stree 2 through its regular doses of humour.  

As far as the film’s making is concerned, the biggest star here is the writer Niren Bhatt. His dialogues are not only consistently hilarious but also worth remembering later. The meta references of the latest films and some happenings of the country are the icing on the cake. In fact, there is not much of a story development in the first half. But you will hardly notice that, thanks to Bhatt’s humour. Plus, director Amar Kaushik’s handling of the tale is also praiseworthy.

Stree 2 is technically more sound that the first film. Jishnu Bhattacharjee’s camerawork gets noticed regularly, especially in the horror sequences. Background scorer Justin Varghese doesn’t get carried away by the genre. Hemanti Sarkar’s sleek editing also falls in the positive. The VFX, a crucial part of such genre of films, is of a high standard.

The performances are also praiseworthy. Rajkummar Rao is in top form, especially during the comic sequences. The same can be said about Pankaj Tripathi, Aparshakti Khurana and Abhishek Banerjee. These four actors do complete justice to the dialogues during their conversations, which are aplenty. Shraddha Kapoor gets more scope later on and she plays her part well.

The surprise factor in the form of Akshay Kumar’s cameo works well. He is highly impactful. Varun Dhawan (from Bhediya) and Tamannaah Bhatia’s cameos fit in the narrative. But Atul Srivastava, Aakash Dabhade and Mushtaq Khan, who are carried forward from the first film, are hardly there.

Apart from the first half, the film also has a few more glitches. The horror sequences become repetitive as they are already done do death in a number of Hindi horror films. The film also needed to be shorter in duration considering its story material. This is also felt in the post-credit sequences, which are too lengthy.

Overall: Stree 2 is a worthy sequel and another positive addition to Maddock Films’ horror-comedy universe.

Rating: 3.5 out of 5

Director: Amar Kaushik

Producers: Maddock Films and Jio Studios

Writer: Niren Bhatt

Cast: Rajkummar Rao, Shraddha Kapoor, Pankaj Tripathi, Aparshakti Khurana, Abhishek Banerjee

Also read: Maharaj review: Karsandas Mulji’s story, unfortunately, is relevant even after 160 years

Ashok Saraf on Lifeline, “More than the length, the strength of the character is important”

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Veteran legend Ashok Saraf will next be seen in the Marathi film Lifeline. The movie is a social drama with the theme of superstition vs science. Directed by the first timer Saahil Shirwaikar, it will see a tussle between a surgeon, played by Saraf, and a Hindu priest specializing on last rites, essayed by another veteran Madhav Abhyankar.

During the trailer launch of Lifeline last evening, Saraf expressed his happiness at being offered a role in a film with such a subject. He said, “Firstly, I would like to congratulate Saahil Shirwaikar and his father Rajesh Shirwaikar (writer) for choosing such a subject. Till now, nobody even thought about this message that is in the interest of the society. People will understand that importance of doctors (from this film) and their point of view on doctors will change.”

Adding more about the subject, Saraf added, “Blind faith and science are poles apart. They can’t come together. But that conflict has been handled in such a beautiful way in this film that it will stay in the hearts of the audience.”

Saraf also revealed that his screen-time in the film isn’t large but that’s not a concern for him. “My role is very important,” he said. “Its length is less (but) the role has a lot of weightage. So, apart from my role, what else happened in the shoot, I am not aware. But I knew the story. When he (Saahil) narrated it to me, I instantly said yes. The length of the role is not a problem for me. The strength of the role is more important. What I will show through my role and how much it will impact the audience is important for me.”

During the course of the discussion, Saraf was asked the reason for trusting a newcomer like Saahil Shirwaikar and instantly agreeing to do his film. He said, “I felt the one who takes up such a theme with so much confidence, he must have done a lot of study on it. My only criteria were whether I will get to do something different, which I am always searching. I found that in this role. Once I get such a role, I don’t think about its length.”

Lifeline also stars Jaywant Wadkar, Bharat Dabholkar, Hemangi Kavi, Sharmila Shinde, among others. Produced by Crescendo Entertainment, the movie is all set to release in theatres on August 2.

