filmrelicsworld
Film Relics World
Between watching cinema and writing.
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Yeh Jawaani Hai Deewani: Friendship is Eternal, Love Changes
Since the movie closes with a scene on New Year's Eve, it has become my go-to movie for the holiday. From the moment I first watched it, it has made me happy, and even today, on gloomy days with a lot of snow outside, it comforts me. Indeed, I enjoy a low-key celebration, and the companions in this movie create just the right amount of ambience to make the day when the clock strikes twelve and another year goes by unforgettable.
In brief:
When Naina sees Aditi, an old friend from school, in the past, she finds out that she and her pals are going on a mountain hike. Naina makes the snap choice to join the expedition as well, not realizing that it will permanently alter her. Eight years later, old acquaintances reunite, and a wedding is scheduled for the near future.
Somehow, since he came up with the concept for Brahmastra, Ayan Mukherji's skill at writing women has decreased. Once upon a time, there was a certain assurance in the way he penned them, and they stood on par with the movie heroes, not merely relegated to the heroine role but endowed with fully realised personalities and nuance.
While it occasionally employs clichés, the movie is nonetheless a competent entertainment with plenty of commercial flair. It's also a great movie to watch if you're interested in Bollywood or Hindi cinema because it includes everything a family entertainer should have—dance, romance, and songs.
The film is a passable entertainment piece with a lot of commercial flare, despite the fact that it uses clichés from time to time. For those who enjoy Bollywood or Hindi cinema, this film is highly recommended as it has all the elements of a family-friendly film, such as romance, dancing, and musical numbers.
The Artist, the Dreamer, the Alcoholic and Gambler, and the Nerd. The movie examines these clichés, demonstrating how things evolve over time and how, although we may have known some individuals to be of certain kinds in the past, they are actually complex individuals with a darker side.
Deepika Padukone plays the nerdy medical student Naina Talwar, a woman on a quest who yearns for more out of life. She embodies the archetypal "gorgeous woman wearing adorable clothes and glasses." It follows her path from being an introverted person to a contented heroine who gradually breaks out of her shell. She is quiet and reserved in the first part of the story and confident as hell in the second, yet she still harbors the insecurities of a bashful young woman. She incorporates these commonplace facts into the fantastical world we are viewing, making her world seem believable.
Kabir "Bunny" Thapar, played by Ranbir Kapoor, is endearing and fantastic. He presents that dreamer from the upper middle class who doesn't have to consider his privilege too carefully on television. His dance prowess is on full display here as well. Even though I have very mixed feelings about Ranbir because of his recent work, which leans dangerously towards misogyny, I can always watch this movie again since I find him to be a charming character.
He just takes up the area he needs on screen because there are three other characters with their own arcs, so he doesn't overtake the frame. The screenplay ensures that he has enough room to play both the charmer and the quiet moments of focus while still keeping the other characters in the movie front and centre.
In her role as the artistic and rebellious Aditi "Adi" Mehra, Kalki Koechlin is simply amazing on screen. She brilliantly portrays how she fantasises about love while feigning strength. We recognize Aditya Roy Kapur as Avinash "Avi" Shiv Arora as the friend who consistently gets into trouble and has a dark side because we want to help him get on their feet but are unable to do so.
The late Farooq Shaikh, who plays Bunny's father, is a supporting character who gives a beautiful and moving performance. He uses so little to accomplish so much. Evelyn Sharma plays the incredibly naive and flirtatious adversary of Naina, Lara. She does a great job at bringing humor. In the second part of the film, Kunaal Roy Kapur, who plays a delightful character, also infuses the films with such amazing comedy.
All things considered, this is a decent rom-com and an enjoyable movie to see again for some nostalgia. Bollywood encompasses all one could ever wish and much more. There's something so endearing about it that someone will always identify with one of the characters. The songs are catchy and endearing. That truly is a modern classic!
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Karwaan: A Lifetime Adventure
2018 was a really great year for movies, Bollywood movies in particular. Karwaan, which attempted to carry on the tradition of this genius, debuted in theatres on August 3rd but was unable to survive a positive first week of business. Nevertheless, this film is a work of art that is transformed into beauty before your eyes! It has all the right amount of entertainment that a Bollywood film needs, along with morals and teachings.
