American Fiction, 2023 - Film Review

Adapted from the 2001 novel Erasure, by Percival Everett, comes the Academy’s this year’s favourite black movie, the critically acclaimed American Fiction, directed and written by Cord Jefferson, the adapted screenplay of which won the Oscar (its only Oscar).

The story revolves around Thelonious Ellison, or Monk, who is, well, a critically acclaimed writer, respected in the literary circles, but not too successful with his books, because as his publisher explains to him, he writes books that are like ‘Blue Label’ (of the Johnnie Walker range), respected by all, but consumed by a few, whereas what he should be writing is ‘Red Label’ that is loved and consumed by many. The Red label, or as I would rather remember it as, the ‘Black Label’ also doubles up as a meaning for what the audience and the publishers (especially a white one) are looking to read in a Black fiction novel – the grime, the crime and the sublime. When he writes an ironic joke in the form of a stereotypical black novel that accidentally becomes a super hit, minting him money, fame, critical success and even a Hollywood movie, against the backdrop of his broken family falling apart and coming together, he comes to accept his own failings along with that of the world around him, moving on, and holding on to the friends and family he’s got left.

The film is a light-hearted satire on the issue of inclusion of black people and the normalization of (privileged and un-privileged) black lives in American society. The film pits against each other two contrarian views of this idea. On one side, is the view of the protagonist, Monk, who refuses to accept the cliche of black lives and black fiction, and propagates the idea that black stories can be and should be so much more than a 'ghetto' life. On the other side, is the commonly accepted view, (which also sells lots of books and movies), that shows black people speaking in black accents, hustling and struggling against fundamentally deprived lives, as represented by the best-selling author Sintara Golden (played by Issa Rae).

The first side, seen through the eyes of Monk, is funny and tickles our privileged sense of humour, where we find ourselves siding with Monk, judging and making fun of the white men and women who wallow in their own superficial sense of sympathy for the under-privileged black people, and the misguided way in which they absolve their own guilt by championing what they believe is the right depiction of black ‘American Fiction’. This forms the central plot of the film and is portrayed brilliantly by Jeffrey Wright. As his emotional curve goes from apathy to annoyance to sheer anger towards this blatant commercialization of black lives, the ironic hilarity comes from his consequent success curve that moves in an inversely proportional direction. Like he says himself in the film “the dumber I behave, the richer I get”. As Monk pushes the ridiculousness of his story, first calling it "My Pafology", and then re-christening it to just simply “Fuck”, the scenes with the publishers, the Hollywood producer, and his literature community get funnier and funnier.

This side of the story also intermingles beautifully with his own personal life, which itself challenges his stance that black lives can be normal. All his life, after living separately from his family, when he is forced to return to them, he finally sees their inherent broken-ness - in an ailing mother, a burdened sister, an estranged gay brother, a philandering father who killed himself, and eventually in his own emotional unavailability. These moments of Monk with his family and as he finally 'sees' his family and their lives, for what they are – full of struggle, and hustle, and pain and violence, a kind of ghetto of its own -  are beautiful, tender, and touching and make the film what it is and truly worth watching.

However, what leaves us unsatisfied, is the lack of exploring the ‘other side’ of the black fiction perspective. The perspective of Sintara Golden. While her book is a best-seller, playing to the popular white- American guilt, which Monk shuns publicly, the author herself doesn’t see it as playing to the crowds. Instead she sees it as an authentic representation of what black lives really are in society, and contrasts it to Monk’s more privileged upbringing. As she assertively says to Monk in the film "Potential is what people see when they think what's in front of them isn't good enough". But, this side is abruptly brushed under the carpet, and the story goes back to affirming only Monk’s perspective till the end, resolving only his life and his crisis. This is what leaves us a little cold and distant as we move into the last quarter of the film.
A film, that is otherwise so beautifully emotionally open, ends up being intellectually closed.

But this one flaw notwithstanding, American Fiction is a recommended watch for sure, and another one of those Oscar nominations that got overshadowed this year, by the magnum opus of Oppenheimer (my review https://books-booze-boxoffice.blogspot.com/2023/07/oppenheimer-2023-movie-review.html). 

And more importantly, a mental note to self to read this author, who’s new book ‘James’ is in fact, just out!

