Director:Arun Roy Writers:Sounava BoseArun Roy Stars:DevSamiul AlamRaja Behra
Bagha Jatin Movies Full story
Bagha Jatin is a good watch but could have been much more. For one, the editing leaves ample room to tighten the narrative, and second, a decent pick up in the overall pace could have done wonders to the film. True, it’s a period film, but the pace could have been more contemporary.
Moreover, the lack of a backstory for most of Bagha Jatin’s primary contacts in the planning stage and his team in the execution stage makes the narrative much less engaging than it could have been.
Coming to the positives, Dev and Sudipta as Jatindranath’s elder sister, Binodbala, carry most of the film on their shoulders, while Carl is impressive as Bagha Jatin’s nemesis and British cop Charles Tegart. Frankly speaking, the film never feels lacking when it comes to the acting department — be it the lead actors, including Bagha Jatin’s wife Indubala (Sreeja), or the smaller roles of freedom fighters. But its strength lies in its action sequences — be it Bagha Jatin’s cop thrashing scenes or the gun battles. The use of slow motion and a good background score succeeds in giving one an adrenaline rush. The camera work is good throughout the film but gets better during the action sequences.
The VFX sequence that shows how Jatindranath came to be known as ‘Bagha’ by slaying a tiger is surprisingly good. The tiger is hyper-realistic and the way the sequence has been shot and executed takes the overall quality of the film quite a few notches higher.
Another interesting sequence is the one that shows Bagha Jatin in various avatars, including a Naga Baba, a leper and more, meant to evade arrest while roaming the streets of Calcutta. The make-up is quite impressive.
The film music by Nilayan Chatterjee is impressive, with quite a few patriotism-inducing songs. And the background score keeps injecting that extra touch to the feelings being shown on screen quite successfully.
Bagha Jatin is a film you should go and watch with an open mind. If you go to the hall expecting a patriotic film on the lines of RRR, you’ll be disappointed. But if you want to experience the life and journey of a renowned Bengali freedom fighter, better not miss it.
An event film of sorts, since it marks Shah Rukh Khan’s return to the big screen after four long years, Pathaan is an ambitious action thriller that plays to the gallery and lives up to the hype. Far-fetched in writing but high on star power and style, Pathaan initially seems like a filmy Mountain Dew commercial which slowly but steadily finds its footing.
The plot follows India’s revocation of article 370 (special status of Jammu and Kashmir) and its impact on a Pakistani officer, who wants India to pay for this ‘mistake’. He reaches out to the formidable Jim, an Ex-RAW agent wronged by his own people. He is joined by his ravishing accomplice Rubai an ex-ISI agent (Deepika Padukone) with ambiguous motives. Pathaan, Jim and Rubai lock eyes and horns, as they hop continents and indulge in a dangerous game of betrayal and revenge. The three race to destroy and protect the worlds they believe in.
Director Siddharth Anand gives an over-the-top treatment to his spy thriller. He presents it more like a superhero film that needs massive suspension of disbelief. His fascination and fanboy worship of mainstream Hollywood blockbusters like Marvel films or Tom Cruise’s Mission Impossible series to name a few, is evident here. Expect Falcon like wingsuit, exaggerated action & chase sequences, death and gravity-defying stunts on cars, bikes, ice and helicopters, immortal heroes and villains mouthing punchy dialogues, a femme fatale and all of this seeped in the idea of patriotism.
Action overrides emotions for major part of the film and that’s new territory for SRK, who is most loved in romantic or conversational roles. It’s interesting how he lets his body do the talking along with those powerfully evocative eyes at 57, as a full-fledged action hero. It is his presence that salvages an average script and subpar VFX. While the background score doesn’t quite feel in sync with the scenarios, the film’s music by Vishal & Shekhar manages to reflect the heroism and bravado on display.
Pathaan’s highlight is also John Abraham’s solid portrayal of Jim. Be it his Bane like masked entry or stunt sequences, John is menacing and makes a classic case of the villain overshadowing the hero in portions.
