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Performance Galore 2018

Posted on by adhitiaravind92

2018 saw some excellent performances from actors across India. Actors and actresses took upon challenging roles and handled the weight of it with brilliance. It resulted in some authentic performances on screen. Be it exploring the dark or crossing the boundaries of gender, human race or impersonating faces familiar in our daily life they’ve done it all last year and with exceedingly great results. So let’s take a stroll through some of the amazing performances that illuminated big screen last year.

  • JAYASURYA

Film: Njan Marykutty

Role: Transsexual

Language: Malayalam

Jayasurya transforms himself physically and emotionally to portray a transsexual with perfection. The way he articulates the nuances of a transsexual’s life is remarkable. He transforms his body language, translates the emotional chaos echoing within Marykutty effortlessly. He makes you feel her dreams, struggles and her heart. It’s an incredible performance.

  • KEERTHY SURESH

Film: Mahanati

Role: Yesteryear Actress (biopic)

Language: Telugu

Keerthy Suresh plays yesteryear actress Savitri with panache in Mahanati. Savitri’s legendary persona comes alive with Ms. Suresh’s impeccable performance. She owns Savitri’s exhilarating jovial personality and her tragic phase with equal grit and verve.  It’s her career best performance.

  • ANURAG  KASHYAP

Film: Imaikkaa Nodigal

Role: Villain

Language: Tamil

His smile alone gives chills down the spine. Mr. Kashyap inhabits the screen as menacing Martin. His character employs the usual creepy villain archetype but his performance goes beyond the basic. His screen presence, drawling demeanour manifolds the cruelty his character embodies. He is despicably evil and undoubtedly makes a smashing Kollywood debut.

  • RANI  MUKHERJI

Film: Hichki

Role: Tourette’s syndrome affected Teacher

Language: Hindi

Rani Mukherji chews into a role that gives her enough to relish. She portrays the Tourette’s syndrome with consistency. She hits the right chord with the hiccups literally and figuratively. She handles scenes that could become a melodrama fest with maturity. It is one of her clean performance till date.

  • RANVEER SINGH

Film: Padmaavat

Role: Villain/ Anti-Hero

Language: Hindi

Ranveer Singh plays to the gallery in a role that suggests villainy but is moulded as an anti-hero. The character arc, in my opinion, goes heedless but is successfully elevated by a master class performance from Mr. Singh. He is deliciously evil, replenishing the dark with enthusiasm. Despite the grey shades, he makes us cheer for his performance.

  • ANUSHKA SHARMA

Film: Pari

Role: Demon

Language: Hindi

Anushka Sharma does complete justice to Rukhsana. An abuse victim or a demon or a lover – every facet of Rukhsana is safe in Mrs. Sharma’s hands. She breathes innocence and vengeance into Rukhsana convincingly. She tries something novel and works it fine. It’s a flawless performance.

  • GAJRAJ  RAO

Film: Badhaai Ho

Role: Middle Aged Father

Language: Hindi

Gajraj Rao pours life into Jeetender Kaushik, a middle aged man with his quirks, a strict father, an obedient son and a loving husband. He is a reflection of the common man we see in our daily lives. When he tries to overpower his subordinate or throws in English to impress his son’s lover or when he gloats in his manhood he is as real as it gets. His convincing act adds a realistic flavour to Mr. Kaushik.

  • DULQUER SALMAN

Film: Mahanati

Role: Yesteryear Actor

Language: Telugu

Dulquer Salman unleashes himself while portraying Gemini Ganesan on screen. His filmography shines when he engages as a charismatic lover as well as an egoistic man trapped in his frailties in Mahanati. The way he portrays jealousy, frustration, selfishness, and uncaring attitude on one side; and the heartfelt Romeo whose one loving glance can get hearts flutter is a job done well.   He nails the mannerisms of the legendary actor without reducing it to a caricature. He feels original on-screen.

  • TAAPSEE PANNU

Film: Mulk

Role: Advocate

Language: Hindi

Taapsee as Aarti Malhotra was phenomenal; beautifully restrained yet emotionally fulfilling. She balances vulnerability and strength like a pro. Fighting against prejudices within the courtroom she is authoritative, not overpowering. She displays her emotions freely but without cascading to melodrama. She holds her own against talents like Ashutosh Rana, Rishi Kapoor, Rajat Kapoor. It’s definitely one of the standout performances last year.

