Movie Review – Kai Po Che (Hindi) – This kite flies high and high!!

We all have grown watching youth-centric Hindi films that are set in a city. As always, we put some expectations in place and want to see chic visuals and cool costumes on screen. That’s an archetypal Bollywood-ish film for many. If there’s a backdrop of a college and the actors studying there, it gives us many reasons to cherish. But, beating all the aforesaid myths to pulp is all about Kai Po Che – the term literally translates to “I have cut (the kite)” – a phrase used to display the jubilation that’s a post-effect of making your opponent’s kite flightless! The movie stays true to the the essence of the phrase and is a cut above the rest. The film is devoid of ‘Love is in the air’ hook-ups, tear-jerking break-ups and above all candy-floss visuals and songs. It’s only the deft story-telling technique that refines an otherwise simplistic story.

Kai Po Che is the second outing of Abhishek Kapoor who won many hearts with his debut film Rock On. He more than ably adapted Chetan Bhagat’s The 3 Mistakes of My Life to screen. The movie set in Ahmedabad revolves around three men with aspirations in their hearts and loads of responsibilities on their shoulders and the drama surrounding their lives. They want to dream big and stay progressive but their incorrigible ‘make ends meet’ attitude makes them regressive. They are always on the verge of walking against the grain but are succumbed to a custom-driven society in which they live in that still believes in entrepreneurship being a myth. In their odyssey, they try to bust this myth and become torch-bearers of real India. Like a whiff of fresh air, the director induces drama in the narrative and makes us believe that a film with small town lads could be as engaging as that of city-groomed fellas.

It is a simple, unworldly, wafer-thin storyline which racks our greycells by throwing some questions at us. Can the sport of cricket really act as an elixir to sort our differences? Is it possible for a college graduate to be nonchalant about the overtones of social consciousness? How does a political party championing Hindutva gets fresh blood into their system and then transform them into fanatics? The most important one – Kya dost ki behen kabhi girlfriend ban sakthi hai? The film hovers over these questions. And they fuel the thought provoking moments of the film. 

When compared to his last film, Abhishek Kapoor showed a lot of maturity in handling the script. You will be surprised to see how Bhagat's novel metamorphosed into a cinematic brilliance that’s irresistible and leaves the audience wanting for more. That’s the sheer magic of Kapoor and his team. The way he packs solid content in 2 hours brings out the finesse in him. Deepak Bhatia must be lauded for keeping the film crisp with his slick editing. The director pulls a knotty task trying to cut the clutter of conventional film-making that relies heavily on an apparent emotional quotient. The film strikes a fine balance by touching the emotional abyss without giving way to melodrama. In spite of the upsetting environment of politics and devastation, the film is appealing. Amidst the tears, you find a smile on your face, because, above everything, it’s the tale of triumph and togetherness.

Let’s meet the main characters Govind (Raj Kumar Yadav), Ishaan (Sushant Singh Rajput), Omi (Amit Sadh) and Vidya (Amrita Puri) in the up-country Gujarat. The three men are utterly contrasting to each other. They start their entrepreneurial journey in the year 2000 and during the course they see the first shopping mall being constructed in their town and they go through the turbulent times of facing the wreckage of the earthquake that hit the region. Every significant event from that period has been embedded into the narrative to weave a fine tapestry. 

The lives of the three were altered by things that are beyond their control, and this cinematic tale culminates in an overwhelming finale. Many hurdles cross their path but always their unswerving nature makes them stem the tide. The first one is the earthquake followed by many dire circumstances – both personal and political – leading to chagrin in their lives. But they stay undeterred and stand as a living testimony to the adage – Every cloud has a silver lining.

The director extracts more than able work from the acting department. This is the debut film of television actor Sushant Singh Rajput and he shines in the film’s most chromatic character of Ishaan. Amit Sadh, though a bit inconsistent in the character, delivers a persuasive performance as Omi. Amrita Puri’s Vidya is warm, vibrant and plausible. The one who steals all the brownie points is Raj Kumar Yadav. This guy is a novel talent in Bollyland. He plays the middle-class Govind with aplomb. The effectiveness of his role can be seen all through the film. These are not characters you would really know, because the story does not allow you to, but Kapoor’s clever handling of scenes reveals just a little more about them. Rather than getting deep into the subtle nuances of the four principal characters, the foursome writers’ brigade - Pubali Chaudhari, Supratik Sen, Abhishek Kapoor and Chetan Bhagat - left them shallow and superficial. But the film casts a magical spell with meticulously crafted cinematic details.

Another appreciable feature is the way cricket interludes were placed adeptly in the screenplay. Layer by layer the cricket element builds up the tempo until the climax. A young India takes shape from the cricket pitch and seeps into the national spirit. The second test match in 2001 India Vs Australia series, V V S Laxman’s staggering knock of 281, and finally India’s win against the Aussies was used effectively to ease the tensions between the characters. Cricket and cinema is not new, but this fine placement of cricket in cinema knew no bounds and forms the right connect with the theme.

