Happy New Year (2014)

Happy New Year

I’m a massive SRK fan, and I loved both Main Hoon Na and Om Shanti Om, but given Farah Khan’s last film, I was hopeful but not too excited by the prospect of Happy New Year. Even after watching the film in a packed cinema,  I still have a feeling of ambivalence since overall Happy New Year is a bit of a muddle. The film starts very slowly with painstaking introductions of the characters that are a mixture of brilliantly funny and just plain crass. Then there is the set up for the actual heist – again a mixture of ridiculously mind-numbing cliché and clever, snappy comedy, but at least finally the film seems to be going somewhere.  Finally there is the actual heist which is fine, and a feel-good ending, suitably horrendously overacted but very masala, and the best bit of all – the end credits. No, not because it’s the end of an overly long film, but because Farah includes everyone involved (as she always does) and it’s very well done. A mixture and certainly not all bad, but unlike Om Shanti Om, not a film I’m going to rush back to the cinema to watch again although I will definitely get the DVD.

Shah Rukh plays Charlie, son of Manohar Sharma (who else but Anupam Kher?) a disgraced safe maker and security expert. Charlie knows that Charan Grover (Jackie Shroff – thankfully fully dressed for the entire film) set his father up and was responsible for the diamond robbery that put his father into prison. It just so happens that Charan Grover will have crores worth of diamonds locked away in his safe in Dubai over Christmas, just when the World Dance Championships are being held in the same hotel. Obviously then, Charlie will just enter the dance competition and make off with the diamonds leaving Charan Grover and his son Vicky (Abhishek Bachchan)  to take the blame.

If it sounds completely illogical and nonsensical then that’s because it is, but although that’s not a problem for a Bollywood film, here the lack of logic is the whole point and it’s not as funny as it should have been. Farah Khan seems to want to be sure that everyone gets the joke too, because the details of the set up are repeated over and over again. Charlie gets together a team of misfits to help him steal the diamonds including his father’s right hand man Tammy (Boman Irani), explosives expert Jag (Sonu Sood), Grover’s son lookalike Nandu Bhide (Abhishek Bachchan again) and all round loser but expert hacker Rohan Singh (Vivaan Shah). Each has their own quirks and foibles, although my favourite is Tammy’s apparently bottomless bag which really does contain everything. On the other hand Nandu’s frequent projectile vomiting is fairly abhorrent while Jag’s loss of cool when his mother is insulted and Rohan’s general nerdy ineptness fall somewhere in the middle.

Needless to say, none of the five can dance which might have been thought to be a pre-requisite to enter a dance competition. Although they have plans to rig the results they still need to get through a judges round and in desperation they turn to a bar dancer Mohini (Deepika Padukone) for help.

Happy New Year

Strangely for a film about a dance competition the choreography is dull and uninspiring, particularly in Mohini’s introduction number in the bar. Deepika looks stunning, but the song doesn’t showcase her talent well at all, and Farah Khan seems as focused on objectifying the character of Mohini as she is with Shah Rukh Khan’s six pack. Which, by the way, does get plenty of objectification in the opening scenes. And a bit later. As does Sonu Sood’s admirable physique. So much so that unbelievable as it seems it was too much – enough Farah – enough!!

The songs by Vishal Shekhar are fine and reasonably catchy but not in the same league as Om Shanti Om. Best of the lot is Manwa Laage which has the best dancing from Deepika, good comedy and (almost) shirtless SRK – perfect!

I can understand why the costumes and choreography generally have to be so terrible and OTT for Charlie and Mohini’s group, after all this is a dance troupe that includes Boman Irani, but there doesn’t seem to be any reason why the other dance teams are almost as bad. Particularly once we reach the WDC and the dancers from various nations around the world have tacky costumes and lacklustre routines, making Team India look like a real contender. Think the standard of the dance competition in Disco Dancer but with headdresses and little kids added. There is a ridiculous side plot involving the Korean team but otherwise the film follows Farah’s theme of using older films as a template and adding in as many references to these as possible. Some work, but quite a few fall flat and the many references to previous SRK films are a good example of the later.

