This has been a year of reformation and introspection for Pakistan's entertainment industry. After India closed its doors to Pakistani artists in the wake of the Uri attack last year, Pakistani artistes – who were minting a heavy buck from the biggest culture industry in Asia, Bollywood – were forced to come up with a plan B. Nothing can compare to the attention and recognition a successful project in India can bring. In fact, a lot of Pakistani artistes still bank on that one short role (that nobody remembers) to enhance their portfolio. But as Junoon said in their song, “khwaab adhooray sahi, khwaab saharay toh hain” (while our dreams may be incomplete, at least we have them), dreams are what we live for. Pakistan’s Bollywood dream was officially over the moment Indian Motion Pictures Producers Association (IMPAA) put a ban on hiring Pakistani artistes for new projects. So the cream of Pakistani talent and music, which used to heavily rely on Bollywood, realised that home is where the heart is. This ban naturally instilled a sense of patriotism; a word that should be defined as hating India in Pakistan and hating Pakistan in India. As an independent commentator, I was moved to see the likes of Fawad Khan and Mahira Khan follow Mahatama Gandhi’s guidelines – not respond to filth with filth – something that was being bombarded by the Indian artistes’ community under severe government pressure. But we never realised that such a gruesome burning of bridges between the two countries would actually benefit Pakistan’s culture industry instead of hampering its growth. Even Pakistanis didn’t know that. Almost one year down the line from the conflict, the biggest names of Pakistani entertainment are engaged in unusually high number of projects in Pakistan, some being financed by corporations, others on their own. This would have been close to impossible had the Bollywood bliss been available. [caption id="" align="alignnone" width="450"] Photo: Instagram/Fawad Khan[/caption] Fawad Khan returns to music Well, the new Khan of Bollywood, the guy who was compared to a “juicy ice lolly” in an Indian publication, has returned to music. The Kapoor & Sons actor first came into the limelight in 2002, when his band Entity Paradigm qualified for Pakistan’s first Pepsi Battle of the Bands. Seventeen years and a vast portfolio later, Fawad has returned to the same show alongside Atif Aslam, Meesha Shafi of Jugni fame and Vital Signs founding member Shahi Hasan. Not only was it a delight to watch the biggest star of the country hone fresh musical talent, but his regular appearance on TV, as a judge and mentor, has also managed to bridge the gap between Fawad and his Pakistani fans. His much-awaited Maula Jatt 2 by Bilal Lashari has completed its first spell too. He is expected to resume work on Maula Jatt 2 and kick off the Pakistani pop legend, Alamgir’s biopic soon. Thanks to his no-commitments-in-Bollywood status, we will finally get to see Fawad star in a Pakistani film after a decade. Along with Fawad’s appearance, we will witness the return of Pakistan’s cult Punjabi characters, Maula Jutt and Noori Nat. [caption id="" align="alignnone" width="450"] Photo: Instagram/ Mahira Khan[/caption] Mahira Khan signs three Pakistani films Like Fawad, Mahira had also found a new home via the immense popularity of Pakistani serials in India. She had the grace, elegance and everything that was needed to become the first Pakistani to debut alongside Shah Rukh Khan. Although the role wasn’t as significant as one would imagine, it still managed to raise few eyebrows on both sides of the border. However, she couldn’t promote the film in India for obvious reasons so she stayed back home and watched the fireworks from a distance. As a result, Pakistan’s most successful producer/director Shoaib Mansoor (Shoman) announced his next project, Verna, with Mahira in the lead role. Speculation was rife that Kareena Kapoor might end up playing the lead but Shoman had Pakistan’s most followed diva on the sets. [caption id="" align="alignnone" width="450"] Photo: Youtube/ Raees[/caption] The film is now in its post-production. Mahira has also started shooting for yet another Pakistani film titled Saat Din Mohabbat, after long spells of rehearsing for the role while simultaneously training for the labour intensive Maula Jatt 2 – in which she plays the female lead. So, if things go as planned, we will get to see Mahira in not one, not two, but three Pakistani films! And trust me, that’s a lot of films for Pakistan. The Atif Aslam we missed is back! The biggest music export to India is now back in Pakistan. Yes, speaking of recent times, I would put Atif way above Rahat Fateh Ali Khan or Shafqat Amanat Ali in terms of the influence he has had on Bollywood music. Like it or not, but had it not been for his powerful falsettos both high and low in signature eastern classical and semi-classical melodies, someone like Arijit Singh would have never been welcomed. After bending the rules on both sides of the border, Atif is finally back home, releasing original music which is not restricted to films. Since the beginning of 2017, he has released three original songs which are not a part of any film. The songs are becoming less filmy and more profound with every passing release. ‘Yaad Tehari’, the song that he performed on Pepsi Battle of the Bands reminded us of the Atif of the ‘Jal Pari’ days, one who was as much inspired by Nusrat Fateh Ali Khan as he was from the works of Peter Gabriel. Apart from his fresh music and live concerts, Atif was the second usual Bollywood customer who was judging Pepsi Battle of the Bands in Pakistan. https://www.youtube.com/watch?v=N08-TtqukoU https://www.youtube.com/watch?v=Kf6MsltI7lQ This deadly combination of Fawad and Atif’s star-power combined with exceptional young talent has given the 10^th season of Coke Studio a serious run for its money. On the set of Battle of the Bands, someone asked Atif why his music was getting more complicated yet profound with every passing release, to which he responded,

“If I don’t do it now, I’ll probably never do it.”