Dune - Part One (2021) and Part Two (2024) - Film Review

What makes one fiction cult and another one mainstream, irrespective of its popularity? For example, films like Guy Ritchie’s Snatch (2000) or David Fincher’s Fight Club (1999) have a cult following, whereas James Cameron’s Titanic (1997) or Speilberg’s Jurassic Park (1997), of the same vintage and equally great films in their own right, have mainstream popularity. Or in science fiction, films like the Marvel Universe or Star Wars hit the mainstream spot, while films like The Matrix (at least when it started) or Nolan’s initial films like Inception, or the Mad Max series become cult classics? 

Getting into Dune, once again brings this perspective to life in a big way, because Dune, falls squarely in this category of “cult” sci-fiction.

Dune, the film, based on the (ahem!) cult sci-fi novel of the same name, written by Frank Herbert in 1965, is two movies (Part one in 2021 and Part two now in 2024) together capturing the story of the first book in the Dune novel series, which itself comprises six books, written over two decades. The intergalactic plot is across multiple planets, with the epi-center of the story set on the desert planet Arrakis (hence ‘Dune’). Inhabited for centuries by the local Fremen tribe, but ruled and exploited by the Empire for decades, for the precious ‘spice’ that is found only on this planet. Spice, which is the most valuable commodity in the

universe, with multiple uses, not the least of which is the key ingredient of the fuel that powers interplanetary travel.  Against, this backdrop, the first book (and the films) tell the story of Paul Atreides (played by Timothy Chalamet), as he grows from a naive youth, son of Duke Leto Atreides, TO a survivor along with his mother Lady Jessica (Rebecca Ferguson), after his father and the entire Atreides clan is murdered over a political coup, TO becoming part of the Fremen tribe and joining their cause of fighting the imperial and brutal Harkonnens as Muad’Dib, TO finally realizing his destiny as the prophesied political and religious leader of the Fremen and therefore planet Arrakis, as the Lisan Al Gaib. Thereby winning freedom for the planet from the evil emperor, and claiming the imperial throne for himself, challenging the entire political machinery of the universe. 

Now, by definition, cult means it’s not for everyone, and that it appeals to a narrow audience that either connects with the theme, or more often than not, connects with the nuances and the layers that are beneath the overt story-telling. And that’s why we see many who are drawn to watching Dune for its big, grand, sci-fi, SFX experience, walking out feeling under-whelmed or with a ‘meh’.

Because, for one, unlike many other fiction novels made into movies (like say the brilliant Lord of the Rings), the film Dune expects its viewers to have read the book. Or the atleast, know enough about the novel. And for those of us who have, the film (especially with Denis Villeneuve’s big-budget IMAX experience) is a beautiful and inspiring bringing-to-life of this unique imagination and vision of Frank Herbert, telling the complex story-telling of imperial politics, nationalistic resistance, and religious fundamentalism. A story where it’s not always clear what’s the better path for an entire population, that one way or another, is enslaved and manipulated by one kind of power or the other. Just like the world we live in every day. No black-and-white answers in life, right?  

Throughout the film, we are rooting for Paul Atreides, a victim of political play, as he fights against the system, with the help of his Fremen believers, slaying the evil Harkonnens, avenging his family’s betrayal, and coming to power by defeating the emperor, with a clear public affirmation that he is “the One” that will bring redemption to Arrakis and the universe. But, throughout the story, we are also very aware of and frightened by the impending and inevitable danger of him coming to power, as the absolute religious leader, who will spawn a mass annihilation in the future. As history (and indeed our present world) has evidenced, we know this to be true in our world, where the popular leader himself becomes the destroyer of the very thing he was chosen to save. A certain Russian leader, a Turkish leader, an American leader, and perhaps a leader closer to home, comes to mind! What do they say about absolute power…. 

As the young Paul Atreides, who was thrown into the desert after his father was killed, we love him, feel bad for him, want to help him, champion him, feel his vulnerability, cheer for him, as he fights and survives and wins the Fremen trust and leadership and defeats his vile enemies.

As Muad’D’b, the young fighter and an equal member of the Fremen tribe, we admire him, respect him for his earnestness, his madness, his will, his love for Chani, his sheer resilience and the clarity of vision for what he is fighting for, even at such a young age.