Deepika Padukone can kick ass and is perfectly cast as the dutiful, double crossing, morally ambiguous leggy agent but her chemistry with SRK feels underdeveloped. It lacks the spark that John-SRK’s characters share. Dimple Kapadia does a Tenet once again and lends that much-needed gravitas and emotional heft to the proceedings. You wish other characters exuded the sincerity of her part.
The YRF spy universe reunites Karan and Arjun (wink wink) to give you an iconic whistle moment as Bhai meets the badshah. If you are willing to overlook the frivolity in dialogues like ‘You are pretty screwed’, Pathaan has all the ingredients of a masala potboiler — slowmo entries, iconic battle of good versus bad and most importantly, a sexy-smouldering Shah Rukh Khan, who can fight the good fight on and off the screen. He’s still the undisputed King.
Salaar Story: Deva, also known as Cutout (Prabhas), fondly called by children, lives near a coal mine with his mother (Easwari Rao) in the remote village of Tinsukia in Assam. For the last seven years, they have moved from place to place, with his mother keeping a stringent watch on Deva, shielding him from violence. Working as a mechanic, Deva is docile and minds his own business until Aadhya (Shruti Haasan), who is in danger from Obulamma (Jhansi), is brought into the mix by Billal for refuge. Meanwhile, in the tumultuous city of Khansar, Raja Mannar (Jagapathi Babu) prepares to make his son, Vardha (Prithviraj Sukumaran), his successor. This decision triggers a dangerous coup, orchestrated by Mannar's ministers and advisors. The plot thickens as foreign armies from various countries are hired to cause chaos. As Radha, daughter and in charge of Khansar in Raja Mannar’s absence, announces a partial ceasefire of nine days before calling for a vote by representatives of 101 tribes of the empire. Under existential threat, Vardha calls on his childhood best friend, Deva. Will Deva embark on the perilous mission and save Vardha? Will there be a ceasefire or a bloodbath?
Salaar Review: Salaar: Part 1 – Ceasefire, directed by Prashanth Neel, unfolds in the rustic and politically charged landscape of Khansar. This action-packed film, featuring Prabhas as Deva and Prithviraj Sukumaran as Vardharaja, is set against a backdrop of intrigue and rebellion, relying heavily on drama as well as swag and action. Prashanth has meticulously created the dystopian city of Khansar with intricate details, establishing a multitude of characters with a narrative spanning between 1747 and the present times. Reminiscent of Black Panther, the empire boasts 101 tribes with distinct characteristics, divided into three divisions, including Kaparlu (clan leaders) and Doralu (council members).
A man of few words, Prabhas packs a punch with his dialogues and looks slick in action sequences, making the film a feast for his ardent fans. Prashanth leaves no opportunity to elevate the character of Deva aka Salaar, masterfully making his protagonist appear larger than life. The screenplay takes its own sweet time in the first half to establish the character of Deva, creating a slow burn and preparing audiences for what is to come.
Prashanth Neel takes an unconventional route in narrating this dystopian world and its characters, leaning more towards international cinema. Much like the KGF franchise, the director adheres to a dark colour palette. The film eschews typical dance numbers or romantic melodies, instead relying on situational anthems sung by school children in the first half and by children from the Mahara tribe in the second half, which enhance the drama. The film explores themes of power, loyalty, betrayal, and the right to leadership, delving into the complexities of political machinations and personal allegiances, offering a compelling commentary on power struggles.
Prabhas, as Deva, is both electrifying and docile, delivering a performance that combines raw power with deep emotional depth. His portrayal of Salaar showcases his ability to balance raw aggression with subtle emotional nuances. Prithviraj Sukumaran, as Vardha, portrays the vulnerability and determination of a young heir caught in a political whirlwind, yet harboring his own strategic calculations. His compelling performance adds a layer of complexity to the narrative. As the film progresses, Prithviraj’s character exudes strength and valour. Shruti Haasan, in her role as Aadhya, brings a sense of balance but is mostly limited to the first half and a few scenes in the second.
Jagapathi Babu, as Raja Mannar, delivers a commanding performance, while Bobby Simha, Tinnu Anand, Easwari Rao, and others contribute significantly to the story's depth. The supporting cast, including Sriya Reddy, Ramachandra Raju, Madhu Guruswamy, John Vijay, Saptagiri, Prudhvi Raj, Jhansi and Mime Gopi, adds layers to the narrative.