News of the recently released Punjab Nahi Jaungi instantly caused an equal and opposite reaction in my mind – I will not go to watch it. Why, you ask? Well, here are four formidable reasons answering your question: 1.The first reason was perhaps due to the very actor-producer Humayun Saeed who, in my personal opinion, did not qualify to be the silver screen ‘hero’. 2. The second reason being that Punjab Nahi Jaungi’s early poster was unveiled about two months prior to the movie’s release. It was not only in bad taste but also smelled of rotten romantic comedies. https://www.instagram.com/p/BWIwZJ2A3XW/ 3.The third reason was the movie’s release date, that is Eidul Azha. Although lucrative for producers, catching a show on Eid is almost impossible given the limited number of movie theatres in the country. I got a ticket for the third day of Eid after a number of failed attempts. The fact that getting tickets is such a struggle causes higher expectations from the audience and thus, makes the director liable to deliver a good product. 4.Khalilur Rehman Qamar definitely makes the cut for this list. Although he is a master storyteller who is critically acclaimed for his dialogue and realistic love stories, hails from Punjab, and half of his stories and characters are set in the rural areas of the country, this movie just did not appeal to me. By default, it seemed to reinforce, if not repeat, his earlier motifs and story threads. So I had decided, mein Punjab dekhne nahi jaunga! (I will not go to watch Punjab). By and by, all my preconceived notions turned out to be ill-conceived notions. The film started to attract serious attention with the release of its first trailer. https://www.youtube.com/watch?v=GoBSVGNeNp8 Now, there is a general rule of thumb that guides cynical critics like myself – ‘do not judge a movie by its poster’, and ‘always judge a movie by its trailer’. Frankly speaking, it was the trailer of Punjab Nahi Jaungi that got me and many other disbelievers hooked. That single movie commercial even made the press change its mind. Without spoiling the story for you, I will only hint at the controlling idea. It involves a pure-hearted feudal husband and a foreign-qualified wife who walks out on him and vows never to return to Punjab for some very strong emotional reasons. Punjab Nahi Jaugi is a borderline love story and romantic comedy; it makes you feel the pangs of a love story and the pleasures of a romantic comedy. [caption id="" align="alignnone" width="450"] Photo: Facebook[/caption] Nadeem Beyg, the director of Pakistan’s highest grossing film Jawani Phir Nahi Ani, has delivered on his promise once again. His second film is even smoother, cleaner and purer in the form of family entertainment. His work informs us of his unpretentious storytelling style as well as an understanding of his intended audience. There’s no denying the fact that Beyg is the real auteur of Punjab Nahi Jaungi, but this essentially is a Khalilur Rehman Qamar film. What sets this screenwriter apart from most of Pakistan’s storytellers is the fact that he does not indulge in moralising, hence, there is no forced message to this movie. There are, however, some fundamental themes that this movie touches upon gently – love, temptation, worship, infidelity, penance, sacrifice and surrender. [caption id="" align="alignnone" width="450"] Photo: Screenshot[/caption] The story is essentially matriarchal in structure. Beebo, the grandmother, is powerfully played by Naveen Shahzad and she is the ultimate authority. Amal, the female lead, is beautifully played by Mehwish Hayat. She is the second most authoritative character in the story who ultimately weakens the leading men’s position in the pecking order, and pitches in a large chunk of the comedy. [caption id="" align="alignnone" width="450"] Photo: Facebook[/caption] Amal is a strong-willed woman who wants the whole world to kneel before her. She lives for testing the limits of those who confess their love for her, but she never thinks of proving her own love for others. Amal is fundamentally flawed, finicky and two-dimensional, if not evenly flat. Her character does not undergo much transformation and her arc remains almost linear up until the end. This, however, does not lessen the on-screen presence of Hayat, and on the contrary, she lightens up every scene that she appears in. In fact, Hayat is one of the few actors who has rightfully earned herself the title of a movie star. Amal’s lover is effortlessly played by Humayun Saeed who not only looks the part but also strikes all the right chords at the right time. What comes off as a pleasant surprise is the fact that the actor’s Punjabi accent is neither phony nor forced. As a result, the audience can relate to Saeed’s character, Fawad Khagga. [caption id="" align="alignnone" width="450"] Photo: Facebook[/caption] Technically speaking, the film’s production design is superlative. Shani Haider’s melodies are at par with Bollywood, Anika Shah’s foley is realistic and Aravind Vijayakumar’s sound design is rock solid. Suleman Razzaq’s rich cinematography makes most of the picture look spectacular, especially the exterior shots of the lush green Punjab, the Khaggas’s magnificent Haveli and the party pool sides. Some interior shots, however, seem to lack depth as the characters appear too crammed inside the living rooms. [caption id="" align="alignnone" width="450"] Photo: IMDb[/caption] Editorially speaking, is branding a boon or bane for films? Undoubtedly, a bane for both the brand and the bandmaster. There are at least four audio-visual references to a leading bank and a multinational burger chain that were not only forced but in bad taste. Product placement, if not subtle, tends to break the ‘fourth wall’ and the ‘suspension of disbelief’. It is for this same reason that the movie falls short of being great. This movie would be unthinkable without the perspective of Qamar and unimaginable without Saeed and Hayat in the lead roles. Naveen Shahzad, Sohail Ahmed, Urwa Hocane and Ahmed Butt are just as impressive as the major support. If someone asked me if I’d watch Punjab Nahi Jaungi the second time, I would say, definitely.

As a passionate movie fanatic, I am always on the lookout for upcoming movies. A few days ago, I came across the trailer for the Bollywood film Daddy. Based on a true story, Daddy explores the life of a gangster who reforms into a politician. Arjun Rampal, who is also one of the producers of the movie, plays the lead role of Arun Gawli, the gangster. Indian movies portraying gangsters from the underworld have always attracted an audience and Daddy is expected to meet the same fate. On another note, Rampal’s presence definitely adds to the hype of the film. Apart from Rampal, the cast also includes the South Indian actress Aishwarya Rajesh as Asha Gawli, Nishikant Kamat as Inspector Vijaykar Nitin, Anand Ingale as Babu Reshim and Rajesh Shringarpure as Rama Naik. Here’s hoping that the director, Ashim Ahluwalia, narrates Arun’s story through a truthful lens. Firstly, since this is a biopic, the story must be realistic. Secondly, it must not glorify the crime, but the reasons that compelled Arun to become a gangster, and later, a politician. It also reveals that the Mumbai of the 70s was a breeding ground for gangsters. The reason for this was because numerous textile mills were closed down, and workers had to find other ways to support themselves. Arun joined the underworld due to these reasons as well. Initially, Arun was a part of the BRA mafia gang. However, Arun was always different; he wasn’t like the other criminals as he wanted to make a name for himself in Mumbai. After reaching the top of the underworld, Arun, as highlighted in the trailer, reforms and enter politics. Due to his past, it is pretty evident that he has got many enemies who he must fight in order to keep his pedestal intact. The trailer further discloses that out of all the gangsters who escaped India, Arun was the only one who decided to stay and become a political leader. We still do not know why Arun is referred to as ‘daddy’ but I’m sure it is an interesting tale which will be illustrated in the movie. The movie has a very realistic appeal to it primarily because of the setting – the slums and streets of Mumbai. However, time will decide if Rampal, who has the knack of delivering robust dialogues, can embrace the character of Mumbai’s dreaded don. Personally speaking, I am looking forward to seeing Rampal clad in the character of a gangster. Apparently, he has also adopted a Marathi accent for the film. Many actors in Bollywood have portrayed dons including Vivek Oberoi as Mahindra ‘Maya’ Dolas in Shootout At Lokhandwala, Ajay Devgan as Sultan Mirza (based on Haji Mastan) in Once Upon A Time In Mumbaai and Emraan Hashmi as Shoaib Khan (based on Dawood Ibrahim) in the same movie.

