Posts Tagged ‘ Richa Chadda ’

Ram-Leela

ram-leela-poster
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

Lahu Muh lag gayaaaaa 2
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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Fukrey

Fukrey-Poster
Fukrey
Release date: June 14, 2013
Directed by: Mrigdeep Singh Lamba
Cast: Pulkit Samrat, Varun Sharma, Manjot Singh, Ali Fazal, Priya Anand, Vishakha Singh, Pankaj Tripathi, Richa Chadda

A bunch of cash-crunched guys set out to make big on their vain plans is Fukrey summed up in a line. Though it isn’t this plot that entirely holds the film.

Hunny (Pulkit Samrat) and Choocha (Varun Sharma) bunk school and have knack for winning lotteries. They dream of breaking into Bishop College, after failing the final year three times in a row. The college’s guard-cum-peon Pandit (Pankaj Tripathi) offers them the final examination question papers for a steep price. Laali (Manjot Singh) is Billa Halwaai’s son who also wants to get into the same college, needs money to grease the palms and magnanimous hands of the administration.

Zafar (Ali Fazal) is a struggling musician in dire need of means to get his father treated at a respectable medical center. All of their vices and needs lead them to Bholi Punjaban (Richa Chadda) whose character is strongly inspired by the Delhi sex-racket queen Sonu Punjaban. The stakes are raised and they have a few risks to take.

The pace of the film is very indulgent to be a tightly-packed out-and-out entertainer. The laughs are generous and cunningly scattered all over the narrative. Fukrey is hilarious through thick and thin and K.U. Mohanan’s stellar photography gives Delhi a different feel. The strength lies in the individual characters and their characterization.

The unpretentious representation of Delhi is accentuated by their performances. Be it the small love story between Neetu (Vishakha Singh) and Hunny, Laali’s prayers at the Gurudwara, whatever tales Choocha rakes up, Bholi’s powerful influx or Panditji’s slight English. There’s subtlety in humor and in the depiction of the plot’s conflicts too.

The issue here is that there’s too much crammed up to keep it taut. Spared for a dance number, you can bear up with the length otherwise. The climax is prolonged and a bit off as an extension of what  preceded it upto that point. Again, the individual characters’ depth and their performances are extremely appraise-worthy. All of the cast is near perfect.

Fukrey may not be an enlightening revelation, but it’s a delightful addition to the slice-of-life-boys-version category.

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

Gangs of Wasseypur 2


Gangs of Wasseypur 2
Release date: August 8, 2012
Directed by: Anurag Kashyap
Cast: Nawazuddin Siddiqui, Huma Qureshi, Tigmanshu Dhulia, Pankaj Tripathi, Satya Anand, Raj Kumar Yadav, Zeishan Quadri, Richa Chadda, Anurita Jha, Vineet Kumar, Piyush Mishra, Jameel Khan, Reemma Sen

Revenge was the center point of Gangs of Wasseypur and with the change in characters and situations, the theme gets gory and murkier. The lines which were drawn earlier are now more unclear than ever. And with the evolution of the story the realistic moral values of the characters also get a tweak in the form of double-crosses and debaucheries.

The earlier part presented us with a massive narrative that spun around three generations with its central protagonist – Sardar Khan (Manoj Bajpai) – inflicted by gunshots mercilessly fired at him by Sultan (Pankaj Tripathi) and his partners at a petrol pump. This is the starting point of our second part.
This film is set in a shorter time-period. Starting from late eighties-early nineties and going up till 2009.

Danish Khan (Vineet Kumar) had always been the more active of Sardan Khan’s sons as he was the oldest and definitively loyal to his family, unlike some of his family members who held a few grudges against their patriarch. Nagma (Richa Chadda) insists her sons to avenge their father’s death and soon, the third generation of the Khan household steps into the battleground for a final all guns blaring battle of brutality.

Faizal Khan (Nawazuddin Siddiqui) was shown as the ever ganja smoking, cinema-influenced physically meek brother who never wanted to get involved in  Sardar’s dirty business. The increasing number of deaths in his family drives him to the edge and soon, Faizal is the new Sardar. Faizal’s half brother Definite (Zeishan Quadri) was born and brought up at the Khan arch nemesis Ramadhir Singh household. Definite also, like the rest of Bihar/Jharkhand wants to be the next top-gun mafia head.

Perpendicular a.k.a. Babua is Faizal’s brother and is perhaps one of the most interesting characters ever created. With his razor blade chewing skills that terrorizes everyone alike, Perpendicular creates havoc by robbing everything from groceries to jewelry. Shamshad Alam (Raj Kumar Yadav) sweet talks his way into Faizal’s empire by making ridiculously inappropriate business plans with his own intentions of reaching the top.