  • DEEPIKA PADUKONE

Film: Padmaavat

Role: Queen

Language: Hindi

If one can look beyond the underwritten role, Deepika Padukone delivers a heroic performance with Padmaavat. It’s restrained but powerful, one which would’ve gone unnoticed if not for her alluring screen presence and eloquent eyes. She owns the 15 minutes long Jauhar sequence with silence, grit and effortlessness.

  • HAREESH KANARAN

Film: Oru Pazhaya Bomb Kadha

Role: Comedian

Language: Malayalam

Hareesh Kanaran is a renowned comedian of Malayalam industry who adds his own spice to his comic timing and dialogue delivery. He kicks it hard in the film Oru Pazhaya Bomb Kadha. Taking center stage equally with the lead actor, he lavishly entertains us.

  • KATRINA KAIF

Film: Zero

Role: Alcoholic actress

Language: Hindi

Everyone who saw Zero, audience and critics alike would agree Babita Kumari deserved her own film. An alcoholic actress who stumbles with her life is not a new premise but the spunk with which Ms.Kaif has presented Babita is efficient. From her entry to exit, she dominates the screen. Babita’s sauciness and vulnerability is authenticated with Ms. Kaif’s act.

It’s amazing to have witnessed the A game from most of the actors last year. I must admit, I enjoyed the work of many actors whom I’ve never rated highly before. Everyone is improving their craft, echoing their talent on the big screen. Audience has upped the content game and actors who took risks, tried out of the box got their due. Waiting to see what 2019 has in store for us.

I’ve made this list from the films I watched and the performances that impacted me as a cine goer. You are free to leave your additions in the comment section. I’d be glad to check them out as well.

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My Movie Library: 2018 Entries

Posted on by adhitiaravind92

Welcome to my movie library folks. I have films, which affected me in some manner, listed down in my library collection every year. Check out the latest additions from 2018. They may not be celebrated choices; sometimes might not reflect in the best list of many. But these are films that I enjoyed giving my time to, either by spending for the ticket or by streaming online. Films that made me feel alive to the world they’re presenting or made me feel connected to their characters. I’ve watched a mixed bunch of films last year from varied languages. I’m yet to watch some. But from the visited films, here’s my list of 2018 films that deserves a watch.

  • Njan Marykutty

Language: Malayalam

Genre: Drama

 A film had never felt this real in a long time for me. A movie that narrates the life of a transsexual has as its high points the honesty, clarity and sensitivity they maintain all throughout the film with their subject. The fact that they visualize the film without the trappings of an art or commercial film, the labels of melodrama or over-hype is stupendous. And probably that’s what connects me to the film.

  • Ralph Breaks the Internet

Language: English

Genre: Animation

Though it’s visual flies from one to the other and can have separate films out of each phase of it; they somehow work it within the framework of Ralph and Venellope’s world. The tribute the film gives to Disney Princesses’ in a scene has a lasting impact. The entertainment quotient that a fun animation film guarantees balanced with an important social message is the best deal I had last year.

  • Badhaai Ho

Language: Hindi

Genre: Comedy-Drama

Badhaai Ho is a clean hit of last year; which won audience, critics and box office alike. The unique story-line peppered with humor and genuineness makes for a good repeat value film. Towered by top notch performances from Gajraj Rao, Neena Gupta, Surekha Sikri etc the film snowballs into a terrific family entertainer with an impacting theme at its core.

  • Mulk

Language: Hindi

Genre: Drama

It is a hard hitting narrative that addresses Islamophobia. In the polarized society we live today, this film is the need of the hour. The court room drama is engaging, enthralling and educating. It’s a daring film which has a pitch and tone that’s fearless in asking questions and giving answers.

  • Sarkar

Language: Tamil

Genre: Action-Drama-Satire

 A political satire of recent times that offers adrenaline rush to the hilt. The film takes on the political scene of Tamil Nadu with a gusto and temperament that doesn’t pay heed to the hate waves. Film is daring in its take and creative liberty used for mass appeal enables a solid crust for a winning entertainer.