Moreover, I believe that Rampal’s fans will eagerly be waiting to see how his character transitions from gangster politician. Perhaps we will find some similarities between conmen and political leaders through this shift.

If I had Rs10 for every time someone in fifth grade told me I was ‘bossy’, I would probably not need a job right now. There are certain labels that when attached to women, automatically become an unattractive quality. Men are aggressive while women are angry, men are tough while women are bossy, and men are protective while women are clingy. Men are free to be many things while women have to fit into predefined boxes. You can be the girl next door, the femme fatale, the other woman, or just ‘one of the guys’. These are some of the ‘types’ of women and the media constantly tries its best to present us in as many one-dimensional ways as possible. Unfortunately, being inside a box makes it even harder to speak up – raising your voice can simply land you in a different box. Many women ultimately stay silent in the face of harassment or everyday sexism because silence lets you keep your career, whereas fighting gets you the ‘feminazi’ label. In an industry such as Bollywood, where nepotism has prevailed for decades and sexism can be found in the roots of its organisation, most actresses stay silent about the issues they face. This way they get to work with famous names and have great careers until they reach their 30s and become too old to be considered a believable female lead for a man in his 50s. Most actresses take the easy route and endure. Kangana Ranaut, however, is not like most actresses. The intention is not to allege that women perpetuate sexism in an inherently sexist industry by enduring it. It is obvious that most actresses do not have the luxury of choice when it comes to the actors they work with or the age at which they stop getting roles. And while some may endure it, some actresses fight back in their own way. Priyanka Chopra fights back by embracing feminism and being vocal about focusing on her career. Deepika Padukone fights back by earning more than her male co-stars. But Kanagna fights back – literally. Ranaut’s charm lies in, beyond anything else, being supremely talented. She is not a daughter to famous parents, neither has she been groomed through the Miss Universe pageant. She is quite plainly an outsider who, for the longest time, could not even speak a word of English. She struggled for years before making it big with Queen in 2014, and whilst most celebrities do not desire to offend anyone after achieving fame and success, Ranaut’s trajectory has perhaps been the opposite. She has undoubtedly become even more vocal than she already was after her success, never shying away from telling her side of the story or calling people out for perceived wrongdoings against her. Queen was possibly a wake up call, not just for the industry but for Kangana as well, that a good script with a talented lead will become a great film despite being low budget, not including famous names and being centred on a woman. In this small set up, Ranaut shined so bright that audiences could not shy away from noticing her existence, this time without any big names or elaborate dance numbers to distract them. In the past several years, Ranaut has found herself engaging in controversy after controversy, from revealing past affairs with married men to openly having spats with celebrities and directors alike. Earlier this year, while on the couch for Koffee with Karan, she did the unimaginable, what no one had done before – she called Karan Johar out on his own show. It is no secret that Johar indulges in nepotism and propagates favouritism in the industry; he himself has admitted to this practice and has even blamed the audiences for its continuance. https://www.youtube.com/watch?v=9XYXc20Tf9U Hence, what shocked people was not the statement itself, but the fact that it was said in the first place. That an actress would be brave enough to stand up to a top-notch director on his own talk show and call him “the flag bearer of nepotism”. Her bravado did not end here. In her latest effort to promote her new film Simran, Ranaut once again proved why she is constantly lauded for being brave in an industry where parentage is rewarded and bravery is mocked. Starring in a collaboration video with AIB, a comedy group known to cause controversy, Ranaut once again challenges the culture and breaks the norm in seven minutes and 15 seconds. Jokes were made at everyone’s expense – the industry’s habit of creating smart female characters only to never bring up how smart they are, the director’s practice of pandering to the male leads whilst the women are deemed replaceable, or my personal favourite, the reminder that having men romance actresses half their age on a regular basis is almost paedophilia. It bears noting that Ranaut doesn’t gain much by going against the top guns in an industry or by calling people out. She has been accused of being a liar, of playing the victim and of playing the woman card. Her actions put her name in the bad books of many artists and directors who are friends of Johar, which certainly does not help her career. She is fighting alone, while the other side has banded together with most of the industry providing their support to the side that already has the power balance in its favour. And yet what she says has resonated with people. There are of course people who openly side against her, people such as Farah Khan who accuse her of playing whatever it means to play the “woman card”. Nevertheless, Ranaut persists. She has managed something at this point of her career what many women struggle with during their lifetime – she has broken out of her box. Angry, evil, entitled, she is embracing words which for centuries have been commonly and colloquially used to demonise and constrain women. Yes, she has been the other woman multiple times, but in both cases, she acknowledges that while it is not the right thing to do, the fault ultimately lies with the person already involved in a committed relationship. She repeatedly spoke out against a practice that has shaped Bollywood as an industry, and called out a top director knowing it would only hinder her chances of work in the future. She participated in a video mocking these age-old practices and the industry itself, a video perhaps no other successful actress has ever done. Just like Taylor Swift in ‘Look what you made me do’, Ranaut is fighting not just for her gender and her career, but also her reputation. And given that her voice is resonating with Bollywood audiences across the globe, I reckon she just might emerge victorious.

I really have to hand it to Farhan Akhtar. I am sure that the son of the renowned lyricist and screenwriter, Javed Akhtar, must have faced a huge dilemma when casting for Lucknow Central. As an actor, if you sign up for a lot of average B-Town masala flicks, you will watch your promising career fade into oblivion.

Choose your projects and characters wisely and patiently, and you might just be able to carve a niche out for yourself. Farhan Akhtar opted for the latter and the rest, as they say, is history.

Since his first acting debut film in Bollywood, Akhtar has gone on to act in movies with huge critical acclaim. Zindagi Na Milegi Dobara, Bhaag Mikha Bhaag and Wazir are just a few of his many films where his character has been unanimously praised by the critics. Akhtar can now add another cinematic feather to his cap with the recently released Lucknow Central.

Kishen Girhotra (Farhan Akhtar), who belongs to Moradabad, dreams of becoming a singer with his own band. However, his plans are ruined when he somehow finds himself facing life imprisonment on the charge of killing an Indian Administrative Service (IAS) officer. Thus, he ends up in Lucknow Central Jail.