But, as Lisan Al Gaib, the religious leader of Fremen based on blind faith, the result of a prophecy which itself is a massive political plot spawned by the spiritual and shady power-monger community of the Benne Gesserit, we are unsure, we are worried, and fear the consequences of what this absolute power might forebode for the world and his people.

And as Kwisatz Haderach, the ONE, who can see and exist across time and space, we are in awe and overwhelmed at the uncertainty of the future with this being, who till yesterday was just a little boy, but now seems to have the fate of the whole universe in his hand.

The film captures these nuances beautifully, especially told through the lens of Chani, the Fremen woman that Paul falls in love with and makes her his partner. And it is these nuances and layers that make Dune the cult franchise that it is. 

The genius of Dune is also in the realisation that written in 1965, we can clearly see how many popular sci-fi franchises like Star Wars, or Star Trek are inspired by the various elements from Dune. The prodigal son, the evil Empire, the hero’s lineage linking back to the evil rulers themselves, and so on and so forth. 

The casting of the film is brilliant and hits the spot for the storytelling. Timothy Chalamet, as the protagonist, does a really good job of portraying the layers of his character and shows his talent. Rebecca Fergusson as Lady Jessica, who herself transforms from a protective mother to the Reverend Mother of the entire tribe, at heart a Benne Gesserit, using her soft and magic power to manipulate her son and the people around her towards political gains. Javier Bardem, as Stilgar, the leader of the Fremen tribe is both powerful and endearing. And all the other actors portray their roles superbly and convincingly. Zendaya, however, as an important central character, is underwhelming and leaves us unfulfilled in her portrayal of Chani, albeit supporting the story just about enough. 

While we know a lot of cult books and movies do become mainstream over time (Marvel’s comics, Game of Thrones, The Matrix, etc), Dune seems firmly in the category that will likely stay cult for a long long time. So, watch the film only if you’re planning to join the cult. 

And if you are, my advice would be to read the book first. 

Killers of the Flower Moon, 2023 - Film Review

Martin Scorcese’s next masterpiece brings to the audience an appalling tale of human greed, cold blooded crime and racist prejudice, forgotten by history and the history-makers. Portrayed through lead performances by the genius DeNiro and the brilliant DiCaprio, this three-and-a-half hour epic saga is nothing short of a big cinema movie-making treat, that demands full attention, and listening to.

The story is set in the 1920s America, in the town of Fairfax, in the south-west state of Oklahoma. A land that belongs to the Red Indian tribe, referred to as the Osage. A chance discovery of oil makes the whole community rich overnight, creating wealth for generations. As landowners of this land with black gold, with ample money and time at hand, the Osages create a large consumption market of all kinds of goods and services and addictions, which apart from happiness and pleasure, also brings with it physical and mental ailments, and a whole ecosystem of white men (and women) with jobs to serve, collaborate, partner and take advantage of. Against this back drop, the film tells the specific story of the abhorring mastermind plan of William Hale (De Niro). Of gradually eradicating the Osages and acquiring their land inheritance, either through marrying and then eliminating their women, or with plain old cold blooded killing, when needed. All this while publicly playing the perfect charade of a partner-leader-compatriot of the Osages. Against this deep-seated conspiracy, arrives Ernest Burkhart (DiCaprio), nephew of William Hale, returning from World War I duty, quickly becoming a pawn in his uncle’s vicious and silent genocide. Marrying the available and future land inheritor Mollie (Lilly Gladstone), Ernest, along with his uncle and brother Byron accelerate the plan of eliminating the relevant Osages one by one, in cold and cruel ways, while on the surface always displaying love and affection. Taking undue advantage of the land where the US Federal law doesn’t apply (the Indian law applies), the vile deceit and quiet bloodshed continues unabated, till Mollie, after losing all her sisters and mother, and despite being quietly poisoned by her husband, makes a trip to Washington DC, asking for help from the federal government. The FBI (the 1920s version of it), finally arrives, unravelling the crime and eventually putting an end to it, but not until multiple Osage families are wiped off forever.

