Archive for category Hindi – Bollywood Movie Reviews– Play Reviews– NAATAK– Poems– Event Reports
Thappad begins with the routine family life of Amrita (Taapsee Pannu) a happily married housewife and her husband, Vikran (Pavail Gulati). Vikram works in a reputed company and is aggressively focused on climbing the corporate ladder that will ultimately take him to London, as the head honcho. Amrita is aware of how much his career means to Vikram, and is fully focused on supporting her husband. Her life revolves around looking for his comfort and attending to his mother, Sulochana (Tanvi Azmi).
Vikarm is elated when he is selected for the desired role and throws a celebration party to his friends. During the celebration, he gets the news that another white man is deemed more appropriate and Vikram would be reporting to him. Vikram has a heated argument with one of his superiors Rajhans, who was attending the party. When Amrita comes in the middle and tries to stop him for escalating the argument, Vikram’s anger turns on her and he slaps her. This thappad begins a chain of events and forms the core theme of the movie.
This movie is a MeToo moment for me and is personal for me in several ways, although for me, it wasn’t the first thappad and lack of apology. But after I let go of the first thappad after tearful apologies, the apologies became less frequent and genuine and then disappeared, and thappads became more routine. In a changing India, Amrita refuses to brush off this single incident of violence and public humiliation. When she questions her life choices and finally her marriage, Vikran propelled by anger and bad advice, transforms a no contest, mutual consent divorce into a full blown court battle. That was another MeToo moment for me and a reminder of the time when my appeal for mediation was thrown out and the accusations and fake accusations were launched, casting me as an abuser and mentally unstable. It is easy to be charming in public and in periods of happiness, but as a society and in family units, we need to ask a question, how do people react under stress and outside of the public eye, and do women get to bear the brunt of family stress and do they lose their right to be happy, one smile at a time?
The movie does not make light of a thappad, nor does it make a thappad bigger than what it is. Instead, what the film does is to serve as a thoughtful reminder that abuse should not be an acceptable aspect in a relationship and love, respect and happiness are closely tied together. Amrita says, मुझे वहां रहना नथी जहाँ पे मेरी वेल्यू न हो and she says, “I want to be happy and when I say, I am happy, I don’t want to look unreal”. Even while making a compelling case for a woman’s right to genuine happiness, the movie does not downgrade into men bashing thoughtlessness. And even when the movie focuses on happiness which would be at a higher level in Maslows’s hierarchy of needs, the film does not fail to show the struggles of women like Amrita’s maid, who are battling domestic violence at home on a daily basis, while working in low level jobs.
What is working so beautifully in the movie is that the dialogs are natural and low key. Huge kudos to Director Anubhav Sinha and co script writers Sinha and Mrunmayee Lagoo to not just stir up passions but make this a strongly worded film of significance. Tapsee Pannu is fabulous in conveying the impact of her experience and her dilemma without getting acrimonious, loud or overbearing. Her restrained acting with impactful dialogs serves as moments of reckoning about the assumptions and expectations surrounding women’s roles in Indian society. The entire cast including Kumud Sharma (Amrita’s adoring father), Pavil Gulati (Vikram), Ratna Pathak Shah (Amrita’s mother), Tanvi Azmi (Amrita’s mother in law), Maya Sarao (Amrita’s lawyer) and Geetika Vidya Ohlyan (Amrita’s maid) show the restraint and deliver a powerful film. On a scale of 1 to 5 (with 5 being perfect), I rate the film as 4.9.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on February 23, 2020
I was not expecting a great deal from NAATAK company’s most recent on stage production of Neil Simon’s “Rumors”. After all, farce is one of the most challenging genres to perform. A farce is a comedy in which everything is absolutely absurd and usually involves some kind of deception or miscommunication. People are not forgiving when it comes to laughter and lame comedy tragically falls short in generating laughs. Add to that the challenging part of translating humor into another language and culture. The play is in Hinglish with supertitles in clear English projected on top of the stage.
However, my worry was unfounded. This performance is by NAATAK and in every show NAATAK meets the challenge head-on and delivers the best. In Rumors, five couples invited to celebrate a sixth couple’s anniversary, find that the host has shot himself, hostess is missing, servants are nowhere to be seen and the dinner isn’t prepared. What ensues is a brilliantly interwoven performance of farcical missteps, outlandish lies, and dialogs so hilariously delivered that you will be in stitches, in no time.