Five of the most talented actors, Ahmed Ali Akbar, Hareem Farooq, Shafqat Khan, Usman Mukhtar and Ali Rehman Khan, star in the upcoming feature film Parchi. Good-looking, well-groomed and polished – to varying degrees, these actors are show business professionals. Hence, they understand the difference between acting and modelling and rely, almost exclusively, on their histrionic abilities when working as actors. Films and television shows are vastly different from fashion shoots and commercials. They rarely need good looks, clothes, jewellery and accessories. And they certainly do not require affectation, artifice and fake accents. Not everyone in the cast needs to have flawless skin and perfect hair. This, sadly, is unknown to most Pakistanis in the industry. They do not seem to understand that first and foremost, good work appeals to the intellect and does not necessarily have to be a feast for the eyes. In this environment, it is heartening to see a set of actors bucking the trend and eschewing glamour, glitz and gloss in favour of their craft. Their resumes, albeit short, are veritable testimonials of their commitment to art. The cast of Parchi includes a number of such professionals. The teaser of Parchi, released earlier this week, is original, imaginative and artistic. In 60 well-used seconds, it greatly raises expectations from the film. It is apparent that expectations are likely to be met, not only because the teaser features some wonderful shots but also because members of the Parchi team have a history of doing good work. Parchi is the story of four friends, Bash (Ali Rehman Khan), Bhola (Shafqat Khan), Bilal (Usman Mukhtar) and Saqlain (Ahmed Ali Akbar), who receive the titular ‘parchi’ demanding a payment of Rs5 million within a period of four days. The consequences of not paying are known well to anyone who is even remotely connected to the largest city of Pakistan. The setup shows the four young men in various stages of tension, stress and distress, but nonetheless, pursuing a truly brave Eman, played by Hareem Farooq. She also co-produces the film with Imran Kazmi and Arif Lakhani. The editing, colour grading, cinematography, background score and art direction of the film is as good as Pakistani cinema has seen thus far. The makers of the film appear to have produced a film of higher caliber than their very successful Janaan from 2016, the success of which is sadly some cause for concern. The teaser shows lead actors walking in slow motion towards the camera, à la Dhoom, Kaante and innumerable Bollywood films. There is also a well-choreographed but seemingly out of place Bollywood-style dance number in the film. And Shafqat Cheema’s villainous laugh, the familiarity of which makes it more ridiculous than terrifying. All in all, while Parchi seems to be inspired by a number of Bollywood films, I still believe it is another step that will take our film industry ahead, and I, for one, am definitely looking forward to it. All photos: Screenshots

On the face of it, Bhoomi seems like the film to watch. It is marketed as Sanjay Dutt’s major comeback. Since his incarceration, Dutt has spent his time taking up supporting roles. And man, are we excited to see him back in action. https://www.youtube.com/watch?v=AgiFCRU0MXg The director, Omung Kumar, has also done well for himself after making films like Sarbjit and Mary Kom. Accompanying Dutt in the movie as the other primary character is Aditi Rao Hydari, a dependable performer. All of these factors combine to give Bhoomi an edge over the numerous other Bollywood films currently screening. Bhoomi (Hydari) lives with her father Arun (Dutt) and is all set to get married to the man she loves. However, the night before her wedding, Bhoomi is kidnapped and gang raped by three men. Once the truth is revealed, the groom walks away from her, and while Arun files a case against the culprits, they ultimately walk away free after raising questions regarding Bhoomi’s “character”. This highlights a major problem in South Asian societies, where rapists are let off the hook most of the time. Thus, this illustrates that Bhoomi not only entertains, but educates as well. Both father and daughter finally accept that they cannot fight the system. However, fate has other plans. Thus comes the story of the bond between a father and daughter, and an illustration into how rape is the ultimate destroyer. Bhoomi is many things, but ultimately it is a story of revenge. We remember Dutt in iconic films such Khal Nayak and Munna Bhai MBBS, but there are a few other films such as Pitaah and Tathastu where he has performed well also. His character in Bhoomi seems like an amalgamation of several characters Dutt has played in the past. However, he delivers more in Bhoomi in terms of performance. He shows two sides of a father – one who is helpless against the system, and the other, who will go to any extent to safeguard his daughter. Bhoomi is hands down one of Dutt’s finest performances. When it comes to acting, Hydari is simply outstanding in her role. She makes the trauma seem believable and the audiences should be able to easily empathise with her. Surprisingly, the supporting actors did quite a great job as well. Sharad Kelkar is remarkable and effortlessly plays the stereotypical Bollywood villain, whereas Shekhar Suman lends a dependable performance and is quite effective in his scenes. Even the actor playing Hydari’s initial love interest has a very strong screen presence in his limited screen time. The dialogues in the film will linger on in the mind of the audience for quite a while. One of the most important interactions in the film between Dutt and Kelkar is made more powerful through crisp and effective dialogues. Personally, the dialogues which stood out for me were,

“Save the water, save the daughter” “Aag bhi ajeeb cheez hoti hai, baton se lag jaati hai”  (Fire is a strange thing, it can be ignited through words) “Hide and cheekh (scream)”

Recently, Bollywood has been producing movies that range from romantic flicks to action-packed extravaganzas and it has been slightly redundant. Thus, Newton comes as a breath of fresh air to Indian cinema. Directed by Amit Masurkar, this movie has been chosen as India’s official entry for the Oscars. That itself, sets up a pretty high standard. The trailer itself is powerful enough to compel you to watch the movie. https://www.youtube.com/watch?v=yU6zMPFd4UU The movie tells the tale of Newton Kumar (Rajkummar Rao), a government clerk who recently started his career. Despite his lack of experience, he is sent on a mission to conduct fair Lok Sabha elections in a Naxalite-Maoist controlled town in Chhattisgarh, India. However, the Naxal rebels stand in his way and serve as the antagonists throughout the movie.

Also starring in the movie are Pankaj Tripathi as Aatma Singh, Anjali Patil as Malko and Raghubir Yadav as Loknath.

The running theme in the movie sheds light on the importance of democracy and why a nation must stand together to fight for it. Through Newton’s character, the director illustrates how even if someone is a simple clerk, if they perform their duties with diligence, they can make a difference.

“If you change nothing, nothing will change.”