Scorcese is clearly on a mission with this film. The primary motive of the film is not to entertain like The Departed, even though the cinematography, the background score, and the performances move us, just like a classic piece of entertainment would. The purpose of the film is not to enthral like Shutter Island, even though the deploring murders of the Osage tribe has got us hooked on, to know happens next like a good thriller. The intention is not to tell the story of a person, time and place like The Wolf of Wall Street, even though the film brings alive an important and forgotten time and people and place in American history, immediately after the first World War. 

Scorcese’s mission in this film is much larger, much grander and more important in current times. His mission is to remind us of seeking a complete and an objective view of history. He wants us not to blindly accept the understanding that has been handed down to us from generations, without being questioned. He doesn’t want us to forget the uncomfortable and potentially horrible truths of our ancestors, just because we don’t want to face them. He doesn’t want our understanding of history only to be what we’ve read in our school history books, which have been carefully written by the makers of today. He wants us to seek more, ask more, find more from our history. Because as he has said often, we can’t define where we are going, till we know where we’ve been. Our history, no matter how ugly it may be, has led to where we are today. And only if we deeply empathise with our own histories, will we not repeat the same mistakes, and build towards a better future. By showing a mirror to our past, Scorcese hopes to open a window into our future.

The specific story of the Osage murders is thoroughly engrossing and heart-breaking at the same time. The innocence of this Indian tribe, being easily manipulated by the vicious white man, evokes the same anger that Mollie feels. We helplessly watch the brutal killing of the Osage people, without any retribution to the culprits. This glimpse of a blatantly imperial and an inherently racist mindset of its time is a shocking realisation of what humans are capable of. And reminds us perhaps, why in 2024, we still see hate-crimes, wars and imperialism and racism, alive and kicking all around us. And in this, is Scorcese’s biggest achievement. 

A big stand out of the film is (no suprise) Leonardo Di Caprio and his portrayal of the complex character that Ernest Burkhart is. While genuinely in love with Mollie, he still can’t help following his uncle’s evil plot of poisoning her. Ernest is a good looking, confident, war veteran who wants to have a good life with a woman he loves. And yet he is inherently a man of weak character, easily bullied and manipulated by people around him, especially his uncle, doing things that he doesn’t even believe in. Only Di Caprio could have delivered this character to Scorcese’s vision. It’s a delight as always to see his performance. And once again, we walk out impressed with this sheer talent.

Lily Gladstone as the under-stated, afflicted, diseased and victimised Mollie is brilliantly impactful. Her subtle emotions hit the mark with the audience every time. We feel her every heart beat, her frustration, her anger, and her desperate love for the husband who is killing her, and till the very end wanting to not believe it.

DeNiro is brilliant as always, but throughout the film, he is a little too DeNiro, which at times, takes away from the character he plays. 

For all Scorcese fans, all the classic experience of his film is there. And it hits the sport perfectly. The art, the setting, the music, the largeness, the mood, the engrossing storytelling, the complete immersion of the brain for the entire time, and the impact. I only wish i  had seen it on the big screen. 

Scorcese’s vision, DeNiro and Caprio in the lead and Lily Gladstone’s stellar additional act, what’s not to like! But only watch it when you have a dedicated three and half hours. Anything less, and you will miss it.

Teri Baaton Mein Aisa Uljha Jiya, 2024 - Film Review

First off, unless you’re a die-hard-obsessed-will-watch-any-movie-of-Shahid (or Kriti) kind of viewer, this film is best avoided.

But, poor scripting, story-telling, and general lack of entertainment value are not the only problems with this film.

The film revolves around Aryan Agnihotri (Shahid) an ardent bachelor for life in his 30s, who would rather stay happily single than unhappily married, since he hasn’t found his perfect match yet. Much to the anxiety of his parents who are desperate for him to get married, to anyone.. and as it turns out, to anything. Working as a talented robotics engineer in his masi’s (Dimple Kapadia) US-based robotics company, he prefers spending his time and energy amidst tech and machines than with humans. No wonder then, on a holiday trip to his masi’s house on the west coast, he falls in love with an AI-powered humanoid robot called SIFRA (Super Intelligent Female Robot Automation!), an experiment that his masi tricks him into. Despite knowing SIFRA is a robot, and after months of getting back to India and trying to move on from what had been a passionate but extremely confusing love affair, Aryan realizes he is still madly in love with SIFRA. He decides to give in to his irrational feelings, bringing SIFRA to India, and duping his family with his intention of getting married to "this girl he met in the US". His family, only too happy to see him getting married, accepts her willingly and what follows is the weird and wonderful and supposedly funny story, on one side a love story between a human and a robot, and on the other side a robot pretending to be the human-bride. All leading, expectedly to a disastrous wedding showdown and an ending message, of course.

