Ishqiya (2010)

As a director, Vishal Bhardwaj has gone from strength to strength. From Maqbool in 2003, Omkara in 2006 and last year’s critically acclaimed Kaminey, amongst others; Vishal has proven his knack for unique story-telling in a predominantly commercialized Indian cinema. Even though his work is littered with many other accomplishments, Ishqiya has to be his finest yet as a producer and writer.

In Ishqiya he hands Abhishek Chaubey, who worked as a screenwriter with Vishal on previous projects, most notably on Kaminey and Omkara (inspired by Shakespeare’s Othello), a directorial debut. Though Vishal’s influence on Abhishek is evident in the darkness the film purveys, Abhishek still manages to display his own skill as we see the rural backdrop of Uttar Pradesh (UP) through a fresh perspective.

Abhishek does justice to the lawlessness of the rustic landscape by romanticizing crime, showcasing prejudice and bringing forth social issues in a very balanced manner. Do not be fooled by the tagline as this is not your run of the mill love story. While your consciousness picks up on the main theme and storyline of two crooks hiding out in a village and romancing a local woman, it is in fact rich in subconscious messages.

It deals heavily in devotion, deception and exploitation in the form of a seductive woman, Kisna who manipulates Khalujaan and Babban through her feminine charms and confident lies. The three actors do a magnificent job of portraying their characters. Vidya Balan plays the seductive and conniving Kisna effortlessly as the abusive language seems to roll off her tongue. Naseeruddin Shah delivers yet another flawless performance as an aging crook. But, it is Arshad Warsi, who we are more used to seeing in comedic roles, who executes the role of Babban, an impish and wary thief.

However, Abhishek incorporates many sub-plots to keep the audience satisfied with a complete film. One of the best lines delivered in a well written film comes from a fifteen-year-old boy Nandu who says, “Before the kids learn to wash their bottoms, they are taught how to use a gun.” This one sentence aptly presents the philosophy that adults and children adhere to in rural areas.

Add to that the wars fought based on caste or gang loyalties, kidnapping and poverty, and the final result is a rural village in India, which is very similar to ones over here. By and large the director combines the beauty of India and the problems that plague it in a very well-worked and scripted film.

Music, an essential part of film-making, especially in India as they try and overload a movie with dance numbers (inevitably all Indian films have at least one song which can be used as a wedding dance number), is used tastefully in Ishqiya. It gives a traditional and cultural feel to the plot of the story. Apart from the hit song ‘Dil To Bachcha Hai Ji’, it is Vidya’s solo number which uses a female vocalist and a sitar to give it a minimalistic touch while keeping with the roots.

Great cinematography by Mohana Krishna is supported by some pertinent editing which makes the film a visual treat. Even though some shots are graphic they are quite pleasing as they keep with the offensive and crass nature of the entire film. Where fans might have trouble digesting the exploitation of women, Abhishek forces them to see the sad truth in certain situations.

Overall the film is a complete one as it stays consistent with the themes and never scares from being offensive, whether in the context of content or language. The subliminal themes, coupled with the central story of being led astray while blinded by love play off each other amusingly. Littered with jokes, unexpected twists and turns, crudeness and some brilliant performances from the actors all the way to the filmmakers, the film is a joyous ride through unruly lives with a backdrop of the countryside.

Definitely a must-see as this is an out of the ordinary love-story which will treat audiences to a coarse, fierce and riveting film. So for the next movie night, forget about your masala mix movies and feast your eyes on a new generation of filmmakers and voices vying for your eyes and ears. Ishqiya is one of many in a developing trend of relevancy in India. – Amar Ayaz

Cast and Production Credits

Year – 2010, Genre – Drama, Country – India, Language – Hindi, Producer – Vishal Bhardwaj, Raman Maroo, Director – Abhishek Chaubhey, Music Director – Vishal Bhardwaj, Cast - Naseeruddin Shah, Arshad Warsi, Vidya Balan

Paa (2009)

A film where Vidya Balan looks good and Amitabh is not ‘Amitabh’ sounds almost too good to be true, but such a film has finally been made.

Any character Amitabh has played in over three decades has veered on a spectrum between Anthony and Narayan Shankar (Mohabbatein). His character always ends up being ‘Amitabh playing a certain character’. As Paa’s Auro, one is only vaguely aware of Bachchan’s presence. Yes there is that slight glitch of his voice, which just sounds like Amitabh being nasal and high-pitched, special dentures notwithstanding – but apart from that once can’t detect a trace of Amit ji anywhere in the film.

By now everyone knows that Auro is a kid with the rare genetic disorder progeria, and Vidya (Vidya Balan) is his mother raising him single-handedly. That is where the progeria issue in the film ends. Paa isn’t dealing with the pros and cons of progeria; the disorder is just part of the storyline, not the protagonist (unlike dyslexia in Taare Zameen Par).

Paa kicks off by introducing all the main characters in the film within the first 10 minutes, a plus which helps the story develop fast. We learn why Vidya is a single mother within the space of a very short song and how she dealt with Auro’s progeria in early days. We also discover very early on in Paa that Amol Arte (Abhishek Bachchan) is a minister with big plans to change India and has hence made loads of enemies.

With basic characteristics defined for everyone right off the bat we can then appreciate the little details that start falling into place. Amol and Auro encounter each other at Auro’s school and Amol is quite taken by the odd little boy. Being the atypical politician, Amol strikes up a friendship with Auro while dealing with his office and the politics that surround it.

Okay so the way Amol takes his critics head on (be it politicians or the media) is unrealistic – anyone who tries to pull that for real will  be ripped to shreds. And while you might indeed be very suspicious if your own child becomes chums with the friendly local MP, in Paa it seems like a natural thing to do. It’s Bollywood dreaming… especially once Auro discovers that Amol is his  father, and develops a rather quirky relationship with him.

One would have wanted to see more of how things progress between Amol and Auro but Balki ran out of time and tried to wrap up things ASAP. If one is making a film two hours, 43 minutes long, there had better be a more intricate web woven. Paa disappoints in that aspect.

What is truly great to see is Vidya Balan sans her  short hair which looks like she pissed her hairstylist off. She’s also lost weight in all the right places and looks younger, more vulnerable, which works for her character. Her wardrobe is impeccable with saris which one would expect to see on a working Indian woman. Kudos to Sabyasachi Mukherjee & Co.

A delightful watch, Paa is a gentle take on strange human relationships and brings out the best in every actor. To really enjoy the film for all it’s worth, wait till a good print is available – Amina Baig (Rating – 4.5 OUT OF 5)

Cast and Production Credits

Year – 2009, Genre – Drama, Country – India, Language – Hindi, Producer – Sunil Manchanda, AB Corp, Big Pictures, Director –R. Balki, Music Director – Ilayya Raja, Cast – Amitabh Bachchan, Abhishek Bachchan, Vidya Balan, Paresh Rawal, Arundhati Naag, Taruni Sachdeva, Pratik Katare, Nimit Dhaiya, Varun Shukla, Dhruvin Doshi, Karan Bhiwandkar, Gaurav Bajaj