I recently watched Judwaa 2 and to be honest, I was thrilled during the entire movie. It is a David Dhawan directorial, who directed the original Judwaa as well. Luckily for us, Judwaa 2 has all the David masala his other movies entail. It is packed with a 90s Bollywood formula script, comic escapades, hilarious situations and scenes that lack logic, yet you watch it and feel thoroughly entertained. https://www.youtube.com/watch?v=DDwbjWCgxVM With a David movie, one expects loads of drama, an action-packed comedy, slapstick jokes and tapori (rowdy) lyrics. And this is precisely what you’ll see in Judwaa 2. I don’t need to delve too much into the story line, since it’s exactly similar to the original. A couple is blessed with conjoined twins (boys) who are separated at birth by a villain. Varun Dhawan plays the double role of the twins, Prem and Raja. One of the twins is physically weak while the other is physically strong, however, they share the same reflexes. Over the course of time, these reflexes confuse both the boys and one day their paths collide. This creates a lot of confusion because of their identical features. Events such as these are what make a David film and this movie is oozing with such incidents. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Though the million dollar question is, was Varun better than Salman Khan in the reboot of the original Judwaa? No! But was he entertaining in the movie? Yes. Varun has impeccable comical timing and has the audience in fits. Varun as Raja is a much more dominant character as compared to Varun as Prem, and can feel Varun’s acting as a combination of Khan and Govinda’s acting, which is a great combination. However, Judwaa 2 is exactly like the 1997 Judwaa which starred Khan. It bears resemblance to the original in terms of the story, characters and even the songs, so much so that when Khan makes his cameo appearance, one can't help but feel nostalgic. The nostalgia is so real that at one point, you hope that Khan and Karisma Kapoor (the original cast of Judwaa) will pop onto the screen and entertain you just like they did in the original movie. The music score was sung by Anu Malik and you cannot miss the familiar beat to the songs such as ‘Chalti Hai Kya 9 Se 12’ and the epic ‘Oonchi Hai Building’. https://www.youtube.com/watch?v=E9OFaR2DSOI https://www.youtube.com/watch?v=eUhzDf9eRbM [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] The new songs, even though they are a spin on the remakes, are catchy and have beautiful dance choreography. Jacqueline Fernandez and Taapsee Pannu star as the leading ladies in the movie, however, there is not much depth given to their characters. Jacqueline is usually seen in these types of roles, where she plays a peppy, attractive looking girl who is only used as eye-candy in the movie. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] Taapsee, on the other hand, came across as trying too hard to fit into her role. Unfortunately, she failed miserably. One couldn’t help but think how she needs better roles as she’s got serious acting prowess. After starring as the lead actor in Pink, we expected her to pull a Bhumi Pednekar, who shot to fame after her recent movie Toilet: Ek Prem Katha. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] However, since it is a David film, one should be used to the female leads being cast just as eye-candy. David’s focus is mostly directed towards humour and songs, as seen in his previous movies. So go ahead and watch Judwaa 2, laugh out loud and hum along to the songs, but do not search for a meaningful plot or any lessons learnt at the end. It is a one-time watch and will definitely revive your memories from the 90s. I can only suggest one goes home, sleeps it off and waits for another Varun entertainer.

Aamir Khan has been a stalwart performer in Bollywood who graces the big screen with memorable performances every time he pursues a lead role. His performances in Dangal, PK, Dhoom 3 and 3 Idiots have established him as an actor who can blend in any role and create magic. His next outing as Shakti Kumar in the upcoming movie, Secret Superstar, puts him alongside a newcomer, Zaira Wasim, who plays the role of Insiya. Both were last seen together in Dangal (2016), which became the highest-grossing movie in Bollywood. Insiya is an aspiring singer who aims at shaking the industry with her vocals, however, her father dislikes her passion and one day damages the strings of her guitar. On the other hand, Insiya’s mother supports her dream of becoming the best singer in the world. The question then is, will Insiya ever be able to change her father’s heart? The movie will reveal this answer and much more. Being a rookie in the world of singing, Insiya creates ways of sending her songs to the world through the Internet.  During her journey to stardom, she meets Kumar (Khan) a music director who spots Insiya’s talents. During one conversation, Kumar tells an interesting thing to Insiya,

“Beta! Tum jaisay talented bacchay hotay hain na, soda main in bubbles ki tarah hotay hain. Woh aisay hi uppar atay hain, apnay aap. Unhen koi nahin roksakta!” (My child, talented kids like you are like bubbles in this soda. They rise up on their own. No one can stop them!)

The trailer for Sanjay Leela Bhansali’s Padmavati released on Monday, and it broke the internet. From a layperson to celebrities like Amitabh Bachchan, no one could stop raving after watching it. https://twitter.com/iamninadkamat/status/918008863059730432 https://twitter.com/Masroorsk/status/918044234250256384 https://twitter.com/SrBachchan/status/917459706389467136 With over 21 million views on YouTube in two days, it has become the most watched trailer in the shortest time for a Hindi movie. After all this hype, we gave in and watched the trailer and we must admit, having finally seen it, we’re excited for the movie. Here are 10 reasons why we are excited and cannot wait to watch Padmavati: 1. Deepika Padukone as Padmavati Not only does Deepika look stunning, as usual, she looks like a true Rajput Queen. How can a uni brow look so good? We don’t nearly get to see enough of her in the trailer, but from what we do see, she looks fierce and we love it. 2. Ranveer Singh, enough said! That’s it. That’s the whole reason. There is intense and then there is Ranveer. If you thought Ranveer could play passionate characters before this movie, then there are no words to describe his performance here. It is safe to say that he has not only dominated the conversation but has also stolen the show. We recently read that both Ranveer and Deepika will be seeking psychiatric help after this film. After watching him in the trailer, it’s not hard to imagine why. 3. Ranveer’s antics  Ranveer always has some ‘diva’ moments in his movies that reinstate his image as truly self-obsessed (and rightly so). The hair flip in the trailer is one of those moments where one can only smile and think, “this is so Ranveer”. Can Sanjay Leela Bhansali (SLB) cast the king of flirtatious expressions and not take advantage of it? No, and we are glad he does. With a simple eyebrow lift, Ranveer lightens our mood, which only darkened in the first place due to his intensity. 4. Alauddin Khilji – the man himself There’s so much mystery surrounding the character, and seeing him being portrayed so has only piqued our interest. Did he really have a male love interest? Was he as arrogant as he seems? Is he eating raw meat here? If yes, why? We can’t wait to find out! https://twitter.com/StriderEl/status/917543975631822848 5. Deepika and Shahid’s chemistry Both are two of the most sought-after actors in Bollywood and neither has worked with the other before. And they look so good together! Shahid can’t take his eyes off of her – and we can’t either, to be honest. 6. Shahid Kapoor as we’ve never seen him before  Ranveer and Deepika may have taken more than their share of the limelight, but Shahid looks like he belongs on screen with them. If you’re a fan of Shahid, it’s nice to see him in a period film. He’s channeling his inner Hrithik from Jodhaa Akbar, and we love it. 7. The throwbacks to previous SLB movies We’ve seen enough of SLB’s movies to be reminded of earlier masterpieces like Devdas and Ram-Leela, and if this film is anything like them at all, it’s already worth watching. 8. The cinematography What we’re pretentiously implying is that the shots, which look historically and culturally accurate, are also visually stunning. SLB is known to be meticulous but this time he has seemingly outdone himself. 9. The battle scenes deserve to be their own reason Simply because there’s not enough cool battle scenes in Hindi movies. Baahubali doesn’t count, since it’s not a Hindi film. 10. Bonus point All the movies Deepika and Ranveer have done together have been great, so we’re excited about this one. Their chemistry is palpable, which is why we can’t wait for it. And clearly, everyone else can’t wait either. https://twitter.com/CarryMinati/status/917797546768048128 https://twitter.com/SurbhiJtweets/status/917493721893081088 https://twitter.com/ParineetiChopra/status/917324690087178240 https://twitter.com/ShraddhaKapoor/status/917310863840890880   Padmavati is set to be released in December! Two months to go! Tick tock!