The cinematography captures the essence of Khansar's tumultuous atmosphere, immersing the audience in the city's tension and drama. Ravi Basrur’s soundtrack adds a robust layer to the film's atmosphere, complementing the tone and heightening the emotional impact of certain scenes. The editing is sharp in the second half, though it cannot be said the same for the first. The special effects are effective, contributing significantly to the film's visual appeal.
The film does feature a certain amount of violence and bloodshed, which may not be palatable for certain sections of the audience. The first half is layered, focusing on the drama and sense of tension in the air. Audiences expecting a lot of action, comedy, and masala might be disappointed. However, it does score high on drama and action, with a bit of humour created through the delivery of dialogues or the body language of certain characters.
Salaar: Part 1 – Ceasefire combines political drama with high-stakes action and champions brotherhood. It is a riveting watch for those with a taste for grand and epic narratives. Fans of Prabhas and Prithviraj Sukumaran will find much to admire in this intense and captivating film. It's a film that will entertain and impress with its scale, but might require some patience in the initial stages, mostly establishing the world of Khansar and its inhabitants and setting the stage for Salaar: Part 2.
Politics simultaneously are and aren’t the thing in “Fighter,” a Bollywood military drama that takes heavy inspiration from “Top Gun: Maverick.” Released in time for India’s Republic Day, “Fighter” explicitly recalls both the 2019 Pulwama attack that, in real life, left 40 Indian military police dead in Kashmir, as well as the successive Balakot air strike that, depending on who you believe, either killed no one or a bunch of anti-Indian extremists. Using these real-life events as the pretext for a saber-rattling crowd-pleaser isn’t surprising given the rise of nationalist sentiments both in Hindi-language pop cinema and Modi-era India.
Then again, surprises aren’t the main draw in “Fighter,” whose creators stick closely to formulaic story beats and other Bollywood-centric melodramatic tropes. Much of the movie focuses on the camaraderie and romance that unites two exemplary Indian Air Force pilots, played by co-leads Hrithik Roshan and Deepika Padukone, and a few of their comrades. “Fighter” still inevitably concludes with an overheated stand-off in Pakistani Occupied Kashmir, as well as a teasing threat that the next fight could be in, “Indian Occupied Pakistan.” “Fighter” was a hit this past weekend, despite being banned from theatrical release across the gulf countries, including the United Arab Emirates.
The makers of “Fighter” attempt a few standard dodges, as far as their characters’ motivating nationalism. It’s not the Pakistani people who are vilified, according to the movie, but rather a group of India-hating terrorists, led by unapologetic leader Azhar Akthar (Rishabh Sawhney), and oh yeah, the Pakistani Air Force, since they let Akhtar’s group cross the Line of Control that separates Indian and Pakistani territory.
In this light, it makes sense that the makers of “Fighter” used the Pulwama attack as the model for their fictionalized dramatic catalyst, since it left 40 Indian soldiers dead and wasn’t directly caused by a nation armed with nuclear weapons. In real life, Modi’s administration has been accused of ignoring or even suppressing intelligence reports that might have prevented the Pulwama strike. You’ll find no such criticism of the Indian government or its army in “Fighter,” as one might expect from a movie that’s clearly modeled after a “Top Gun” sequel.
The movie’s Indian Air Force drama is also pretty by the numbers, from its romantic musical numbers to its “Top Gun”-style chain of command Air Force drama, which mostly concerns flag-waving rebel pilot Shamsher “Patty” Pathania (Roshan) and disapproving Group Captain Rakesh “Rocky” Jai Singh (Anil Kapoor). Patty and Rocky butt heads, but they inevitably pull it together for a dangerous mission, which climaxes with a hilariously over-the-top game of chicken. It’s not an especially realistic confrontation, but neither are the preceding scenes where Patty and his fellow Air Force pilots both work and play hard. A representatively energetic, but unexceptional musical number features lyrics like, “The lions are on the prowl tonight.”
Roshan’s charisma is put to work here, especially when Patty takes a bet and tries to charm a plate of biryani away from a pair of hungry (and notably overweight) strangers. That’s the level of emotional depth in “Fighter,” a movie where the main bad guy has one bloodshot eye and where the airplanes are mostly computer-generated, particularly when they’re airborne.
