Tashan

tashan_poster

Tashan is not really a good film. I am at best indifferent to the cast. And yet I have a fondness for the movie that surprises me. Maybe it’s nostalgia for the total masala style, maybe the excellent work by the costume department, or the spectacular locations. But if you need to see a colourful movie that makes you throw popcorn at the screen and at your friends, this could be quite rewarding.

Vijay Krishna Acharya opens his film with Jimmy (Saif Ali Khan) in a car, underwater, and at gunpoint. How he got there takes up the first half. Most of the fun seeing this was the “surely they’re not…oh yes, they did!” moments and laughing at the shenanigans as the cast justify the next big set piece. There is a heavy use of flashbacks and characters speaking directly to the viewer so it heightens the unrealistic and fantastical mood, as do the songs. Jimmy and Pooja (Kareena Kapoor Khan) meet when Bhaiyyaji (Anil Kapoor) hires Jimmy as his English tutor. As Bhaiyyaji mangles every language he knows, Jimmy and Pooja fall in love. There is the matter of Pooja’s debt to Bhaiyajji, but there are also cases full of cash coming to the office every month. Bachchan Pande (Akshay Kumar), is an unhinged hitman hired by Bhaiyyaji. He is told to get Jimmy and Pooja and all manner of double crosses and shenanigans ensue. Who is what they seem, and who can you trust, especially when large sums of money are at stake? Things get complicated. And then everything blows up.

Saif Ali Khan used to be quite appealing when he was the second lead. As a leading man, he is inexplicable. It’s not that he doesn’t try to act, and it’s not just the porno moustache, it seems that his charisma has the depth of a teaspoon. And what is with the red belt he wears for the whole film? He is almost completely superfluous to the second half, yet he clearly refused to go home and just hung around whining until they promised him a big heroic Dhoom style action scene. Jimmy is not heroic though. He is self-serving most of the time, and a sleaze. He didn’t so much evolve as have a character transplant for a few minutes. I think one of the biggest issues is that the only person Saif seemed to have chemistry with was himself. He had a gleam in his eye when talking to himself or direct to camera, which was lacking in ensemble scenes.

Kareena has total commitment to the trout pout but Pooja is an interesting character who does more than pose. She does seem to have a polarising effect on the wardrobe team, or maybe it’s just their special way of showing love. Pooja is manipulative, and she has a clear goal in mind. Her romantic scenes with Jimmy have no spark to speak of, where her crackling chemistry with Bachchan is evident as is their knockabout friendship. Unlike Jimmy, Pooja has lots of layers to her character to reveal. Her contribution to the final fight scene is quite something, and I may have cheered out loud. Nice to see a lady causing the distress and staying ahead of the game.

I feel I ought to like Akshay Kumar more. But I have flashbacks to Tees Maar Khan (one of only two films I have walked out on) and I retrospectively dislike his films I may once have been more tolerant towards. And there is the established Youtube Poker rule that Akshay and a body of water will result in something hideously disturbing. But his Bachchan Pande is the saving grace of this film in so many ways. He is overwhelmingly self-confident, handy in a fight, and not overly complex intellectually or emotionally. And he has an excellent intro scene. Bachchan is also the one character with real principles, so I found myself caring more about what happened to him. Akshay gets lots of action scenes (by Peter Hein so you know, it’s pretty cool) as well as some discombobulated hick comedy, and it suits him down to the ground. And the shoe department agreed his grounding is important – he gets some excellent and flamboyant footwear.

God, I feel for the team that had to remove Anil Kapoor’s pelt. You know there would have been hedge trimmers first, then electric clippers, then waxing. I reckon we’re talking at least a full day of hard labour. My friend interviewed Anil a few years ago and told me ” One of my opening remarks was: “Anil, you have a lot of hair for your age. Is it hair weaving?” He pulled up his jacket like this and I quickly told him I got the drift…” I’m haunted by that anecdote. Anyway, his performance is fun and so over the top it all kind of makes sense. Unlike his outfits. Bhaiyyaji is determined to make it to the big league of dons and never averse to a bit of killing and mayhem along the way. His mangled Hinglish is hilarious and a bit sad as he worships Jimmy’s ability to speak like George Bush or Prince Charlie. Starting out as an urbane businessman he deteriorates into a snarling (shaved) beast, and Anil Kapoor goes all out.

The Vishal-Sekhar songs are what they need to be for a film, and the picturisations range from WTF to delicately lovely, making the most of their spectacular locations. Nothing can really explain “Dil Dance Maare” though. Kareena is more of a gyrate on the spot kind of dancer, and Saif does uncle stomping with a bit of flailing so I didn’t see much value added by Vaibhavi Merchant there, although the backing dancers earn their money.

Tashan is the kind of film that takes off and doesn’t stop until it stops. It’s high on visual impact and the pace never drags. See it if you need a rattling masala timepass, and don’t mind characters breaking laws of the land, laws of logic, and laws of physics. 3 ½ stars!

