Director – Abhijit Panse
Cast – Nawazuddin Siddiqui, Amrita Rao
Rating – 1/5
A polarising leader is a strong subject for a film, regardless of the line it takes. In the case of Thackeray — written and directed by MNS leader Abhijit Panse, produced by Shiv Sena MP Sanjay Raut, editor of the party’s periodical ‘Saamna’ — there was never doubt about its allegiance. I expected a film back-pedalling the extremism and justifying the late Balasaheb Thackeray’s actions. I expected scenes depicting the politician as a warm and misunderstood figure, and a film that essentially turns him into a hero. This is not that film.
Shockingly, Thackeray relishes the most controversial aspects of the Thackeray legend. This is a film where the leading man is shown as a proud bigot, indulges in hate-speech, likens himself to Adolf Hitler, and gives orders for erasure of mosques and for the killing of communists. His belief in preferential treatment for Maharashtrians in Maharashtra does not work as an excuse, not for all this villainy. This is not a whitewash, it’s a confession.
Watch the Thackeray trailer here
It is also a film made with polish — the high-contrast black and white cinematography by Sudeep Chatterjee is quite striking — that feels reminiscent of Ram Gopal Varma’s older, finer work. Charting the rise of a mere cartoonist to one of the most powerful political figures in the country, Thackeray even feels like a prequel to Varma’s film Sarkar, a hit that paid slavish tribute to the politician. Sarkar, however, had presented the leader as a man of nobility, while Thackeray presents him — exultantly — as a tyrant. See how much power he wields? See the way he threatens politicians, or reduces places of worship to rubble? See the way he gets a cricket pitch dug up? That’s our Tiger.
This may be why the film’s makers cast Nawazuddin Siddiqui in the main role, a man known for playing gangsters and psychopaths. Siddiqui visibly revels in Thackeray’s growing villainy, playing him with the irredeemable smugness of a bad guy from a 90s film. Sure, he wears the thick black glasses and sometimes gets the mannerisms right, but despite speaking from behind a big (obviously fake) nose, he never even tries to speak with Thackeray’s distinctive tones. He sounds like Nawaz as we have come to know, like Ganesh Gaitonde or Faizal or Raman Raghav, someone increasingly drunk on power and eager to kill whoever gets in the way.
The politics of casting Siddiqui in this part are messy. It is chilling to watch this Muslim actor talk about Hindu supremacy or celebrate the destruction of a mosque, to hear him indulge in full-blown hate speech without any room given for doubt. The film starts out with courtroom whataboutery as Thackeray, adjusting his saffron shawl and multiple rosaries, seems to be trying to explain away his behaviour, but as the film unfolds, the character boastfully owns up to all his extremism. He literally talks about himself as a second coming of Adolf Hitler, probingly at first, and later defiantly, proclaiming himself a Hitler for Maharashtra who will soon be one for the nation.
As a film, the acting is decent, the lookalikes are mostly good (the man playing Thackeray’s father, Keshav, is perfectly cast) and it looks crisp and well produced, with the majority of the film cleverly shot in black and white to depict another time. Despite the slick production and efficient making, the film feels exhaustingly long, primarily because it refuses to believe its protagonist has any flaws.
This is either an oblivious or blatantly self-aware film, a work not of propaganda as much as it is a work of pride, celebrating a legacy of violence. In an early scene the leader jeers at the idea of manhood as being measured by the width of a man’s chest, and later the film goes from black and white to colour with one flower turning orange, a shot that cruelly and unmistakably mocks the end of Schindler’s List. Thackeray is an alarming film, one that works only as a cautionary tale about how ugly hate speech can be. Saying revolting things does not make a revolutionary.
John Wick 3 Parabellum movie review: Keanu Reeves delivers the best action film since Mission Impossible Fallout
John Wick: Chapter 3 – Parabellum
Director – Chad Stahelski
Cast – Keanu Reeves, Halle Berry, Lawrence Fishburne, Mark Dacascos, Lance Reddick, Ian McShane, Angelica Huston
Rating – 4.5/5
The only way John Wick: Chapter 3 – Parabellum could’ve been better is if Keanu Reeves had somehow got his hands on one of those ‘desi kattas’ from an Anurag Kashyap movie, and gone and shot the CBFC’s worst ideas in the face. I’m being extreme; a couple of clips in the kneecaps would suffice.
As hyper-stylised Neo-noir action threequels go, it’s damn near a masterpiece – breathtakingly beautiful to look at, mythologically dense, and featuring the best action set pieces since Mission: Impossible – Fallout. And for it to have been desecrated in the manner that it has is positively criminal.
When it is at its most euphorically adventurous, as John Wick is beating a giant man with a hardbound library book, the Indian censor board decides that watching this death in particular – despite the film having shown dozens of other deaths already – is too much for an adult human to handle. And so it arbitrarily slices and dices important scenes, making up its own rules as it goes along, guided by a wonky moral compass.