“Fighter” is also fairly typical in that, while Padukone hits all of her marks, she doesn’t really get to do as much as Roshan. He mostly succeeds in selling the emotional gravity of this pop corn cheesy material, which often feels like a throwback to the recent past, when mass-audience-oriented Bollywood star vehicles almost completely dominated the Indian box office. Roshan shows off his chiseled abs and executes simple dance moves with ease. He’s played less than lovable characters in recent years, as in “War,” an overstuffed 2019 action caper helmed by “Fighter” director Siddharth Anand. But Roshan’s on steadier ground in “Fighter” as a dependable, well-assembled good guy with a generic lust for revenge.
Anand scored a big hit last year with “Pathaan” by hitching himself to Shah Rukh Khan’s runaway comeback train. But in Roshan, Anand seems to have found a better collaborator, or maybe a better showcase for his star. Unlike Khan, Roshan makes viewers lean in, which goes a long way in both Patty’s musical numbers and aerial fights. In both cases, Roshan delivers a full performance with just his signature hazel green eyes.
With all that said, “Fighter” might credibly be retitled “Believer,” given how much of its drama tests Patty’s conviction that India will always meet and defeat its enemies. If you judge the movie on its loaded terms, you might still find its extra aerial chases to be thrilling, especially when seen and heard in a decent multiplex. “Fighter” never strays far from the path that other movies like it have previously charted, but it still delivers most of what it promises.
Writers:Eric RothMartin ScorseseDavid Grann Stars:Leonardo DiCaprioRobert De NiroLily Gladstone
Killers of the Flower Moon Full Review
"Killers of the Flower Moon" is a Western crime drama film co-written and directed by Martin Scorsese, based on the non-fiction book of the same name by David Grann. Starring Leonardo DiCaprio, Robert De Niro, and Lily Gladstone, it touches upon an often overlooked piece of American history in the best way possible thanks to the talents of its director and cast.
In the early 1920s, the discovery of oil on land belonging to the Native American Osage Nation turns the tribe into some of the richest people in the world. This sudden acquisition of wealth attracts the attention of white businessmen looking to seize the opportunity at stealing as much from the Osage tribe as possible. Among this group of interlopers is Ernest Burkhart (Leonardo DiCaprio), whom upon arriving in Oklahoma is encouraged by his uncle William King Hale (Robert De Niro) to marry a member of the Osage as a way of inheriting their fortune. Ernest soon falls in love with and later marries Mollie (Lily Gladstone), a young Osage woman who has strong ties to her family's riches. As the white occupation of native land continues, members of the Osage tribe are repeatedly found murdered under mysterious circumstances, with some of Mollie's close family being among the most prominent victims.
One of my favourite things about movies is that in addition to being an enjoyable means of entertainment, they also function as a great method of preservation. No matter obscure the topic may be, if a film is made about it and released into the mainstream, then it has already been permanently preserved in some way. This is especially effective if the filmmaker believes that people should be made aware of something that may otherwise have been forgotten with time, and in doing so, has helped maintain its relevance with the general public. One event that is often glanced over is the Osage Indian murders, a series of slayings of wealthy members of the Native American Osage tribe during the early 20th century. However, thanks to Martin Scorsese's film "Killers of the Flower Moon", audiences now have the chance to be both educated and entertained about this overlooked historical occurrence in a movie that provides a sophisticated, eye-opening look at America's treatment of one particular group of their indigenous population.
Much like most of Scorsese's best known work, the film is framed as an epic, in-depth study of the dark side of human nature. We watch how the Osage tribe, who live in harmony among themselves, are forcibly thrust into the sights of the outside world after oil is found on their land. In spite of the vast wealth they have all accumulated, the Osage are unable to hold back against the large tide of white people showing up and attempting to steal away everything that is rightly theirs. Because of this, the tribe's happy existence has been compromised as they are subjected to frequent discrimination, first verbal and then physical. It is here we see the sinister plan of William King Hale come into play, where he marries off his nephew Ernest into the Osage as a way of pilfering their riches when the time is right. What makes this scheme so intriguing to watch is not only the patience required to pull it off but the ethical ramifications that result from it. Only a filmmaker like Scorsese could explore a topic like this with such complexity, and in a style that remains as timeless as ever.