On the other hand, SRK, Sonu Sood and co. all do a good job with their respective characters and actually manage to make some sense out of the ridiculous dialogue. I love Sonu Sood here is he was funny without being too obvious, while Boman Irani does seem to force the humour a little too much. Vivaan Shah is a little overwhelmed by everyone else but seems fine in a small role, while Jackie Shroff actually adds some class to the proceedings – really! Abhishek Bachchan is good in a comedy role while Deepika absolutely shines and is one of the two lynchpins holding it all together. The other of course is SRK and without him Happy New Year really wouldn’t have had the same impact. Shah Rukh can stand there in the middle of a mud wrestling competition and have buckets of water thrown at him and still look cool. When he switches to over-emotional drama in scenes about his father he can make you believe in his thirst for revenge and when he dances on stage his enthusiasm is captivating. The romance between SRK and Deepika is less convincing but then the real love story is between SRK and his audience so the lack of chemistry doesn’t seem to matter.

Happy New Year is a mixture of almost equal parts good and bad. Cutting some of the repetitive scenes discussing the heist and shortening the introductions would certainly have helped, but Farah Khan needs to concentrate more on story development and less on comedy for the sake of comedy, more on structure and less on self-indulgent repackaging of classic Bollywood as crass farce. The problem is partly that when Farah Khan is good, she is very, very good, but when she’s bad she is repetitive and stereotypical in the worst possible way. Happy New Year combines the two and while overall it is entertaining, it should have been so much better. But if what you want is a mindless, colourful and extravagant 3 hours of entertainment, then it fits the bill perfectly.

Kaththi

Kaththi

AR Murugadoss and Vijay last got together for the excellent action adventure Thuppakki, but although Kaththi has a good storyline and Vijay is at his best, it doesn’t quite manage to re-create the same magic. This time Vijay appears in a double role that allows him to explore a more restrained character as well as his more usual action hero, and he manages both with aplomb. However the film suffers from variable pacing and odd song placement, while the inclusion of a poorly developed romance adds to the general unevenness.  Still, double the amount of Vijay, the absolutely brilliant older men who make up the support cast and the inclusion of some of the best conceived fight sequences I’ve seen so far this year all ensure Kaththi is definitely well worth a look.

Vijay plays Kathiresan, a thief on the run after engineering a clever escape from jail. Kathiresan’s path crosses that of his lookalike Jeevanandham (also Vijay) when an attempt is made on Jeevanandham’s life. Jeevanandham is an activist, fighting against a multinational company for the water rights of his small drought-stricken village, although his fight is one being waged through the courts rather than anything more physical. Despite being forced off the road and shot several times, amazingly Jeevanandham survives, and Kathiresan makes the most of their identical appearances by switching identities with his unconscious double. This ensures Jeevanandham is sent back to jail, while Kathiresan is free to make good his escape before the authorities find out the truth. You’d have thought that perhaps changing identities with a man who obviously had problems of his own might have been a bit risky, but Kathiresan doesn’t seem in the least bit worried as he happily takes on Jeevanandham’s identity.

Indeed, it doesn’t take long before Jeevanandham’s troubles come calling on Kathiresan. After leaving Jeevanandham in hospital, Kathiresan spends some time as his alter identity and ends up staying at the old people’s home run by Jeevanandham. As a result, he gradually gets drawn into Jeevanandham’s fight against the company trying to force the villagers off their land. Nasty company owner Cedric (Neil Nitin Mukesh) tries a little blackmail, and when that fails to work, resorts to basic intimidation tactics. Of course the thugs are expecting the more passive Jeevanandham rather than escaped convict Kathiresan and his friend Dhanu (Satish), so things don’t work out quite as Cedric plans.  In addition to foiling the attempts on his life, Kathiresan and Dhanu concoct various schemes to help the villagers win the pending court case, or at least bring their plight to the attention of the media. It’s not all fighting and mayhem and there are some clever plans and ideas that make Kathiresan a more three dimensional and interesting character. Of course when it is fighting and mayhem Vijay is in his element and the inventively staged fight sequences work well to keep things moving along. There are some very clever ideas and just the right amount of comedy here, and it’s frustrating that less attention to detail has been given to other important aspects of the film.

Part of the problem I have with the film is with the character of Cedric and his multinational company.  Cedric is very one-dimensional and his company is painted as unethical and completely evil without any redeeming features or basic humanity. While that is perhaps plausible twenty odd years ago or so, I cannot see such a company surviving long without coming up against an activist group somewhere – this is supposed to be a multinational company after all. There is the same old-fashioned and redundant feel to Cedric (I kept thinking of old black and white silent movies with men in long black cloaks twirling their moustaches and laughing while tying hapless women to train tracks – he’s that kind of villain) and this only serves to make  his threats appear cartoonish and completely unrealistic. Neil Nitin Mukesh doesn’t get the chance to do anything other than sneer and attempt to look menacing which doesn’t really convince with his floppy hair and oversized sunglasses, so he’s relatively ineffectual as a villain.

