Rings of Power (Amazon Prime), House of Dragon (HBO/Hotstar) - Season 1 - Review

It is understandable for our times that we only want to tell stories of the past. The hide and seek that the future is playing with us, is quite frustrating to say the least and we can all agree that the future is becoming increasingly unreliable. Is COVID gone or not? Is the Ukraine war ever going to end? Will Xi consider retiring? Is Rishi Sunak Indian? Is Musk going to buy Twitter? (Okay we know the answer to that one… or do we? well, we may never know!)

And that’s why we are all happy time travelling, way back to spend time with something as sure as history, because we know it happened. And what better than history of our favourite fiction, because that we know for sure, happened and no amount of right wing propaganda can make you believe otherwise.

And just for that, as a fan, it’s enjoyable and recommended to watch these two prequels occurring over hundreds of years before the main stories we have loved and binge read and watched. Lord of the Rings and Game of Thrones.

Past is a beautiful indulgence for those paralyzed by the future.

But there is one small problem. This history that is supposed to inform these prequels was never really written as such by their original creators (Tolkien and Martin). It is the new writers piecing puzzles of history based on different shreds of writing linked to these mythical worlds created by these genius creators.

To be fair that IS after all, a classic historian’s job. Except this is fiction, dear friends. And to write the history for a fictional master piece, it needs to match the same genius imagination of the original writers.

Alas, it does not.

For House of Dragons, we shouldn’t be surprised. We all saw the last season when George R R Martin had stopped writing. And Rings of Power, fails similarly with no Tolkien to fall back upon.

And so, in the Amazon multi-million dollar production, we see similar sights and sounds of the fallen Men, the noble Elves, the proud Dwarfs, the nomadic version of the Hobbits (called Harfoots), and of course the evil Orcs army and land being built in preparation of the as always winter-is-coming Sauron. Oooh. Never seen that before.

And in the HBO production, we see the dragons, the Targaryen, the Valyrians, the politics, the blood, the sleaze, the violence, the deceit, the gross-ness and the as always who-will-sit-on-the-the-most-uncomfortable-chair-in-the-world game. Sound familiar?

Though, sometimes just seeing more of the same can be deeply enjoyable (aka Friends Reunion, see my review http://books-booze-boxoffice.blogspot.com/2021/06/friends-reunion-streaming-on-zee-5.html ) because we’ve been missing it. But both these don’t cut it for that too. And one big reason for it is the casting. Both these prequels have actors playing legendary characters that make no impact and are almost borderline annoying. Morfydd Clark, as Galadriel is an overly angry young woman, Robert Aramayo as Elrond comes across as a meek pushover, Charlie Vickers as Halbrand, is a wishy washy build up of what ends up being a critical character at the end, Markella Kavenagh as the Frodo replacement generates no empathy, Daniel Weyman as Gandalf metoo has no inner strength, Cynthia Robinson as Queen Regent Miriel is unconvincing, Joseph Mawle as Adar the Orc army creator generates no fear. Similarly, Emma D'Arcy as Rhaenyra Targarean, the central character is not able to pull off the poignant life she lives, Matt Smith as Daemon has no presence as the impulsive angry prince, Olivia Cooke as Queen Alicent has only a single pained expression for the myriad of emotions she goes through.

That’s why, the actors that do stand out amidst a sea of mediocre performances are Owain Arthur as Dwarf Prince Durin, and Sophia Nomvete as Disa his wife. Paddy Considine as King Viserys (one feels all his emotions throughout the season till his last breath) and Eve Best as Princess Rhaenys (who emotes through her face with fewest dialogues).

Perhaps the challenge is while the writing is of the past, the writers that are writing it belong to the present and so are the audience they are writing for. And in trying to tell an old story for a new audience, they are able to do justice to neither.

May be the new writers should go back-to-the-future and not try to rewrite history. And use history only as a guidance of what was to define what can be. After all, the future is where we need all the imagination we can get. Otherwise we are all scr***d. And if Tom Cruise can do it (http://books-booze-boxoffice.blogspot.com/2022/07/top-gun-maverick-2022-film-review.html ), so can many new writers and film makers.

