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Coming straight to the point, if you think for a while then double role is basically incorporated in a script only for two genres. Either the twins plot is used in a comedy or in a fast paced crime thriller to give the viewers those thrilling/enjoyable moments featuring the two interchanging characters. Moreover all the films using this particular idea ideally need to have a much better second half wherein the contrasting identities get revealed to everyone with a shock and it all ends on a highly exciting note giving you a real good time in the theater.
Now if a film uses this plot of double role in an emotionally tensed crime drama and yet fails to give you that thrill and excitement as promised with a pretty mediocre second half then its certainly not a good film at all, even if it has some worthy performances delivered by its talented cast. In fact that is exactly the one line review of AURANGZEB which has Rishi Kapoor, Prithviraj, Amrita Singh and Jackie Shroff giving their best along with Arjun Kapoor trying it real hard but the film betrays them all due to its weak screenplay and uninteresting progression in the end.
Admittedly, AURANGZEB has a fabulous start which impresses you a lot, displaying a fine blend of commercial and thoughtful cinema with all the family twists introduced in its initial 15 minutes. The factual depiction of land mafia operating in Gurgaon & few dialogues representing the mindset of people living there from decades are simply great which indicate towards a fairly good film coming up in the next few reels, for sure. But sadly, the moment its twin characters get replaced in the script, the film begins to drop drastically and further enters a completely unentertaining zone all of a sudden which simply fails to give you anything equivalent to its notable start as promised.
The scenes become too long and the conversations utterly uninteresting making way for many childish sequences particularly in its second half. For instance just imagine a cunning girl who regularly sleeps with the twin no.1 as her lover. Now after the interchanging takes place, she also sleeps with no. 2 and only has to say this much in the morning that “You were not so violent last night”!!! Now for me it was undoubtedly one of the most hilarious cinematic jokes I have heard this year. Anyway moving over this bizarre love affair written carelessly, later we are also made to see some reckless, silly shootouts in the climax which further pull down the film to more ridiculous levels. It was as if the writers were not able to reach any mutually accepted conclusion therefore they decided to use few guns and kill everyone on the screen to finish it off quickly. So with such an ordinary second half AURANGZEB is not able to maintain the standard showcased in its own compelling beginning and crashes like a branded plane badly. Yet I can say that its debut director Atul Sabharwal has got the talent to bounce back with something worth watching for sure in the near future.
To say it in few words, the film can strictly be seen for Rishi Kapoor and Prithviraj alone as they have truly lived their characters on the screen superbly. Amrita Singh and Jackie Shroff are great too but their roles are not lengthy enough to come up that strong. Arjun Kapoor on the other hand works real hard which is clearly visible in his sincere efforts but he still needs to focus on his weaknesses. The debutant Sasheh Agha (Salma Agha’s daughter) does some extremely bold scenes in her very first film and is going to need a big favour of luck in order to get that fantasized stardom. Tanvi Azmi is effective as the mother of twins but here we have two precious actors simply wasted like nothing namely Anupam Kher and Deepti Naval in a very questionable manner.
Another laudable merit of the project is its Cinematography, which actually makes the film more interesting than it really is. It’s a non-performer in its musical department and has an uneven background score too which is good in certain scenes and just average in others. Also the film desperately required a crispier edit since it seems to be too long mainly due to a typically predictable second half failing to do the trick.
On the whole, AURANGZEB is not as huge as it name suggests. So you can easily wait for its DVD release and save your money.
Rating : 2 / 5
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The director of widely acclaimed films such as SALAAM BOMBAY (1988), MISSISSIPPI MASALA (1991), MONSOON WEDDING (2001) and THE NAMESAKE (2006) coming up with an international project on the after effects of 9/11 dealing with Islamic followers, was no doubt an interesting news for viewers of meaningful cinema like myself. But deep inside, it also gave me the feeling of being too late and repetitive in nature when I saw its trailer a few weeks back. Nevertheless the expectation of seeing a new perspective on the subject was still there as that is what Mira Nair is known for in the trade from decades.
But unfortunately the renowned director fails to give us something fresh in terms of content this time, yet does raise a valid question related to the ‘personal appearance of a person’ in her purposeful film, which was vaguely touched in the numerous similar projects made in the past. A sincere adaptation of Mohsin Hamid’s novel of the same name, TRF has all the merits of a well made film in technical terms. It has an outstanding background score, an impressive cinematography and two immensely enjoyable tracks in the beginning (Kangna) and climax of the film (Peer Dastgeer) as per the reputation of its famed director. But sadly, it’s the ineffective screenplay here, which is not able to move the viewer emotionally and he doesn’t feel any kind of instant connect with all the suffering characters on the screen.