Also on the minus side is the really quite pointless romance between Kathiresan and Ankitha (Samantha) which never really gets going although the couple initially do look good together.  Samantha appears to be added in to the cast solely as a ‘reason’ for the songs, but even there she is relegated to wandering around and posing, while Vijay dances up a storm in the background. It’s such a waste of a good actress, and frustrating since the romance just makes a long film longer without actually adding anything worthwhile to the story. At least the songs from Anirudh Ravichander are enjoyable and the choreography suits Vijay’s energy and style even if their placement often feels random.

One other issue I have with the film is the manner in which A.R. Murugadoss uses the serious social issues of farmer displacement, difficulties with land ownership and water rights and industry encroachment on farming areas for the purpose of light-hearted entertainment. It’s hard to define exactly why this made me uneasy but it’s the main reason why I didn’t enjoy this film quite as much as expected.  I am sure that A.R. Murugadoss had the best motives in wanting to shine a light on the problems faced by farmers in India, but the treatment of their plight here is rather too heavy handed to be entirely comfortable.  The farmers’ problems are somewhat overshadowed by the exploits of the hero as he deals with the corporate villain in typical masala style, which seems to reduce the real life day to day difficulties of surviving drought, debt and corrupt officials down to a well-choreographed fight scene and some snazzy special effects. It could be argued that anything that raises awareness of the problem is beneficial, but I feel that the treatment of their plight here is rather too simplistic. These are heavy and very real issues and I doubt that such an easy and fast resolution is possible in the real world. However, there is a good rousing speech by Kathiresan which highlights the social injustices faced by the farming community – not just in India but the world over – and perhaps that is enough of a start in the right direction.

Despite the issues I have with the film, it’s still an entertaining watch. The story is well thought out and I like that Kathiresan has to use his brains and not just hammer his fists through any opposition. It’s clever and there is some good comedy incorporated into the story with nary a comedy uncle in sight.  The support cast of old men who make up the displaced villagers are uniformly excellent and Satish is good as Vijay’s side-kick. Vijay is of course the main reason to watch the film and his milder but still passionate performance as Jeevanandham highlights just how good an actor he is when given the opportunity. Perhaps Kaththi doesn’t quite hit the highs of Thuppakki but it’s almost there and hopefully means we will see another A.R. Murugadoss and Vijay collaboration soon.

 

 

Chennai 600028

Chennai 600028

The opening moments of Venkat Prabhu’s debut film seem to be setting the scene for a retelling of West Side Story, with two rival cricket teams called the Sharks and the Rockets replacing the American street gangs. But surprisingly the rivalry between the two teams isn’t the focus of the story at all. It’s smarter than that. Yes, there is plenty of cricket and even some cross-team rivalry, but Chennai 600028 mainly follows the different players from the Sharks team for one year, with all the highs and lows you’d expect in any character drama. Essentially, it’s a story about an everyday group of friends, connected by locality and a passion for their cricket team.  None of the actors were well known at the time, and they all fit easily into the roles of regular guys, some of whom have jobs and some of who are still at college, but who all hang around together to play gully cricket. With some clever dialogue and good situational comedy, Venkat Prabhu ensures that despite a rather rambling storyline, the film has plenty of laughs and enough memorable characters to make the film an entertaining watch.

The Sharks team live in the Chennai area of the title and are introduced one by one by a narrator who describes them by their cricket skills; although generally some other identifying characteristic is also given. This is incredibly useful as there are 10 named team members and it’s very easy to lose track initially of just who is who and where they fit into the team. The film starts off with the defeat of the Sharks for the fourth time by the Rockets, mainly due to a dismal performance from supposed ‘all-rounder’ but actually terrible player and tail-ender Seenu (Premji Amaran). He’s the bumbling fumbler who cannot take a catch to save his life, but is generally loud and obnoxiously cheery despite his limited cricketing talents. Premji is a little more restrained here than in later films such as Goa, and he’s mostly funny thanks mainly to a good rapport with the other characters and some witty and well written dialogue. I didn’t know that Premji was also a musician, and he is responsible for the background score as well as one of the songs – pretty impressive!