  • Oru Pazhaya Bomb Kadha

Language: Malayalam

Genre: Comedy

A thoroughly engaging ride with a cast that is high on comic timing. I’ve always enjoyed the work of comedian Hareesh Kanaran, but this film is an absolute riot because of him taking an equal center stage with the lead actor. The cast and situational humor employed is brilliant and it effectively elevates the film.

  • Kolamavu Kokila

Language: Tamil

Genre: Black Comedy

It’s not a genre cherry picked by majority. But I enjoyed the humor quotient film offered. A deftly woven script is the strength of the film and how humor is worked into it despite the dark coloring is a masterstroke. I recommend without a doubt.

  • Awe

Language: Telugu

Genre: Science Fiction

 This is totally not my kind of genre yet it works for me. It’s an out of the box attempt. Twisting narratives aligned with interesting characters adds spice to the film. The pace is tight, execution well defined, performances gripping – and all this equates to an interesting fresh film.

  •  Karwaan

Language: Hindi

Genre: Road film

 Most often a road film offers a journey into life and Karwaan also offers the same, triple times over. Be it Irfaan’s Khan’s hilarious Shaukat or Mithila Palkar’s free spirited Tanya or a brooding Avinash from Dulquer Salman, the film ensures a promising ride with them. It’s a feel good, easy breezy movie with its moments; a onetime watch.

  • Kaalakaandi

Language: Hindi

Genre: Black Comedy

This is not a film for everyone. It’s a mad chase of a man’s upturned life in one single night. It offers a half baked plot-line which guarantees shortcomings but somewhere I connected to the protagonist and decidedly went with the flow. The film could have been better, but it had some moments for me. Not recommending to all.

How did you find my list? If you feel encouraged to watch any one of them after reading this, do share your reviews with me. Let’s do this again next year.

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A Prism of Interesting Women Reflections on Celluloid in 2018

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This year I came across some interesting women characters in cinema. And when I say interesting, it means out of the box or unconventional representation of women. From a transsexual to a ghost, the clichéd women roles are depicted with a refreshing honesty and dignity. Taboo topics are discussed with frankness and maturity which helps an elevated perception on its harsh reality.

Let’s start with Jayasurya’s role in Malayalam film Njan Marykutty which is centered on the trials and tribulations a Transsexual undergoes. The film offers an insight into the life of a member of LGBTQ community. The internal conflicts of facing the reality, external trauma faced at the hands of society is depicted with stark rectitude. The film lends the community a respectful term Shero; also educate audience about the difference between a transsexual and transgender. In our society we’re yet to imbibe empathy and understanding towards this community and films has always nurtured the comic angle when it comes to their representation on big screen. So a film like Njan MaryKutty mounted by one of the great talents of the industry and supported by male directors and producers is a welcome change. If this film doesn’t impact you to change your prejudiced gaze at the community, I don’t know what will.

Neena Gupta’s character Priyamvada Kaushik in Hindi film Badhaai Ho, is a middle aged woman, who gets pregnant much to the embarrassment of her adult son. When he reveals his embarrassment to his girlfriend, she point blank refutes his attitude and coolly stresses the fact that his mother is a woman with desires and there’s nothing wrong about it. In another scene, the elderly woman of the house snaps at the noisy relatives and asserts having sex with your spouse at any age is never a crime. Though these thoughts must come naturally and be accepted gracefully it is never so and the film portrays that reality well. The couple themselves are ashamed in the beginning when there’s nothing to be ashamed of. Their educated son who should have a liberal perspective is stuck up for a long time until the mirror is shown to him. Society finds it as an opportunity to ridicule or have fun at their expense. The gradual evolution of the family and society and their acceptance of it as a ‘normal’ situation are captured well in the context of the film. The movie finding its way into the 100 crores club implies the impact it made.

Another successful Hindi film this year, Stree, focus on exploring horror-comedy genre with sincerity and in the process offers us a refreshing take on the idea of evil spirit. We are used to the references of witch when a ghost character features on screen. But this film teaches you to respect a ghost, Stree. Yes you heard it right; it’s a fun take but the film shatters the clichés that surround ghost characters. In an ironic way the film educates that a spirit/ soul which remains after the death of an individual needn’t be feared. This is probably the first horror flick where the ghost element is worked out with dignity and not comic or fear angle.

