With three fine acts by Irrfan Khan, Jimmy Shergil and Vishesh Bansal (the kid), MADAARI is once again a Nishikant Kamat film that falls short of delivering the desired impact despite having an interesting subject and the valuable support of a talented team. Made on a similar pattern reminding you of Nishikant’s own DOMBIVLI FAST (2005-Marathi), Neeraj Pandey’s A WEDNESDAY (2008) and also Irrfan Khan enacted DEADLINE SIRF 24 GHANTE (2006 – with a similar role involving a kid too), MADAARI can easily be called an unofficial inspired sequel of these films lacking a lot in perfection, logic and conviction missing the bull’s eye.
However what still leaves a strong mark in this half-heartedly made social thriller are the well written dialogues and a supremely engaging or rather revealing climax keeping you glued to the screen (ending on an abrupt note). As a result, here we have a film that could have been a strong surprise winner like A WEDNESDAY, but sadly fails to be the same as the director doesn’t play the game too seriously following a pretty ordinary, casual story progression full of big loopholes as indicated in the following short notes.
The film opens with a great impressive quote referring to a small bird fighting with an eagle. The kidnapping of the Home Minister’s son is straight away announced through media coverage and Jimmy yet again plays the police officer leading the investigating team.
The director follows the 'to and fro' kind of execution inserting the flashbacks at regular intervals and the one liners intelligently incorporated in the dialogues provide the entertainment.
The first sequence between Irrfan and the kid with reference of child abuse works well.
Jimmy looking above his glasses bending the neck looks realistic but Irrfan’s long hair and beard doesn’t.
Dialogues continue making an impact commenting upon the questionable media and corrupt political system together.
The pace is superfine with both Irrfan and Jimmy excelling in their given roles, but only if one decides to ignore the big loopholes relating to the kidnap, the hideout and their constant travel.
After 40 minutes, the film tends to become monotonous but just then a flashback accompanied by an impressive background score touches you emotionally, followed by a well-written and skillfully rendered song, which again goes into high notes after the first two lines following the current trend. (Can’t figure out Why shouting can be found in almost every song today, even in the so called sad ones?) ----- INTERVAL -----
Post interval the narration begins on a tense note becoming more political and the director brings in FACEBOOK and personal video uploads into the proceedings, hinting towards a Kangaroo Court.
Rajasthan and its famous attires are used, probably to make it visually appealing.
One particular dialogue on FB reveals the actual scenario perfectly, wherein Irrfan says, “Duniya Kal Meri Taraf Thi, Aaj Uski Taraf Hai” (not in these exact words)
Another song and lot of creative liberties taken kill the pace again but the revelation of a cruel tragedy makes you feel the pain in a realistic, heart wrenching manner. However, much less movement of the handheld camera in the scene certainly would have resulted in a deeper impact.
A typical sound in the background score reminds you of ‘the Dumroo’ (the musical instrument) played by a Madaari in his street shows and this is where the writer-director play a good trick with the viewer heading towards an engrossing 15 minutes finale.
Though the entire climax is based on highly unbelievable assumptions and illogical proceeding full of many cartoonish characters far away from reality. Still it successfully manages to hold you well and the revealing dialogues remain the major working force behind it all.
However just when you expect the film to end on an another insightful note, a sudden abrupt conclusion spoils the entire build-up, bringing back the casual, confused vision of the director - who once upon a time gave us a worth watching gem as MUMBAI MERI JAAN (2008).
Summing it all, MADAARI solely survives due to Irrfan Khan, the impressive dialogues and an engaging finale alone keeping the interest alive. Otherwise its a very casually made film full of many cardboard characters and illogical proceedings that remains the first thing to be avoided while making a though provoking social-revolutionary thriller, following a classic like A WEDNESDAY.
Rating : 2.5 + 0.5 / 5(With the additional 0.5 for its socially relevant and revealing dialogues)
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Greeted by a mind-boggling euphoria displayed by the fans all over India, KABALI finally arrives with Thalaiva Rajinikanth playing the lead character. But he is again back with a typical gang war film having an emotional family angle too showcasing every single feature the icon is known for. So you have the good old stylish walks, elegant poses, slow motion action sequences, the synchronized sound effects and a glimpse of Rajini’s younger days too asking for the deafening loud cheers and whistles in the theater.
However the moment you manage to rise above the larger than life, cult image of the Star and all these typical insertions, the film disappoints and it disappoints hugely with nothing fresh or novel to offer either in its theme or execution turning out to be too flat to be called engaging or entertaining from any angle.