We don’t have much expectations from Season 2 of both these, but we will still wait eagerly for them, because hope currently IS our primary future strategy in the world.

Top Gun: Maverick, 2022, Film Review

Finally got a chance to pen this down

Predictable, cliched, stereotypical, seen-there-done-that

And YET Damn! The movie flies higher and faster than the new-age fighter jets featured in it.. and How!

Just like a really well made Bollywood (or these days pan Indian) masala movie that we still love and crave for, and walk out with a paisa-vasool feeling, #TopGunMaverick is classic Hollywood fare, fully worth-a-COVID-risk-theatre-outing. 

In a world that oscillates between one extreme of right-wing-conservative-nationalism and the other of utterly-confused-highly politically correct-liberalism, Tom Cruise strikes the perfect sweet spot, stubbornly refusing to fall prey to either of these narratives, delivering what, in the end, really matters - having a good time in the moment. Entertainment, we used to call it. 

The film is set 30 years after the original iconic Top Gun, where Pete Mitchell (aka Maverick) is still a captain, having left teaching at the academy and choosing to stay a pilot on different fighter jet programmes over the years. When he is called back to the Top Gun academy to train the newest batch of the best navy fighter pilots in the world (including his best mate Goose’s son) for what seems like a suicide mission, the memories and emotions of the first movie mix with the reality and adrenalin of the present day training, to create a perfect story telling leading to an action packed and paisa-vasool climax and ending. 

Tom Cruise plays his role brilliantly. It’s his movie all the way, just like the original, and despite all the fan fare, you have to give it to this guy. He stays anachronistically timeless. He still plays volleyball shirtless giving the youngsters with abs, a run for their creatine-whey-steroid bods. He still  races the jet on his high powered motorcycle (notice I didn’t call it a bike!). He still drives the million dollar jets recklessly and without fear of consequence. And better than anyone else can. He still gets fired again and is asked back again, because no one else can do what he can. He still walks the talk, leading from the front. He still cares for his students and his peers. He still carries the guilt of Goose’s death, seeking redemption by protecting his son. He is still single and trying to get together with a woman he likes (Penny, played gorgeously by Jennifer Connelly). In essence, Tom Cruise as Maverick and as himself, portrays this very old school macho heroism with such an earnest authenticity, that we can’t help loving it and lapping it all up. 

And that’s why it’s just easy and perhaps even lazy to say this movie works because of a big nostalgia effect, which as we know, is one of the most widespread defining emotion of our times. If that were the case, we wouldn’t be seeing hoards of youngsters today seeing it and loving it (yes meme-ing it means they love it!). 

No, the movie works because of its simplicity and authenticity. It’s a Hollywood classic with a new chapter in 2022, speaking to both the old and a new audience, but without completely changing itself and without trying to be someone it’s not. And that is the genius of Tom Cruise and his second coming. 

Much like his character, Maverick, who refuses to grow up or change his ways, as the maker of the movie also, he obstinately refuses to acknowledge the cynical ageing of our world, holding on to the classic values of heroism, pursuit of passion, loyalty, legacy, brotherhood, courage, resilience, and love. And shows us that it may be 30 years later (36 to be precise!), but even today we are still moved by these emotions. We still want to be better. We still want to believe. 

Even the Millennials and Gen Z! 

Who knows, may be there is still hope for us as human-kind after all!

The Power Of The Dog - Film Review

From critically acclaimed director Jane Campion comes the new ‘it’ oscar-nominated movie of the year, #The Power of The Dog. 

The only thing that the Academy loves more than musicals, is a period drama. And more importantly, a period drama that tells a modern narrative. And it makes sense too. Because there is a unique power in re-visiting the past to show the way into the future. After all, that’s what the purpose of history is, right? To know where we’ve come from so that we know where we’re going.

The Power of The Dog is a magnificent attempt to do this and almost gets it.. till it doesn’t.