Also read: Paradise (English-Sinhala-Malayalam) review: Provides a gradual hard-hitting jolt

Kill review: Nikhil Nagesh Bhat’s action ride engagingly stays on track  

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Filmmaker Nikhil Nagesh Bhat’s ambitious action saga Kill is a first not just because of the violence and gore it projects in Hindi cinema but also in terms of cinematic finesse. After going through this ‘ride’, one can vouch that the makers succeeded in their ‘mission’.

Kill revolves around the love story between the commando Amrit Rathod (Lakshya) and Tulika (Tanya Maniktala). The former returns from an army camp after days and gets to know that Tulika’s father Baldeo Singh Thakur (Harsh Chhaya) has planned her engagement with someone else and that too the very next day in Ranchi. Amrit takes his colleague and close friend Viresh (Abhishek Chauhan) to Ranchi.

Amrit gets to know that Tulika and her entire family is returning to Delhi the next day through a train. He and Viresh also get into the same train. Over there, Amrit gets an opportunity to propose marriage to Tulika, for which she happily agrees.

However, unknown to Amrit, Tulika and others, a group of dacoits headed by Fani (Raghav Juyal) and his family members attack the train and start looting the passengers of their valuables. Amrit and Viresh spring into action and this starts a ‘bloody’ battle between them.  

One has come across a large number of Hindi films where a single hero fights against a group of baddies in order to rescue innocents. But Kill stands apart from all those flicks simply by how it executes its goal.

The train compartments built for the shoot purpose are straight out of reality. On top of that, the film is full of fight sequences that take place in such a crammed space. But that space doesn’t act as a hindrance even once. The fight scenes are convincing and entertaining. Hence, the entire technical department deserves praise, especially the cinematographer Rafey Mahmood and Se-Yeong Oh and Parvez Shikh for the fights and stunts.

When it comes to the latter, Kill also goes several notches higher when it comes to violence and gore. One has seen such bloodbaths in the Hindi arena only in a few web series. Such a gore-fest is a first for a theatrical release. Perhaps, Ram Gopal Varma’s Rakht Charitra (2010) and Sandeep Reddy Vanga’s Animal (2023) come mighty close.

Kill also nails it in the casting. Debutant Lakshya proves in his first outing that he is impressive in both emoting and action stunts. Raghav Juyal, who is seen as such a baddie for the first time, excels and entertains. Tanya Maniktala also rises to the occasion and gets to do more than just romance. Ashish Vidyarthi and Harsh Chhaya live up to their reputation of being seasoned performers. Abhishek Chauhan, in a supporting role, is also impressive.

Kill comes with its flipsides though. It is questionable to see one of the richest men in India Baldeo Singh Thakur making his entire and extended family travel in a train for long distance. Fani and his gang members, despite being professionals, don’t resort to guns and execute the whole mission through sharp objects. One can still ignore these aspects so that your overall experience isn’t ‘killed’.

But what hurts the film the most is a tragic incident that happens midway. It somewhere lessens you rooting for the good guys, especially the lovers. Plus, it is not shown to be as devastating as it should have been. This point also ‘kills’ the repeat value for Kill.

Overall: Kill takes the audience on a satisfying action ride without derailing.

Rating: 3.5 out of 5

Director: Nikhil Nagesh Bhat

Writers: Nikhil Nagesh Bhat (story, screenplay and dialogues)

Producers: Dharma Productions and Sikhya Entertainment

Cast: Lakshya, Tanya Maniktala, Raghav Juyal

Also read: Maharaj review: Karsandas Mulji’s story, unfortunately, is relevant even after 160 years

Book Review: Razor Sharp – Ashwin Sanghi dwells into the serial killer zone

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Since more than a decade, Ashwin Sanghi has gained name and fame for his books in his ‘Bharat Series’. Under its umbrella, he has presented stories that are a mixture of mythology or history with the contemporary times amidst the background of high profile crimes. But with Razor Sharp, the author has dwelled into the serial killer zone for the first time.