After learning that his father died in an accident, Avinash (Dulquer Salmaan), the protagonist of the story, is somewhat demotivated. When Avinash needs assistance, his close friend Shaukat (Irrfan Khan) comes with him to take up the father's coffin. If only it were that simple, the airport cargo mishandles two bodies and delivers an elderly woman's coffin in its place. Avinash now realises that he owed his father the right to a dignified funeral for his corpse, regardless of the difficulties they had as father and son.
The main plot point of the movie is Avinash's decision to drive to get his father's coffin and give the elderly woman's coffin back to her. The granddaughter of the elderly widow whose coffin they had to bring, Tanya (Mithila Palkar), is a rather rebellious young woman who they encounter along the route. Her mother had asked them to securely deliver her home.
There are many twists and turns in the road trip, but none of them seem implausible. Even though each member of the trio has a distinct personality, they manage to work together and share knowledge about their varied lifestyles. They choose to move on and pursue happiness after accepting their pasts.
This film is a masterfully shot work of art with an abundance of brightness in every aspect that is displayed. Several features that jumped out were:
Cinematography: Every image on screen has a purpose. It emphasises on every subject's existence, and occasionally even on their absence. We experience the journey with the characters in the third person rather than from their point of view, which helps us feel more connected to the individual and their adventure. Nothing in the movie feels rushed or like a waste of time; every scene has a purpose. Everything culminates in the finale.
Performance: It is my intention to draw attention to Dulquer Salmaan's brilliant performance on screen. With Avinash, the guy realises his greatest potential. He is a natural and succeeds in persuading the viewers that he has always been Avinash rather than Dulquer. Because of how natural it seems, it's plausible that Avinash's character was created specifically to fit his personality. Let's go on to Irrfan Khan, another creative genius in the field. This man's hilarious timing makes him a legend. Despite taking up most of the frame, his attitude throughout the movie seems to be the best choice the director could have made.
His punch lines are what keep the whole movie going; there isn't a single scene where it seems like he's a drag. Insofar as it was feasible, Mithila Palkar fulfilled her role; the only negative aspect was that her character didn't progress as much as the others' did. All that is known about her is that she is a free spirit and renegade. Still, I can't complain because it fits wonderfully.
Background Score: This movie's soundtrack is a fantastic complement for the tone. It is simultaneously calming and revitalising. The spectator is given a sense of life. This movie's soundtrack directors have done an amazing job with it. Bravo to Imaad Shah and Anurag Saikia!
Dialogues: The film's writers have undoubtedly received recognition for their great work. The movie is entertaining and thought-provoking at the same time because of the timing, tone, and intensity of each dialogue. When they are employed in the right context and with the right words, they create a beautiful lexicon that pleases the intellect.
Slice of Life: This film's genre gives the theme of life a very genuine touch. It shows humanity in its best light. The supporting cast members of the film serve as its main supports. Shaukat is captivated by a beautiful woman, followed by Tanya's mother and an ex-boyfriend of Avinash. It's a beautiful portrayal of life where all these people and more come together to help the main protagonists become the best versions of themselves.
The director of this film is fantastic; Akarsh Khurana did a fantastic job. Although the direction of his other films is likewise based on this one, this one has a stronger narrative and cast than the others.
The conclusion was flawless—everything that could have been imagined, plus a little additional enjoyment that nobody could have complained about. This film offers you everything you could possibly want along with some delightfully surprising surprises. It's satisfaction at its finest.
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Jab We Met - Jab as “cub” not “cab”
The second movie that Imtiaz Ali directed, Jab We Met (When We Met; Jab is pronounced like "cub" rather than "cab"), starred Kareena Kapoor and Shahid Kapoor. I was anticipating more of the same from this movie as I really like the director's debut feature, Socha Na Tha.
I was a huge fan of Jab We Met. It was a pleasure to see a classy, uncomplicated, romantic Hindi film that is both charming and captivating after a long time. Jab We Met is a return to the very essence of feeling, which is what has made Hindi films so popular throughout most of the world outside of Western Caucasian society. Hindi movies make up for their lack of technical mastery and occasionally logical storytelling with their uncanny ability to captivate the audience via their characters and themselves.