In many ways, this is an important film. It’s one of the first mainstream, big-budget Bollywood films that explores the very contemporary topic of AI, tech, and robotics, that we are living through today. And it certainly won’t be the last. And for that, we like it, because, after the first howler of an attempt on this topic, it is sure to open the window for more and much better movies in the future (or so we hope), dealing with this very real existential topic of our times. Just for that, I’m glad this movie was made.

But, apart from that, a few sweet and vulnerable moments of love between a human and a robot, and a few songs where it’s a delight to see Shahid dance once again, the movie turns out to be a complete dud.

Expecting it to be fully pop, one doesn’t expect a real or authentic understanding of technology, robotics or AI. And in that, it meets our expectations one hundred percent. Weirdly superficial and blah conversations around technology populate the whole film. But hey, it’s Bollywood, so that’s okay. Remember, we loved Rocky aur Rani (https://books-booze-boxoffice.blogspot.com/2023/08/rocky-aur-rani-ki-prem-kahaani-2023.html), despite its vacuous depictions and cliched stereotyping of the intellectual Bengali, inane testing of Rocky’s GK with the question on who is the President of India, or where is West Bengal!!!
Because, to enjoy a good Bollywood entertainer, we don’t need intellectual stimulation, we need emotional stimulation.

And that’s where the trouble with this film is. 

If it was meant to be a rom-com, it’s neither rom nor com. 

If it was meant to make a statement on humanity vs. technology, it confuses and misses the point of both.

If it was meant to show a window into the lonely and isolated lives of our youth, the mirror is so faded that you see nothing.

As a result, the film is neither entertaining nor thought-provoking. 

What’s worse is that in pretending to tell a modern story around human vs. technology, it inadvertently ends up exposing itself, and showcasing the deep-seated patriarchy and chauvinism that is still so prevalent in our society. Aryan, constantly makes jokes at his married friend about his miserable married life due to his nagging wife. The women of the Agnihotri family, are all playing the traditional home-bound housewives with stereotypical roles, reminding us of the saas-bahu serials we thought we had left behind. Most fundamentally, the central plot of Aryan falling in love with a woman-as-a-robot is mostly because she follows all his orders! And finally, the climax wedding scene when it all goes wrong and SIFRA malfunctions badly and it takes nothing short of Aryan’s violence to put an end to her. In many ways, it was quite appalling to see such a blatant display of misogyny on the big screen, mainstream cinema. (And no, I don’t think Animal was misogynistic, read my review of Animal here https://books-booze-boxoffice.blogspot.com/2023/12/animal-2023-film-review.html ).

All in all, a big opportunity lost in what could have been a meaningful and entertaining story around how new technology is enabling and integrating, yet challenging and messing with human lives today and in the future. 

Alas! Just like great technology in the hands of misguided humans is one of the most frustrating things in the world today, so is this film. 

Smart tech-dumb people. 

Well, we see enough of those, don’t we?

Fighter, 2024 - Film Review

 #wysiwyg

The shortest review of Fighter would be “Top Gun Maverick, the Siddharth Anand Re-make”. I don’t want to say if Maverick made by Bollywood, because Bollywood has come such a long way in telling so many more stories than the only-pop cinema genre. 

Fighter is the story of Patty (Hrithik), the alpha leader and his group of fighter pilots, enrolled into the Kashmir order to fight cross-border militancy and terrorism. Under their Commanding Officer Rocky (who else these days but Anil Kapoor), they train, party, fight, lament losses of fellow soldiers, fall in love, get their hearts broken, but most of all win multiple battles against Pak militants, with full on adrenaline pumping patriotic action sequences, and in style. Loosely tracing the real life events linked to Pulwama and Balakot in 2019 (once again curiously in an election year), the film celebrates the brave fighters our of Air Force, and the intertwining of their personal back stories and emotions, as they fight the enemies outside threatening their homeland, while also fighting the demons inside and in their own homes. Expectedly ending in the grand climax of the final battle, that destroys the bad guys, delivering the revenge for the lives we’ve lost, as well as a big win for our country. 