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Dil Dhadakne Do (2015)

Dil Dhadakne Do

Zoya Aktar’s third film follows the members of a dysfunctional, wealthy, Punjabi family as they celebrate the 30th wedding anniversary of Kamal (Anil Kapoor) and Neelam Mehra (Shefali Shah) on a 10 day cruise around Greece and Turkey. Along with their son and daughter, Kamal and Neelam have invited friends and business associates on a voyage that soon hits very choppy water indeed. This is a road trip movie on a grand scale, but despite the luxurious setting the problems are fairly standard for an Indian family drama – unhappy marriages, a failing business and parents interfering in their children’s lives. Soap opera stuff, but beautifully done with some unexpected plot threads for good measure. While the story could really be set anywhere and have the same effect, the gorgeous locations and all-star cast ensure Dil Dhadakne Do is an entertaining, although rather overlong watch.

The film is narrated by the family dog Pluto, voiced by Aamir Khan, which surprisingly isn’t as irritating as it sounds, despite a tendency for Pluto to state the obvious. Pluto’s commentary on the inability of his humans to communicate effectively and the overall irrationality of the human species generally, ensures he’s the most sensible Mehra of the lot – and the cutest!

The Mehras are not a happy family. Kamal’s business is teetering on the brink of bankruptcy while Neelam binge eats as compensation for silently enduring her husband’s frequent affairs. Their children have issues too. Son and heir to the family business Kabir (Ranveer Singh) has no desire to step into his father’s shoes, and little aptitude for the job either, while daughter Ayesha (Priyanka Chopra) struggles to hang on to her own successful business as her chauvinistic husband Manav (Rahul Bose) and interfering mother-in-law (Zarina Wahab) pressure her to start a family. Putting them all together for ten days seems like a recipe for disaster, particularly since each is determined to keep up appearances and pretend to the rest of the party that everything is fine.

Zoya and co-writer Reema Kagti don’t stop there either. Every other person on the cruise has their own issues too, from Neelam’s circle of toxic friends and their unceasing gossip about each other to Kamal’s best friend Vinod Khanna (Manoj Pahwa) who hates fellow guest Lalit Sood (Parmeet Sethi) and is dismayed that Kamal has invited him along. Each character has a part to play in the unfolding drama and every thread is carefully woven into the story to provide colour and texture to the plot.

Every moment is perfectly portrayed too, from the fake teeth-baring ‘smiles’ on the faces of rival wives Vandana Khanna and Naina Sood as they greet each other, to Ayesha’s reaction to her ex Sunny (Farhan Aktar) when he joins the cruise.

The Sood’s have been invited as possible investors in Kamal’s company, but they have the additional advantage of an unmarried daughter Noori (Riddhima Sud) who might be persuaded into an alliance with Kabir.  Not that Kabir has any inkling of his parents’ plan and instead falls deeply and most unsuitably in love with one of the dancers on board the ship. Farah Ali (Anushka Sharma) is a Muslim who is estranged from her family and has to work for her living, which means that the ships policy of non-fraternizing with patrons could cost her her job.  She’s understandably more cautious, while Kabir rushes into the relationship without any further thought. Ranveer and Anushka have fantastic chemistry together and their developing relationship is beautifully portrayed in the song Pehli Baar.

Ranveer Singh is also excellent in his role as Ayesha’s brother and shares an easy camaraderie with Priyanka that really does make them seem like brother and sister. Ayesha looks out for Kabir and tries to help him stand up to their father, even as she fights her own battles without any family support. Ranveer keeps it cool and laid back in the scenes with his family but is full of his usual energy in the songs and his performance is one of the highlights in the movie. Priyanka is just as good, and she pulls off another stunning performance, using her eyes and facial expressions to excellent effect and making her Ayesha one of the most relatable characters I’ve seen recently.

The rest of the cast are also well cast and complement the lead actors. Gallan Goodiyaan sees most of them dancing in classic ‘everyone knows the choreography’ style, but it’s made even better by the sheer number of aunties and uncles joining in. I’ve always been cautious approaching any film with Anil Kapoor after the trauma of seeing him shirtless in many of his Eighties films, but he is a fine actor and is superb here in a role that lets him show vulnerability as well as the more usual autocratic  behaviour expected from a Bollywood father. Shefali Shah too is very good in her portrayal of a betrayed wife who puts up with her husband’s infidelities because that is simply just what you do. Everyone seems perfectly cast, although initially Rahul Bose seems out of place as Ayesha’s husband, but after a memorable tennis match I cannot imagine anyone else reacting so perfectly to the barrage of vicious volleys Ayesha sends his way.

The family dynamic is well written into the screenplay with many small touches that consolidate the relationships and illustrate the friction bubbling away under the surface. Despite their differences Neelam and Ayesha are more similar than they realise, nicely demonstrated by the way they both react with their hands to their mouths when shocked by Kamal’s behaviour. The theme of equal rights for women is also well integrated into the narrative without becoming too preachy or sanctimonious, while the generation divide provides yet more opportunities to explore the different approaches to love and marriage.

I love this film, even with it’s overly melodramatic conclusion and cheesy method of tying up the few the loose ends. My only complaint is that the music from Shankar-Ehsaan-Loy isn’t as catchy as expected and a few of the songs don’t fit well into the screenplay. However the leads are all fabulous, the support cast equally excellent and the story a perfect mix of comedy, drama and social commentary. Maybe it’s my love of soap opera from the nineties coming back to haunt me, but the characters in Dil Dhadakne are engaging and the story more relatable than expected considering the amount of overt wealth on display. Well worth watching for Ranveer and Priyanka, and light-hearted character-driven drama that gives everyone a chance to shine.  4½ stars.