Hindi movies emote and think far more than they do, and they emote with the audience. This explains why an excellent Hindi film may run for more than three hours without becoming tedious for the viewer. There's only so much action, storyline, and events you can do to keep your mind occupied until you need a break, and here is where Hollywood has a disadvantage.
While it's true that this predilection for the visceral over the emotional may not resonate with fans in the West, I believe Hindi cinema should truly play to its strengths since the rest of the world has a far wider audience. Jab We Met celebrates and embodies all of these innate qualities.
The storyline is straightforward. On a train, a wild talkative girl and a guy grieving for a lost love meet. What follows is a blend of character drama, road movie, romance, and comedy of errors. What makes this narrative really memorable are the characters. The protagonists, who are male and female, are unique and endearing in different ways.
They don't rely on stale stereotypes of male and female behaviour; instead, they are mature and direct in their conversation with one another. Their demeanour is innocent but not naive. They are enlightened individuals. I'd like to meet the folks in the characters. I aspire to be the individuals that the characters are. In some respects, the personalities reflect who I am already. From the first few minutes, they totally captivate you, drawing you into their story.
I am well aware that I have a huge soft spot for Kareena Kapoor's acting when she does a fantastic job, but the film's writing is ultimately what I find most compelling. In the end, I've discovered that I am a sucker for flawlessly written female characters—at least, that's my perception of perfection, as everyone has different preferences in that area.
What does the "ideal female character" mean to me? Someone who, although being a "girl," is actually a fully realised character with a personality, intelligence, and human-like behaviour. Oh, what's the point? This list is meaningless and could go on forever. I think the best way to convey this is to list some of the films that I believe have these ideal characters: Sunday in New York, The Matador, Bunty Aur Babli, Asoka, Socha Na Tha (Imtiaz Ali's earlier film), and many more.
I apologise to all the females reading this if all this perfection sounds like unreasonable expectations, but that's just the way things are. When I'm expected to be a subtly blended version of Tom Hanks from Sleepless in Seattle, Arnold Schwarzenegger from Predator, and Sean Connery from Dr. You don't think so? For birds, realism is optional. What would define us as humans if none of us sought or strived for some understanding of the concept? Hindi movies serve as a constant reminder of that, and occasionally something like Jab We Met happens and makes me appreciate that I am a member of this species once more.
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Zindagi Na Milegi Dobara
The narrative of Zindagi Na Milegi Dobara centres on three friends and their voyage through Spain. In college, the three buddies struck a deal whereby they would go on a road trip and each would pick an adventure, which the other two would have to complete. In order to improve their own futures, they must face their inner demons and revisit their pasts, and Zoya masterfully depicts this process.
It's difficult not to fall in love with the film since it's so gorgeous. I was instantly drawn to Spain by Carlos Catalan's breathtaking cinematography, which is truly amazing. Similar to how Mani Ratnam's Raavan was a photographer's dream come true, this movie also portrays Spain in a way that hasn't been seen in modern times.
I adored Farhan's portrayal of Imran, a professional copywriter who also happens to be a secret poet, and the way he navigates unresolved issues with his father, the painter, who was abandoned. Imran used to say profound things in poetry that seemed like pure magic. Javed Akhtar wrote the poems, as the movie stated.
पिघले नीलम सा बहता ये समां, नीली नीली सी खामोशियाँ , न कहीं है ज़मीन न कहीं आसमान , सरसराती हुई टहनियां पट्टियां , कह रहीं है बस एक तुम हो यहाँ , बस मैं हूँ , मेरी सांसें हैं और मेरी धडकनें , ऐसी गहराइयाँ , ऐसी तन्हैयाँ , और मैं ... सिर्फ मैं . अपने होने पर मुझको यकीन आ गया.
These remarks appear at what is arguably the best sequence in the movie when Arjun (Hrithik) eventually goes deep-sea diving. He is crying during this cathartic moment, realizing the value of taking a minute to appreciate life and the beauty of hearing your own breath. That is such a captivating scene.
I believe Imran's poetry has won me over. It can only provide the desired catharsis when it is felt from inside.
I think Zoya Akhtar is the real star of the movie. Her characters' true emotional moments are so well-crafted that their brilliance absolutely astounds one. She might be among the few filmmakers who truly comprehends human connections and emotions. Could a female director really write a story with such subtleties and attention to detail about three male characters?