Additionally, almost all of Scorsese's visual trademarks as a director are on full display here, from his wide-open cinematography designed to immerse the audience in the world of 1920s America to his creative framing of characters in shot to give a certain perspective on a scene. One in particular that stood out to me was during a conversation between Ernest and William as they discuss business regarding the Osage. We see the two seated inside a darkly lit room discussing what type of future lies ahead for the entire tribe, with Ernest choosing to remain loyal to his Osage wife Mollie, while his uncle William reminds his nephew of the important reason why he married her in the first place. Here, Scorsese places the characters in a way that makes them look out of place inside a single bright spot in the dark room. The darkness surrounding these two can be likened to a perfect visual representation of their true intentions and the supposed brightness focused on them is in actuality a metaphor for their tainted presence on everything the Osage have created up until this point.
Due to the scale of its theme and plotting, the film rightfully earns its long runtime of almost three and a half hours (206 minutes in total). This is because there are so many different facets to explore with each of the characters, as their actions and the resulting consequences make for a compelling viewing experience. While I personally think this made the film more interesting to watch, I'm not entirely sure the same can be said for casual viewers. The film's pacing is intentionally slow as a means to build tension in the air, which I believe works rather effectively, and the minimal musical score is used as a method to showcase a more realistic point of view during scenes of raw emotion. In other words, this is a film that requires patience and an attentive mind, something of which is greatly rewarded to anybody who manages to display both of these virtues. To that effect, Scorsese has made a film that is heavily reliant on atmosphere rather than the frequent action of most other Hollywood blockbusters.
In his sixth collaboration with the legendary director, Leonardo DiCaprio delivers yet another memorable performance in the role of Ernest Burkhart. What makes DiCaprio's character so intriguing is his indecisive nature, in that he is torn between supporting his own white family or his Osage wife Mollie. On one hand, Ernest's loyalty towards his birth family is what made him go ahead with his uncle's idea in the first place, while on the other hand when he truly falls for Mollie he cannot bring himself to end her along with her entire tribe. DiCaprio displays his signature range of emotion here, alternating between a strong family man and a submissive weakling doing his uncle's bidding, both of which he pulls off quite effectively.
After working on ten films together, Robert De Niro steps back from his usual spot as the Scorsese lead and into the supporting role as William King Hale, where he is essentially the main antagonist of this story. Hale is a man who is determined to weasel his way into wealth, regardless of whether or not he has truly earned it. His intentions are malicious and are only meant to serve his own personal gain, with little regard for the wellbeing of others, even his nephew. What I consider to be his worst character trait is that he believes all of his actions are justified by what the Bible says about spreading the Word of God. His claim that God wants him to participate in the genocide of an entire race of people is nothing short of evil, and he demonstrates this at numerous points throughout the film. A role like this is perfect for an actor like Robert De Niro, and what better director to show this to the world than Martin Scorsese?
However, the film's true standout would have to be Lily Gladstone as Mollie, who is truly the heart and soul of this story. Here is a woman who has experienced so much pain and heartbreak in her life, whether it's her own physical ailments or the sudden death of her relatives. Yet, despite all these hardships, Mollie remains as steadfast as ever, choosing to be a loving wife to her husband and caring mother to her young children. Mollie essentially represents all of the positive values that her tribe upholds, and she is among the last of her family who hasn't completely sold herself out to the ideals of a rich lifestyle. This is easily a career defining role for Gladstone, and she certainly has potential to be noteworthy star one day.
For the American history buff and the Martin Scorsese fan, "Killers of the Flower Moon" represents a fascinating look into the best of both worlds. It brings attention to an often neglected historical issue through use of another well-crafted cinematic addition to a beloved filmmaking veteran's library. As mentioned previously, it is nice to know that this story has now been effectively preserved through the medium of film, which means that future generations will be able to watch it back and learn about the horrific events that took place during this time period. After all, as the classic saying goes - those who don't learn from history
are doomed to repeat it.
