Posts Tagged ‘ Gulshan Devaiah ’



Release date: March 20, 2015
Directed by: Harshvardhan Kulkarni
Cast: Gulshan Devaiah, Radhika Apte, Sai Tamhankar, Sagar Deshmukh, Veera Saxena

I never wrote about Richard Linklater’s Boyhood last year. One reason for that was I didn’t watch it firsthand in a theater. Uh, that is the only reason. Boyhood was a great experience in the natural evolution of a character and  spontaneous development of the story. Though, a common grouse raised against it was the lack of a coherent ‘plot’. I couldn’t relate my ‘boyhood’ with the film’s because I am not a white male born and brought up in the US. Hunterrr is my relatable Boyhood.

The film opens with his friends chiding him for being a constant sexual predator always on the hunt, to which Mandar (Gulshan Devaiah) responds that sex is a basic human need, just like defecation. He presents sensible and hilarious points in favor of his argument. This is six months prior to the current day, when he has voluntarily forcibly quit his promiscuous ways and has given in to the pressures of having reached a certain age in a middle-class Indian household, i.e. arranged marriage.

He starts seeing women, often making them recoil and cringe in disbelief when he comes clean about his “some” casual encounters during college. He’s told by his cousin Dilip (Sagar Deshmukh) that it’s a process where he’s required to do the opposite, because “Arranged marriages are virgin-folk’s playground.” He pulls a pretense of being a dating-rookie in front of Tripti (Radhika Apte) who tries to be truthful about her troubled past, but Mandar says it doesn’t matter. He knows it doesn’t matter, because he isn’t telling the truth about his own escapades. Soon that reluctance turns into fear, of losing Tripti. Yet, he struggles with the idea of monogamy and keeps shielding himself from the reality.

Along with the current day, there are flashes from his teenage years, how he spent his summers with his cousins in the village. How he stained his sheets for the first time, and how he got his head shaved by the cops. How he got kicked out of his college hostel, and why he left his new apartment. All of these events have an underlying element of sex and humor to them. Some are innocuously hilarious, and some heartbreaking, none of them crass.  The fact that the acts of adolescence transcend into recurring instances of betrayal and dishonesty for him, prove to be Mandar’s undoing.

Hunterrr is written and directed by Harshvardhan Kulkarni, who’d previously written last year’s Hasee Toh Phasee. He creates zany characters out of his surroundings here as he did in HTP as well. Mandar’s shirt-ripping friend, or be it the one who falls in love with a bar-dancer or even his mother’s flawed pronunciation of certain English words or his father’s grumpiness about everything; they’re all fleshed out to infuse life and wit to a story which could have turned out very different than what it has, if it weren’t for them.

This isn’t a film about a heterosexual man’s sexual emancipation, heck Mandar isn’t even portrayed as a player, or a sex-addict who has to jam his tool into every crevice and nook he spots. He does whatever other teenage boys do: he lusts for an older woman (Sai Tamhankar) more than his own girlfriend (Veera Saxena), he boasts of his adventures to be put on a pedestal by his classmates, he tries to be an ass to one of his exes when he discovers she’s moved on. He isn’t a creature of magnanimous importance, he’s just a lurker and shockingly confident at times. Or maybe that’s his ‘thirst’ that gives him the audacity to approach women, which he lacks in a different setting.

His character lacks a sexual growth which was required as he says he’s a ‘hundred not out’ at the crease of intercourse. Obviously, it would have made it even harder to get a censor certificate, but it’s the constant need of keeping the film “as clean as possible” which dilutes the content on the screen. The film relies on Khamosh Shah’s strong soundtrack to convey what it possibly can’t in grim or candid scenes, and the constant back and forth of the timeline of events is at times distracting and even unnecessary. The music is amazing and the non-linear sequence is fun, but not when it’s excessively exploited. The film resorts to some traditional contrivances and cliches to get out of certain situations, which increases the running length, yet displays the ease at which Kulkarni operates at the helm.

Like every other good film of this year so far, the casting and the performances of everyone from the main leads to the bit players simply prove to be great catalysts. Gulshan Devaiah gets to show off a varied range from his repertoire of emotions. He’s sweet and then he’s slightly deplorable. Radhika Apte turns in a natural showing of whatever she’s asked of. She isn’t hypocritical of other’s life-choices, and she’s a chick who teaches Mandar how to check out women discreetly (sad). Sai Tamhankar as the older Jyotsna is supremely imposing yet her character remains shallow in writing. They infuse more than what’s written for them. The kids playing the younger versions of the characters are as good as the adults.