First, there is an exceptional cast of actors with Kamala Subramananian, Chaitnya Godsay, Ekta Brahmkshatri, Ritwik Verma, Anjali Bhide, Natraj Kumar, Roshni Datta, Chanpreet Singh, Bruce Blau, and Deanna Shinsky. There are also ubiquitous Chakra and Meera, the host and the hostess who never quite make an appearance but drive the events from the shadows.
The title of this play (given by original playwright) is well suited for Naatak’s performance, adapted to Indian socialites. While on one hand, well meaning friends are driven to protect the scandal of the day (details of it are not yet fully known to them) and on the other hand, there is equally well intentioned and cultural proclivity to share about the scandal (to find and lend support), and to fill holes in the missing details.
The dialogs are nothing short of brilliant. Here’s how it goes between two people at the party,
“She has a thing you know”.
“What sort of a thing”?
“She is doing something with somebody, somewhere”.
There is also sarcasm in hinglish. Here’s one dialog.
“I am melting”.
“So are the planets. But that we can manage.
Aap ki mange
Environment ke aage.”
Kudos to Director and translator of the original script, Naatak’s marvelous, Harish Agastya. Everything comes together brilliantly in “Rumors”, with witty script in Hinglish, plethora of underhand comments, sarcasm, complex storyline, unbelievably nutty sequence of events, ridiculous cover-up and dynamic fabrications, events that unfold in slapstick manner, neurotic cast of characters who successfully deliver ingeniously funny moments, elegant costumes that indicate high socialite status of Silicon Valley’s Indian socialites and exceptional staging, sound and light. This is a not-to-miss play of this theater season for all theatergoers in Silicon Valley. Naatak has 5 more shows and is running till March 1, at the Cubberley Community Theater in Palo Alto. There are few tickets left for some shows. Tickets can be obtained at http://www.naatak.org .
Good Newwz is yet another beautiful comedy coming out of Bollywood, after a series of lovely recent comedies, including #LukaChuppi #SkyIsPink and #ZoyaFactor . Current genre of Bollywood films depict real issues facing Indian society, in a light-hearted manner.
In Good Newwz, two couples are trying to get pregnant, with some professional medical help. Deepti (Kareena Kapoor Khan) and Varun Batra (Akshay Kumar) are upscale, high-flying married couple, engaged in their respective careers, while trying to conceive a baby, after 7 years of marriage. Meanwhile, Honey Batra (Diljit Dosanjh) and his wife Monika (Klara Advani) are “the Batras from Chandigarh” and are trying to get pregnant, after 6 years of marriage, numerous tries to conceive, and a couple of miscarriages. Both couples soon find out they are “happily pregnant” —— or are they?
Director Raj Mehta maintains a tight pace, keeps preaching and emotional drama lighthearted and to a minimum, and presents the challenging situation, as naturally as possible. It’s a beautiful movie. On a scale of 1 to 5, with 5 being excellent, I rate the movie 4.6.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on June 20, 2019
Ashadh ka ek din (on Kalidas) : Naatak Play Review – June, 2019
Found on principles of bringing on stage intelligent and entertaining shows pertaining to East Asian literature and arts in San Francisco bay area, Naatak has consistently surpassed expectations from a demanding audience.
In Naatak’s 69th production, writer Mohan Rakesh’s “Ashadh ka ek din”, the focus is on young love, simple and lyrical as a poem, pure and unspoilt as nature, passionate and brimming with hope as the drop of first rain, in the month of ashadh. It depicts the story of Kalidasa, classical Sanskrit writer and poet who is presumed to have created his works in the 4th century, and was a royal poet during the reigns of kings Chandragupta II and Yasodharman. Kudos to Naatak for fantastic staging. How they manage it, despite low ticket prices is a mystery.
It is as true today as it was then that stupendous achievements often come from heart-wrenching personal sacrifices. Kalidas (Anush Moorthy) was ahead of his times and his talents went unnoticed, in his little village. However the king in Ujjain was impressed by his work and sent him royal invitation to go to the capital, Ujjain and adorn the royal court as a national poet. Kalidas is reluctant to leave his beloved, Mallika (Preeti Bhat) who is the inspiration behind many of his works. But Mallika insists that he should not pass up this opportunity which will help bloom his talent.
Kalidas: nayi bhumi sukhi bhi to ho sakto hai
Mallika: koi bhumi aisi nahi jiske antar me komalta na ho, tumhari pratibha us komalta ka sparsh awashya pa legi.