Perfectly timed release on Jan 26th when all of our collective patriotism is at its peak, the movie hits the spot in pressing all the right buttons of the audience. It is as predictable as it can be, as cliched as it can be, and as old school Bollywood as it can be, and yet Siddharth Anand, as always, has us eating from the palm of his hands. We feel the national flag rising inside of us every time a terrorist insults India. We feel the rush every time an Indian soldier beats the shit out of the bad guys. We feel the loss when our brave soldiers die valiantly at the hands of the enemy. We even tear up when Minni's  (Deepika) parents realize how regressively patriarchal they have been in estranging themselves from their one and only daughter due to her choice of becoming a pilot, instead of ‘settling down’. 

Call us suckers and you would be right. 

And Siddharth Anand knows it and plays us completely. 

The one thing we do deeply lament though, once again, is the lack of real agency in the women characters. On the face of it, the film shows strong women fighting for their country, despite all resistance from their families and society. But scratch one level, and they are all waiting for a night in shining armour to rescue them physically or emotionally. Sanchi, a fighter pilot equal in every way to her co-pilot husband Taj, just becomes an emotional prop waiting for Patty to rescue her husband. Chopper pilot Enjay, Patty's now matryred fiance, the shadow in his past and a large part of Rocky's angst against Patty, is all anchored on how Patty doesn't save her. And finally and perhaps the most disappointing is Minni, as the lead female actor, who despite all the feminism in her character, becomes a second fiddle assistant fighter or a lover, desperately seeking her prince. All of this, again becomes a humble reminder on how far we still have to go as a society. 

However, the action and the special effects are as good as any Hollywood film. The shots are gorgeous as are all the actors. The music is classic Vishal-Sekhar fare and plays a good companion to the overall feel of the film. And, refreshingly, there is no major intellectual pursuit or point the film is trying to make. What’s not to like. 

Overall, A good, fun, action-packed thrill ride, with dollops of patriotic fervour that is the norm of the hour anyway. Enjoy it. Why not. 

12th Fail - Film Review - Disney+ Hotstar

***spoilers alert****

’Tis the season for all the directors who’d gone producer-mode for years, to return to their first love of directing and making movies in line with their vision of stories they want to tell. After Karan Johar with Rocky aur Rani, it’s one of our other favourites Vidhu Vinod Chopra, with 12th Fail on Disney+ Hotstar, inspired by a true story.

12th Fail is the story of Manoj Kumar Sharma (Vikrant Massey), son of a clerk, living in rural Chambal, growing unaware and unexposed in a flawed system of education and poverty, hurtling towards his inevitable destiny of the vicious cycle of poor education leading to poor jobs leading to poor income, continuing the cycle of poverty for the next generation. Until a chance encounter with an honest police officer, Dushyant Singh gives him the epiphany of wanting to change the course of his life towards becoming a police officer himself. With this dream, heading to Gwalior for enrolment, getting robbed, and losing everything on the way, another chance encounter with Pandey, sets him on the path to Delhi. What begins is the extremely high struggle and ‘ragda’ preparation for civil services and IPS, across many years and multiple attempts, with the support from strangers who become his friends and family, all of them cheering and helping him eventually achieve his dreams. 

The beauty of India is the infinite stories we can tell about the different Indias that exist all around us. And so, while Zoya Akhtar’s Gen Z films tell stories of the urban and mostly the well-heeled (seen recently in The Archies and Kho Gaye Hum Kahaan), 12th Fail tells the other side of the Indian Gen Z reality, the story of what’s loosely referred to as Bharat, of largely the middle and lower income homes, in small towns and rural India. 