Watch the John Wick 3: Chapter 3 – Parabellum here
It’s disappointing, to be sure, but this is John Wick we’re talking about – it is said that he once killed three men in a bar with a pencil (a pencil!). He is a man of focus, commitment, and sheer will. He can smash mountains, bury oceans and escape the light. He can do better than a bunch of bored uncles.
Not two weeks have passed since the events of the first film, when that poor fool decided to kill John Wick’s dog and ended up incurring that wrath of his alter ego, the Baba Yaga. In those two weeks, John Wick has taken down literally hundreds of New York’s finest Russian gangsters, gone on an Italian ‘vacation’, and has thumbed his nose at the High Table – the mythical government of sorts in this fictional world of assassins and a$$holes.
This makes him a man on the run, with nowhere to hide and an entire city’s worth of assassins hot on his trail, looking to grab a slice of that $14 million bounty.
Like its two predecessors, it navigates between highbrow cinema and schlocky garbage better than Sebastian Vettel around a race track. At one point John visits a theatre named after the great Russian filmmaker Andrei Tarkovsky; and then there are the requisite nods to spaghetti westerns and Hong Kong gun-fu. It is, however, also a film in which a dog bites a man in the crotch multiple times. And through cinematographer Dan Laustsen’s lens, even the campiest bits look like high art.
It’s fabulously lean, plot wise – John Wick has a target on his back, and he must fight to have it removed. This takes him to Casablanca, where he meets up with an old friend (and possibly flame?) played by the perfectly cast Halle Berry. Keanu Reeves – bless his pure heart – isn’t the best actor in the world (likely even his street), but in just a couple of scenes manages to convey years of history with Sofia, Berry’s character. Their partnership was one of the most enjoyable aspects of the film, and I can’t wait for them to team up again in future instalments.
The dense world building that was teased in the first couple of John Wicks is more fleshed out in this one, with the introduction of an even higher power – the Elder, who apparently outranks even the High Table, and is the only one who can grant him forgiveness. If the John Wick series is one giant metaphor for Catholicism (as I fully believe it is) then the Elder is sort of like the Pope. The film’s themes of guilt and penance, sin and salvation certainly suggest so. Although it could just as easily be a film about surviving in a corporate jungle, bound by rules and bureaucracy.
John Wick 3 is a film with many adversaries, but not necessarily a villain – in all honesty, I would contend its biggest nemesis is the CBFC. As per usual, a vast majority of the men who are sent to stop John Wick are merely faceless obstacles that he must slice and shoot his way through. In that regard, the third film is closer to resembling a video game than the previous entries in this unlikely franchise. After every immaculately choreographed fight, John Wick levels up, until he arrives, exhausted but evolved, for the boss battle.
Mark Dacascos stars as the primary antagonist, Zero, whom he plays like a cross between a fanboy and a samurai. The tone of their final showdown wasn’t unlike Grigor Dimitrov challenging his idol Roger Federer at Wimbledon. And despite John Wick 3 being the only Hollywood film to satisfactorily utilise the talents of The Raid’s Yayan Ruhian and Cecep Arif Rahman, in the end even the henchmen that they play are too awestruck by John Wick’s legend.
As one should be, I suppose. At three films old now, director Chad Stahelski is clearly onto something. A part of me wishes for him to branch out, to tell new stories; but a bigger part of me wants him to keep making these movies until glamorising guns like this becomes un-PC.
Book Review: Men and Dreams: In the Dhauladhar
Men and Dreams in the Dhauladhar is a wonderfully interwoven story of three people who accidentally meet each other in the Dhauladhar range. The story revolves around a hydroelectric project which has been passed to construct a dam in the same range.
With the most unique plot, the book focuses on how life continues to move on even when it is full of hurdles and full of ups and downs. The story line is incredibly genuine.
The three main characters, whilst Nanda, Khusru and Rekha have been so effortlessly sketched. The character development is Superb. Seldom do readers find a book which satisfies things more than one can ever imagine, and this one is just the epitome of that. With a wide spectrum of themes tracing different aspects of life, this book proves to be a 5 star read.
The plot is something which we don’t encounter frequently. The narration is effortlessly spectacular. The writing style and the flow is really commendable. It just never breaks the ease flow. Overall, it was indeed a great read!
About The Author : Kochery C. Shibu is a retired naval officer. A graduate from the National Defence Academy he has held several important posts in the Indian Navy. Post his retirement he has executed hydroelectric projects in the Cauvery river basin in Karnataka, Beas river basin in Himachal and lately Teesta river basin in Sikkim. He holds a postgraduate degree in Defence Studies from Chennai University, and MA in English Literature from Pune University. Men and Dreams in the Dhauladhar is his debut novel. The technical content of the novel, namely the setting up of a hydro-project is drawn from his experience in these projects since 2005, as are many of the characters inspired from those whom he encountered at the project site. Kochery C. Shibu was born in Kochi and now lives in Bangalore with his wife and daughter.
