Judgementall Hai Kya Director – Prakash Kovelamudi
Cast – Rajkummar Rao, Kangana Ranaut, Jimmy Sheirgill, Amyra Dastur
Rating – 4/5
We first see her upside down but also right side up. When we meet Kangana Ranaut in Judgementall Hai Kya, we see her feet, mid-air and upside-down. They happen to be surrounded by framed pictures of Ranaut in outlandish, overdone costumes: as Pamela Anderson in the red Baywatch swimsuit, or wearing Angelina Jolie’s distinctive Maleficent horns. She’s doing yoga, a headstand against a wall-ful of photos she regularly gets taken, then photoshopped — much like Govinda used to put up pictures as a cop and a lawyer in Raja Babu.
Ranaut plays Bobby Grewal Batliwala in Judgementall Hai Kya, a half-Punjabi half-Parsi girl who grew up with the trauma of her parents death, and has since taken to folding paper boats and birds out of bad news, or, more specifically, the grisliest newspaper reports about domestic violence. She’s an impassioned dubbing artist who gets pictures taken imagining herself in roles she’s only voiced for local markets. While she is “comfortable” volunteering to spend months in a psychiatric facility, she doesn’t like her medication. This girl plays carrom with her Zoloft.
Bobby, as you may have gathered, is quite a character. The audience gets to know her alongside the childhood scarring she faced and is given a gradual awareness of her mental fragility, or else we would conveniently have called her ‘quirky.’ Later in Judgementall Hai Kya, a theatre director, ignorant of all her past and labels, marvels at her pluck: to him she’s simply a manic pixie dream girl. It makes me wonder if Bobby needed to be freer of our judgement, or, conversely, whether most manic-pixie heroines need medication.
Judgementall Hai Kya, directed by Prakash Kovelamudi and written by Kanika Dhillon, looks like a slick, snappy comedy but there is so much more to this smart, significant satire. This is a film about gaslighting, the relentless psychological manipulation intended to discredit people in order to nullify their version of events. It is about insensitively and eagerly labelling a condition instead of offering empathy. It is about trying to ‘handle,’ not help.
The treatment is delicious. Daniel B George, composer for Sriram Raghavan films like Johnny Gaddaar, keeps the vibe groovy, accentuating the changing moods while playfully misleading the audience. During a police investigation, his background score unmistakably borrows from Ray Manzarek’s keyboard solo from Riders On The Storm — a song with killers, roads, brains and toads, about fatal hitchhikers who may in fact be illusions. Nothing in this layered film is by accident.
If it were, cinematographer Pankaj Kumar would ensure the accidents look bloody good. There is a glorious shot of people painted orange and bleeding black I won’t soon forget, and Kumar, one of the finest directors of photography working today (Haider, Ship Of Theseus, Tumbbad) has wonkier and more subversive fun with this film as he plays up Bobby’s oversaturated world, and tinkers with frame-rate and contrast to depict her (and possibly our) mental states.
Judgementall Hai Kya wears the clothes of a murder-thriller. Nosy Dadar landlady Bobby develops a fixation on her tenant, convinced he’s out to commit a crime. Things take a fearful turn and Bobby is devastated: was she right all along, has she willed the situation to happen, or was she so desperate to prove her fixation that she took things into her own hands? Her tenant, Keshav, fibs about eating meat and smoking, but how can that damn him? As he plaintively reminds the policemen, everybody lies.
Rajkummar Rao plays Keshav with a placid smugness while the camera — taking on Bobby’s female-gaze — takes turns objectifying him and stepping away. He’s a calm man of few words, but the gifted actor makes dryness appear nasty. He gets under the skin, or maybe that’s what we are meant to feel, since he’s certainly captured Bobby’s imagination. Being brusque is no crime, of course — but then again, neither is Photoshop.