Movie adaptations can be a challenging task, especially if some of the industry’s greatest actors performed in the original edition. The upcoming movie, Ittefaq, starring Sidharth Malhotra and Sonakshi Sinha in lead roles as Vikram Sethi and Maya respectively, will test their on-screen persona and method acting skills. They are not only starring together for the first time, but are also recreating the roles performed by Rajesh Khanna and Nanda in 1969’s original version. Judging by the trailer, the 2017 version of Ittefaq entails many twists and turns, and will keep you on the edge of your seat. Directed by Abhay Chopra and produced by Karan Johar, Gauri Khan and Abhay Chopra, the movie will send you on a roller coaster ride. Also starring in the movie are Manoj Joshi, Pavail Gulati, Mir Sarwar, Shankar Yadav and Gireesh Sahedev. Akshaye Khanna, who plays the role of a detective named Dev, is determined to discover the truth behind the two murders that have taken place in his city. This classic ‘who did it’ theme of the film presents the audience with three angles. First is presented by Maya, the second as narrated by Vikram, and the third is the truth. Khanna, being in charge of the investigation, pledges to find the truth since Maya and Vikram’s stories do not add up. To what extent are the stories disconnected is for you to find out! Vikram, during his interrogation, says to the police,

“Sir, that night someone else was also there!”

Aamir Khan’s roles define him in every movie. Whether he played Raja in Dil, Amar Manohar in Andaaz Apna Apna, Bhuvan in Lagaan, Rehan in Fanaa or Rancho in 3 Idiots, his performances leave a mark on the audience. His latest release, Secret Superstar, also falls in the same ‘hit’ category where Khan displays yet another side of himself to take over the minds and hearts of his viewers. https://www.youtube.com/watch?v=J_yb8HORges&feature=youtu.be However, this time, he is accompanied by a young actor, Zaira Wasim, playing the role of Insia, who wishes to become a singer but finds her father standing in between her dreams of stardom. The story shows that it is neither fame nor fortune that compels Insia to become a singer, but the feeling of rejoicing and experiencing the sheer pleasure of singing and letting the world know about her passion for her talent. Khan who plays a dynamic music director, Shakti Kumar, finds a spark in Insia and helps her reach her destiny. However, every story has an antagonist and for Insia, the obstacle in the story is her father. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] A lot of clichéd Indian middle class family bonding can be seen in the beginning of the movie. However, Insia’s father does not support her aspirations of becoming a singer but Insia's mother supports and stands by her daughter's ambitions, strengthening the bond between Insia and her mother. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Although some parts of the movie feel like a fairy tale, and a few parts seem like they have been dragged on, the overall appeal of the story is realistic. The movie actually becomes smooth and serene once Shakti meets Insia. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Insia, with the help of social media and digital communication, shares her songs which she records while donning a burqa as she wants to conceal her identity. Insia, then, begins living a dual life; the Insia at home who is petrified by her father and the Insia who sings soulful songs from behind the veil and soon becomes the talk of the town. And thus, singing becomes her only escape from reality because of the conservative environment at home, which does not let her take a leap of faith. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Khan’s role as Insia’s mentor is a very heart-warming relation. He desires to see Insia grow as a singer and Insia sees a mentor and a friend in Shakti. However, twists do await any story and this movie is no different. Will Shakti be able to guide Insia towards glory, or will Insia keep facing hurdles on her journey? Watch the movie to find out. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] The plot of the story brings nothing new to the Bollywood industry. Whether it is the fight for a young girl to achieve her dreams against her father's will, or an abused housewife trying to break free from the shackles of a loveless marriage, it has been done before many times. Yet Secret Superstar stands out because of its exciting narrative that keeps your eyes glued to the screen. Director and producer Advait Chandan did a great job highlighting the disturbing instances that takes place in Insia’s household. Insia does not only fight against her father for herself but also for her mother, who has been suppressed under her tyrant father. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] Furthermore, Khan plays a role that does not overshadow Wasim’s character. Wasim is the lead character and a rookie, and since Khan is a veteran, he would have easily been in the limelight. However, despite Khan’s character having the persona and the depth to become a leading character, he remains in Wasim's shadow, simply to let her character grow. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Despite the never-ending patriarchy and domestic violence, the movie also focuses on women empowerment. However, it is up to Insia to reveal her true power in these circumstances and emerge as a superstar. Will she ever be able to convince her father about her career choice? The tensions will mount during climax and then, the secret will be out. Secret Superstar’s song Main Kaun Hoon is a delightful track. Other songs include Meri Pyari Ammi, an emotional and passionate track showing the love Insia's mother has for her and her brother. Sapne Re, I'll Miss You and Nachdi Phira are songs that will also touch your soul. https://www.youtube.com/watch?v=XyZ0aXrpJIc https://www.youtube.com/watch?v=z4I2H6Mulc0  