Her nuance sets her apart from the others, and as some have said, this is an adult film meant for adults. The sequence where Imran throws Arjun's phone and the three of them fight is so well done that it shows how quickly grownups can become children.
In the first scene, when Imran and Arjun are packing their clothes, it is clear that Arjun is more organised (the clothes are neatly ironed and kept in an organised manner in the suitcase), while Imran is more casual (he just takes out the clothes from the almirah and throws them in the bag without any order). Zoya leaves the audience to read more about her character's traits.
Or the really lovely tune, Khwabon Ke Parindey. There is pure magic in the scene where the horse appears.
I think this is the first movie where I really enjoyed Katrina's performance because of how original her character is. "Insaan ko Dabbe mein marne ke baad hee jaana chahiye," she says to Arjun and Laila (Katrina) as they are gazing at the skies. Or in the scene where she says, "Kisse pata tum 40 tak zinda bhi rahoge ya nahi," or when she rides this bike to kiss Arjun and adds, "Mujhe afsos nahi karna aata." She makes Laila feel elegant, and it's ideal for her.
Farhan Akhtar is truly amazing. He steals the show and always gets the best lines. His persona is a cross of Dil Chahta Hai's Siddharth and Aakash. It seems like he is born with the silliness that he brings out in Imran. It seems like Farhan is like this in real life, whether it's Imran from Zindagi Na Milegi Dobara, Karthik from Karthik Calling Karthik, or Aaksh from Dil Chahta Hai.
Abhay's character appealed to me as well. I found it interesting when he mentioned that he didn't want Natasha, the interior designer he liked, to stop working after marriage, despite the fact that the Sigmund Freud game he recommended to uncover the problem in you was obviously inspired by Kuch Kuch Hota Hai.
The three adventure sports were all shot with such brilliance.
The way Laila leads Arjun when deep-sea diving is like poetry in motion—the sunlight, the bubbles, the blue water, and the fish. Incredible.
The sky dive: The way the three of them clasp hands in the clear sky to symbolise their friendship and surmount their concerns
The bullfight—Stunningly filmed, offering a superb finish and a warning not to give up without a fight.
I've been so fulfilled creatively after a long time thanks to a film. This movie may be the only one with a multi-layered plot and cast of characters after Dhobi Ghat. I may have overreacted, but I really thought the movie was fantastic. Do watch it; without the need for subtitles, I was able to grasp it quite easily because I speak a little Spanish.
Either Zindagi Na Milegi Dobara or Dil Chahta Hai. Both, I believe.
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Rockstar: Beyond the Veil of Time
“Out beyond ideas of wrongdoing, and rightdoing there is a field.
I’ll meet you there.”
– Rumi.
One of my all-time favorite love stories is Rockstar. I realise things soon got out of hand, but did you see it? Of course, if you use a magnifying lens, some problems are visible. However, I suppose there weren't any significant issues that I could identify, except from Nargis Fakhri's sporadic discomfort while speaking a language that she doesn't fully comprehend (can't really blame her) but portraying an emotion that we all experience—love. Not that I wanted to!
The movie captivated me from the very beginning. I was curious about Jordan's identity! Like your character, Aditi Rao Hydari piqued my curiosity, and I was perplexed as to why this felt like my first viewing. I had no memory of anything, and somehow, that worked out perfectly.
Let's discuss Heer and Jordan. Jordan's songs and Heer's physical symptoms of the anguish of being apart. Jordan's "magic touch" and his "heartbreak" moment.
The proprietor of Jordan's college canteen tells the amazing actor Ranbir Kapoor that art cannot be created until Jordan experiences things from the bottom of his heart; in order to be a true musician, Jordan must experience agony and have his heart broken. Jordan finds value in this since all of his favorite legends have experienced suffering. Jordan looks for suffering, but what he discovers is Heer.
Until he realises that she is, Heer is everything he isn't! She is actually much more! Jordan and Heer can actually see each other. They are able to sense love despite their youthful carelessness. However, no confessions are made. As fate would have it, Heer departs, taking her life force with her.
Toward the end, there's a scene where a broken-hearted Jordan begs the canteen owner—who is also his manager—not to break his heart. He's angry, anxious, and hollow despite having it all. "Dil nahi tootna chahiye mera," he says.