In short, though it had a potential plot talking about the plight of migrated Tamil-Indian population in Malaysia, KABALI fails to deliver anything substantial and its simply like a cruel betrayal for all the die-hard Thalaiva fans expecting an explosive, well-made project from the reputed team.
And the following chronological notes on the film will give you the exact picture.
The energetic opening music adds to the visible excitement level perfectly. But the usual introduction of all the gang leaders and build up is too filmy generating the feeling of Deja-Vu (including a Chinese gangster).
Rajini enters in style as expected and background score enhances the sequence brilliantly catering to the cheering crowd.
The sound mix seems to be a bit imbalanced and dubbing as usual awkward with ‘the reference of Amrish Puri’ in a dialogue going over the top.
The first song doesn’t work but gets a big boost with KABALI dancing to the beats.
Family references are here (as typically seen in a gang-war film).
A mole in the gang can be easily sighted, (nothing can be more cliched than that).
A social angle of A Rehabilitation Centre is thrown in (that’s always there in a Rajnikanth film as a must.)
The emotions work for a moment followed by an all seen before story progression.
A gangster killing sequence works, again enhanced by the title track running in the background.
A new smart girl enters the scene as ‘a contract killer’.
Surprisingly the cult Hindi song ‘Lag Ja Gale’ is used in a sequence.
An unimpressive sad song runs in the background making no impact whatsoever.
Its 45 minutes and vengeance is the only theme till now with the usual intercuts of flashback thrown in following a set format.
The ‘Questions and Answers’ session looks childish and the expression of ‘Papa’ raises laughter in the theater sarcastically.
The young Rajnikanth appearing in a flashback gets the cheers back but the magic stays for only a few initial moments.
Its 60 minutes but nothing works in terms of entertainment for the Hindi viewers in particular.
The reference of old time romance also doesn’t make any impact despite the presence of the impressive Radhika Apte.
Another song praising the heroic character with a rap is thrown in that again fails to make any contribution along with the slow motion action.
The emotional killing sequence doesn't work either due to the lack of novelty.
The pace drops again and the story shifts to Thailand (which clearly seems to be a set instead of the actual location.)
As a sudden twist, the word PAPA brings laughter into the theatre instead of tears...... becoming the most ridiculous move in the storyline.
At mid-point the film strangely offers nothing different from the usual seen before stuff, either in terms of subject or execution except THE CULT FIGURE. ----- INTERVAL -----
Another routine sequence, after a shootout doesn’t excite you at all.
Resurrection of everyone already declared dead, actually makes it highly insane and boring.
Background music regularly keeps trying to create some thrill in vain.
Dhansika playing Kabali's daughter looks good and makes the best of the opportunity given.
The repetitive gang-wars and plans to kill the rivals add to the boredom pretty badly.
Emotions take over with the story focusing on the search for the lost family member in India, that ideally should have been the main subject giving it a new angle.
The two loving souls unite and Radhika excels in these 2 minutes making a strong impact. But another average song added just after the emotional scene pulls the film back to the same mediocre levels.
Gang wars return adding to the unbearable length offering NOTHING.
A long action sequence further adds to the monotonous progression.
The whole family returns to Malaysia with a rap playing in the backdrop and a strange roof-top party is here where all the gang leaders are brought in together heading towards an obvious culmination.
The finale dialogue tries to bring in a bit of patriotism too and the long climax fight ends on a pretty ordinary note without any exceptional execution.
The VFX gets caught very easily in the last shot and that’s supposed to be one of the biggest film of our industry.
But it’s still not over, as the director decides to end it on another highly cliched moment presenting his last bad move.
In all such hugely disappointing, tedious and unoriginal project wasn’t expected, wherein no one seems to be interested in moving out of the set-comfortable-format giving something unique, engaging and entertaining to the eager followers/ viewers. Wonder why our icons agree to do the same things again and again so irresponsibly resulting in such a big letdown? In clear words, apart from Rajinikanth’s magical persona onscreen, an impressive background score and one particular scene of Radhika, KABALI fails to give you anything in return for your time and money spent. And this is in continuation post Rajini’s last mediocre venture titled LINGA.
On a personal note, KABALI turns out to be a bigger disappointment for me and BTC specifically, as at one end I constantly keep trying to influence the younger friends to essentially watch the regional cinema of our country making some exceptional gems and here comes a KABALI painting a completely different picture of our South cinema quite similar to the mainstream Hindi movies.