The book is set in today’s times in Mumbai. The city is rocked by the murder of a man in an unusual style. His hands are tied behind with a rope, his mouth stuffed with food-grains and a knife is stabbed into the left side of his chest. Senior cop Shinde is given the responsibility of the case. He unofficially takes the help of former senior cop and his close friend Prakash Kadam, better known as Kutta Kadam in police circles.

The middle-aged Kadam once had a promising career in the Mumbai police force but his honesty and morals cost him his job. But that’s not all. He is not in the best of physical and mental health and his current lifestyle is making it worse. A major reason for this is a disturbing past incident which led to his wife Sarla dumping him.

However, despite his physical and mental condition, Kadam is a genius when it comes to solving crime. He has a loving and equally intelligent daughter Ketul, a lawyer, who always helps him in solving complicated criminal cases. Kadam and Ketul’s workload increases as the killer doesn’t stop at just one murder.

Razor Sharp by Ashwin Sanghi

There is no doubt that stories of serial killers are done to death, not just in literature but also in other forms of entertainment. Despite that, Razor Sharp doesn’t get uninteresting due to various reasons.

The biggest being the character of the protagonist and his daughter. There is no doubt that the character of the investigator reeling with a dark past has become a cliché. But Kadam teaming up with his daughter Ketul brings freshness to the scene. Their bond is loving, although not overtly. There are various moments in the book where one smiles because of their conversations.

Although the book is an out-and-out contemporary crime thriller, one finds Sanghi’s love for Hindu mythology somewhere in it. At one point, his fondness for anagrams is also visible. This doesn’t harm the book. In fact, it makes it stand apart from other murder mysteries.

The author’s gripping narrative is felt here too. Hence, like his previous works, the book becomes a fast read with no dull moment. Once again, his language is easy to grasp as it’s a smart mixture of simplicity and richness.  

Razor Sharp also has the presence of political drama that is somewhere linked to the case. Although this adds to the interest, this part should have been simpler. The presence of too many characters who are only addressed by their surnames (Rane, Gaikwad, Patil, Chavan, etc) adds some confusion. The angle of the fake godman Momuma adds intrigue. But one later feels that this part didn’t deserve much footage. In other words, both these sub-plots could have been shortened and this would have made the book crisper.

There are also cuss words in a Sanghi novel for the first time. There is no doubt that this is how people converse, both criminals and the ones going after them, but there is an overdose of it.  

Lastly, the identity of the serial killer takes you by surprise, although it doesn’t give you a jolt. But the situation in which the reveal happens adds a lot of thrill.

Overall: Ashwin Sanghi’s first plunge in the serial killer zone with Razor Sharp turns out to be an interesting read.

Rating: 3.5 out of 5

Publishers: Harper Collins

Pages: 310

Price: Rs 399

Also read: Book Review: The Magicians of Mazda by Ashwin Sanghi

Paradise (English-Sinhala-Malayalam) review: Provides a gradual hard-hitting jolt

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Filmmaker Prasanna Vithanage’s Paradise is a Sri Lankan-Indian joint venture produced by Newton Cinema and presented by Mani Ratnam’s Madras Talkies. The movie is a tri-lingual in English, Sinhala and Malayalam.

Paradise tells the story of a couple from Kerala, Kesav (Roshan Mathew) and Amritha (Darshana Rajendran), who visit a hill station in Sri Lanka to celebrate their fifth wedding anniversary. Their trip coincides with the mass protests in April 2022 after the country declares bankruptcy. Hence, there are agitations at various places for basic necessities of life.

But Kesav and Amritha are not bothered much and they start spending quality time with each other. Kesav’s happiness doubles after his upcoming web series gets greenlit by Netflix. However, their happiness is short-lived after they are robbed at night when they are fast asleep. Both of them lose their gadgets. Kesav faces a bigger loss as his work related stuff was in the iPad and mobile phone, which got stolen. They lodge a police complaint.

This reviewer hadn’t seen the film’s trailer before watching the film and that turned out to be a good idea since the trailer gives away a lot.

As the couple start their trip, one is constantly reminded of the impending protests in the background. And that is enough to not only keep you hooked but also anxious of things turning sour for them. Once the robbery takes place, the narrative goes into a different drive.