How the music elevates the movie! Irshad Kamil, AR Rahman, and Mohit Chauhan are all such amazing skills! What a lucky moment to be alive! However, Aarti Bajaj's editing and the writer-director's choice of story are what stuck with me.
You know, with all this modernising and rationalising of love, one often wonders if a love like this is really worth pursuing. Every sentence I write has a corresponding statement in my mind that rationalises and justifies it. Perhaps to prove to myself that I'm not "silly" or "crazy for love," to spare myself from Jordan's heartbreak, and to satisfy Heer's desire for love. Is it possible to succeed in life and yet feel empty inside? To be so linked and yet be so detached? I'm going to have “Rockstar” around for a very long time.
If you haven't seen it yet, please do so. However, if you don't want to wake up with puffy eyes, I suggest not watching it at two in the morning.
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Marvel And College Life
I'd like to share a little secret with those of you who might not know much about me: I adore Marvel more than most things.
I read comic books as a child and became well-versed in all things Marvel. I can probably still pinpoint the exact differences between character reactions in the comics and the film. This takes me to the aspect of Marvel that I value the most: the Marvel Cinematic Universe.
As I've become older, the movies have meant a great deal to me because of their commitment to faithful character representation as well as the poignant and motivational teachings they include.
I have seen every Marvel film produced during Phase Three, which includes "Captain America: Civil War" to "Avengers: Endgame," since I moved in 2019 to attend my graduation.
Permit me to share with you the lessons I learned from the Marvel Cinematic Universe (MCU) throughout my time as a graduate. Every one of those films imparted valuable lessons that I was able to apply to my personal life while attending college.
CAPTAIN AMERICA: CIVIL WAR
Fans of the films that had followed Captain America: Civil War through to that point experienced intense emotion. Iron Man, who sided with the government, and Captain America, our two favourite superheroes, were at odds over a new government policy that would have required superheroes to obtain permission from the government before acting.
By the time the film concludes, half of the beloved characters have vanished, the Avengers are forced to take sides, and the bond between Cap and Iron Man is as shattered as Cap's shield. At a pivotal moment in my life, when I was grappling with the realisation that I no longer felt as close to some of my friends as I once did, this movie arrived.
I never had time to hang out with some of my old pals since college made me busy than I had ever been in my life. I was left behind as they began to make friends of their own. That used to greatly bother me, but the movie served as a helpful reminder that friends don't always drift apart because they no longer care about one another.
DOCTOR STRANGE
Next up is a personal favorite of mine. For a very long time, Doctor Strange has been one of my favorite superheroes. I think I identify to him a lot as a person, maybe because I appreciate the idea of a superhero who can see into the future and perform magic.
Strange's profession is nearly destroyed by his reckless driving, which turns him from a qualified surgeon into a man lost in a very dark place. He is also incredibly pompous and arrogant. He wastes his riches on pricey, novel operations that leave him penniless and alone.
He spends his last dollar on a one-way airline ticket to an experimental treatment facility, where he encounters sorcerers who enlighten him about his past by teaching him the skill of magic. I want to remember that when I graduate and start my career—that he no longer needs fame or wealth to be happy.
Money is vital since it enables one to support their family, but if Doctor Strange has taught me anything, it's that material wealth isn't everything and that I should continue to follow my passions even if they don't always result in the highest salary.
SPIDERMAN: HOMECOMING
Since almost everyone and their grandmother is familiar with the Spiderman story, the villain is given more screen time in this film.
In "Spiderman: Homecoming," a villain by the name of the Vulture is shown stealing weaponry and equipment to resell on the black market after Tony Stark's (Iron Man) actions unintentionally cause his firm to fail. Ultimately, we see this criminal as a kindly man who steals to support his family and spare them the pain of his insolvency.
Unbelievably, this gave me some insight about how to serve others back when I was in Amity. It made me realise that regardless of how someone appears on the surface, they are all dealing with emotions on the inside and may require support to deal with those emotions. When the Vulture finally refuses Spiderman's attempts to assist him, Spiderman is compelled to stop him.
By teaching me not to judge a book by its cover, "Spiderman: Homecoming" has helped me make a lot of friends throughout college and serves as a constant reminder that people may be battling conflicts I'm ignorant of.