At the insistence of Mallika, Kalidas leaves his village, not to return for several years. With the force of royal sponsorship, Kalidas writes many epics like medghdootam, kumarsambhawa and raghuwans, all the while his beloved Mallika continues to be his muse. While Mallika pines for Kalidasa in the village. Mallika’s mother Ambika (Anshu Johri) curses Kalidasa and refuses to be drawn into the flow of emotions that have gripped her young daughter.
Ambika: “ma ka jivan bhavna nahi, karm hai”.
Behind every successful man, there is a great sacrifice of a woman (of course, in the present times, opposite is also true). Produced by Alka Sippy and directed by brilliant, Manish Sabu, “ashadh ka ek din” is a story of love that is eternal, of time which stops for noone, and of sacrifice from which are born great works of art. One thing the play is not and I would have loved more of is Kalidasa’s work itself. The play does not focus as much on his poetry. Kalidasa had written Rutusamhara before he went to Ujjain. If the play included many lyrics from there which spoke of the beauty of the mountains, clouds and rains that appeared even more beautiful to the poet, in the company of his beloved, then it would have enhanced our joy. Nonetheless, it is a tender love story, with beautiful prose and heart-touching dialogues.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports on June 4, 2019
In Akiv Ali’s Bollywood film, “De De Pyar De”, finally we have a chick flick for men. Fret not; you will see the reason behind this oxymoron very soon. Movie starts off as a romantic sex comedy between 50 something calm and confident alpha man, Ashish (Ajay Devgn) and about half his age hottie, Ayesha (Rakul Preet Singh). Ashish and Ayesha confidently flirt with each other, then fall in love, and then briefly discuss that gossipers in the community will judge that she is into him for his bottomless wealth (he is an investor in London) and he is into her for her youth and beauty (yes, she is hot) and thus the issue is put to rest.
Lest we still become judgmental, their flirty tête-à-tête includes sweet caring (she makes dal for him, he says he does not like dal so as to not hurt her feelings) that indicates they are truly into each other and despite deciding to stay away from one another, they just could not. Singh is sexy but also expressive and caring. But that’s not where the film ends with 50 something guy romping with a young hottie. That is just the beginning. The movie wants us to give a stamp of moral approval on this relationship. And that is where the film takes a turn from romantic comedy to family drama. Ashish takes Ayesha from London to India to meet his ex wife and kids and parents.
The problem is —- ok there are many problems that can’t but make us feel a tad judgmental. First of all, the problem is the girl. She drinks hard, parties hard, doesn’t blink an eye when she passes out and finds herself (undressed) in the morning, in a man’s house. In fact, she is incredulous (perhaps also mildly disappointed) that he passed up on rape and did not take advantage of her. While it is supposed to make the audience look with awe at Devgn’s character, one wonders about Singh’s character and her lack of readiness for a serious relationship with a man with a past. Then the problem is the boy. He does no planning and shows no confidence in any of his past or present relationship decisions and they are all marked by irresponsibility, half truths, hypocrisy and deceit. He takes a girl the age of his daughter to India, without adequately preparing everyone, embarrassing them all.
The beauty of the movie that makes it all worthwhile emerges in the few short scenes with Tabu (Ashish’s ex-wife). I am sure her dialogs touch the heart of every woman, when she speaks of being tired of always having to be the responsible one and mend relationships. Tabu as a mature mom who listens to all sides and resolves key issues with her daughter’s in-laws, the glue that keeps the family together, admonishing her kids when they get bratty are all beautiful knockout scenes. But it is Tabu’s short speech to her family to stop being judgmental and take responsibility for their decisions, asking them to stop blaming her ex-husband, is phenomenal. And finally, Tabu’s dialog with Ayesha, her rival for her ex’s attentions, is an absolute gem; although one wonders how realistic it is to expect a wife who is still into her husband, to be so very generous and understanding and go out of her way literally, to bring them together; especially a husband who has been so irresponsible and his girl-friend who is simply too young to grasp all the complexities of a blended family with children her age. But in this movie, after a few speeches, such familial complexities are quickly and conveniently resolved, so Ashish can have his cake and eat it too, without any repercussions. So here it is, finally a chick flick for guys.