What’s more impressive is that the movie is not narrated like a crime thriller with elements to keep you hooked, especially through the technical departments. It follows a gradual narrative and has enough material naturally to keep things tense. The film scores the highest during the handling of the ending moments that provide a jolt. Along with that, Paradise also deserves brownie points for portraying the slow and seamless cracks in the relationship between Kesav and Amritha.

The characters are seen giving references of different versions of Ramayana. During a conversation, one character speaks about the Jain version of the epic. This appears like a casual conversation until you experience the ending moments, which leave you speechless as well as with a few questions.

There is not much of a negative point in Paradise. The only little issue here is that the two of them face a personal problem after their stuff is stolen and are not directly affected by the mass protests. Of course, the robbery can be an indirect reason for the lack of amenities in Sri Lanka at that time. But one would expect them to face something directly related to the volatile situation.

Roshan Mathew and Darshana Rajendran have proven their talent on numerous occasions over the years. They are flawless here too. There are various moments when they speak a lot without saying much, especially when their relation is going through a gradual turmoil. The movie also has some fine performances from numerous supporting actors.

Overall: Paradise is a finely narrated drama that refuses to leave you much after it ends.

Rating: 4 out of 5

Director: Prasanna Vithanage

Producers: Newton Films

Cast: Roshan Mathew, Darshana Rajendran

Also read: Pushtaini review: A true-blue independent film with a big heart

Pushtaini review: A true-blue independent film with a big heart

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A lot of indie films are based on unexpected journeys that bring about a change in the film’s character(s) and provide a heartwarming message in the end. Director, actor and producer Vinod Rawat’s Pushtaini is also one such film but it succeeds in standing apart due to quite a few reasons.

The story revolves around Bhupinder Rawat aka Bhuppi (Vinod Rawat). He is a struggling actor in Mumbai, who has just landed a role in a film starring the famous actor Ankur Bhatia (Rajkummar Rao) for a small sum. If this wasn’t enough, his friend (?) Sumit (Nitin Goel) shows him a video of his sex scandal that happened while he was drunk recently. Bhuppi has no idea of him indulging in such an act. But now Sumit asks for Rs 8 lakhs from him, else he threatens to make the video viral.

This takes Bhuppi to his hometown in Nainital in some hope to get the money from his family to pay Sumit. He visits his sister’s family first and gets a jolt to know that his father died mysteriously a year ago. His father had created a will on his name. Bhuppi hopes to lay his hands on the money, so that he is bailed out of the embarrassing situation. However, things are not as easy as they seem. Circumstances take him to a voyage across the state of Uttarakhand with unexpected people.

The aforementioned story appears very massy or commercial. But Pushtaini is anything but that and this is not said in a negative manner. The movie is made with limited resources. Even the numerous actors are from Rawat’s own family.

This, however, doesn’t stop Pushtaini from becoming a heartwarming, funny and emotional saga that says a lot without saying much. The narrative uses unconventional means but it never loses track and continues to keep you gripped, with some surprising turns adding to the goodness. The short duration of 80 minutes also helps the cause. A major positive here are the dialogues that are conversational but at the same time funny and moving.  

On the flipside, it is difficult to believe that in today’s day and age of connectivity, Bhuppi was unaware that his father passed away for one long year. There are also a couple of moments of emotional outbursts by the protagonist that don’t gel well in an otherwise subtle narrative.  

But this doesn’t reflect negatively on Vino Rawat’s performance since he does well in those moments too. The actor, who is Hrithik Roshan’s acting coach, shows a gamut of emotions with ease. He deserves to get more and bigger acting opportunities. Rita Heer (Dimple), Hemant Pandey (Hemant), Prema Karayat (Bhuppi’s aunt), Nitin Goel and Mithilesh Pandey (Yashpal Sharma) also chip in with good acts. They, along with various others, don’t make one feel that they are non-actors.

Pushtaini doesn’t boast of rich production design or flashy editing or camerawork. But the technical aspects work well suit the film of this nature.  

Overall: Pushtaini is a true-blue indie film with a big heart.