Nitya Menon’s character Krishnaveni aka Krish in the telugu film Awe is a lesbian. The swag and ease with which her character, her sexual orientation and her awareness about her sexuality is presented is inspiring. She’s fully aware of the judgmental gaze that extends towards her and her relationship with her lover but is unfazed by it. The way her character is given a chance to explain the medical side of their orientation to her girlfriend’s parents and how they grasp it despite their conservative background is a must watch scene. The embarrassment, difficulty to accept the truth by the parents is contrasted by the clarity and sureness Krishna and Radha (Eesha Rebba) have about their selves and their relationship.  Menon’s character squashes stereotypes and gives us an authentic representation of a lesbian.  

Karan Johar’s short film from the anthology Lust Stories portrays a scene where a sexually unsatisfied wife Megha, played by Kiara Advani, tries to find self pleasure to quench her desires. Megha gets herself a vibrator for sexual pleasure but accidentally attains her orgasm in front of her in laws and husband. While the mother in law is quick to judge her character and even label her womb as unfit to carry their legacy, Megha remains unapologetic about having desires. In the last scene, her husband expresses that he is not going to divorce her because she did a mistake; but Megha is firm when she corrects him and says she never did a ‘mistake’ and her desires in bedroom are equally important. Megha’s asserting stance about her sexual needs and her husband’s acceptance of her desires is a welcome change to witness onscreen.

Parvathy Thiruvothu’s character Sophie in Malayalam movie Koode is a divorced woman who encounters sexual exploitation within her own family. Though the act sums up in one scene and more on Sophie’s mind state is not explored in the film, the shock it leaves in you at the abruptness of the scene and the silent vulnerability of Sophie is impactful. When you leave the theater that one scene haunts you.

I’m so glad to have come across these characters. Marykutty who continuously asserts her identity, Megha who embraces her sexual needs, Krishnaveni who is proud of her sexuality, Sophie, Stree, Priyamvada and her family who make us sit up and take notice of them. They feature from the limited number of films I’ve seen this year. Hoping there are more and there are more to come.

Before the end of 2018, I came across two trailers, Nathicharami (Kannada) – which deals with the desires of a widow and the concept of consent and Ek Ladki Ko Dekha Toh Aisa Laga (Hindi) – which tells the story of a girl from LGBTQ community. This alone proves that Indian cinema is heading in a new direction with respect to how they portray woman, their sensibilities and feelings. Hopefully coming years will provide us with countless number of refreshing and authentic women reflections.

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THE GLASS CEILING BREAKER

Posted on by adhitiaravind92

Despite the amount of hard work and dedication put in, there’s always a glass ceiling that hinders the prosperity of women in workplace. Deepika Padukone is one of those rarest achievers who have been able to break that shield. Recently we woke up to the news of Padukone being the first Indian woman to break into the Top five of Forbes India’s 100 Rich celebrity list with an earning of Rs.112.8 crores. How often do we come across such news?

Why these numbers must be celebrated, the answer is simple. Deepika is the only woman in the top 10 of the Forbes India list 2018. Also, Salman Khan who ranks first literally earns more than double the amount of what the highest woman celebrity of India earns. The glaring absence of women at the top and the wide gap between the highest male and female achievers makes us aware of the harsh truth of pay disparity at the workplace.

Since I follow entertainment news up close, I felt a real high when I scrolled through some of the cracks on the metaphorical glass ceiling Deepika Padukone has earned for herself. The high point in Deepika’s career was in 2013, when she delivered four back to back hits in a year; a record still intact, one that other male or female stars have not been able to replicate. Deepika started 2018 on a high note with Padmaavat. She literally took the center stage like Forbes India describes when the film was muddled in heated controversies, with her life being threatened and the film shattering box office records. Padmaavat enabled her to enter the coveted 300 crores club, so far dominated by male actors, with a titular role, a rare feat.

Deepika has been able to score a significant change with her last release. When 2018 dawned, she crowned herself with the credit of walking away with a pay cheque heavier than her A-list male leads in Padmaavat. The same year when we saw a BBC editor quitting her job because of pay parity issues, we have Deepika asking for her worth and getting paid more than her male counterparts.