If you are willing to ignore complex realities of stormy, messy relationships, simplistic moralizing, and long term lack of wisdom of the characters, overall the film is entertaining and fun. Tabu and Singh both put on stellar acts. I rate the movie 3.2 on a scale of 1 to 5 (with 5 being excellent).
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on September 5, 2018
The story of Mahabharat has been repeated among Indians, over and over in various ways, even via TV series. Why would you bring it on stage, and why say it again, and how could you say it better or do greater justice to one of the two major Sanskrit epics of ancient India, also known as the longest epic poem ever written? Therein lies the brilliance of Sujit Saraf who adapted it for the stage for NAATAK and is currently playing at Cubberley Theater in Palo Alto.
The Mahabharat, believed to be written by Vyasa, is a narrative of the Kurukshetra war, a deadly war among cousins, sparked by greed and fueled by lies, cheating, deceit, turncoats, and perhaps misplaced assumptions of right and wrong, good and evil. With Mahabharat being recited several times in history, with details and stories added or deleted and with the epic employing “story within a story structure” known as framelets, it is a mind-bogglingly complex story to tell, described by Hermann Oldenberg as a “horrible chaos”.
It is to great credit that NAATAK’s team, with director Saraf, producer Soumya Agastya, music director Nachiketa Yakkundi, choreographers, sets team and many volunteers and a huge cast of performers managed to bring this story on stage; not just to tell but in the form of the musical, with awesome dances and music, focusing on key dialogues and stories and with recreating the most impactful stories befitting the grandeur of the time, without overdoing any of it.
Sticking to the core of the epic, NAATAK’s Mahabharat traces the story of Kaurava and Pandava from Brahma, the Hindu God of creation and through their earliest ancestors known to us (Yayati, Dushyant, Shakuntala, Ganga, Shantanu, Nishad, Chitraghandha, Veechitravirya, Dhritrashtra, Pandu, Kunti, Gandhari and more) and brings us to the center of their conflict. When Shantanu was seeking to marry Satyavati (whose father Nishad had misgivings since her sons would not inherit the throne) Shantanu’s first born son, Bhishma made a strongest vow known to humankind, to never have children, never marry and never inherit the throne. But his step mother Satyvati’s two sons Chitrangadha and Vichitravirya died leaving behind no issues. Satyvati then asked her illegitimate son Vyasa to father children with Vichitravirya’s widows, in order to get heirs for the throne. Thus were born blind, Dhritrashtra and weak and sickly, Pandu. Vyasa also fathered a son with a maid servant, Vidur. Dhritrashtra with his wife Gandhari, fathered 100 sons who came to be known as Kauravas. Pandu, with Kunti and Madri fathered 5 sons, who came to be known as Pandavas.
In the greed and evil plots of the Kauravas, under the helm of the eldest brothers Duryodhan and Dushasan, and in their maternal uncle Shakuni’s evil machinations and in the gambling addiction of the righteous and truthful but incurable gambling addict, elder Pandava brother, Yudhishthir lies the seeds of the epic war in Bharat, which ended in Kali Yug.
NAATAK’s Mahabharat takes us through all the main plots and sub plots, major twists and turns (Guru Dron asking Eklavya to cut his thumb and give it as Guru Dakshina so that no one can contest his disciple Arjun; Kaurava’s plot to kill the cousins after hosting them in a palace of flammable materials and how they managed to survive; Draupadi’s wedding to the most able warrior; Kunti asking all brothers to share whatever they had brought and thus Draupadi came to be shared between the 5 Pandava brothers; Pandava’s loss of everything in gambling and Yudhishsthir putting his wife on the line and losing her; Kaurava’s attempt to disrobe and humiliate her and Krishna coming to her rescue; Pandava’s 13 years of vanvas; Kaurava’s adamant refusal to give them the smallest piece of land; and the war that was as inevitable as it was extensive and drew in all the surrounding kingdoms. Arjuna had a moment of remorse and refuses to fight his brothers on the other side and received updesh in the form of Geeta, from his charioteer, Krishna. The bloodiest war of the time soon descended into dishonourable tactics on both sides (where Arjuna’s young son is sent into a Chakravyuh though he only knew his way in and not out; Bhisma is mortally wounded when Pandavas use his principle to not pick up weapons against a woman and send in Shikhandi who is half woman, half man — all this and more). Bhima the strongest of the five Pandavas killed all 100 Kaurava brothers that evoked heart-rending cries of soulful mourning, followed by a curse, from Gandhari, the grief-stricken mother.