The movie is set in a ranch in Montana, the USA of 1925, owned by the rich and respected Burbank family, run by the two sons, the very alpha Phil Burbank (Benedict Cumberbatch), and the older and more open George Burbank (Jesse Plemons). When George falls in love with a poorer widow Rose Gordon (Kirsten Dunst), and brings her home, Phil’s disapproval creates tension in the family, which escalates further when Rose’s son Peter (Kodi Smit McPhee), training to be a surgeon, comes to live with them in the ranch. While shy and effeminate Peter is initially targeted and bullied by the very macho cowboy Phil, over time Phil develops a liking for Peter and takes him under his wing to train him. As Phil’s secret from the past is revealed to Peter, through an accidental discovery during an escapade, they get closer to each other, much to Rose’s dislike, only made worse by her alcoholism, all finally building towards a dramatic though unexpected twist in the end.

The heart of the film is in the right place. The mission is a noble one. The performances by each of the actors are brilliant. And Jane Campion’s grand telling with the sights, the sounds, and the emotions of each character is truly worth applause. For most of the film, we are taken in by the depth of the storytelling, the nuances of the expressions of the actors, the texture of the Montana ranch, and the point-in-time of American history when the urbanization was still relatively new. The many complex layers of social structure in transition are depicted beautifully. The dynamic between the urban Burbank parents and their rural Burbank sons is poignant. The conflict between the naive romantic George and the cynically bitter Phil is poetic. The contrast between the apparently weak and needing-to-be-protected Peter and his quiet-cold-calmness is ominous. And most importantly, the subtle sexuality, the critique of false machismo (indeed the power of the dog), and homophobia, that eventually becomes the central idea is impactful. For all this, The Power of the Dog deserves its place as an Oscar nominee.

But, despite all this, the film misses one important element. A connection to the audience. 

The first half is well made, as we start building our affection for George, as he becomes Rose’s night in shining armor. We start disliking Phil for his overtly derogatory attitude to Peter. We feel sympathy for Rose and Peter, after having lost the man in their house, trying to fend for themselves. But, as the story progresses to reveal more facets of Phil, Rose, and Peter, we lose that bond, not entirely convinced on why these characters are moving in the direction they are. We also get completely consumed by the theatre of the visuals, the close-up treatment of characters and the scenery, the overtly jarring scenes of blood and animals, which, though are nicely done, distract us from building a connection to the story and the characters as they are moving forward. As a result, when the film moves to the twist-in-the-tale climax, instead of going ‘oh wow', we are left somewhere between ‘awe’ and ‘meh’, feeling a disconnect to our own feelings and therefore to the film. 

All in all, not a film for everyone, especially if you’re the one who feels precious about their two hours on the weekend. 

But, if you’re someone like me, trying to catch the oscar films before the awards, to form your own opinion, then go for it. 

I’ve done three so far (Dune, Don’t Look Up), I think another six or seven to go!

The Batman 2022 - Film Review

The beginning of the next telling of our most popular DC superhero. 

For most of our generation the original Batman era was the 1990s Tim Burton Joel Schumacher series, with Jack Nicholson’s defining Joker and Michael Keaton passing the baton to Val Kilmer and George Clooney even, and a popular star-cast ranging from Uma Thurman (Ivy), Arnold Schwarzenegger (Iceman), Jim Carrey (Riddler), Danny Devito (Penguin), Chris O Donnel (Robin), Alicia Silverstone (Bat Girl), Michelle Pfeifer (Catwoman). It was the perfect “pop” Batman series, for the “pop” time of our lives. 

As we went through the next decade of a self-doubting internal journey of re-discovering our society and ourselves through Nolan’s interpretation of the dark knight for our dark times (2005-2012), that became the defining iconography of Batman for times to come. Typical Nolan.

However, the decade that followed (2010’s) belonged to Marvel and as MCU went from strength to strength, DC lost the plot and reflected a confused identity through what was arguably a confusing time (Trump, Brexit, right-wing, Covid, BLM, and whatnot). With the exception of the first Wonder Woman, all of the others (Batman vs. Superman, Justice Leagues, WW84) failed to meet the mark. 

Which brings us to today, as a new decade emerges out of the shambles of the last 2 years. Arguably, one of the darkest times in recent history, for one of the darkest superheroes we will always have. 

Against this backdrop, The Batman 2022 largely hits the spot. 