Weeks ago news broke out that Ayushmann Kurrana and Rajkumar Rao, two talented male actors were contending for the lead role opposite Deepika Padukone in a film she’s apparently headlining. We are immune to headlines that state actresses compete for roles in superstar films but here’s a breath of fresh air. It’s a welcome change and hopefully it will set a trend, not just for her but also her contemporaries.

Deepika was also honored by Madame Tussauds London this year when they announced  that her wax statue is to be unveiled in 2019 and will be placed in the A list section along with the likes of Angelina Jolie, as opposed to other Indian celebrity statues in the Bollywood section. Padukone made history again. She also owns a 100 crores turnover celebrity brand All About You, a first for an Indian celeb to boast of.


In her latest interview, she revealed that she’s working on the idea of first ever woman superhero film in India; seems like smashing the glass ceiling has become a habit for Mrs Padukone. Let’s hope she’ll make more heads turn with the fissures in the glass ceiling and it will inspire more women to breakthrough and march ahead.

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Ralph & Venellope breaks the Stereotypes

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Ralph Breaks the Internet is the current sensation in animation world. Directed by Phil Johnston and Rich Moore, this is a Disney release. But what makes it stand out is that it is a social satire candy wrapped in animation gloss. The writing team Phil Johnston and Pamela Ribon has done a good job; despite the plot travelling through various themes with digital realm as its wider canvas, the pace is tight. As popularly known, this film is a sequel to 2012 release Wreck – It Ralph. The film has as its leads Ralph and Venellope, animated video game characters same as the first.

While the first part focused on how they became friends, the sequel puts their friendship to test. The way friendship is conceived as a theme and how its different aspects are explored is the high key of the film. It is a lesson on how friendship is an amalgamation of trust, honesty, maturity and love. It’s nice to see that a film that has as its target audience youngsters is handling this theme with the needed maturity. In its own colorful creative world, this film discusses themes like friendship, the reality of internet world, women empowerment, coming of age with ease and clarity.

Despite the colorful imagery with respect to the internet landscape, the take the film has is realistic and leaves a lasting impact. It delves into both the beautiful and ugly side of digital world and despite the screen time on this topic the impact is bone chilling. It’s amazing to see how they summarized it effortlessly for easier grasping by the younger audience.

It’s wonderful to see Disney taking pot-shots at the wrong ideals they romanticized, with grace. The perspective offered on the Disney princesses is long overdue. In a way the studio even go through redemption, when the princesses who were cooing about their prince charming to arrive turns themselves into saviors when a man is in distress. It’s also interesting to see subtle signs of empowerment that’s expressed via the characters – when Cinderella holds up her broken glass shoe as a weapon to attack and when the Little Mermaid release a sigh at being able to get rid of her heavy costumes and settle for a t-shirt. The important crux where this works is when we have a Venellope at the center stage, whose dreams don’t feature a prince charming but zest for life. Disney stereotypes are broken by the studio in its own venture is a start, to the right direction.

Ralph undergoes soul searching and evolves himself to be a better human and friend. His internal conflict is portrayed with sensitivity, with the right amount of fragility and strength. It’s refreshing to see how the coming of age concept is used in the film – verbally, emotionally and by gigantic graphic depiction of the intensity of self destructive tendencies. He imbibes self control, maturity, selflessness, digging out all negative energies from his system and it’s all broken down with simplicity to impact children and adults alike.

More than anything, how the theme of friendship breathes life within the context of the film is emphatic. Ralph learning the ropes of a mature friendship and how it enriches Venellope and his friendship is an important life lesson for our young generation. The stereotypical sweet friendship where friends give life for each other takes a back seat here; and we are to witness a friendship where friends let each other have life and friendship in the same scenario. The clarity and authenticity in the way each theme is handled in a haphazardly moving plot is praiseworthy.

So Ralph Breaks the Internet is a sharp satire as well as a fun entertainment film. It leaves you with a smile at various points, amazes you with its rich imagery; and all this while leaving behind an even bigger message at its wake.