Mahabharat is overwhelmingly a story of men with women existing on the periphery; (consider the fact that among 100 Kaurava sons, there is no mention of a daughter) in tracing the entire ancestry, daughters are rarely mentioned. But it is women who experience and display raw emotions other than anger. It is Gandhari whose soulful tears at the loss of all her sons pierce one’s heart; it is Draupadi who suffers the humiliation in open court of men when her husband loses her in gambling; and it is Kunti who dutifully gives up her life in the palace to follow her husband to live in the forest.
In Mahabharat, NAATAK takes the audience through this spellbinding journey. With excellent staging, sound and awesome performance, it transports the audience to another era and retains the spell to the very end. In fact, the dialog at the end is most amazingly brilliant, distilling the essence of this epic event, a dark time brought by flawed humans and a tale of cruelty and sadness, thwarted ambition and greed, amidst small acts of courage and kindness. I loved the fact that this gripping tale is not told yet again from a traditional, routine, religious perspective but from the perspective of a historical event, values of the time, moral subtlety and ambiguity and human flaws. This incredible performance by NAATAK above all speaks to incredible and undisputed brilliance of Sujit Saraf.
I haven’t seen but I have heard that during the airing of the TV series, some people were inspired to perform pujas and garland the TV before airing of each episode. NAATAK’s performance will likely inspire the audience to find entertainment and perhaps engage in quiet reflection about values, principles, and moral code of ethics. This is a not-to-miss show of this theater season in the bay area. It retains the original flavor with Hindi dialogues but English supertitles are projected on the screen above. Tickets can be obtained at www.naatak.org .
PS: Thank you Kyle for Pictures by kyleadlerphotography
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on July 15, 2018
Director Savitha Samu exceeded all expectations in direction of psychological thriller Rashomon in NAATAK.org production. The story centers around human tendency to embellish the transpired events where facts take on different hues in each narrator’s mind.
Originally, Rashomon was written as a short story by Akutagawa. In 1950, it came out as a film, directed by renowned Japanese film director Akira Kurosawa. It won several awards and is considered among the greatest films ever made and brought Japanese cinema on world stage. Incredibly challenging to produce live on stage, Naatak’s superb cast did a fabulous job. The story centers around various characters narrating harrowing incident that involves a murder. Set in Mumbai, everyone involved, directly or indirectly, offers an account of the events that transpired on that fateful stormy day.
Each and every single member of the cast including Rohit Dube, Kukund Marathe, Natraj Kumar, Vineet Mishra, Maunic Dharia, Ranjita Chakravary, and those playing as shadows and dhol players did complete justice to their challenging roles. But truly memorable were Ekta Brahmkshatri and Rajiv Nema in some of the most challenging roles I have ever seen on Naatak’s stage.
This story speaks to amazing capabilities of human mind that four different people offer detailed descriptive report of what transpired. Each narrator embellishes the report from their perspective, providing subjective, alternative, self-serving and often contradictory versions of the same incident, that renders their version unique and unlike any other. Five contrasting accounts of the same murder by five different individuals is enough to shake up from the core, anyone’s faith in pure and unadulterated truth with all its rawness and holds deep and profound implications for credibility of eyewitness accounts, role of perceptions and biases, and basic human right of justice for all. (see my book review on “American Marriage http://bit.ly/2Kzewz1 ). Tickets for Naatak shows are available at www.naatak.org and don’t forget to get a season pass to enjoy the shows at discounted price.
Inspired by the steamy bestseller “Fifty Shades of Grey”, the movie “Book Club” offers for the fainthearted, the best comedy, minus any actual S&M action. A group of senior women, Vivian (Jane Fonda), Diane (Diane Keaton), Sharon (Candice Bergen) and Carol (Mary Steenburgen) choose to read the steamy bestseller and the result is a superbly funny comedy. These women are not the only high profile star cast. The men who enter their lives also make a fine cast and also deserve a special mention; they are, Mitchell (Andy Garcia), Bruce (Craig T. Nelson), Arthur (Don Johnson), George (Richard Dreyfuss), Tom (Ed Begley Jr.).
The desire for intimate companionship for seniors and perhaps for women more than men, is often relegated to the trash heap, in the channels of intimacy. While in some cultures, desire for intimacy among women may be a matter of amusement or may be discouraged in the espoused interest of safety, in others, it is actively frowned upon, banned and even punished.. (Watch my review of a similar Bollywood movie “Lipstick Under My Burkha” http://bit.ly/2p5b2Xm ). Cold showers is a remedy often prescribed in India, for any “wayward thoughts of intimacy”.