The narrative twists and coincidences are ambitious, and Kovelamudi weaves them together deftly, working the film both as thriller and allegory as the pace only intensifies. Judgementall Hai Kya has a lot to say, and not only via smart lines, though those are pointedly sharp. We’re informed Bobby suffers from acute psychosis, and later, when she’s seeing visions, one of her hallucinations calls another one ‘cute.’
Decidedly less cute is the sight of a cockroach. Ranaut spots one all over the place, dousing her house in pesticide and flinging slippers to squash it — this slipper hits a smiling Rao instead. As she loses grip on life to focus on a cockroach nobody else seems to see, it starts functioning as a symptom of her growing psychosis. Alternatively, though, could this tingling of her cockroach-sense signal an urgent itch she can’t scratch but she needs to?
Bobby believes this, as she calls bewildered policemen to tell them where she last saw the insect. The way Ranaut’s eyes gleam as she talks about the cockroach… this actress really is extraordinary. This is a finely acted film, with superb performances from Amrita Puri, Satish Kaushik and Jimmy Sheirgill, not to mention Rao, but it rests entirely on Ranaut’s shoulders and she delivers both vitality and credibility. Bobby may be over the top but hers is a sharply subtle performance, and Ranaut — not least because of the battles of perception she faces off-screen — is ideal for the part.
At rehearsals for a newfangled production of the Ramayana (one where Dhillon cleverly takes on a wordy, self-referential cameo) Bobby stubbornly refuses to participate in a trust exercise. This is not a character who will trust — at least not on command.
Judgementall Hai Kya loses whizz in the final stretch, trying hard to keep audiences guessing even when the climax is apparent, and the makers could instead have concentrated on subtext. The investigative epiphanies, also, feel too simplistic compared to the messaging of the narrative and the film’s overall intelligence. I remain smitten, for instance, by the way they used the 1972 song Duniya Mein Logon Ko with such double-edged lyrical precision.
Watch this film. As evidenced by a man Bobby sees carrying homilies on placards on a street corner, Judgementall Hai Kya knows the difference between accepting and determining something. It is a film about malicious misdirection, and the validity of our narratives — especially those labelled incorrect. It’s okay to jump at a cockroach even if you’re the only one who sees it. From the right angle, a bug is a feature.
Book Review of Debutant Author, T. Shree, ‘What If….’
|Title:||You’ll Always Be My Favorite “What If”|
This was the book we had mentioned in our article of last month ‘What If…’ The book is a romance based on contemporary times. If we look at romances and novels we have a preconceived notion but this book drags down that notion and brings in space for so much more. Romance is the most versatile topic and it has been beautifully expressed by T. Shree in the book. It’s a fairytale-like pretty story bringing in the different emotions at different moments.
The book will blow one’s mind, it’s a book filled with a variety of characters, the building of the characters, the plots, and their twists put you to think more about this story. It’s a book on the details are kept to the story there is no loose end in the story making it a blissful read.
Amisha & Avyansh had met up in an arranged set up but the marriage never happened because of Avyansh’s abrupt refusal to the marriage proposal. The protagonist of the story faces tragic situations in her day-to-day life. She has herself a social network and then she has her true own self. Managing two different personalities, two different images becomes a task for her. She has a big void formed inside her, as the social image of her being this happy, bubbly, and cheerful girl has completely taken a toll over her personal life making her empty of all her emotions and feelings. The book is settled in a middle-class family, talks about the pressure and Amisha was married to Nikhil forcefully and Avyansh was married to Sunanya but there was something between them. Destiny got them again into the same settlement after 15 years; professionally in the same company. Avyansh was President Band 2 and Head of Business Development for APAC and UK. He was famous as “The Forbidden Fruit aka Tempting.” He had already proved to be the one of all the ladies in the company with his intense looks and attitude. Amisha also joined the company as a VP- branding and social media strategy in the same company and she had looks and style to turn a million heads around. It was all fine until they met each other; it was the silence before the sea Strom.
