Shashwat Sisodia

Baaghi 32020

Despite a really solid and not-bad Tiger Shroff, "Baaghi-3" directed by Ahmed Khan is a silly bore and a mess with no potencial after all, and a squandered mess which provides even the minimally entertaining bita with a cliched spin.

Satya1998

There have been a lot of years, and Ram Gopal Varma has directed a lot more films now,l to pile up, but for me 'Satya' remains his most iconic piece. A gritty and surrealistically dark portraiture of Mumbai Underworld, this film is an authentic representation of the gangsters, there lives and the cultural insights which revolve around them. In a way, this is an international cinema masterstroke, with a screenplay so exceptional that it's ultimately torturous (in a great sense of word). I think at the time of it's release it was so difficult viewing that it was ultimately ahead of its time, but one thing was clear: it echoed brave narrative sound, which no one would repeat, not even it's thrilling writer Anurag Kashyap, and not it's director RGV, who then resorted to making trashy low-budget cinema. The performances are the greatest thing about this compelling film: no two questions that the cinematography by Mazhar Kamran and Gerard Hooper, who did the best work in their career in this film, was made of discomfortingly effective shots, but the terse identities of the people in the scene is what stages this drama even more frequently. Manoj Bajpayee gave one of his most memorable performances as 'Bambai Ka Raaja' Bhiku Mhatre, and his emotional dynamics with Shefali Shah's Mrs. Mhatre were quiet interesting. But the quiet dignity which JD Chakravarthy brought as Satya, the underdog who fell into the trap of gangsterism made him the best character and the best actor of this film. Urmila Matondkar as the ambitious singer Vidya was powerful, and the sequence in which she is killed, was solidly shot and gut-wrenching. Makarand Deshpande as the lawyer in the house of gangsters brings in some thought, and Govind Namdev as the politician-with-underworld-roots Bhau Thakurdas shall make you ponder about the world we are living in. The last shot especially, where the message of peace is delivered finally, makes me quiet till date. Vishal Bharadwaj's music: oh! It's genuine and genius both. But this isn't flawless cinema. The love story between Satya and Vidya looks like a mismatch even when the couple is married: it's awfully banal and does a misstep to the film because the director handles it with great measures of irresponsibility. Although all the action sequences in there own way are competent, not all of them work. But despite these bad decisions, "Satya" still remains a class in the uncomfortable. Although 'Parinda' came nine years ago with more solidity, it's just unmistakable that this RGV film remains a work of originality made with passion. Don't skip it. 4/5.

Lamhe1991

"Lamhe", hears after its release in 1991, remains my favourite Yash Raj film ever- year later, it's not rustic enough, but the romance is still there, and so are the fresh memories of an incredible actress as Sridevi. What excellence she represents as she is clad in those colourful Rajasthani attire, and what brand of romance she excellently dons as she embraces Anil Kapoor in those lush western hills! Sure there's nothing particularly wild about Yash Chopra's "Lamhe", apart from the fact that you're very happy you visited it's world. But considering the unabashed wildness of the central premise, nothing needs to be more realistic. Honestly I can't recall a film which is emotionally as intriguing and complex. The idea isn't to offer a path breaking tale of love in the form of a crowd-pleasing weepie, but to tell the story as it is and as it should be, without the trappings. Years ahead, it's still feeling normal that audience didn't accept this film. Even today, many would refuse to embrace it, giving it a liberal political angle. But they can't refuse the refreshing honesty it's humour and organic passion interweaves seamlessly. I can't remember a YRF film about enduring and unconditional love which affected me as much as this one, and it's my favourite as well, not just for it's craft, but for the ambitious story it has chosen to tell. In 1991, it was ahead of it's time. And in 2020, the film still feels the same- way progressive than even our times can digest. Maybe I'm wrong, but considering the picture of India the film tends to paint, perhaps I'm not. Maybe Pallavi and Viren's love story has ended, maybe they have separated there ways, or probably Viren has died. But what they offered still remains. 4.5/5.