But it is not just in the realm of physical intimacy that this film delivers. Loneliness and craving for a companion who may be at similar stage in life, is often one of the most significant need among senior citizens. The film scores on addressing both of these issues, the significance of companionship and the need for physical intimacy, and shows how they sometimes (but not always) go hand in hand. Very likely these women have been doing book club for years. Maybe the right impetus, right circumstances did not arrive until this moment when all of them are intrigued with the thought of exploring the idea of intimacy and provide mutual encouragement. It matters but little, as long as they seized the moment.
Using the steamy book as a stepping stone, these women explore the aspect of physical intimacy; and at first kicking and screaming and later gently, glide into the cozy realm of emotional intimacy. They all at first, seem to concur with Vivian that “emotional connection is highly overrated” and make a pact “we shall not go gentle into the good night”. Brilliant and witty use of metaphors supplies an endless stream of humor. These feisty, fearless, independent women who provide companionship, solace and support to each other, fight the focus on softer, gentler aspects of intimacy with the opposite sex, for as long as they could. But in the end they find that physical intimacy is that much more satisfying and joyous when they are or if they are also able to find emotional connection. Even those among this feisty group, who can’t find intimacy, get it. Sharon sums up about love (and it is rephrased here), love does not happen because the person is intelligent or pretty and it’s not the sun or the moon or all the meaning we load onto it; love is just a word, until someone gives it meaning, and you find that someone when you put yourself out there. \
It is a beautiful movie and on a scale of 1 to 5 with 5 being excellent, I rate it 4.7 – in theaters now.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Movie Reviews on May 23, 2018
Directed by Meghna Gulzar, Razi is a spy thriller mixed with personal relationship drama. It is a fictitious adaptation of Harinder Sikka’s “Calling Sehmat”, a novel he was inspired to write after he tracked the woman who spied on Pakistan, during the 1971, Indo Pak war.
Sehmat (incredible Aliya Bhatt) was born to a Kashimiri Muslim father Idayat Khan (Rajit Kapur) and a Hindu mother Tej (Soni Razdan). From her parents from an early age, Sehmat not only imbibed the lessons of patriotism towards her mother nation India, but was also a devoted daughter and felt compelled to continue in her father’s legacy of intelligence gathering for India. She was unaware of the vital role her father had played in establishing a spy network and gaining trusted close relationship within Pakistani military’s inner circle. When she learned of her father’s activities, at the same time, she and her mother also learned about his illness and how it remained upto Sehmat to help her mother country and take her father’s place in the spy network.
Sehmat is young, determined, devotedly patriotic and unafraid to take on the challenges. Alia Bhat truly shines in her role and does full and complete justice to her character. She is at an age where she may be as yet unable to comprehend the deep and devastating impact of what she was about to do on herself and others, embedding herself with the enemy in a much deeper way than her father. Also other characters including her Pakistani husband Iqbal Syed (Vicky Kaushal) and father in law Brigadier Syed (Shishir Sharma) are fantastic and give a memorable performance to make this a gripping film.
My dissatisfaction is not with superb performance of the cast and Gulzar’s direction to bring the story to life. It is undeniable that the indispensable information received from a young woman, at great risk to her own life, helped India save lives, and ultimately control seas around both sides of Pakistan and save INS Vikrant, that was Indian pride. In the end, Indian Navy’s superiority on the seas allowed a naval blockade that was vital and led to the liberation of East Pakistan, now Bangladesh.
So why does the storyline and Sehmat’s role and character as they are portrayed gnaw at me? Here are all the reasons. This is a conflicting film and I have conflicting perspectives. See below.
- First of all, I cannot come to terms that her own father enabled his innocent young daughter to put herself in such perilous harm and that her mother would not put up a strong fight against it. As Sikka himself had once said in an interview, “I am yet to fathom how Sehmat’s father, a rich businessman in Kashmir then, could push his daughter to do such a dangerous thing”. Remember it was not the same goal as gaining independence and throwing the enemy out of the country, this was done to gain military superiority in a war.