The plot this time is around Riddler (Paul Dano) as the main villain killing the corrupt high and mighty of Gotham, exposing their deceit and their failed promises of ‘achche din’. As Batman gets caught deeper in the maze that Riddler has set up, Commissioner Gordon (Jeffrey Wright) and Cat woman (Zoe Kravitz) partner him in solving the puzzles, revealing secrets from the past and the present linking the Wayne family, Carmine Falcone, Maroni’s and the Penguin (Collin Farell), finally leading towards a seemingly futile but inevitable journey of saving Gotham from itself.

Director Matt Reeves paints a new vision for Batman. And for that, the film is worth watching. More importantly, it sets a good precedent to see how this series develops with the next few movies. The story is nothing to write home about, the actors do a decent job, though nothing spectacular, and the action is engaging but again nothing we’ve not seen before. But what makes the film is the treatment of it, which shows the director’s ambition. It is the cinematography, the camera movement, and the music that come together to create the impact in the film. 

There is an authenticity about the Gotham that Reeves creates, which is appealing with all its flaws and its darkness. It’s a Gotham that feels real and not a faraway fictional city from the comic books. The young Batman, who is both naive at times and cynical at others, feels more human than a superhero. He is vulnerable, needs help, and gets hurt.  No grand hero, no big happy ending, no applause, no angst, no victory, no heroism. Batman 2022, is in sync with the truth of our times. No one man can save our world, we all need to play our part, as we emerge from the broken pieces of our lives, and re-make our own Gotham, one day at a time. 

And to the burning question, does Robert Pattinson make a good Batman? 

The answer simply, is that this is an entirely irrelevant question. 

For in this new telling of the superhero, it almost does not seem to matter. Matt Reeves’s vision dominates the film and all actors and acts are just mere vehicles to deliver this. 

All in all, it’s a promising start to the next DC chapter. 

With no more MCU to compete with, here’s the possibility of a fresh beginning for the DC franchise. A new Batman, a new vision, a new start. 

Don’t waste it DC and Warner Bros.

The Fame Game Season 1, Netflix, Feb 2022

Fanboy Alert!

For as long as I can remember I have been in love with Madhuri Dixit. But looking back, I now realize that it’s because she was THE queen of Bollywood for the youngest of my years. From my pre-teen years (Tezaab was 1986) to my end of college years (Dil Toh Pagal Hai was 1997), MD, as we called her then, was the most attractive star that gave us many dhak-dhak moments growing up. She was beautiful, talented, and danced like no one has been able to ever since. Like all of our first love, she will continue to have the most special place in our hearts. 

But this review is not about Madhuri. It’s about her latest and after a long time (almost a decade or more) a proper Madhuri content to watch and enjoy. The talent shows with her as the judge and Kalank don’t count!

#thefamegame is a full-on Madhuri spectacle, where she plays the lead protagonist, superstar Anamika Anand, who suddenly disappears after the latest award night show, leaving her family destroyed, her fans in despair, and the police in circles trying to solve the mystery. As the story moves in the present and the flashback (with a run-up of events leading to her disappearance), many characters are built, many secrets are revealed and a plot of who-could-have-kidnapped-Anamika-Anand enfolds. The suspense side of the story runs in parallel to the emotional side of the story, where her perfect-public image is contrasted to her completely imperfect and almost dysfunctional personal life. A troubled marriage, troubled mother, troubled children, troubled ex-lover, and even troubled fans, all intertwine with each other to create an almost-engaging story till the end of the 8th and final episode. 

Overall, it’s a decent OTT watch (not one of the better ones), but for fanboys like me, with Madhuri in every scene, it’s completely worth the money.

Madhuri is a dream, flowing through her role effortlessly. She looks aged but still beautiful, with an elegant presence dominating every scene. Sanjay Kapoor as a shadow of himself is able to hold on to his own, well just about. Manav Kaul, as Anamika’s ex-lover, gives a decent performance. Suhasini Muley as the star-mother is, as always, really good. And the daughter, played by Muskaan Jaferi is decent too. But, apart from Madhuri, the two characters that are a discovery in their brilliant performances are Lakshvir Saran, who plays Avi, the conflicted and angsty son, and Rajshri Deshpande, who plays Shobha Trivedi, the inspector investigating the case. Both play slightly complex characters, dealing with multiple emotions and they both deliver and how.  It is an absolute joy to watch them perform their characters.