Hunterrr is the perfect illustration of how a young vaasu might grow up with his imbecile infatuations intact. We’ve all heard and talked about men who are like Mandar, we just don’t care about how they end up. It isn’t how every man is, it’s how most of us fantasize of being. Not the most pleasantly relatable Indian Boyhood perhaps, after all.

My rating: *** (3 out of 5)


Ram-Leela (Goliyon ki Raas Leela: Ram-Leela)
Release date: November 15, 2013
Directed by: Sanjay Leela Bhansali
Cast: Ranveer Singh, Deepika Padukone, Supriya Pathak, Abhimanyu Singh, Gulshan Devaiah, Sharad Kelkar, Richa Chadda, Barkha Bisht, and Raza Murad! (though only in a cameo)

Goliyon ko Raas Leela, which translates to a fair of bullets — holds true for a major part of the film, there are bullets being shot absolutely no reason. In my estimate, more random birds in the air must have been killed with guns than actual people. And that’s some figure, given the strong mafioso orientation of the film’s characters.

Ram (Ranveer Singh) is the comparably non-violent black sheep of a strongly violent Rajadi family, he runs neon-lit shady video parlors in a fictional village of Gujarat. Promenading through the small nooks, he dances with his roaring 6 (or 8?) pack abs, doing pelvic thrusts and never hiding his overt sexuality. This sexuality forms the bond between the rival Saneda’s wildly swaying daughter, Leela (Deepika Padukone)

LAHU MUH LAG GAYAAAA deepika-padukone-looking-ranveer-singh-still-from-film-ram-leela

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In a setting taken from Shakespeare’s Romeo and Juliet, Ram-Leela’s first meeting is passionately raw and extremely, er, hot! A blood-soaked kiss (not down there) is just the start for this combustible couple. They incessantly text each other, exchange cheesy conversations just like any other contemporary new couple would. They click umpteen selfies and even talk about posting them on Twitter, only if they’d dropped an Instagram reference…

The love affair is everything right with the film. The drama surrounding them? Not quite. There are three dance numbers in the first half, making you wish for the interval to arrive at many points, but it doesn’t. Two more in the post-intermission part, testing your conviction and commitment to the film. Support characters like the two respective sister-in-laws Rassela played by Richa Chadda and Kesar done by Barkha Bisht, have more than one dimension to them, thus helping for a stronger depth. They aren’t the cruel bhabhis of our love stories, they are intelligent and somewhat righteous.

The men, on the other hand, are simply high on testosterone, and their lives are also shortened. Gulshan Devaiah’s Bhavani is the only male character with more to do, yet there isn’t much writing in his evil intentions. Writing, perhaps is the weakest department here. The raunchy jokes in the first half get increasingly boring (for me at least) owing to their lack of originality. Even strong players like Dhankor (Supriya Pathak) has so little rationale to the choices that she makes and the cold-heartedness that she portrays. The former jokes do help in lightening the subsequent grim climax though.

The violence isn’t in action as much as it is in its loudness. There isn’t much gore or blood, even if there are some real nasty things going on. Bhansali and his cinematographer S. Ravi Varman use masterful shots to make you feel the violence by minimalistic actual violence. They also paint greatly vivid pictures by using a diverse color pattern with their lighting. The rumored extensively long shooting schedule of 200 days seems justified by the production design, costumes and locations. Unfortunately, the same amount of detail is missing from the screenplay.

The music evolves with the growth of our protagonists’ characters. From the thrust-banging of Tattad Tattad to Ang Lagaa De‘s sensual ‘lovemaking’, it just suits perfectly. Hallelujah, Priyanka Chopra have some mercy on us! The picturization length could have been shortened in the synchronized dancing part which would have also helped reducing the film’s mammoth of a runtime. The end may put you off, probably due to its recent presence in so many films off late. It’s not repetitive, but rather a bit illogical. There’s storytelling logic missing in a few more places as well, and I better leave them unexposed as they might give away more of the plot.

Ranveer and Deepika look their parts and make you wish you were a part of the Ram-Leela universe, and maybe steal away either of them or both depending on your sexual preferences. Deepika’s every hip snap gets you swooning, turning up in your seat. Their kisses (probably chopped) are involving and tempt you for their next liplock. The Gujarati accent is present and its done well. It interferes with authenticity with the infused Hindi and that’s a personal grouse.

The actors, production designers and everyone except the writers and sound recordists/mixers/engineers try their best. Underwhelming to an extent, surprisingly entertaining even with the heavy end, Ram-Leela is just in the middle. Hey, Raza Murad’s back too!

My rating: *** (3 out of 5)

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