Kai Po Che looks elegant because of the artistic flair exuded by the technical department. Camera work of Anya Goswami was near perfect in capturing the rustic locales of Gujarat and the fast paced game of cricket. It’s clean and gloss-free. Amit Trivedi tried to bring in lot of diversity in his music. The mélange of Indian instruments with their western cousins in phenomenal. He tried to break the jinx of wearied fusion and pulled off three commendable tracks for the film. As composer Sistla Suresh (www.facebook.com/SistlaMusic) remarked, Trivedi is poor man’s A R Rahman. The music forms an integral part of the overall sound design. Albeit it’s sporadically used in the narrative, the notes remain for long. An excellent new find, Hitesh Sonik, created the background score and he’s an amazing wealth of talent. Way to go.

Bottom-line: Kai Po Che has the sure-fire uphill arc of friendship, bromance, set-up, conflict, loss, aspiration, forgiveness, climax and a resolution. Everything is methodically and skillfully built up. The film is born out of conviction and is made interesting at multiple levels. On one side, it is gratifying with a simple story of hope and dreams, and on the other it brings out the intricacy of the nation’s most reprehensible socio-political segment. We seldom find a finely-crafted entertainer about all-embracing emotions. So don’t commit the FOURTH mistake of not watching this film.

My Rating: Expectation – 5/10; Reality – 8/10

Movie Review – Mirchi (Telugu) – A SPICY bag of borrowings!!

Spot the difference in Mirchi Top 10

1. Shankam: The movie opens with a love story in Australia and the smoke trail leads you to Rayalaseema.

Mirchi: The movie opens with a love story in Italy and the smoke trail leads you to Palanadu in AP.

2. Darling: Hero gets a musical introduction as the member of a band.

Mirchi: Hero gets a musical introduction as the member of a band.

3. Ready / Bindaas / Brundavanam / Jayeebhava / Shankam / Dammu and many more: Hero lives with heroine’s family to gain her family’s confidence and change them with a magical mantra called love.

Mirchi: Hero lives with heroine’s family to gain her family’s confidence and change them with a magical mantra called love.

4. Student No. 1: Hero to focus on studies shows the trouble-monger villain the path of love.

Mirchi: Hero to gain entry to a place shows the trouble-monger villain the path of love.

5. Dhada: A pre-visualized fight sequence with a timer to bash the goons.

Mirchi: A pre-visualized fight sequence with a timer to bash the goons.

P.S. Both are ripped off from Guy Ritchie’s Sherlock Holmes.

6. Hum Tum (Hindi): Despite his busy work, the hero assists his mother who is a wedding planner.

Mirchi: Despite his busy work, the hero assists his mother who is a wedding planner.

7. Brundavanam: In the climax, the hero is beaten to pulp, but like a phoenix he rises from ashes when there is a trouble for his loved one. *Suspension of Disbelief*

Mirchi: In the climax, the hero is beaten to pulp, but like a phoenix he rises from ashes when there is a trouble for his loved one. *Suspension of Disbelief*

8. Brundavanam and loads of other Tolly flicks: One heroine is a city lass and the other one is a village belle.

Mirchi: One heroine is a city lass and the other one is a village belle. Here I leave it to the audience’s intellect as who finally gets tagged with the hero.

9. Rebel and myriad films of this land: After a magnanimous fight sequence to save his family, the hero is ostracized by his father for putting up such a great show (for hero) / dismal performance (for father). As a reward, the hero accepts this with a smile.

Mirchi: After a magnanimous fight sequence to save his family, the hero is ostracized by his father for putting up such a great show (for hero) / dismal performance (for father). As a reward, the hero accepts this with a smile.

10. Most of the Telugu films: A chewing gum-ish flashback in the second half.

Mirchi: A chewing gum-ish flashback in the second half.

Question Time: Most of the Tollywood films that find comfort in formulaic stories are HITs.

Mirchi: ___________________________________ ???

High-Liers: The dude-ish Prabhas, beautiful Anushka, exotic locales, crisp dialogue, striking camerawork, DSP’s BGMs and Idhedo Baagunde song.

Low-Liers: Routine routine routine routine routine ‘chintakaaya pacchadi’ story and screenplay.

Bottom-line: Cinema choosthe poyedemundi dude… Maha ante Rs 55 / Rs 150 bokka anthe!!

My Rating: Expectation – 7/10; Reality – 4/10

Movie Review – Kadali (Telugu) / Kadal (Tamil) – Old story with new actors!!