The film begins superbly giving you an indication of a great visionary project, but then steps down to all seen before paths without any novelty in just a few minutes. The narration keeps moving on an uninspiring pace leading to a lackluster conclusion and in the end one can only say that the intentions were noble, but it couldn’t result in something powerfully, thought provoking or transforming. Also what came to me as a big shock was the way neither Om Puri nor Shabana Azmi was used anywhere in the film relating to its actual cause by the director, resulting in a big waste of talent. Meesha Shafi serves as a pleasant surprise but Kate Hudson acts really well in the role of depressing lover along with a fine performance by Live Schreiber and Kiefer Sutherland.
In short, the only saving grace of this completely predictable venture remains its lead actor Riz Ahmed who brilliantly portrays the role of an innocent victim of the system, through his body language, expressive eyes and minimum dialogues. But even he turns out to be not that impressive towards the end of the film, which actually should have been the key moment of TRF leaving a solid impact. So with an ‘already explored plot from all angles’ and nothing significantly compelling in its routine storyline, Mira Nair gives us a rather weak film talking about an important issue which itself isn’t featured that effectively in its sequences.
To be specific, it rightly focuses on the core issue wherein people started staring, commenting and objecting upon how two communities used to dress in particular after the 9/11 event. One obviously was the MUSLIM community and the other were the SIKHS who also kept a beard and a turban too, quite close to the way one can see in a Afghani attire. Now where Muslim residents were openly interrogated as well as spied upon in those tense years. It was the SIKH community which was being directly killed and hated severely, only due to their resembling appearance with the pictures being flashed all over the media.
Here Mira Nair begins to talk about this very issue only, when the protagonist of the film is looked upon mysteriously, the day he starts keeping a beard and stops shaving. A simple beard on the face of a Muslim sitting in their office creates problems for his fellow colleagues and they begin feeling uncomfortable in his presence quite strangely. All of a sudden they are not interested in interacting with him like they used to do before as if the whole terrorism of the world was just there in that beard (or a turban) only.
THE RELUCTANT FUNDAMENTALIST exactly talks about this major problem leading towards further humiliation, mental torture and inner anger which possibly might become responsible of turning a conflicting disturbed mind towards actual terrorism. But later as the story proceeds with a mix of flashback images and the present day Pakistan, the message gets lost and the focus shifts towards the transformation phase of Riz Ahmed instead which again is quite confusing. Further the climax too fails to leave any kind of long lasting impact on the viewers and the real message of the film doesn’t get addressed boldly which is that, ‘Till we are not interested in stopping this practice of doubting every Muslim as a mysterious person due to his appearance or name, the problem is not going to end anyway’ and that is what Mira Nair wishes to say in her film based on the introspective novel.
However I seriously wish, she could have said that more forcefully making an effective disturbing connect with the viewers, which at present is completely missing in THE RELUCTANT FUNDAMENTALIST. Anyway on a lighter note, I really enjoyed the two melodious songs (Kangna & Dastgeer) playing in the background more than the film itself, as they both were already my favourites from Pakistan’s hit musical show, Coke Studio. Hence in case you also wish to see these fabulous renditions on the big screen too then the choice is all yours otherwise the film can easily be given a miss to be later watched on Home Video.
Rating : 2.5 / 5
Tags :
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In 1986, director Oliver Stone gave a cinematic masterpiece called PLATOON talking about the Vietnam War in the most cruel, sad and realistic manner. The film won 4 major OSCARs in 1987 but the visionary director was still left with something more to add on the subject of War which made him deliver his second gem on the same theme titled BORN ON THE 4TH OF JULY in the year 1989. And this time the focus was more on the after-effects of the war experienced by all the ‘returning soldiers’ back at their homeland, which is full of hatred, conflict, opposition, remorse and betrayal by their own fellow citizens unexpectedly. Reportedly in Oliver’s own words, after PLATOON, this is about the other war waiting for the soldiers when they return back from the front.
Based on the real life experiences of Ron Kovic, it’s a biographical account of his days fighting as a soldier and the days when he returned back home as a Vietnam veteran, having a half paralyzed body below the waist. It begins with Ron’s young days wherein he decides to serve his nation as a soldier and then is made to witness the horrifying truth of a war where innocent people are killed without any reason and soldiers follow the orders of attack like lifeless robots. And on top of all, the main planners of the war, that is the politicians remain miles away from the battlefield, safe in their cozy homes or offices planning the further attacks, simply signing on the official papers.
The film makes you feel the pain along with Ron, when he realizes that his platoon has mistakenly killed several poor & innocent Vietnamese peasant families living in a small village including their kids, women and old people. Further, the young enthusiast simply breaks down morally, when he accidently kills his own fellow soldier in the confusion of a fading sunlight and bullets being fired from all directions. As if the guilt of taking the life of his own friend was not enough, Ron gets severely wounded himself and ends up half paralyzed in a badly managed hospital to be informed that he will not be able to walk or have kids ever in the future.