Along with their most recent defeat, the Sharks players all have their own problems, although lack of money is the most regular feature in their discussions. The money is for their regular drinking sessions, which allows them to sit and talk about life, cricket and women, which eventually leads back to money, of course! It all fits in well with their various personalities and since the characters are all engaging and seem to fit well into their roles it comes across as a genuine look at life in the area. Plus we get this song, which perfectly captures the group of friends out drinking and having a good time.

Things change when Rocket team member Raghu (Jai) moves into the Visalatchi Thottam area with his family. Raghu feels that his world has come to an end, nicely illustrated by some excellent histrionics in the bathroom, and this does indeed seem to be possible given his initial reception by the locals. He’s looked on with suspicion and to add to his woes, his old team are too far away for Raghu to make it to regular practices, meaning he’s left out of their line-up for matches.

Raghu is one of the central characters for the story and Jai is excellent here in his first main role. His initial arrival into the new area is hilarious, and in just a few scenes he imbues Rahgu with plenty of charm and appeal, making his eventual acceptance into the rival team seem more plausible. His resemblance to Vijay is also part of the comedy, but best of all are his scenes with Karthik (Shiva Sundaram) starting from when a fight seems inevitable. Karthik is in love with Selvi (Vijayalakshmi) who is the sister of Karthik’s teammate Pazhani (Nithin Sathya) and therefore, for some obscure reason, off limits. Raghu’s father on the other hand is friendly with Selvi and Pazhani’s father, so inevitably Raghu is often seem chatting to someone who does at least acknowledge his existence. Karthik has some wonderful lovelorn expressions as he sees his rival on the field appear to become his rival in love and the interactions between the two potential adversaries are very well done.

Aravind (Aravind Akash) is also in love with a wealthy girl Swetha (Kristine Zedek) who regularly comes in to the coffee shop where he works. This is a rather more implausible romance, which is made more unlikely by the couple mainly only appearing together in song. These romantic songs also slow down the pace of the film and seem somewhat out of place in an otherwise more realistic and upbeat film.  Aravind is fine in his role as part of the cricket team and amusing as a guy in love but Kristine has very little to do and doesn’t impress in her few moments on screen.

There is a side plot involving Karthik’s brother Guna (Sampath Raj) but mainly the action revolves around the team members, their relationships with each other and their ambition to finally win the Radio Mirchi Cup.  There are no standout heroes, just a regular group of mates and that’s what appeals most about the film. Venkat Prabhu has captured plenty of camaraderie, but included discord and division to spice up the story and the blend is just about perfect. The cricket scenes are nicely placed in the film too – not too many, but enough to keep focus on the team rather than on just the individuals.  The commentary is also excellent (although that just might be my subtitles) and reflects the general standard of cricket commentary the world over!

Chennai 600028 is an excellent début and a good indication of what to expect from Venkat Prabhu as he uses most of the same ingredients (and often the same actors) in his subsequent films such as Saroja, Goa and Mankatha. Mainly Chennai 600028 is a film about people, their lives and their dreams, and only after those details are fully realised is a story superimposed on top.   It works because of the very ordinariness of the characters – these are guys that can be seen on every patch of ground, anywhere it’s possible to set up stumps and standing around on every street in Chennai. That is the charm of the movie. Recommended for excellent performances, witty dialogue and a film that  captures the intensity and ubiquitousness  of street cricket in India.  4 stars.

 

Bhoot Bungla (1965)

Bhoot_Bungla_poster

Adhering to the Scooby Doo school of horror, Bhoot Bungla is fun from go to whoa with great music, dodgy disguises, lukewarm romance, dancing skeletons and a dash of suspense. This was Mehmood’s debut as a director and he pulled out every trick in the book, and I suspect a few favours from the filmi fraternity, to make it a hugely entertaining romp.

Bhoot-Bungla-Moni Chatterjee

50 years ago Kundanlal was murdered and his wife and son disappeared from the family home. In the present day his three nephews live in the mansion. Ramlal (Moni Chatterjee) gets a telegram that his daughter Rekha (Tanuja) is coming home from Abroad. He prepares to collect her from the airport but brother Shyamlal (Nazir Husain) makes an excuse that he has to go to the office. Ramlal’s car explodes, leaving Rekha an orphan and heiress. Not long after, poor unhinged Ramu (Nana Palsikar) is found dead in a murder staged to look like suicide.