Rating: 3.5 out of 5

Director: Vinod Rawat

Producers: Lotus Dust Pictures and VinRaw Films

Cast: Vinod Rawat, Rita Heer, Hemant Pandey, Nitin Goel, Rajkummar Rao

Also read: Maharaj review: Karsandas Mulji’s story, unfortunately, is relevant even after 160 years

Maharaj review: Karsandas Mulji’s story, unfortunately, is relevant even after 160 years

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The name of Karsandas Mulji isn’t heard often when one speaks of Indian social reformers that were active during the British Era. Filmmaker Siddharth P Malhotra’s Maharaj will perhaps make him a talking point to some extent as the film is based on his heroics in a bygone era.

Produced by Yash Raj Films, Maharaj, which is streaming on Netflix, is based on the book of the same name written by Saurabh Shah in 2013. It narrates the story of Karsandas’ fight against an evil priest. The story starts off in a village in Gujarat in the 1820s where Karsandas, as a kid, questions everything, especially religious practices. He is sent to Bombay to his uncle’s place after he grows up (Junaid Khan). Karsan’s critical and revolutionary mind makes him a fearless journalist and a social reformer. He regularly writes about the evil social practices in Dadabhai Naoroji’s (Sunil Gupta) newspaper.

Karsan is engaged to Kishori (Shalini Pandey) and they deeply fall in love. During that era, Jadunathji (pronounced in the film as ‘Yadunath’) Maharaj (Jaideep Ahlawat), the priest of the biggest haveli (temple for Vaishnavas) in Mumbai, is worshiped by millions. He makes negative use of the devotion by engaging in ‘charan sparsh’ with young girls. The activity is nothing but sleeping with girls in the name of blessing.

One such ‘charan sparsh’ activity by Jadunath enrages Karsan and brings both of them face-to-face with each other. Karsan vows to expose and punish Jadunath through the use of his pen but the evildoer is unperturbed because of his powerful social position.  

The basic plot of Maharaj is similar to that of Manoj Bajpayee starrer Sirf Ek Bandaa Kaafi Hai (2023), which was based on the infamous Asaram case. But the makers of the former can’t be accused of taking inspiration from the latter for two reasons – Maharaj is also based on a true story and the film was in production before the Bajpayee starrer was released.

Apart from that, what sets Maharaj apart is that it takes the viewer deep into the chamber of the evil Godman and his practices over there. It also goes into detail when it comes to the religious practices and rituals of the devotees of Shrinathji. What also makes the film hard-hitting is the powerful lines, especially the ones mouthed by Karsan. The sequence where he addresses a large group of devotees after Jadunath shuts the haveli temporarily provides goosebumps and is certainly the highest moment of the film.

The court proceedings, although arriving much later, keep the hard-hitting nature of the film alive and the dialogues play a major role here too. The final moment surprisingly doesn’t provide the kind of a kick one would expect, especially after experiencing the aforementioned scene. But nevertheless, the film ends on a high, more so because of the tribute given to the real Karsandas Mulji.

Maharaj isn’t fully perfect in its narrative though. The idea of traditional families happily giving away their daughters to Jadunath for ‘charan sparsh’ despite knowing what he actually does with them and accepting it as an important ritual is not established at all. We also don’t get to know how Karsan earns enough money to live a decent lifestyle. There are a few other questionable moments and creative liberties too.

Subrata Chakraborty and Amit Ray’s production design recreate the bygone era to perfection. The film is also rich in music (Sohail Sen) and the background score (Sanchit Balhara and Ankit Balhara).

Maharaj marks the debut of Junaid Khan in what is one of the most heroic and challenging characters of recent times. The young actor displays his talent by successfully getting into the difficult shoes of Karsandas Mulji (more so in the scene mentioned above), except for one or two instances. Jaideep Ahwalat is remarkable as the evil Godmen who doesn’t lose his cool even once, no matter what the situation. The actor keeps the character’s evil nature alive even behind a smile.

Shalini Pandey is noticeable despite limited screen time. Sharvari is the surprise package. She lights up the role of a young woman who becomes an important part of Karsandas’ journey. Surprisingly, she is credited as ‘special appearance’ whereas she is a supporting character and has more to do than Pandey. The film also has good supporting acts from Sneha Desai, Jay Upadhyay, Sunil Gupta, Priyal Gor, Jamie Alter (defense lawyer), Utkarsh Mazumdar (Lalvanji Mahraj), Vaibhav Tatwawadi (Dr Bhau Daji Lad), etc.