Fighting with his challenging state, Ron Kovic returns home to his loving family and finds a whole different world waiting for him, where people are opposing the war, have no respect for their war veterans and are not willing to offer a helping hand to the injured soldiers who are now forced to live a dependent life forever. The indifferent behavior of everyone around disturbs Ron deeply and he feels betrayed by his own people and the nation. The unexpected revelation brings in a big change in his personality and he starts working against this whole political system of war as an anti-war and human rights activist living for a purpose.
So its all about this transforming & enlightening journey of Ron Kovic, who went on to become a key activist exposing the actual reality behind the war and its futility. Therefore it is widely rated as one of most impressive and important war films made till date with a specific message for the world. And I personally rate it as one step ahead of Oliver’s earlier masterpiece PLATOON too, for this very reason alone. It has Tom Cruise playing the lead, in complete contrast of his onscreen image of those times and the actor has undoubtedly gone deep into the skin of his suffering character superbly. Along with Tom & his impressive co-stars, the other big support to the film comes from its cinematographer, composer, writer and editor who rightly got the well appreciated 8 nominations in all the reputed categories of the OSCARS in 1990 but could win only two, namely the Best Director and Best Editing award quite deservingly.
In short BORN ON THE 4TH OF JULY talks about War in a distinctive manner which indeed forms the hidden & ugly part of the energetic picture painted in front of the people by the authorities, concerning the War veterans. It’s a solid, impactful and thoughtfully directed masterpiece by Oliver Stone, which has many emotionally haunting scenes which would even force you to take your eyes off the screen in disgust.
Hence do watch it for sure to experience what it actually feels to be sitting on a wheel chair after fighting a war for your nation and then get spitted by the same nation’s people right at your face with hatred.
Directed by Oliver Stone
Starring : Tom Cruise, Raymond J Barry, Caroline Kava and more.
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Widely appreciated as one of the most authentic portrayals of Vietnam War on the silver screen, PLATOON directed by Oliver Stone won the Best Director, Best Editing, Best Picture and Best Sound OSCAR along with four more major nominations in the year 1987. The film stands tall among those effective, path breaking and realistic projects which straight away transport the viewer right into the action happening at the battlefield, where life of a human being is no longer considered to be a precious gift. And where the opponent is either seen as a mere target or the means of satisfying your physical needs and then shot at after the use.
To be honest, post the 80s we have seen many more brutal and moving films on the theme of War made by prominent filmmakers all over the globe. But PLATOON still needs to considered as one of best ever, because it differently focuses on the mutual rivalry within a platoon and the undercurrent of politics in the minds of two groups of soldiers fighting for the same country, under the same orders. Further it also bluntly shows us the truth when a soldier can even become an opportunist to kill his own personal rival within the same troop, taking advantage of the silence and loneliness of the fields in a shameless, cunning manner.
In clear words, PLATOON makes us familiar with the crude reality that a man always remains an unpredictable kind of creature, who can unexpectedly opt for committing any level of crime if given the liberty and assurance of never getting caught. Also it brilliantly represents the fact that, a war is not just a clear visible fight with a single opponent but it also has a hidden feature of the inner conflicts and rivalry going on within the people fighting for the same side, which remains buried in the dark secrets of the battlefield forever. So from that angle, even when PLATOON talks about a war fought in the late 80s, the film is quite relevant and important enough in the present times too since it actually has something exclusive to reveal about the subject, which has been rarely featured in the other big war films made till date.
It magnificently portrays the avoidable violence involving the innocent Vietnam civilians and strongly points towards the truth that before fighting with an enemy, its our own evil which is to be fought with and won over. Probably that is the real message, the veteran director wished to convey to his audience, as he concludes the film with the lines, “I think now looking back………We did not fight the enemy, We fought with ourselves. And the enemy was in us.”
Along with this distinctive feature, PLATOON remains a relatable venture even today since we are still quite reluctant to learn from our mistakes made in the past and still standing on the same verge of a war with our neighboring countries with no change in our political mentalities whatsoever. The aggressive yet expressive film made on the Vietnam issue, simply puts you off and one easily reaches the stage of feeling completely dejected by the sick, mean games played by all the political leaders ruling the big nations of our planet like maniacs.
Further being a perfect film in its hugely realistic and uncomfortable execution of the combat zone, PLATOON also makes you witness & realize what film-making is, in its real sense. It visibly shows you the kind of hard work, sweat, pain and discomfort goes into the making of such worthy classics. How actors truly become the part of their screenplay, simply transforming into a different person altogether, who might be in complete contrast of their original being. And how films like PLATOON, can actually influence the much needed change in our society as well as in our political leadership only interested in ruling over the other for all the materialistic reasons.
The film rightly ends on a positive note looking towards the rising sun which brings in hope of a better future every morning and that’s exactly what a war film should ideally end with. Hence if you are really interested in seeing a different war film which more talks about the ‘War Within’ than the ‘War with the Other”, then do watch PLATOON as a must and give it a thought.
Written & Directed by Oliver Stone
Starring : Charlie Sheen, Tom Berenger, Willem Dafoe and more.
Tags :
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