Shyamlal and Rekha move into a stylish apartment in town but can they escape the curse? Or is it a more corporeal threat? Worried that she is sad and afraid, Uncle calls Rekha’s friends to come and get her out of the house. They enter her in a singing competition at The Beach Club, where her rival is none other than Mohan Kumar (Mehmood) and his Youth Club, dedicated to Doing Good. The hi-tech Applause Meter gives Mohan the cup, but the audience is the real winner! Oh yes, hijinks ensue.

Tanuja is excellent as Rekha, sassy and sweet by turns. I really liked that the first thing Rekha did in the new flat was unpack her books while the servants dealt with the clothes and other belongings. She is smart but also raised to be obedient and good so when suspicion falls close to home, she tends to go with the dutiful response rather than a rational one. Tanuja matches Mehmood’s energy, throwing herself into the silliness with gusto. She also delivers a convincing portrayal of Rekha as someone weighed down by fear and losing confidence in their own judgement. I can think of no other explanation for her fleeing the apartment in a frothy nighty and huge fur coat (in Mumbai? Really?). The romance is a minor part of the story, and there are no sparks between Tanuja and Mehmood, but they do have nice rapport. Since the relationship is partly due to Mohan’s Youth Club commitment to helping people, it doesn’t matter that they seem more like friends than being crazy in love. There’s enough crazy to make up for it!

Mehmood’s grand entrance is riding a motorbike up Marine Drive and howling like a police siren. At first I actually thought it was just exceptionally dodgy sound effects and had grave fears for the rest of the film! There can be too much Mehmood, but in this case he gets it just about right and Mohan is wacky but always likeable and genuine. Maybe he was too busy worrying about tricky camera angles (of which there are many) to be The Star and settled for a happy camaraderie with the ensemble. Of course, restrained by Mehmood standards still includes doing drag, slapstick, encouraging children to gogo dance their fears away, and instigating a dance off with gyrating skeletons. But I knew Mohan truly loved Rekha when he shaved his moustache off to frock up, committing himself to having to draw it back on with pencil for at least one subsequent scene. That is commitment,

The music is fabulous and the songs are a real highlight. Mohan sees a blind beggar whose violin has been broken by drunk boys – so he does a West Side Story style dance number exhorting society to wake up and care. Pyar Karta Ja moves the hearts of all youth club boys and girls who were otherwise occupied in construction work. It’s not quite the barn raising scene in Witness but pleasing nonetheless, and Witness didn’t have Manna Dey. Everyone, including the special effects team, saved their best for the Bhoot Bungla song. Watch it now, and enjoy all manner of silliness with Mehmood and RD Burman dancing with skeletons and showing the ghosts who’s boss.

The support cast has lots of excellent performers although I am struggling to put names to all the faces despite the detailed opening credits. I will take a punt that Jerry played Jerry who was an imitation Jerry Lewis. I was particularly fond of Rekha’s exuberant girlfriends (including Lata Sinha). RD Burman is a hoot as Stocky, the cowardly foodie who accompanies Mohan on his ghost busting mission. It’s always good to know that someone has afternoon tea requirements under control. The creepy family retainers – Lakiya and the mysterious and toothy gardener – are perfectly cast with their spooky appearances adding to the sense of unease. Just the thought of Lakiya’s ruffles is enough to terrify me.

Bhoot-Bungla-Dedication

Apart from the fluffy entertainment value, the story is reasonably strong. Mehmood balances the various elements well and kept the suspense and laughs coming. There are some twists and red herrings, and things move along at a fair pace. I found the dedication to Guru Dutt quite touching – Mehmood seems to have been a thinker when it came to his own films.

See this for the excellent songs, the generally well balanced suspense and comedy, and the skeleton dance-off. Sure there are some things that go bump in the plot, and a couple of loopholes big enough to drive a Youth Club bus through, but nothing that detracted from the good natured fun. 4 stars!

Did someone say Twist?

Cannot. Resist. Urge. To. Dance!