The book is based on a beautiful saying, what if it happens? And it says it all. There is such a deep connection with the characters in the story that you at one point will feel like being part of the book. It’s a great experience to read something this connective. It’s that one piece of contemporary romance that’s filled with thrill, bits of aww moments, and lots of hows and what’s.
Life is the result of our decisions taken at every point in life. Amisha, who was 18, and Avynash, who was 21 were in love with each other; it was love at first sight. They had planned to spend an entire lifetime of togetherness. But none can do their will against destinies play. Amisha’s family got her married to someone else, the marriage couldn’t stand for a very long time. Destiny had its plan of crossing their paths after 15 years.
The book is very engaging, The little notes at the beginning of each chapter are super adorable and the highlighted dialogues and quotes make it very interesting. This book basically tells u- “If it’s meant to be, it will be” The book is full of suspense and makes us so much familiar with the protagonist of the story. It’s like indulging in something so much interesting. The author deserves appreciation for the small details and the well-put story making it a beauty in itself.
This YA Yarn Would Be A Bit More Bewitching If Its Witch Made Better Choices
The Fourth of July has come and gone, so *checks calendar* it’s time for everyone to start decorating for Halloween, right? Yes, I am That Girl who uses spiders in all of her decorating. But really, who couldn’t use a little magic in their lives right about now? Time to break out the Hocus Pocus and pick up books like Laura Sibson’s Edie in Between.
Edie in Between was touted as “a modern Practical Magic.” An intriguing idea, as Alice Hoffman’s bewitching Practical Magic is not only a critically-acclaimed classic, but one of my favorite films of all time. Having read Edie, I think a more realistic comparison would be The Craft — still a lot of fun, but far less nuanced and ambitious.
Celtic/Wiccan magic runs in Edie Mitchell’s family. The Mitchell women dry herbs, note the solstice, and hide secret forests with rhyming spells. Edie herself can see dead people, among other things, but she’d rather just be a cross-country jock that has nothing to do with any of it. Which she got away with, until her mother’s death outside their home in Baltimore almost a year ago, at which point Edie moved onto her grandmother’s herb-covered houseboat in the Chesapeake Bay.
Despite being a socially awkward person who loathes this small town, Edie does make a couple of friends: Tess, who runs with her, and beautiful Rhia, who works at the local occult shop. It’s Tess who tells Edie about the “haunted” Mitchell property, so of course Edie has to investigate. Her presence bungles some sort of spell there, triggering a chain reaction of dangerous magic that goes from bad to worse. With the help of her new friends, GG (her grandmother), Edie’s mother’s journal, and a lot of magic, they manage to unlock these secrets of the past one by one.
Now, my upbringing was heavily influenced by Greek culture, so I am predisposed to have certain views on superstitions and the supernatural. I’m also a poet, so I have strong opinions on rhyming poetry. I acknowledged both of these things, and then set them aside so I could enjoy Edie’s story with an open mind. And for the most part I did, apart from Edie’s willful disregard for meter — I wish she’d thrown that out the window a lot sooner — and blatant ignorance.
For whatever reason, Edie’s mother allowed her to have a childhood without the “burden” of knowing how to properly harness magic that is powerful enough to kill a person. Even after she bumbled into that old house and screwed up a spell she didn’t know was there, Edie continued making one bad decision after another. By halfway through the book I was as mad as GG, as concerned as Tess and Rhia, and yelling at Edie like she was a character in a horror movie that should NOT go into the dark basement. Which did lead to considerable personal enjoyment, but I suspect it wasn’t what the author was going for.
I did appreciate that Edie’s story was about fear and the power of grief — appropriate themes for the current time. It highlighted the importance (and frustration) of communication within a family, no matter what the generation. When there are words you can’t say, it definitely puts the words you won’t say into perspective. But I really would like to have known more about the Mitchell family’s history and the origin of their magic, and I wish Rhia and Tess’s characters both had had a bit more substance.