Produced by Karan Johar, directed by Bejoy Nambiar and Karishma Kohli, there are some nice progressive narratives throughout the story. Around women bearing the unsaid burden of keeping the family together, even though they may be stars and the breadwinners of the family. Around them finding the strength to liberate themselves from the traps laid by society to discover and chase what they want. Around accepting the sexuality of youngsters, who are finding themselves, in a society that still is un-inclusive at its core.

In a way, it feels like OTT storytelling has decided to take a stand of tellling mainly ‘feel-bad’ stories. We know that Bollywood did a little too much of ‘feel-good’, but I’m sure the OTT platforms can find a middle path, without making all Hindi stories take us to the ‘geharaiyaan’ of despair all the time.

But, where the series really misses out is in not having a clear vision for the story. As we get to the later episodes, the story starts falling into some predictable patterns, and to cater to a thriller genre, complicates the plot with diversions on the narrative. Some unnecessary deaths, unnecessary betrayals, and unnecessary twists. Even though the mystery of why and how Anamika disappears is quite good when it’s revealed.

The other disappointing thing about the series is that it’s a very insider-Bollywood storytelling, many times making a commentary on the lives of successful celebrities. As a result, it becomes a very narrow inside story, that beyond a point fails to make a strong connection to the plot and the characters. 

And finally, the main big missed opportunity is the narrowness of the vision of leveraging an actor like Madhuri Dixit. It’s like Karan Johar and the new age directors can’t see Madhuri as anything other than a ‘star of yesteryears’. In fact, that’s the most disappointing narrative of everything she has done in the last decade. True that Madhuri was a star. But the reason she was a star is because of her talent. It’s time for a storyteller to truly see beyond the chaka-chaund-ness of Madhuri Dixit, to see her for who she is and what she can bring to good story-telling. A little bit like what Anamika Anand herself keeps looking for, throughout the series. In that, then, is the supreme irony, that the plot of the series itself is not able to do what it preaches. 

I still stay in hope that a scriptwriter, a director, and a producer will find that soon enough. 

Till then, we wait for the second season of The Fame Game, because yes, season 1 does end with a cliffhanger. 

What did you expect? It's Netflix!

A Murderous New Year, The Thursday Murder Club Book Review, Only Murders in the Building, Hotstar series review.

The New Year 2022 viewing and reading started quite murderously this year. It just so happened that the series we started watching on Hotstar (Only Murders in the Building) and the book I picked up to read (The Thursday Murder Club) coincided at the same time. Was it my subconscious seeking an escape from reality after the end of the holiday season? Or just the desire of some comfort murder mystery through once again a stuck-at-home Omicron January? Because a classic who-dun-it story-telling is that all-time fail-safe genre, to which nothing else comes close.

Starting with Richard Osman’s record-breaking bestselling first novel (published 2020), #TheThursdayMurderClub. I’ve had my eye on this for a while and when his second in the series was released a few months ago (The Man Who Died Twice), I knew it was time for me to start the first. Set in an upmarket retirement village off London, the story is about a group of sixty and seventy-something seniors, who past their prime, get together to form the Thursday Murder Club, self-appointed sleuths investigating murders from the past and indeed, murders in the present that come knocking in their neighborhood. Through a series of characters, twists and turns, and more than just a single murder, the Club finally solves the mystery before the police can, and nail their presence as the best crime-solving sexagenarians and septuagenarians, this side of London.

The reason why this book is enjoyable is not because of the intriguing plot with a never-could-guess reveal at the end. Even though the mystery is interesting and not predictable. No, this is clearly not an Agatha Christie. The reason why the book possibly became such a best seller is because of bringing two otherwise completely contrasting worlds together. The world of a British retirement village and the world of crime and detectives is not something one would expect to see enmeshed with each other. But, it is this very cocktail that Osman masterfully creates, that hits the spot.