Anyway, lets continue with our work of exploring the must watch regional gems made in different Indian languages at the site, and hope Rajinikanth comes up with a much better venture soon forgetting this poor KABALI.
Rating : 1.5 / 5
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Though Inder Kumar’s GRAND MASTI was a big commercial success surprising one and all, it did face a lot of criticism for its questionable execution affecting the director’s image. And maybe that is the reason he decided to majorly tone it down in his GREAT GRAND MASTI (with more focus on the males) choosing a potential theme once again involving three loving couples and a lady wooing the three husbands. In fact the major feature of Inder Kumar’s latest offering is that the film is an interesting mix of two different genres rarely tried before in the recent times i.e. a sex comedy and a horror theme together targeting a wider audience.
No doubt GGM continues with the same objectification of women, cracking some silly jokes in many suggestive sexual scenes and dialogues making it all stale and boring for the viewers before the intermission. But it’s the last 45 minutes of the film that certainly save it from becoming a complete dud targeting a particular section of viewers to be honest. Moreover as the film is not as vulgar or crude as its previous part, having a story to tell too mixing two entertaining genres, GGM marginally scores over the rest, but doesn't turn out to be highly entertaining, plus is sure going to be hugely affected by the ‘unofficial leak’ happening more than a week before its official release.
The following are the thoughts penned down while watching GREAT GRAND MASTI in the theatre along its story progression.
Begins with a horror scene and a song featuring the titles.
The tricycle used by the three heroes reminded me of 80s English comedy series titled GOODIES.
The introduction of three friends, their families and a fake filmy baba is quick but the spirit calling act by the baba falls flat.
A sequence suggesting an interchange between the wife and the mother-in-law is weirdly executed with some poor graphics.
A funny scene selling a house in the mountains to a newly-wed couple works fine.
Sonali Raut is here in a cameo as the bai called “Shiny” (Are they referring to Shiny Ahuja?)
The second song too fails to make an impact post the opening one.
The three men are off to an all-boys outing to a village to sell a haunted house.
A couple of weird sequences are here again referring to the village as Doodhvaadi.
A partially entertaining scene features Sudesh Lahiri in a cameo named as Ramsay having three brothers as Ramsay brothers.
An indicative reference to Ragini MMS is made too with a well-made animation inserted as the flashback.
Song “Resham Ka Rumaal” sounds much better, but actually its another rehash version of the original song from the pop album of Ila Arun released in the mid 90s.
Boredom creeps in and stays for a while till the mirror sequence brings in some humour and the three get caught in the haunted mansion. ---------- INTERVAL ----------
Boredom continues with the references of Viagra and another below average song.
Urvashi takes over from here as the sexy ghost girl.
The story has a silly and absurd turn with the introduction of Shreyas as Babu Rangeela who is a local Gigolo operating in the village. (In a village????)
The reference of all known Hindi film stars is made in a pretty bad taste.
The three wives unexpectedly visit the haunted mansion too.
A dinner sequence brings back some laughter in the theater.
Another one with the Sasu Ma continues to deliver some crude humour.
Filmy drama returns with a vague insertion of Karva Chauth.
The fake Anatakshri Baba enters again with a hilarious sequence.
The last 30 minutes provide some entertaining moments mixing comedy with horror.
Shreyas reappears as the helping soul winning over the lady ghost.
And the film ends on another sexual note involving the sasu-ma again.
As the key performers Vivek Oberoi, Aftab Shivdasani and Riteish Deshmukh repeat their similar acts seen before, but Riteish still remains the best among all. Pooja Banerjee, Shraddha Das and Mishti playing the three pretty wives are just fine but Urvashi Rautela fails to sizzle in a great opportunity given. Sanjay Mishra as the baba manages to entertain towards the end, whereas Usha Nadkarni as the mother-in-law remains loud as per the given role. Thankfully Shreyas Talpade as Babu Rangeela manages to bring in some smiles in the climax.
With nothing great in its soundtrack other than the borrowed Ila Arun song and average cinematography, GREAT GRAND MASTI has quite less to offer and seems to be too long at times with the sex-comedy-horror mix marginally working only towards the finale sequences. So you can easily skip it in the theaters and later watch it if you must post the home video release in the coming months.
Rating : 1.5 / 5 (With the additional 0.5 for the interesting attempt by the writers mixing the two genres that could have worked wonders.)
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