I’m not going to lie, I’m a fan of red-carpet events. The pretty dresses, the sparkly jewellery, the glitz, the glamour, the hair and makeup – I love it all. Does that make me a bad feminist? I really hope not. I wholeheartedly believe in a woman’s right and choice to celebrate her looks, her body and her sexuality. But at the same time, it also sets me off when the media reduces a woman to merely that – just a pretty face. At the trailer launch for her upcoming film, Mahira Khan was questioned by a few reporters regarding those controversial pictures with Ranbir Kapoor. Even though Mahira politely answered those questions, I was left baffled as to why the media would ask her such a personal question when she was there to promote her work. She was not there in a personal capacity, nor was it an interview where it is permissible to ask questions of a more personal nature. But what seemed to be the priority of the reporters was to be the first to get the scoop, professionalism be damned. They did not seem to think it important to ask her about her character, if it’s different from any she has done before, or about the experience of working with an esteemed director like Shoaib Mansoor. The preview of her upcoming film Verna shows Mahira beating the living daylights out of a man, but of course, the reporters didn’t find that of any value or interest. No, Mahira’s personal life was “better scoop”. Asking famous women shallow or personal questions is both extremely sexist, and extremely common. Not just in Pakistan, but female celebrities all over the world are subjected to answering boring, superficial or intensely personal questions that men are simply not asked. The instances are simply too many to number. Deepika Padukone was repeatedly asked how she worked with Ranbir Kapoor, her former boyfriend, instead of questions pertaining to her movie itself. Sunny Leone was asked by a journalist if he was being “morally corrupted” just because he was interviewing her. Katrina Kaif was questioned more about her leaked bikini pictures than she was for movies she promoted. Sexist questions aren’t even limited to Bollywood. While promoting Baywatch, Priyanka Chopra was frequently asked ‘intelligent’ questions like how she kept her focus with Dwayne Johnson around, and the size of her male co-stars' genitals. Female athletes get the same third-rate treatment that is considered socially acceptable when it comes to women. Sania Mirza, after winning another title for her country, was asked when she planned on getting “settled” and having babies. https://www.facebook.com/BuzzFeedIndia/videos/1650910341636113/ There have since been several video compilations of the kinds of questions women are subjected to and the result has me cringing and enraged at the same time, because all women get asked is,

“Who are you wearing?” “What diet are you doing to lose weight?” “What kind of underwear goes with this dress?”

The times, however, they are a-changing. More and more female celebrities are now speaking up and calling out reporters who ask them sexist questions. Scarlett Johansson openly wondered why she was asked about her diet and how she got in shape while Robert Downey Jr was asked existential questions about playing a superhero.

American actress Reese Witherspoon even started the #AskHerMore campaign before the 2015 Oscars, in an attempt to be asked questions other than,

“Who are you wearing tonight?”

“Do you ask the same question to a male cricketer?”

Increasingly, female celebrities feel more confident in opening up and sharing their thoughts with the media, and are hence shutting sexist questions down. But it’s still too ingrained as a norm for our industries, isn’t it? Why aren’t we changing the way we look at female celebrities? Why aren’t we asking them better questions?

In this day and age, cinema is thriving on gender role reversals and women are now more in the forefront than ever, are working just as hard, and in many cases are the sole crowd-pullers. To reduce such talented and successful individuals to merely the clothes they wear or the colour of their nail polish, simply because they happen to be women, is nothing less than regressive and archaic.

“What’s in a name?”

“So why do women change it after marriage?”

“So Vineeta, will you change your name after marriage?”

“No. Will you change yours after you get married?”

“I keep telling people to please address me as Kareena Kapoor-Khan. Besides, that’s my name now, isn’t it? Although I’ve not converted, Saif is my husband and it’s a beautiful surname to have.”

“I would never want to let go of Koechlin; that is who I am. Besides, I am the only child, and it is like my family legacy, and I can never give it up.”

“In today’s world, women are feeling empowered to keep their identity by not changing their surnames. Having changed both my surname and middle name, I did not feel inferior to my husband. In fact, it only strengthened the bond between us. I gained recognition on another level – as a daughter when I was single and as a daughter-in-law and wife.”

Creating movie franchises seems to be the norm nowadays, which means that if a movie does well, it will invariably lead to a sequel. It was thus unsurprising to hear about Tiger Zinda Hai, the sequel to the 2012 film, Ek Tha Tiger. Set to hit theatres in December 2017, the movie’s trailer was recently released and has been trending on Youtube since. Tiger Zinda Hai, directed by Ali Abbas Zafar and produced by Aditya Chopra, stars Salman Khan and Katrina Kaif in the lead roles, reprising their roles as Tiger and Zoya respectively. The trailer begins in Iraq, showing us the inhuman regime under a terrorist organisation, while in the background a man narrates,

“Jab say dunya bani hai, tab say har konay main sirf ek hi jang hui hai; sahi aur ghalat ki, roshni aur andheray ki.” (Since the creation of this world, only one war has been fought in every corner; between right and wrong, between light and darkness.)

“Shikaar to sub hi kartay hain, liken Tiger say behtar shikar koi nahin karta.” (Everyone hunts, but no one hunts better than Tiger)