- Secondly, I feel this is a human story with multiple perspectives but this is not primarily a patriotism story. This movie is different from movies like Chak De! India, Bhag Milkha Bhag, Lagaan, Mary Kom etc. where we don’t know anything about characters on the other side. In this movie, we see characters on the Pakistani side and learn about them and are touched by their own dedication for their country and their extreme kindness to Sehmat. Once a director does that then there is a responsibility to make it a human story where audience walks away with compassion for all, not just for one side. After all everyone was doing what was best for their country.
- Crucially, while intelligence gathering is a significant mission for any country, it is one thing to establish some trusted relationships to get the intelligence from. The complexity of this business of trust building and then crushing is goes up when it is between two trusted friends but it multiples when a person gets involved in an intimate relationship, gains access and lives within the family and spies on the members who shower the individual with infinite kindness and love. The best dialog I liked was a simple one. When General Syed learned of his own daughter-in-law’s role, he was berating her and his son said one simple sentence that whatever she did, she was doing for her country. If he can try to understand her, we have the same responsibility to feel empathy for them.
- And that brings me to my most important point. While as an Indian, I am proud and grateful for Sehmat’s role in the war, as a character in the movie, it is the character of her husband Iqbal Syed that I admire most. He was infinitely kind to her, respectful to her, was mindful of the different circumstance she grew up in, made efforts to make her feel at home, tried to understand her ties to her birth place and understood that she could be hurt if anything negative was mentioned about her birth place. He was a patriotic man who was also a good husband and son to his parents. Sehmat, on the other hand, like a snake, destroyed the lives and happiness of those most kind and closest to her and yet at the end, she audaciously engaged in a tirade accusing her mentor of doing unscrupulous things while beseeching him to take her back to India, before she became like them. Really? Her character had already proven to be worse.
- Lastly, this is infact a human story with great significance. And anyone who is put in a position or chooses to do what Sehmat did, does take an enormous toll. In real life, she suffered from severe PTSD.
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Movie Reviews on May 10, 2018
In the movie “October”, there are no head spinning dance moves or villain trying to seduce the heroine or evil mother-in-law fomenting trouble. Without any over dramatization, Juhi Chaturvedi’s writing and Shoojit Sircar’s direction has created a masterpiece about love and humanity that isn’t cognitively complex but on the contrary, it’s simplicity stirs your soul.
Dan (Varun Dhawan), a hotel management student is an intern at a top notch hotel. While his batch mates are serious about their careers, Dan seems to be fumbling his way through. He certainly has no passion for his chosen career, shows little focus and dedication and plays many pranks that constantly gets him in trouble with his superiors. His batch mates try and cover for him but also tire of it and lecture him to shape up. Dan has simply not found his life’s purpose.
In a freak accident, one of his colleagues, Shiuli (Banita Sandhu) falls from the height of 30 feet and lands up at the hospital, in a coma. To the writer and director’s enormous credit, nothing that happens is overly dramatized. There isn’t overly complicated medical diagnosis, doctors are kind and humane, recovery progresses slowly. Banita Sandhu has given a fantastic performance as a comatose patient, from blank and stoic stares to gradual eye movements to emerging into consciousness with just few simple words, over a period of weeks and months.
But it is Dan’s reaction to the sudden incident that the story centers around. For some unknown reason, Dan is deeply affected by his colleague’s medical emergency. His involvement in her medical care and his soul stirring emotional journey, the gentle development of his character and characters of those around him including Shiuli’s mother, Vidya Iyer (incredibly well played by Gitanjali Rao), as well as that of the doctor and the nurse treating Shiuli and many of her friends is all seamless and graceful.
There is a short scene that tugs at your heartstrings where Dan’s mother (Rachica Oswal) visits Shiuli and there meets her mother, Vidya. This short scene is a tribute to mothers, who never give up, no matter how challenging the journey. Dan’s mother is not happy with Dan lacking career focus, wasting his fees that the the family has scrambled to pay, but despite noting his failures, she does not get judgemental about her son or give up on her son. Dan’s mother wants to continue to be a part of his life and understand for herself what moves him. And then there is Shiuli’s incredible mother who refuses to give up on her comatose daughter, despite many pressures of being a sole breadwinner and single parent to three children. Despite her life turning upside down by overwhelming medical emergency of her daughter, she finds solace and grace to be a pillar of strength and security for her two other children. She understands that life will always go on, if not for her own joy, at least for their sake, for their future.
This is a beautiful, gentle, graceful movie about love and humanity, and on a scale of 1 to 5 with 5 being excellent, I rate it a 4.8.