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TWINNING CONSPIRACIES

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Me Too Movement has made its voice heard in India.Predators are dueling battles with fear and shame, while survivors are finally finding courage and liberation. It has hit various sectors of India, from politician to superstar to religious head all are facing the brunt of their actions. But along with it rises the public interrogation, trials and the unsure path of justice.  

For instance, let’s take two charge sheeted cases that is at present under the judiciary. First, Jalandhar bishop Franco Mulakkal, who is now relieved of his duties, is accused of sexual abuse by a senior nun, which occurred in the time frame 2014 – 2016. She filed the complaint in 2018, after her pleas for justice were ignored by the church hierarchy.Second is Malayalam superstar Dileep, who is accused for the crime of orchestrating the abduction and molestation of a popular Malayalam actress. The said victim reported the assault within 24 hours and is facing the trial head on.

In both cases some disturbing similarities glare hard. Once the allegations were out, the first response was of denial, not just by the accused but by the power structures in which they thrived. Not to mention the clout and support they received from various powerful personalities and their own home organizations. If not for the frenzy the cases created with media and civil society joining hands in cultivating pressure, perhaps the accused finding their way into court rooms would also have been jeopardized.

But the grand welcome bishop Franco Mulakkal received at Jalandhar after his bail and Sister Lucy Kalapura, who supported the survivor, getting banned from performing duties at Church, which got revoked only because of opposition, just goes on to reflect the imbalance of power play.  Actor Dileep getting movie offers while the trial is going on and the survivor and her supporters getting invisible from work space is a similar parallel.

Another factor that is common to both cases is how the word malign is used by the religious body and film body AMMA of which the perpetrators, survivors and their supporters are part of. When opposing voices are heard loud and clear,they suddenly become sounds that are out there to malign the organization, not voices that point out the errors committed by the organization. Such propaganda is created to confuse the narrative.  When supporters of the survivor question their institution for their own safety, their actions are misrepresented as maligning!

Another similitude that can be discussed is how loyalty dictates court proceedings too. Even if we ignore the mysterious calmness around Father Kuriakose’s death, how to look beyond Sister Anupama’s words on the warning letter issued to Father Augustine Vattoly and how they fear for their lives after Father Kuriakose’s death. Sister asserts that authorities are trying to silence them with fear to protect status quo and the warning letter for Father Vattoly implies just that.

 In actress case too, the way AMMA organization delayed the ousting of accused from their organization following the Vishaka guidelines and did nothing to redeem themselves despite the survivor and her supporters leaving the organization speaks of a loyalty like no other. Women in Cinema Collective  repeatedly points out how the organization not taking immediate action or denying basic safety to the survivor within their own organization, passes on the message clearly to other members, who the organization stands with and its definitely not the survivor; and that is going to affect the trail. These are indeed warnings,to not dare the status quo.

Nuns, priests who support the survivor, including Late Father Kuriakose, have spoken about the pressure and ostracisation they face within their own institutions. WCC members have also spoke about this familiar epidemic of ostracisation that catches up with the ones who ask questions. The evident sidelining from projects is another striking resemblance.

Not to forget the victim shaming. A politician from Kerala insulted survivors in both cases; he went to the extent of calling the nun a prostitute. The massive online trolling is another example of the pressure and shaming survivor and their supporters has to go through. Yet some wonder why survivors don’t speak up sooner. Above is a case of a woman who reported the assault within 24 hours of the incident and a woman who reported it after years.In both cases, evidences are found, trial is going on. End result is still a dice throw, yet the backlash, victim shaming, opposition from power structures remain identical.

The light at the end of this dark tunnel is how bravely the survivors and their supporters are fighting this battle tooth and nail. They are not ready to back off. They are ready, at the cost of their lives and career, to stand by truth for a better tomorrow. Their determination,courage and efforts are the only rays of sunlight in this dark alley. And this is, one of the masterstroke twinning in both the cases; sadly, the only relevant and positive similarity.

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WELCOME

Posted on by adhitiaravind92

Hello Friends, 

I’ve created this blog space to share my thoughts, feelings and interpretations on various topics that feel close to my heart and mind. Hope we’ll have an amazing time together bonding over similar and different  point of views. Looking forward to this amazing journey as a blogger. 

With Love, 

Adhiti