Review by : Sudarshan Wagh
Avengers Endgame movie review: An epic conclusion to Marvel’s Infinity Saga; it’s a triumphant tear-jerker
Directors – Anthony Russo, Joe Russo
Cast – Robert Downey Jr, Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Karen Gillan, Bradley Cooper, Don Cheadle, Brie Larson, Paul Rudd, Josh Brolin
Rating – 4.5/5
With Avengers: Endgame, the Marvel Cinematic Universe has arrived at its long-awaited ‘conclusion’, offering fans an old-fashioned mix of grand spectacle and undiluted emotion. To say that it is a success would be too simple an observation; what it deserves instead, is a eulogy.
Like a series finale of a television show you’ve loved for years, it crosses all the Ts and dots all the Is – some more neatly than others – and ends not so much with a feeling of rigid resolution, but a sense of freeing possibility. For new doors to open, Marvel seems to be saying, old ones must first be closed. It’s a film that will compel even the Frost Giants in the audience to whoop and weep.
Watch the Avengers: Endgame trailer here
For films like Avengers: Endgame to succeed, piled as they are with unfathomably large expectations, a well-oiled system is required to be in place. There needs to be a discipline in the writing, a crispness to the editing, and a generosity in the performances. True ambition in the Marvel Cinematic Universe, more often than not, is born out of a strict adherence to rules. And there are perhaps no two filmmakers better at working within studio sandboxes than Anthony and Joe Russo – at least not on this unprecedented scale.
Avengers: Endgame is a terrific example of that epic intimacy that Marvel does so well – alternating between glorious action and subtle character moments. Watching it almost feels like taking a wistful walk down memory lane, flanked on either side by a Russo brother, our hands held firmly in theirs. It’s an odd feeling that I can’t quite describe; a mixture of déjà vu and nostalgia, of melancholy and euphoria.
It’s a delicate balance to strike, but not nearly as difficult as having to write a review without revealing potential spoilers, whose definition, it seems, is as subjective as the idea of Iron Man 3’s Mandarin being a good villain.
But there won’t be any spoilers here, at least not beyond what we’ve seen in the trailers. The marketing campaign that Marvel put together for Endgame is a work of art in itself – I can confirm that most of the footage we’ve seen is pre-opening credits stuff. There are, however, parallels to the scientific methods trailer companies employ and the Russos’ keen understanding of blockbuster storytelling. Despite being the longest superhero film in history, and the longest film in the MCU, Avengers: Endgame is paced like Quicksilver on crack cocaine. Not a single moment feels unnecessary, but there are scenes – especially in the first act – that feel slightly rushed.
It’s their own fault, really. Over the years, we’ve come to develop certain expectations from our Marvel movies, as well as a patience for their indulgences. This makes the ‘getting the band back together’ scenes in Endgame rather tedious. We know what needs to happen, so why dilly-dally?
The fatal flaw with Avengers: Infinity War, I feel, was that at no point did the Decimation feel like it would be irreversible. It was a scene – a very good scene – built entirely on shock value that dissipated almost as swiftly as one of ‘the fallen’. And after all, they say that no movie death should be believed unless you see a trickle of blood escaping from the corner of the character’s mouth.
It was a similar situation with Captain America: Civil War. Steve Rogers and Tony Stark’s differences felt more like a momentary tiff than an ideological confrontation; in other words, of course they were going to get back together.
Avengers: Endgame isn’t like that, and that’s what elevates its credibility, and injects unexpected drama to its already weighty themes. There’s a sense of finality to it that feels wholly unprecedented in the MCU. The Russos are probably operating at their most mature here, examining themes of parenthood and patriarchy, loss and legacy – and of power; how it switches forms as it moves from one hand to another (literally). The only way to confront radical terrorism, the film asserts – and Thanos is a radical terrorist, make no mistake about that – is through unity and bravery.
Robert Downey Jr as Tony Stark/Iron Man in a still from Avengers: Endgame.
This isn’t to say that Endgame is a dour film – the trailers have certainly sold it that way; like an unholy love child between Back to the Future and The Leftovers. But I was surprised by how funny it was, and when it needed to be, how purely entertaining.
One scene in particular – I won’t say a word more – will extract the same sort of response from audiences’ as Thor’s entry did in Infinity War.
But regardless of what they say, Endgame is very much Infinity War – Part 2, in that it directly addresses the fallout of the Snap. Certain scenes feel like they’ve been there since the earliest drafts of the script, while others genuinely feel like they were added post the release of Infinity War – the Russos have always had a finger on the audiences’ pulse, so it would make sense for them to have done that.
They’re insisting that this is the end, but it’s like Tony choosing pizza over cheeseburgers – we all know that’s never going to happen. The more movies they keep making, the more they’re going to dilute the impact of Endgame, But for fans who’ve been there from day one, it will be the satisfying conclusion they’ve been waiting for, and a love letter to the franchise they adore. The MCU, in this moment, has given us a once-in-a-lifetime experience. Cherish it. Hold it dear. Whatever it takes.
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