Ramadhir Singh (Tigmanshu Dhulia) tries to rope in every wayward soul that works for Faizal and make them work in his favor. Though limited in presence, Ramadhir sure has some helluva punching lines. Mohsina (Huma Qureshi) is the anchor to Faizal’s struggling ship. She pumps up his confidence with a song and few sensual hugs, which never look questionable or unconvincing.

The chase sequences also get a touch of Wasseypur and turn out to be hilarious. They are so precious that I will not even divulge any more than that. Anurag Kashyap again guarantees visually appealing dimly-lit shots, nothing short of aesthetically orgasmic. Every loose end of the earlier part finds a logical connection and closing in this part except for a few. (Too intrinsic to be listed)

G.V. Prakash’s haunting background score reappears and still remains captivating alongside with Sneha Khanwalkar’s brilliant music which cannot be just described in enough words. Zeishan Qureshi’s debut isn’t your quintessential one, but it sure is brilliantly earthy and convincing. Nawazuddin Siddiqui treats the camera like it’s his long-lost lovelorn partner and gives out a passionately wonderful performance as the conflicted Faizal.

Gangs of Wasseypur Part One was defined by powerful ensemble actors and this part finely encapsulates the ‘other guys’ as vital players. This may not be as grand as the first part, but it’s more slick, cutting and hip. Hat tip to the well-depicted action scenes with detailing the tiniest of bloodspills. Gangs of Wasseypur 2 need not be compared with the first part as it is a completely different and separated product which delivers a new jolt to the impending masterpiece.

Now why do you even need any more reasons to watch it?

My rating: **** (4 out of 5)

Gangs of Wasseypur

Gangs of Wasseypur Part 1
Release Date: June 22, 2012
Directed by: Anurag Kashyap
Cast: Manoj Bajpai, Richa Chadda, Jaideep Ahlawat, Tigmanshu Dhulia, Piyush Mishra, Nawazuddin Siddiqui, Reemma Sen, Huma Qureshi, Pankaj Tripathi, Jameel Khan

La vengeance se mange très-bien froide – which means, “revenge is a dish best served cold” from French novel Mathilde by Marie Joseph Eugène Sue is perhaps the center-point of this magnum opus. The canvas is set for fluent masterstrokes for Anurag Kashyap and his meticulously selected creative team and cast alike. Gangs of Wasseypur is set in different eras, where the definition of revenge keeps evolving.

The opening sequence starts from a scene that has a significant futuristic importance.  Shahid Khan (Jaideep Ahlawat) goes against the tide in his village and bears the brunt of that sin, giving rise to an insane need of seeking vendetta from the wrongdoers of Shahid in Sardar Khan (Manoj Bajpai). Sardar knows what exactly happened and promises to not rest until he gets blood on his hands. Literally, and figuratively. Richa Chadda plays the role of Najma, Sardar’s wife, and she brings the same amount of confidence and ease that she did in Oye Lucky Lucky Oye as Dolly. Najma puts up with Sardar’s all habits with her own inane traits.

Tigmanshu Dhulia with his portrayal of Ramadhir Singh shows you a formidable villain under that director’s hat. Sardar’s indiscretions carry on and reach their peak when he comes across incredibly attractive and young Durga (Reemma Sen) who’s yet a virgin. Ramadhir hangs on to his powerful position while Sardar carries on with his domination, unaware of his intentions. Meanwhile, Sardar’s neighbors from his village seek his help to get rid of the newfound dominance of Sultan Khan (Pankaj Tripathi) from the Qureshi household. Here cultivates the ultimate combination of gory means to establish dominance and put the adversary down in the most gruesome manner.

Nawazuddin plays Faizal Khan , Sardar’s younger son. He’s that somewhat dull kid of the family. He sets his eyes on the strikingly vivacious Mohsina (Huma Qureshi) and plays out an interesting small-town budding romance between them. Gangs of Wasseypur leaves at a break-point where you can’t seem to get enough of the flowing storyline. Do not leave your seats until the end credits finish rolling out, that’s when you get to see the trailer for the next part.

With little scope to display his love for brilliant cinematographic spots with colored themes in the background, Kashyap makes the optimum use of every possible chance that he gets. Making the already binding plot more juicy and visually appealing. The running time could be touted as long, but not once did this viewer stare at his watch in dismay and pain. Gangs of Wasseypur could spoil you with all its seeming perfectness and excellent background scores that provide that ‘extra’ bit of push into the building thrill. No point in raving more about Sneha Khanwalkar’s haunting and well-researched musical compositions.

Jiya Ho Bihar Ka Lala gives you that great question mark at the end making you lust for more of this film. Kudos to the writers and everyone involved in developing the rust-free screenplay that is exhaustive and extensive at the same time.

Gangs of Wasseypur might be compared to the Godfather series and the likes, but it has surely redefined Indian gangster flicks. GoW is a must watch in every aspect.

My rating: ****1/2 (4.5 out of 5) 

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