Bhoot-Bungla-the end

Haider

Haider

Watching Vishal Bhardwaj’s latest film Haider is a visceral and haunting experience, as the gorgeous detail of the film allows every emotion and each drop of blood to be shown in crystal clarity. The story of treachery in Denmark is transplanted to Kashmir at the height of increased militancy in the area in 1995, but still remains tragedy on a grand scale. Bhardwaj and his co-writer Basharat Peer have successfully adapted the bard’s play into more modern-day India, although the pacing is a little inconsistent in places and at times the Kashmiri issue threatens to overshadow the personal drama. The heart of the film is in the performances, and although Shahid Kapoor is excellent in probably one of the best performances of his career, the real stand-out is Tabu who is completely mesmerising in her role as a conflicted mother to Haider and disloyal wife to Dr Hilal Meer. It is compelling cinema and definitely well worth watching in the theatre to fully appreciate the stunning cinematography and spectacular beauty of Kashmir.

Haider (Shahid Kapoor) is a student, safely studying poetry in Anantnag when he learns that his father has disappeared after providing medical aid to a militant leader. Dr Hilal Meer (Narendra Jha) is taken by the army in a truly frightening scene that manages to grasp the sense of hopelessness and terror of a military raid in just a few moments. The grim method of selecting who may go and who is arrested by a balaclava-wearing man in a Jeep is chilling, as is the resignation that makes everyone line up for inspection without any word of complaint. The detail in each frame is incredible, and the performances are very natural, making the film seem almost like a news report direct from the action, rather than a fictional story.

Dr Meer’s family home is also bombed, along with the militant leader still inside, and in a few seconds his wife Ghazala (Tabu) has become a ‘half-widow’ without anywhere to live. As a result, when Haider returns he finds his mother living with his uncle Khurram (Kay Kay Menon), and he is instantly suspicious about their relationship. While rejecting his mother, Haider relies heavily on his girlfriend journalist Arshia (Ahraddha Kapoor) and two friends Salman (Sumit Kaul) and Salman (Rajat Bhagat) as he searches for his father. Since up until this point the film is unrelentingly bleak, it’s a real relief when the comedy appears, and Salman and Salman are an excellent counterpoint to the violence and despair elsewhere.

Haider’s search for his father is heart wrenchingly sad, as he is just another one of many who are searching for their own disappeared relatives. However, interspersed with his search are confrontations with his mother and uncle which fuel Haider’s anger and mistrust. The relationship between Haider and Ghazala is wonderfully nuanced and both actors capture the essence of Shakespeare’s characters and their conflicted emotions well. There is a frisson of sexual tension, heightened since Tabu looks way too young to be Shahid’s mother, but mainly the film focuses on Haider’s sense of betrayal when his mother takes up with his father’s killer. Kay Kay Menon is also effortlessly perfect, juggling Khurram’s political ambitions with his desire for Ghazala and bringing more depth to the Shakespearean character of Claudius than I seem to remember from studying the original play at school.

The romance between Haider and Arshia is also nicely developed, and Arshia has a believable character as a journalist and relatively realistic relationships with her brother Liyaqat (Aamir Bashir) and father (Lalit Parimoo). Shraddha Kapoor is good in her role, particularly in her scenes with Shahid and she’s also credible in her despair when she loses the plot after her father dies. Most of the other characters from Shakespeare’s play appear, although the role of the ghost is changed into a fellow prisoner of Dr Meer who is expertly played by Irrfan Khan.  Most impressive is the ‘play within a play’ which in is depicted as a song. The puppets are wonderful, but even just a glimpse of Tabu and Kay Kay Menon in this clip illustrates just how good they both are in conveying their characters.

Haider’s eventual descent into madness is dealt with better than the earlier scenes where Shahid sometimes appears a little too distant. But as the film progresses his emotional shifts and internal struggles are mostly well represented and he does genuinely appear to be a conflicted personality by the end. Many of the famous lines from the original Hamlet appear in Haider’s soliloquies, although they are also inserted into various conversations (and the subtitles don’t really do them justice), and there is even a brief appearance of the skull before the final, and very bloody showdown. This is passion, vengeance, despair and madness writ large and the scope of the film truly feels epic.

Haider impresses with fine attention to detail and excellent performances from the entire cast. However the shift to Kashmir means the military conflict looms large in the story and as a result the original tale of betrayal and treachery occasionally gets a little lost. The pacing is uneven, particularly in the first half, but this allows time for the complexity of the characters to fully develop so isn’t necessarily a flaw with the film. It is a bleak story and be warned that some scenes are definitely not for the squeamish as the body count piles up and cinematographer Pankaj Kumar illustrates just how well snow contrasts with blood. Overall Haider is a well crafted and novel interpretation of Shakespeare’s Hamlet and one I definitely recommend watching for excellent performances and a rather different view of Kashmir.