“There are two things that bother a film-maker. One, when he is offered a lifetime achievement award. The second is when he is asked to do a book on his films. Both invariably mean that the sell-by date is round the corner, or worse, that it has passed” said Mani Ratnam in the book Conversations with Mani Ratnam written by Baradwaj Rangan.  There he missed a crucial point that audience acceptance also plays a vital role in deciding the shelf-life of a director. Back in 80s, there was storm which created furore in the film fraternity with its subjects on social-awakening. They called it “visionary” and the world knows it by the name Mani Ratnam. At the turn of the century, this storm subsided after giving Sakhi (Alaipayuthey in Tamil) and then Amrutha (Kannathil Muthamittal in Tamil). Kadali (Kadal in Tamil) marks the downhill trajectory of a creative genius who doesn’t get content hitting a nail after nail in his coffin with every new film he makes.

Kadali has some traces / characters of Ryan's Daughter, a 1970 film directed by the legendary David Lean, which in turn was a very loose adaptation of Gustave Flaubert's novel Madame Bovary. Kadali’s story revolves around few good people (The Gods) and few bad people (The Satans) and as every other film it ends with the good winning over evil. The path between the start and the finish line is filled with silly, traumatic, incorrigible, sleeping-around, and penurious people with a vacillating faith in God. Every person has a good or an evil tag attached to them and they are underscored with white (for good) and shades of grey (for evil). This practice goes overboard and the overdose of grey submerges an inkling of white in the film. Almost like the vintage films you can see either good or bad, or an ignorant bunch people who play a deaf ear to all the jazz about God.

Let’s stay where we are, and delve in to the character that switched sides from good to bad and then back to good so effortlessly. All this for the sake of a girl who came like a flash and changed everything with her little on-screen presence. She is referred as an angel – who doesn’t understand what paapam is - and as a catalyst for change. Isn’t it too biblical and too run-on-the-mill? You wonder all it took to reform a man was fair skin, cherubic smile, white clothes, and a marginal dolt. This is one of the clichés that bolsters Kadali and tries to instill faith in God.  In a society that’s replete with bad elements the onus is on the individual to unearth good and embrace it. This concept is hammered on to the audience with a gospel touch by making symbolic references to the God, the Satan, the Angel and the Sheep. On one side, the film blends religion into every subtle nuance – a decent effort – but at times it reinforces that religion is the genesis of all the difficulties.

The entire weight of the movie is taken by two extreme poles of performances – Arjun and Arvind Swamy. Both outdo each other in their roles, but it’s so frustrating to see the brilliance of the former and the calmness of the latter completely wasted by bungled up writing. Gautham Karthik is a bagful of surprises and shows poise in his variegated character. Thulasi Nair is nothing but a canonized Hasini from the Telugu film Bommarillu. Her bubbly and buoyant nature is rooted to her childhood and the loss of emotional growth or something to that effect. She is not the Mani Ratnam material and a bad pick by the director. Manchu Lakshmi shines in her brief role. The supporting cast is near perfect and sync into the ambience of the fishermen hamlet – an impeccable set design by Shashidhar Adapa.

A R Rahman tried to pull off another masterpiece but few good songs faced a sudden death due to their improper placement. The flagship song Gunjukunna (Nenjukulle in Tamil) has been grossly wasted. You make your mood to enjoy it but it comes and goes in a jiffy leaving no time to settle. ARR with his BGMs created the right aura for the scene in which actors thrived to bring out the right emotion. His music punctuated the narrative and elevated every scene consistently but again the shoddy screenplay left all of it in lurch. Albeit classy, Sreekar Prasad’s editing went haywire in certain areas and the transition from one scene to another raised many doubts - What happened to the lip-lock scene shown in the trailer?? Rajiv Menon with his cinematographic excellence left no stone unturned in uplifting the cinematic brilliance of the film. The visual panache forms an integral part of the film and is one of its saving graces. The way he canned the thundering storm in the climax calls for a thundering applause.

Bottom-line: Kadali is not a great work of Mani Ratnam. As a fanboy you may try to pull all the strings in the film to praise Mani sir, but for others it’s a lackluster ensemble. This predictable film reigns high on its visuals, music, and some power-packed performances, but again these poorly written characters have nothing exciting to say and are forcefully pushed into poorly written scenarios. For such a movie, the characters needed more depth and they lacked it. There are some trademark Mani Ratnam scenes but they won’t come to rescue this sinking ship. All good things come to an end and for few good moments in the film you have to pay a heavy price of boredom. When the writer and director fail to SEE DEEP into the emotion in narration, the film will be in DEEP SEA. That sums up everything and also justifies the title – Kadali.

My advice to all aspiring film-makers: Watch it if you are in support of a spirited failure rather than a passable success, and learn how to avoid all the classic mistakes committed by classic film-makers. I am dejected, devastated and disappointed after watching this film, and I want to thank Mani Ratnam for deceiving me by offering a wet firecracker. Now, I have to watch Nayakudu, or Geetanjali, or Dalapathi to cleanse off this cardinal sin!!

My Rating: Expectation – 9/10; Reality – 5/10