Dilwale Dulhania Le Jayenge1995

As of now, I don't think Aditya Chopra's magnificent directorial debut "Dilwale Dulhaniya Le Jaayenge" has been as remarkable as the lovable nineties. What it still remains, though, is a lush, beautifully escapist but dazzlingly compelling romantic-comedy, which serves froth, cheekiness, cheesiness and cutesy charms with such palatable and palpable diligence, and with so masterful the craft, that you are absolutely glad you were there for this incredibly romantic and stirringly joyous, fun ride. Yes, you might think now that there are parts which carry little resonance today, and yes you are absolutely right in there. But I don't recall a film with as terrific romantic pairing as Kajol and Shahrukh as the demure Simran and the cutely heroic Raj. There's always a freshness imbued with this film which consistently draws you towards it's storytelling, and it's consistency. It's a film so sharply Bollywood, it's irresistible. From whichever walk of life you might be, please watch 'DDLJ'. It's an iconic romance to cherish for the ages, and it is never less than enjoyable- it's perfectly amazing, and of course, to just state the facts once again, what cheery and iconic classic! 4/5

Kabhi Kabhie1976

There's something about the understared simplicity but frequently organic Bollywood charm of Yash Chopra's 'Kabhi Kabhie' that always draws me for it. Amitabh Bachchan and Rakhi Gulzar was a freshly unusual pairing, and together they were as magical as Sahir Ludhinavi's intricately moving poetry that adores much of this beautifully made film, scripted uniquely and charmingly by Sarhadi and Pamela. In his career, Yashji has also made some gritty, starkly grim dramas such as the Dhanbad-set Kaala Patthar, the dynamic Trishul and the courtroom drama of Waqt, but none of these supposedly powerful films could match the 'essential viewing' entertainment provided by his frothier, 'unconditional-love' brand of cinema, the progressiveness of the world in 'Silsila', the uniquely attractive 'Lamhe', or the soul-stirring 'Chaandni'. And among that lot, the one that still stands tall is 'Kabhi Kabhie'. It's a little more dark than most of the films of its times and it's not afraid to be, but as it plays safe, it's more entertaining and fun than most dramas even today. All the performances are charming- all the chemistries are charming. Rishi Kapoor and Nitu Singh aren't any less together even as they are the secondary, the lesser couple here. Waheeda Rehman is also astounding in her own small way. But stealing the show even from the interesting Amitabh Bachchan is Shashi Kapoor, who breathes life into the character of Rakhi's husband with prompt grace and intricacy. Ahead of it's time, even today this soulful romantic stands as one of the most eloquently made romantics ever made. It's not the best Yash Chopra film for me ('Lamhe' is at another level), but it's still one of his best crafted ones. 4/5.

Udta Punjab2016

Even if you dont like "Udta Punjab", you have to agree that it's a very brave on the part of Bollywood- there is nothing more bold than mainstream Bollywood, which has staged frothy romantic-comedy classics like 'DDLJ' and 'Jab We Met', tackling a Punjab that survives on heroin, drug use and faces the problem of youths suffering drug addiction. Abhishek Chaubey obviously doesn't deliver the issue with heavy hand: he has already proved his distinctive storytelling style in his 'Ishqiya' and 'Dedh Ishqiya'. But this is easily his biggest film: with a mainstream star cast, uncanny romantic trappings and many screens, and hence his most ambitious piece of filmmaking. The performances are truly what elevates the experience: Shahid Kapoor as the drug-propagating rap star is a hoot, but the actor still feels short of the character because sometimes it feels a repetition of 'Haider' and 'Kaminey'. But that's more than made up by a spectacular Alia Bhatt, who easily delivers this film's most arresting performance. It was hard not to be moved when she described her struggles and her story to Shahid's Tommy. Kareena Kapoor as the anti-drug activist doctor is wonderfully vulnerable, and it's easy to be impressed by her conviction. But the film's driving force is the debut actor Diljeet Dosanjh, who absolutely lives up to his name. His sweet police officer won my heart too too easily. The writing is also solid: the dialogue is rightly in more Punjabi, more than you'd expect. It's way more... passé than you'd think it is. Like it's a Punjabi film. But truly it's the heart invested in the premise, and the flair to make it a fairly complex study of people and places, that makes it a Bollywood film in an absolutely truest sense of word. Abhishek Chaubey crafts his most deliciously effortless film here: as he crafts the first film which is beyond a familiar atmosphere he had created, he does an excellent job. So terrific, you'd not easily spot a flaw. But the film is ultimately affected by the curse of characterization: because the truth is that the film isn't as technically astounding as you'd think such a film to be, take the characters out and what you'll be left with is the message, and the characters aren't fleshed out enough. But despite these flaws there's too much to particularly enjoy. It is never less than entertaining. It's unnnerving how the film, despite making biting conversations about the political panorama in Punjab- doesn't quiet make a political comment. It presents you the hard reality of the drug addiction of the youths in the state and haunts you with it's viscerally uncomfortable visuals. It's actually a relatable film, so you could easily forgive that. 3.5/5.