Overall: Maharaj is a hard-hitting social saga about fake Godmen, which, unfortunately, is relevant even after more than 160 years.

Rating: 3.5 out of 5

Director: Siddharth P Malhotra

Producers: Aditya Chopra for Yash Raj Films

Writers: Saurabh Shah (book), Vipul Mehta and Sneha Desai

Cast: Junaid Khan, Jaideep Ahlawat, Shalini Pandey, Sharvari

Also read: Maidaan review: One of Ajay Devgn’s finest acts in one of the best sports dramas

Rahul Gandhi’s rise above EXTREME national bullying

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The year was 2014, just before the Lok Sabha Polls. Rahul Gandhi gave an interview to the very aggressive Arnab Goswami on Times Now. The decision turned out to be disastrous for him. The anchor started showering one tough question after another to which Rahul had no answers. Well, he did give answers but none of them were even half convincing with some making no sense. Plus, his nervousness was clearly visible.

This happened at a time when Rahul had already started being a subject of jokes. This interview made it worse. Not only the people of India but also the IT cell of the current ruling party started making jokes and memes on him. Honestly, I was also one of those who laughed at the memes and snippet videos from the interview and felt he is not at all cut out for politics. Then the inevitable happened when the result of the 2014 General Elections was out. The Congress had a record defeat and the BJP (Bharatiya Janata Party) got a thumping majority.

With the BJP winning so handsomely, I felt that the topic of Rahul Gandhi will be down and dusted as I firmly believed that he was a closed chapter. However, he was continued to being ridiculed on social media and What’s App. There were a lot of instances during his speeches and interviews where he said unintentionally funny stuff, which made things worse for him. Snippets from these also started making rounds.

It seemed that Rahul gained some confidence before the 2019 Lok Sabha Polls but he was still not being taken seriously. This was seen in the result of the polls in which BJP secured an even bigger victory than 2014. I, along with many others, was more than convinced that Rahul’s political career is over and that he is getting importance in the Congress camp only because of nepotism.

But Rahul somehow didn’t give up. He gave some fiery speeches during the anti-NRC and anti-CAA movement. Later in 2022, his confidence during his Bharat Jodo Yatra was impossible to not get noticed. The nervous and fumbling politician gave rise to a confident and determined leader. Very few would have expected this after his aforementioned 2014 interview.

Rahul’s confidence and fearlessness went even higher during the campaign for the 2024 Lok Sabha Polls. He was now a new and refined leader. His attacks on the government appeared convincing instead of forced. This influenced the final outcome of the polls where the INDIA alliance won as many as 232 seats and NDA were down from 353 in 2019 to 293.

The result has further indicated that one has to take Rahul Gandhi seriously and his journey in politics is far from over.

His rise is more than noteworthy simply by taking into account the psychological effect of such extreme national bullying can have. Many of us get mentally affected even if we receive 5 negative comments or face some bullying on social media. But this man was a target of the entire IT cell machinery and crores of ruling party supporters for around a decade. He was targeted not just from a political point of view but was subjected to plenty of personal attacks and even insults.

This can have extremely negative psychological effect on anyone. Just imagine your very existence being a butt of jokes for crores of people. Anyone else would have given up politics and taken retirement. But somehow, Rahul decided to keep going and reached as far as spoiling the mood of the ruling party in the recently-concluded 2024 General Elections. He ensured that those who were dreaming of ‘400 paar’ could not even touch 300 seats.

The other thing that has quietly happened in the last few years is that the IT Cell and the supporters of the ruling party have stopped circulating Rahul’s unintentionally funny moments. This can also be because their Supreme Leader has given even more of such moments and that too in controlled interviews and scripted speeches.

All this has also ensured that the nickname of ‘Pappu’ is no longer being associated with Rahul.

I am not a fan of any politician, including Rahul Gandhi. But it is impossible to not notice his rise purely from a psychological point of view.

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