This is why 12th Fail is such an important film, that is being loved by everyone, generating word of mouth, more than many recent OTT releases. It is the story that is still being played in the lives of millions of young people in India, who are not often seen anymore in popular cinema. Amidst our collective obsession with landing on the moon and conquering space, celebrating the re-establishment of the home of our most beloved God, cheering the arrival of India on the global stage through our economy and politics, and participating in the activism of inclusion and diversity, this film comes as a timely reminder of one of the most critical, complex and yet unresolved issues of our time, youth employment. It's a well-known fact that if we want to move towards our vision of being a developed nation by 2047, we cannot do it without ensuring the vast majority of our youth get meaningful jobs, to be able to earn a livelihood, toward a positive virtuous circle of personal and social progress. And it is also well-known that we are far far far away from this goal, as a country.

This central issue told through a deeply emotional story of one individual, Manoj, and his struggles, is what hits the mark. And humbly reminds us that as a country, we are not there yet… no matter what we see and hear on popular media everyday.

The film is a classic feel-bad-feel-good-underdog-story that is a timeless formula that works again and again. It’s a film that builds hope and re-instates our faith in people and humanity, in the kindness of strangers, in the idea that if you want something so badly (and you’re willing to work like a dog for it), the whole universe conspires to make it happen. Very early on, we, as the audience, become part of the gang of Gauri Bhaiyya (Anhsuman Pushkar), Shraddha (Medha Shankar), Pandey (Anant Joshi), Naval (Sanjay Bishnoi), and others, who are rooting for him, helping him and egging him on his path to his ambition. Because like Gauri Bhaiya says “Jis din hum mein se kisi ek ka bhi jeet hota hai, toh Hindustani ke croredon bhed bakri ka jeet hota hai”. This beautiful idea of a community moving forward through one individual or put another way, an individual is only successful when their community progresses, can only be felt by this side of Hindi-medium-Bharat, who actively reject the urban English-medium idea of individual success and glory. The film captures this essence so beautifully that it warms our hearts and souls throughout the 145 minutes of viewing time.

The actors do a fabulous job of their characters, each one of them, and not only Vikrant Massey, as the lead actor. Just like his IPS preparation, each of the supporting cast is as essential to Vikrant’s performance as is his own. He wouldn’t have shone without them, just like they wouldn’t have a purpose without him.

If there’s one fault I’d place on the movie, it would be the missed opportunity to explore other dimensions of the characters of Manoj and his friends. As a 2.5-hour film, which is reasonably long for OTT, there was ample time and space to explore further Shraddha and Manoj’s relationship, or perhaps Gauri Bhaiya’s back story, or Pandey’s possible path in life without IAS prep. Alas, all of them become just props to tell Manoj’s single-minded story of his struggle to become an IPS officer. And we miss an opportunity to build a more complete world of this part of Bharat (and not just one individual called Manoj), that needs more space on our screens and more time in our narratives.

All in all, a heart-felt warm emotional film that makes us tear up and smile and cheer, and give a big loud “yes” at the end, when Manoj finally makes it, feeling our own achievement in his success. Not to be missed! 

Kho Gaye Hum Kahaan, 2023, Netflix - Film

Touted as the Gen Z movie of the year, by the makers of Gully Boy, Kho Gaye Hum Kahaan, is a sweet finish to what has been a phenomenal come-back year for Bollywood in 2023. It also feels like a fitting end to the year, that seems to have been highly obsessed by Gen Z, for one reason or another.

The story revolves around three 20-something friends, in the significant life stage of post-college, early working years, where each is trying to figure themselves, their relationships, and their careers, all at the same time. Imaad (Siddhant Chaturvedi) with a troubled past, a stand-up comedian, and a serial flirt Tinder addict with commitment issues, Ahana (Ananya Panday) with boyfriend trouble that consumes her entire life, both online and therefore offline, and Neil (Adarsh Gourav), gym trainer who wants to do and be a lot more than his personal and social circumstances naturally allow. All are different individuals, with different personalities and dreams. With only two things in common. One, they are best friends. And two, they’re all addicted to social media, living a large part of their lives through it. The story follows their trials and tribulations as they navigate their urban lives between work, dreams, and love, with moments of laughter, booze, sex, heartbreak, misunderstandings, and finding purpose in building something together… a future, their future… at least for the time being.