In case you were wondering, the white man’s burden is still alive and well! Even though it is the 21^st century, while India is launching US satellites into space and is the world’s fastest growing major economy, the country’s poverty and social ills continue be alluring for moviemakers in the West. Falling back on clichés is a remarkably effortless way to create content for mass entertainment. Every culture offers ready stereotypes, and there are a large number of people in other parts of the world who readily lap up the concocted and twisted narratives. It is not surprising then, that mainstream entertainment around the world frequently leverages cultural caricatures. After all, thinking things through and reflecting on a complex reality is hard work, and is quite often not rewarded commensurately in the box office. Prolific as Hollywood is, it needs a steady stream of diverse subjects to portray on celluloid, and every now and then, it zeroes in on India as the canvas on which to paint its offerings. However, the only stories it finds worth telling are usually the ones that showcase India through a lens of poverty, colonialism, exotic ‘otherness’, or spiritualism. Movies like Slumdog Millionaire, Indiana Jones and the Temple of Doom, Eat Love Pray, A Passage to India, or Million Dollar Arm have all played on such themes. The latest movie to walk down this stereotypical path is Brie Larson’s new movie Basmati Blues – even before its release, it’s getting its fair share of flak. https://www.youtube.com/watch?v=YLwgIHxnzWs Some of it seems justified, though a bit of it may be harsh and undeserved. https://twitter.com/PedestrianPoet/status/928179807321387014 Beyond the clichés around spicy food, wedding dances and white woman coming to the rescue of a hapless village, some of the visuals in the trailer seem to be from another era. The protagonist is shown getting into an old Ambassador taxi and traveling in a second-class train compartment. Now, Ambassadors have become virtually extinct in India, whereas most corporate visitors to India get the fanciest of cars driving them around. It is very highly unlikely that an American scientist would travel in such a compartment on a train in India. https://twitter.com/sherinlinda/status/928655530762964993 The filmmakers could have, and should have, avoided pandering to such obvious stereotypes. Attention to such minor details would have allowed the movie to be taken more seriously and could have kept some critics at bay, at least until the movie released. One normally expects such immature caricatures from Bollywood, but it seems as if Hollywood is not immune either. Let’s just say Hollywood needs to grow up. https://twitter.com/nehawanikar21/status/928697375115304960 With that said, while Basmati Blues may be ignorant, it certainly does not seem evil. There are elements of comedy and romance, and there is a certain activism against corporate greed that it tries to showcase. Unfortunately, the film pressed a few wrong buttons, and not just for Indians who tend to be a little extra sensitive about such things. https://twitter.com/spurlunk/status/928631888016740353 Beyond Hollywood, if you ever watch a BBC documentary or news show about India, you’ll notice how they almost always manage to show it as essentially squalid, even if they are showcasing its IT industry or its rapid economic growth. There’s something about the camera angles and the light filters that seems to convey an underlying air of inherent backwardness. There’s no denying that all these elements hold true, even in modern India. The country offers a sensory experience like no other land on this planet. It is chaotic and dirty, and its sights, sounds and smells can be overwhelming at times. Yet, it is so much more. It is a land that tells a story of hope, of millions lifted out of poverty and hundreds of millions empowered and enfranchised. It is a country competing with the best in the world, and at times, even winning. And all of this is not happening because of the West’s charity – it is happening despite centuries of western exploitation. It’s time for Hollywood to come to terms with the changing times and get over its condescending attitude of seeing Indians and India as blighted people of a blighted land. People in India, on the other hand, need to lighten up about such portrayals. A confident and self-assured nation does not worry about how it is portrayed by others. My Name is Khan had a shockingly inaccurate depiction of how rural America got cut off in a natural calamity. Yet, no one in the US howled in protest – it was inconsequential to them. There’s a lesson for Indians here. The country has some real problems it is grappling with, issues that it needs to direct its focus towards. If someone makes an escapist movie in the West that allows them and their audiences to forget their troubles and makes them feel good about their supposed “superiority”, there’s no use rising up in arms over it. Let them be, and focus instead on creating a better country – that is perhaps the only way for India to separate itself from these old clichés once and for all. All Photos: Screenshots

Victoria and Abdul, the latest offering by director Stephen Frears, is a cautiously patterned yet realistic biographical drama about the deep friendship between the Queen of England and her Indian-Muslim servant. The story of this rather unbelievable bond is all about reminiscence and loss, making it immensely pleasing to watch a historical narrative presented with such convincing solemnity. Based on eminent author Shrabani Basu’s book of the same name, Victoria and Abdul is set in 1887 against the backdrop of the queen’s golden jubilee – the 50^th year of her ascension to the throne of England. Abdul Karim (Ali Fazal), a young clerk from India, travels from Agra to England to present a mohur (ceremonial coin) to Queen Victoria (Judi Dench) in honour of this event. https://www.youtube.com/watch?v=3xo-EP_O5pQ Her Majesty immediately takes notice of the dark-skinned man,

“I thought the tall one was terribly handsome...”

“Life is like a carpet; we weave in and out to make a pattern.”

“Everyone I love has died and I just go on and on. What is the point?”

“The queen’s family never understood that he had provided her with the companionship over the last decade of her life, which they themselves had not been able to offer.”

Bollywood is now an industry that is strong enough to experiment with quirky genre films. At times, these experiments do not seem to make any sense whatsoever, yet sometimes, they turn out to be immensely popular and successful with audiences. Fukrey (2013) was one such instance, where a film launched with four comparatively new faces and no hype prior to its release, and managed to wow audiences and attract them to movie theatres. The film became a sleeper hit as well as a cult classic, despite its hard to believe storyline and faulty narration. This success is why, four years later, the team is out with the second instalment to the film, titled Fukrey Returns, with significant buzz attached to its release this time. Let’s see what Fukrey Returns has to offer to its fans, critics and viewers. https://www.youtube.com/watch?v=f-UzOpuKOVY The film starts one year after the events of the prequel. The quadruple of Hunny (Pulkit Samrat), Zafar (Ali Fazal), Lali (Manjot Singh) and Choocha (Varun Sharma) are seen busy doing what they do best – dreaming, flirting, repenting and singing. Bholi Punjaban (Richa Chadha), who was sent to prison earlier, tries everything possible to walk free of the charges, yet nothing seems to work, leading her to call Minister Babulal Baatia and agreeing to pay him INR10 crores in exchange for 10 days of freedom. Once out of prison, she finds the four friends responsible for her imprisonment and makes a plan for them to execute – one that is also likely to land them into trouble. One thing leads to another, and the resulting mess is what Fukrey Returns is all about. This time around, the movie surprisingly covers slightly more serious grounds, such as political injustice. The madness presented, however, needs to be witnessed in order to be believed. When it comes to performances, Varun Sharma steals the show. He has been given some of the best dialogues of the film, which he delivers with utmost ease and conviction, looking like a true “choocha”. His scenes with Richa Chadha, in particular, are hilarious and are bound to leave the audience in splits. Pulkit Samrat, as usual, looks cool, stylish and confident, while Ali Fazal has limited scenes but is quite decent in all of them; his performance all together was very similar to what is was in Fukrey. The same goes for Manjot Singh, although he has some good lines this time. Richa Chadha is in full form, and is fierce and believable as the fiesty Bholi Punjaban, while Pankaj Tripathi, one of the finest actors from the lot, is very effective as Pandit. Rajiv Gupta, who has always proved to be amongst the most dedicated actors, shows another facet to his talent in Fukrey Returns, and is sure to leave an impact. Ishteyak Khan, on the other hand, who plays Tidda, is wasted on this venture. With its fresh, entertaining and natural dialogues, the writers, Mrighdeep Singh Lamba and Vipul Vig, deserve to be appreciated. The former, who is also the director, does quite a good job on that front as well. Fukrey Returns is a film that does not offer any logic or sense in its narrative and neither is it thought-provoking – it is simply an all-out entertainer. The film has goon-ish humour and political satire, but simply banks on silliness most of the time. The movie is thus a good way to pass the time, promising a good laugh and clean humour. Go for it if you want to have a good time with your friends, but if sensible cinema is what you are looking for, then be sure to skip this! All photos: Screenshots