We see ourselves warming up to these irresistible oldies, who despite their age-related handicaps, are driven by a common mission to find the killer and solve the mystery. The four characters of the Murder Club - Elizabeth, Joyce, Ibrahim, and Ron - are built nicely, each with their unique personalities, and back-stories, complete with a lifetime of both joys and sorrows. Osman strikes a fine balance between keeping a light and humorous touch to the aging cast of the book, while still maintaining the dignity, the respect, and the love we all are familiar with our own parents and grandparents. Even as we’re engrossed in finding out who-dun-it, we also enjoy the flow and texture of the novel, which is like sipping a warm cup of tea, in the British countryside. Will be checking out the second in the series soon.

If The Thursday Murder Club is a cup of tea, Only Murders in the Building is a tall cappuccino in your hand. If the best-selling fiction novel made heroes of oldies just doing and enjoying their oldie life, the critically acclaimed series makes heroes of oldies almost denying their age and going all out youth sleuth mode. Like Osman’s book, this Hulu original also brings together two contrasting worlds in the service of solving a murder mystery. Again like the book, this 10-episode series also has a nice unpredictable mystery, with a merging of death in the past and a crime in the present. But Osman’s book is British to the core, set in contemporary London, yet with an evocation of a past nostalgia. And the Hotstar series is American, or rather New York to the core, set in contemporary Manhattan, in the posh Upper West Side apartment building, the Arconia, with an action-packed life of a multitude of variety of singles- the bitter, the cynical, the self-obsessed, the loners, the artists, the ex-stars, the maladjusted and the wanna-be’s.

Only Murders in the Building is a thoroughly enjoyable classic who-dun-it, starring the legends Steve Martin and Martin Short and I suppose kind-of-a-teenage-legend, Selena Gomez. Three single and unlikely individuals, who get together, only because of their love of crime podcasts and an opportunity that presents itself to solve a murder that’s just happened in the building. Every episode brings a new twist and turn, till they finally almost don’t solve the mystery and then they finally do. Or do they? The storytelling is absolutely delightful, that mingles a Broadway theatre dramatization with the episodic engagement of a Podcast, as the 3 protagonists indeed make their detective work into a live “Broad-cast”.  The chemistry between Steve Martin and Martin Short is a complete joy and reminiscent of the Father of the Bride series. As well-past-their-prime sexagenarians, they deliver a fantastic performance that is both funny and endearing. Selena Gomez is a discovery, playing her silent, cynical, judging, Gen Z foil to the two over-the-top boomers. A highly recommended watch. Just good old simple and engaging storytelling. The way it should be.

As the deliciously murderous January ended, February hasn’t so far created a stir. But I see Kenneth Branagh’s next Poirot (Death on the Nile) is out in theatres. Looks like we need to give a murderous end to February too. What say?

Gehraiyaan, 2022 - Movie Review

One of the most awaited Bollywood big-name-big screen films premiering in an OTT-near-you. A big attractive star cast, no less than everyone’s heartthrob Deepika Padukone, new popular kids in town, Siddhant Chaturvedi and Ananya Pandey, recent newcomer Dhairya Karwa (seen before in Uri, and ’83). A big production house, no less than Dharma Productions and Amazon. And one of the more promising directors of recent times, Shakun Batra (who gave us the absolutely fantastic Kapoor and Sons, 2016, and refreshingly light rom-com Ek Main Aur Ek Tu, 2012).

In short, the film has all the ingredients for making a really good recipe for a film. So, how does the final dish taste?

Like the title of the movie, the answer to the question lies in the depth of it. And like the film, it’s not a straight answer.

First, the plot. This revolves around Alisha (Deepika), in a steady relationship, in a typical Mumbai striving life stage with her long term boyfriend (Dhairya), trying to get a business, career, and life going, facing the ups and downs of making it and not making it, continuously haunted by a troubled childhood past and family relationships. Getting together with her once-bestie-but-now-distanced cousin, Tia (Ananya), and her fiancé (Zain, Siddhant) one weekend in their old childhood home in Alibaug, triggers an instant attraction and an ongoing hidden relationship between Alisha and Zain. From then, it’s a roller coaster ride of a newfound passion and love on one side and the pragmatic realities of current relationships and each of their individual businesses-in-the-making, on the other. Add to that their collective troubled family history that continues to play a shadow on Alisha’s mind. And the web of an uneasy, anxiety-ridden emotionally charged quadrangle of love-past-business-darkness gets deeper and deeper.