Just like the life of a Gen Z, nothing really happens in the entire 2 hours+ of the film, and yet a lot happens throughout the story. Capturing this quintessential reality of a 20-something life in an urban metro today (and the most metro of them all, Mumbai) so perfectly, can only be done by the brilliant Zoya-Reema team, ably directed by Arjun Varain Singh. The film is like a one-time response to all those Millennials and Gen X’ers who have been talking about Gen Z’s behind their backs, criticizing their work ethic, curious about their private lives, envious of their easy sexuality, disappointed by their entitled self-obsession, in awe of their self-confidence with which they own and navigate the world. And the Gen Z response is simply this “every older generation feels like this about the next one. your generation had your struggles and challenges that you overcame to become the adults of today. our generation has our own struggles and challenges, that we are overcoming to become the adults of tomorrow. it doesn’t mean that we have it easier than you. it just means we have it different from you. we know you can’t help us, we have to help ourselves, just don’t judge us. this is the world we are growing up in. and we are doing the best we can. and if you don’t believe us, here… let us give you a glimpse into our lives…”

And THAT is the entire movie. A small window into the lives of urban young adults today. A zoom-in to a year in the life of these young men and women, who are seeking love and seeking themselves. A freeze-frame of this time in their lives that will possibly end up being their most defining years. A day, a month, a moment that is as real and un-ending, as it is fleeting and liminal. Speaking on behalf of his generation, the director, invites everyone into the world of Gen Z, opening their homes, their hearts, their souls, and most importantly their social media to us all and says to us “Aao aakey dekho lo.. ki kho gaye hum kahaan”

Perhaps the most impactful part of the film, and the reason for it being so enjoyable to watch irrespective of which generation you belong to, is beautifully captured in this line from the title song Hone Do Jo Hota Hai “Saari Khushiyaan hain saath mein.. ki apne faisley hain apne haath main”. The film immerses us into this beautiful transition stage of life that all of us have been through - the early mid-20s, when we get the first whiff of independence. When we’ve just got out of college and out of decades-long dependence on our parents, to finally be able to make our own choices and decisions. When we may not have a lot of money, but it’s enough to feel that it’s all up to us now. That our fate is in our hands. That we don’t need to seek permission to make our own decisions. It’s that rush that comes with losing the helplessness of being a child and simultaneously realizing the openness of the world. The joy and intoxication of this time (and many of us remember it like it was yesterday), when anything is possible. The heady cocktail of freedom and not-much-to-lose possibly makes this the best life stage of our lives. Even as we are acutely aware of how quickly this phase is going to pass away. Unlimited Space. Limited Time. And, it is this time and this emotion that the movie captures brilliantly.

Of course, like every movie, this film also has a message for our youngsters, because we just can’t help being the parents of this generation! Social media lives are not real lives. Get your face out of your phones. Look up, Love the people around you, and Move forward. The world is waiting, and it’s out there. Not in your screens. 

The soundtrack by OAFF and Ankur Tewari is fabulous, and reminiscent of the Gehraiyaan soundtrack. The title song Hone Do Jo Hota Hai is immersively enjoyable. Teri Yeh Baatein is a heady trip. And I Wanna See You Dance is a wonderful foot-tapping retro Nazia Hassan-style disco track. The other songs also do a good job of creating the right mood. If you want to get into a YOLO evening feel, hit the album and play it on loud, preferably with a few light drinks!

The 3 lead actors do a really good job too, perhaps because they are just being themselves in real life. Even Ananya and Siddhant (after the disaster of Gehraiyaan) redeem themselves. They are loveable and easy. And you can’t help feeling for them. But the main shout-out goes to Adarsh Gaurav, who does another seemingly-simple-but-emotionally-complex character role very impactfully. He is really a discovery. From hating him intensely in Mom (2017) to being impressed in White Tiger (2021), to being fascinated by him in Guns and Gulaab (2023), to adoring him in this film, he has shown a versatility of his acting beyond his years. Becoming the role that he is doing, he looks like someone who will go far with his career. Kalki, by now the predictable side character in every young urban content, is radiant and lovely to watch.

All in all, a thoroughly enjoyable and easy watch for anyone who wants to feel like a Gen Z, for just that brief moment. And just like everything Gen Z, it’s easily available on a screen next to you. Go for it!