mainak mukherjee

Once I watched the trailer, I was deeply disappointed of the way the narrative is subjected, with freedom been served in the plate of mockery. But today I Watched the movie where I felt the work of auteur, director Alankriti Srivastava with the strong and poignant world of feminism which is highlighted through the world of two sisters portrayed by Konkona Sen Sharma and Bhumi Pednekar. It had its revelations and questions with the tone of freedom serving in the stand. They, the women wants to escape from the isolation and the dilapidated reality that is dawned each day as the walk to the same path of self discovery. You are inferior, why? Because you are not man, who are a women, you are born to be sabotaged by the superiority of the male gaze. The dreams, the way to escape, the sexuality and the urge/pleasure, is a definite arc of the women who are serving the superior their treat of sexuality. The body of the women is not to taste the filth of the demon that forefront them, it's also to take the inch of urge and to stand awake the harsh nature which is put in front of them for years and years....my question is where is the tone of feminism, where are the identity of the women, are they covered under the sheet of dirt. Years will pass but the identity will still be drowning, it's still be pointed by the society, it will be tasted with their body.....nothing will change even if the mind wants to. Through the eyes of Dolly and Kitty, the director has surpassed the norms and tried to awaken the natural charisma and the wonders without question to sexuality and gender identity. On one hand Dolly is inferior because she can't satisfy the sexual urge of her man and that leaves him to get the cure from some prostitute thus leaving her suffocating of her sexuality. But she finds her freedom from the point of love which is consensual, is that wrong, I don't know but it's strong to be awaken. Kitty is inferior because he works as a prostitute or in other words she is called as a 'Randi', there to her pleasure of feminism and independence is questioned throughout.....she is not supposed to work with the filth in her face, also not allowed to find love because she has no identity, she is just a prostitute. She is losing her charisma as a individual, her identity and sexuality which is forged and sabotaged by the male. The director points the layers, deriving the sexual identity and the body , the lose, the mockery to Feminism by the stand ahead men and her toy dream...which just has a question mark. To me, it had layers of complexity from the arc of women, with her realisation of freedom to escape from the filth and to evoke the sense of her identity. Use of metaphor is earthly the gruesome element which lines the narrative. The depth of the character was missing and the storyline even been taut still little lose. Lets hope for a world with gender not as a identity but as derivative of the nation.

Khuda hafiz, been pulled from the garnishing beds of Bollywood, its sensual and subtle take on the mystery of human trafficking been a heinous issue in all the world, smaller to say that is the moral crust of the idea, the movie in the way been paved way with songs and the same cliché emotions of women weeping and the man striving out for revenge for his wife abduction, yet it is intriguing in its active tone. The movie been commercial in its very flavour yet is beautiful and engaging through its running time, but the essence of the Hindi film industry is lies in the basis of the movie, Vidyut Jamwall is the core of the momentum. The character of Vidyut, is kept in a passive tone, where he learns about the actions, consults with the people around and then moves through the step ahead. It's someway jarring in its tone of execution been the Police force and the part of Custody taking the severe actions in a much loosened manner, the movie still keeps the tone intact. Vidyut's character analogy, is crafted with perfection but the very nuance that lies in the portrayal of Nargis by Shevaleeka Oberio is neutral at points where mostly in the scenes she is the part of human trafficking. The supporting cast consisting of Anu Kapoor, Shiv Pandit and Ahana Kumra with the foot for a mere portrayal pulled the emotional chords flawlessly. The storyline was unlike the bigges like Bagghi and Taken pushes the tone of the story in a similar earthly fashion but still the way it devolps is gripping and promises to keep its viewers on the edge of their seats. Understanding the pitch and the ideology of the story is the important element of the filmmaker which Faruk Kabir has entitled with keeping the tone and the rhythm moving, with the amalgamation of Songs, Romance and Action making it a adrenaline watch with Vidyut been passive yet moving and the other actors making the presence felt. On the concluding note, Khuda Hafiz may not be a great watch for the cinephile but it's subject and the way of execution keeping the pace at the first half felt real and strong, but eventually it puts its shoes in the very Bollywood Domain where the Action movies without the crust in their tone are moved ahead. Khuda Hafiz stands Neutral in its Attempt.

Looking at the very paramount of the movie, Gunjan Saxena was defined by the director Sharan Sharma as the hardships that were followed through the rigorous platoon of the women who broke the norms and levitated the momentum that lies within gender discrimination, despite that it dragged such chords which were unevenly potrayed in the screen, of How Gunjan Saxena became Gunjan Saxena. The movie was titled the Kargil Girl initially but it revolved around the specific walk through of her dreams, the dilapidated morality that is surfaced around the character through her times. It lacked its core basis of the ideology that how she struggled in Kargil by rescuing in the evacuation emergency mission from the IAF(Indian Air Force), it targets the specific in the last counting minutes of the movie putting the very question of sexism that is yet prevalent in out country. A women is equal to 100 masculine traits but that's where the ideology summons down. Gender is pushed through its limits in the Indian Air Unit, it's harsh to combat the very derogatory terms but it's the underlying truth. Throught out its long running time it just questions how weak is Gunjan Saxena...that at one moment she leaves the very dream and takes a back stand. Moral of the story was clear to the audience prior too but dragging it to a extreme point is the thing for the bolly industry's. Now let's talk about the cast, Jhanvi Kapoor been given such a huge positions in her acting journey, failed to give wings to the pride of India, the character arc was weak, and the structure wasn't focused, dialouge delivery and the tone was the same throughout even through the emotions keep on changing. Pankaj Tripathi was the essence of the movie been given screen space pretty less but strong on the crust to define the relation of a father, and Angad Bedi after a long time giving his performance fails to attract the vision of the viewers. The long running minutes with lacking of the structure, and the over the top songs which according to the director are supposed to enhance the emotions are the worst element that are out forth yet again. Closing the note, it's not a strong biopic potraying the first women to lead the command in the IAF, the movie fails to grip attention been the real life of Gunjan Saxena such intriguing, without any doubt the makers have messed the entire life with the Nepotist Mafia Karan Johar taking the stand yet again for her dear girl Jhanvi.

It's dwells into the inner conflicts of a mother against the faul practices that was carried over by her biological mother and the so on allegations and negligence that seemed to be more dramatic and over the top compared to the articles that are initially written( you will find one in google, search it now! ) on Shukuntala Devi. It's one of the worst Biography penned down by Anu Menon, whose initial work includes Waiting (which was a classic example of art house cinema). Shakuntala Devi celebrates feminism but dissociates the tone of it on the inner front. If you are a Bollywood fan watch it but it's just a stupid adaptation yet again by Bollywood. Instead watch "The Man who knew infinity".