The film does a fabulous job of capturing today’s very real urban millennial “quarter-life-crisis” life stage. We see the sights and sounds of Mumbai life as the backdrop for the everyday struggles of the average youth trying to hack it in a complex no-rules society, where everyone is on their own, figuring out their present, overcoming their past, and desperately trying to write their uncertain future, both professionally and personally. The frustrating attempt of trying to get control of a time and a life that is fundamentally out of their control is a poignant comment of our times, and perhaps a foregone conclusion of inevitable heart-breaks and mind-fuck consequences. This is no longer a world of happy endings. Welcome to Bollywood 2022. And for that, we applaud the coming of age of mainstream Hindi cinema. 

Then, it is this narrative that is played brilliantly by Deepika. She looks and acts like a mature actor, who has grown and become more beautiful in her talent. She looks great too, by the way. Alisha’s character is written really well, and Deepika does justice to it, by playing it to the tee. Her dialogues, her face, her body language, and her silence all act together to give a complete performance of Alisha, who becomes the central character through which we view the entire story. This is Deepika’s film and one of her finest performances. An utter delight to watch her.

And then there is Naseeruddin Shah, as her estranged father, who, although in only a few scenes, lifts those scenes and in fact the overall story through his sheer genius talent. One of the last scenes is a tender moment between Alisha and her father, which probably is the ‘frame’ scene of the film, that you could argue, makes the entire film.
And, oh, the soundtrack is fab too. Great to see some good Bollywood music with new artists after a long time.

But that’s probably it. 

Ananya Pandey, as Alisha’s young and more innocent cousin, is not bad and carries her role. And Dhairya, as Alisha’s (ex-) boyfriend plays his part too. But the biggest disappointment comes from Siddhant Chaturvedi, as Zain, the other critical character that is responsible for making or breaking the film. And he breaks it. To be fair, Zain’s character itself is not written half as well as Alisha's. It’s like the writer spent all his time on Alisha and just fitted Zain conveniently into the story. And as the plot gets darker, Zain’s character meanders and evolves unconvincingly, leaving us a little cheated and annoyed at having invested our emotions in him. And on top of that Siddhant does a poor job of performing the role. He is not convincing as Alisha’s lover, or as the ambitious millennial start-up entrepreneur, or as a ruthless businessman, or as a cheating boyfriend. Perhaps a more talented actor like Ranbir or Ranveer, or Ayushman would have saved the role and the film. What a pity. After rocking it in Gully Boy (https://books-booze-boxoffice.blogspot.com/2019/02/gully-boy-film-review.html), we were really rooting for Siddhant. But alas.

Trying to steer away from the stereotypical Bollywood happy entertainment, the film perhaps veers a little to the other extreme. This is not a feel-good film, but a feel-bad film, and for most of the movie, we feel like we also need the Valium that Alisha is popping in her mouth every day. This creates a less-than-great watching experience, especially when we don’t feel convinced of Zain, his motivations, and the resulting negative consequences that are making us feel bad in the first place. The film goes through twists and turns and sometimes unnecessarily so, tagging us along, and draining and stretching us, in not very good ways. As a result, we feel bad without really a reason to feel bad. Shakun, we have seen you break the stereotypical feel-good Bollywood format and yet give us an extremely loveable and enjoyable film in Kapoor & Sons. You know how to do that. What went wrong here?

All in all, it’s worth a watch, especially if you’re a Deepika Padukone fan, because she is all there is to the film. And for seeing the evolution of a potential new genre of films in mainstream Bollywood (should we call it OTT Cinema?). There is also a beauty in the over-arching message for our times, of the need to accept our past, give ourselves second chances, and keep moving, one day at a time, without necessarily counting on a happy ending.

But overall, the film itself falls below expectations. That’s unfortunately the gehra sach!