THOR: RAGNAROK
In the third movie of the "Thor" trilogy, our main character Thor is left to handle what's left of Asgard after his father Odin passes away and a new threat—his sister Hela, who was just revealed—appears to challenge Thor for the throne.
From this moment on, Thor must choose his own fate, as he had always found his calling in his father's guidance and approval. It always seems to bring back memories of the moment I decided to change my degree.
One of the reasons I initially decided to attend Amity was because I felt compelled to become a lawyer at a young age. However, while I was in college, I discovered that I was more drawn to a completely different major: communications.
That's when I realised that no one else could decide to switch my major for me; instead, I had to pick my own path with God's help. One is constantly reminded of such by "Thor: Ragnarok."
You would be here reading for an hour if I wrote an article about every Marvel film from Phase Three. I'm going to take a "Infinity War" approach and break half of this! I'll see you then!
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Imtiaz Ali and Tamasha
I recall seeing Jab We Met for the first time when I was in school, and I was captivated by the madness of an unstable and crazy love tale. Opposites attract, and I have long believed in this concept. Imtiaz Ali's films typically weave this notion in a widely acceptable manner. The irony of this is that I've always despised love stories, particularly those from Bollywood. They revolve around stories you cannot even begin to relate to or pictures occurring in the real world. They are dramatic, fantastical, frustrating, stupid, and thought up.
However, Imtiaz Ali has always portrayed stories through his films about characters you would see in real life; some of these characters are a little too ripe, but given the extravagantly exaggerated tales Bollywood has always created, it may be forgiven.
I'll openly admit that I've seen the movie Rockstar on my laptop many times and five times in theatres. I'm not sure there is a word that adequately captures the depth of love that was conveyed in the film. I could watch it a million times without any thought or care, adding it to the small number of Bollywood films that I have found appealing thus far. The reason for this is that it was not an easy task to direct and carry out a story so impulsive and compelling within a "controlled insanity." I was engrossed in a dreamy affair for a while after that, asking myself repeatedly, "What is love if not madness," until reality grounded me in the most unexpected way.
Ever since a friend first showed me the trailer for Tamasha, I had been anticipating its arrival. Every Imtiaz Ali film features prominent themes such as the absurdity of love, the desire for happiness and tranquillity, arrogant ways of telling a straightforward tale, and, in the end, a person meeting a female in the most unusual and unexpected way and enriching each other's lives.
Tamasha is nothing distinctive from it either, but what elevates this beautiful tale even further is that it is fundamentally about two soulmates, their loneliness in familiarity and their connection as strangers. It is the story of a man's battle with his inner self and how lady love helps him accept who he is and what he truly wants to be. Though they do make me feel good, it's not enough because the story is about more than simply love. I was excited to watch how the male protagonist begins to receive the answers he had been wondering about throughout.
It's more about love giving each other's lives additional significance, about realising the complexity of human nature and about two lost souls travelling in the direction of one another and finding solace in each other's company for all time. It's a complicated tale about humans and how frequently they require other people to complete them and give them new life.
There is more to Tamasha than merely finding your true partner these days. It centres on a character who is searching for meaning in his life. He struggles between the person he is and the person he should be, and a series of unfortunate circumstances force him to acknowledge the "tamasha" he has created for himself and his life.
They resemble windows that spring open to reveal other windows, providing opportunities to live a more fulfilling life and experience more spiritual richness. The notion that the film followed the path of a storyteller surprised me. How captivatingly art may capture the imagination of people!
The movie also follows a woman who makes an investment in a partnership, one who communicates her emotions and looks for guidance in a romantic partnership. She also serves as the catalyst, the mirror through which the male lead will ultimately be able to see his true reflection. The one who will help him realise that he is far more than what he believes himself to be and that he is neither average or mediocre. The plot is more authentic and less of a Bollywood tell-tale because the film doesn't attempt to celebrate love in ostentatious ways when it is present or to simulate paranoia when it isn't.
My preference for Imtiaz Ali films is undeniable, and I have complete faith that I will always like seeing them, but this one has felt a bit more like a fantasy. I shall be engrossed in Tamasha's plot and characters for a considerable amount of time, until, inevitably, unanticipated circumstances force me to return to reality.
Akansha
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