So if you’re craving cooler weather, hot apple cider, and the classic Charmed TV series, Edie in Between is a magical adventure right up your dark alley. And if you’re anything like me, you’ve already got Practical Magic in the queue anyway.
Four Thousand Weeks: Time and How to Use It by Oliver Burkeman – review
This wise meditation on human transience strikes a perfect balance between self-help manual and philosophical odyssey
In the current average human lifespan we get 4,000 of each day of the week: 4,000 Saturday nights, 4,000 lazy Sundays, 4,000 Monday mornings. When we are young, that might feel like a dizzying number of tomorrows. As the years go by, not so much. Oliver Burkeman’s midlife inquiry into how we might most meaningfully approach those days is perfectly pitched somewhere between practical self-help book and philosophical quest. Having been the Guardian’s resident “pursuit of happiness” correspondent for a decade, offering the weekly promise that “This column will change your life”, this is something like his accumulated wisdom.
It starts with some necessary caveats. The day will never arrive when you have emptied your inbox. There will always be too many demands on your time, or nowhere near enough. Anything might happen in the next half an hour. Burkeman’s own journey as he describes it over the past years is perhaps a familiar one. He started out in his adult life believing there might be a trick to optimising personal productivity. He was a planner, a to-do lister, a buyer of highlighter pens. He was half-persuaded that there might be three or seven or 12 robust habits that allowed you finally to feel in control, on top of things.
Slowly, as plans never quite went to plan, and choices were made, and kids arrived, he came to understand that in any interesting life, time will almost never be your own to “spend” efficiently, and that most of the secret lay in embracing that fact. As he works his way towards these truths, Burkeman provides a brief history of human ideas of time. The definition that we are most familiar with, the stuff that might require urgent management, was really, he suggests, the product of two things: the sharp decline of faith in an afterlife, and the Industrial Revolution. Our acceptance of finite time – of this being all there is – roughly coincided with clocking on and clocking off. This made time more pressured and precious. Most of our anxieties, Burkeman argues, derive from the fact that “every moment of our existence is shot through with what Heidegger called finitude”, or a nagging sense that we might be wasting what little time we have.
As he explores more closely what this might mean, he also proposes some strategies, or thoughts, to counter that anxiety. The traditional airport-bookshop volumes about time-management tend to emphasise the importance of finding focus. These concerns have been exacerbated by the great global engine of digital distraction; social media companies make their billions from the time you aimlessly, addictively provide them, “making you care about things you don’t want to care about”, as Burkeman says.
It helps, he suggests, rather to understand certain basic human limitations. Procrastination is unavoidable, though we can get better at ignoring the right things. Fomo – fear of missing out – is only debilitating if you fail to realise “that missing out is basically guaranteed” in life, the inevitable consequence of one path chosen over another. The self-help gurus might tell us never “to settle” in a relationship or a job. Burkeman argues rather that “you should definitely settle, or to be more precise, you don’t have a choice”. It is inevitable that you come to realise any chosen partner or job is not all other potential partners or jobs. Happiness is a factor of what you do with that information.
Productivity is also revealed as a fairly dubious modern virtue. “The Latin word for business, negotium, translates as not-leisure, reflecting the view that work was a deviation from the higher calling [of ease],” he says. If we make leisure only another arena for self-improvement then it sacrifices the present in favour of an imagined future. One hero of this book is the hobbyist, who can steal an afternoon for no purpose; another is the person who “develops a taste for having problems”, in the knowledge that the state of having no problems only arrives postmortem. Burkeman ends his book, as his publisher perhaps insisted, with 10 tips to take away. The how-to is not necessary; as with all the best quests, its many pleasures don’t require a fast-forward button, but happen along the way.
Four Thousand Weeks: Time and How to Use It by Oliver Burkeman is published by Bodley Head (£16.99). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply
Source: The Guardian
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