REVIEW 131: HATE STORY

Release date:	April 20, 2012
Director:	Vivek Agnihotri
Cast:	Paoli Dam, Gulshan Devaiah, Nikhil Dwivedi, Bhairavi Goswami

If you plan to be a prostitute, know this: that to be the best r***i ever, you must learn to “shake it, take it, fake it”. This gyaan is offered to prostitutional aspirant Kavya Krishna (Paoli Dam) in Hate Story by a top-notch r***i (the Hindi word that rhymes with undie) as she brushes her fulsome breasts against Kavya’s bulky bosom of which we see a lot in this film.

Since so much trouble has been taken to shoot those Dam breasts from all imaginable angles that would pass muster with the stiff-necked Indian Censors, and since far less effort seems to have been invested in this shallow script, I can only guess that the former are meant to be Hate Story’s USP! So here are my takeaways from this unintentionally funny film:

1.     Paoli Dam – Bollywood debutant but a known name in West Bengal – is beautiful.

2.     Paoli Dam is sexy. I’ll leave you to draw your own conclusions, boys, but I suspect you will agree that those killer curves are (as my teenaged friends would put it) hawt!

3.     Paoli Dam needs a better gym. Sorry girl, I’d usually consider such remarks personal, but a decently articulated assessment of your body is fair game when you position yourself as a sex bomb and drop your clothes at the drop of a hat. FYI if that’s the niche you are eyeing, a generous bosom and slim waist are not enough – you need a perfectly toned back too! And since this film has chosen to lure audiences into theatres with a photo-shopped, flawless rear view of you in the posters, the real thing on celluloid ought to match up!

4.     Paoli Dam and director Vivek Agnihotri have the courage not to camouflage her complexion. She is dark skinned and not pretending to be otherwise. This is such a pleasant change from most Bollywood films that use pancake, lighting and camera trickery to alter the skin colour of their dusky leading ladies. In that respect, Paoli harks back to the early days of Kajol, long before Ms Devgn nee Mukherjee became the whitened-up creature of the current cosmetic company ads that she now appears in!

5.     Paoli Dam needs to improve her acting.

Now that you’ve absorbed all that, here’s a sliver of the story: Kavya is a Delhi journalist whose sting operation exposes a cement company. This brings her in conflict with industrialist Siddharth Dhanrajgir who unleashes his life’s motto on her: “I f*** the people who f*** with me.” But Sid is doomed when Kavya dedicates her own life to vengeance against him because, as she explains, when a woman decides to sell her izzat instead of trying to protect it, no man stands a chance, least of all you, Siddharth Dhanrajgiiiiiiiiiiir!!! Drum rolls please!

No doubt there was potential in Hate Story’s story brief. After all, the all-consuming nature of revenge is always worth exploring! But latent possibilities are buried here under a contrived script in which all proceedings are manipulated to fall in line with the writer’s ultimate goal, the dialoguebaazi is more amusing than it is hard hitting, and the execution borders on the farcical. So when the heroine goes to jail, she seems to have the services of the best make-up artists and manicurists at her disposal. When she has to decipher corporate files, her photographer ex-colleague (Nikhil Dwivedi) most conveniently transforms into a finance wiz who can analyse those papers at a glance. And Daddy Dhanrajgir knows his son is destroying his business empire for vendetta, but he stands by and watches for a little above two hours, before he washes his hands of Sid. Arrey, if he’d intervened before that, how would the film have got completed?!

Incidentally, Nikhil and Gulshan Devaiah (as Siddharth Dhanrajgir) prove here that good actors sometimes manage to rise above banal scripts. Nikhil was noticeable in Mani Ratnam’s otherwise dull Raavan and in 2011’s little gem Shor In The City. Gulshan played a loose cannon to good effect in Bejoy Nambiar’s Shaitan (2011). In Hate Story he seamlessly metamorphoses from the fellow who stammers helplessly when he addresses his father to the ruthless, supremely confident bastard that he is with the rest of the world. Both men deserve better than this film.

As for the much-talked-about sex scenes in Hate Story … well, they’re way more explicit than what we’re used to seeing from Bollywood. And they’re not C-grade-style sleazy. But Paoli’s attempts to portray a steaming hot seductress are more laughable than sultry, the combined effect of ineffective acting and poor writing! Look no further than the scene in which she prances around the wet lawn of a politician’s house on a rainy day, spouting tacky dialogues steeped in puns to seduce him into appointing her to a top position in a bank.

Strange thing is that neither she nor director Vivek Agnihotri need have looked far for reference points. After all, Hate Story is produced by Vikram Bhatt who directed Raaz in which Bipasha Basu redefined “sexy” for Indian audiences.

Hate Story is not erotica as the publicity would have us believe. It’s a sad attempt at it!

Rating (out of five): * (For Nikhil Dwivedi and Gulshan Devaiah, and because I’ve seen far far worse. Don’t believe me? Click here for proof.)

CBFC Rating:                      A
Language:                            Hindi

Lead photograph courtesy: http://en.wikipedia.org/wiki/Hate_Story

REVIEW 37: SHOR IN THE CITY

Release date:	April 29, 2011
Director:	Raj Nidimoru and Krishna DK
Cast:	Sendhil Ramamurthy, Pitobash Tripathi, Nikhil Dwivedi, Tusshar Kapoor, Radhika Apte, Preeti Desai

First let me get this out of the way:

Sendhil Ramamurthy!

Sendhil Ramamurthy!

Sendhil Ramamurthy!

Okay, so I’m having a little fun out here, but you do get my point! Ramamurthy – Indian origin star of the American serial Heroes – is a hottie. It’s clear that he’s also a very discerning man since he’s chosen to make his Hindi film debut in a project as unusual and unexpectedly entertaining as Shor in the City.

Ever since Ram Gopal Varma broke new ground with that amazing gangster flick Satya in 1998 and followed that up with the equally compelling Company, Bollywood has been hooked on Mumbai’s underbelly. Shor in the City visits familiar ground but does so in a delightfully unfamiliar fashion.

The film tells three partially intersecting stories. Tilak, Ramesh and Mandook are friends who are up to no good. Mandook is a loose cannon without a conscience. Ramesh has a head on his shoulders in spite of his vagabond ways. And Tilak, the most reluctantly dishonest of them all, is in the pirated books business. Far removed from their murky world is Abhay, an NRI who has returned to India to run a small enterprise and comes up against a wall of corporate inefficiency, institutional corruption and underworld interference. Somewhere in between is Sawan Murthy a.k.a. Savvy, a cricketer struggling to raise money to bribe a selector, while his girlfriend is paraded before prospective grooms by her family.  

What sets Shor apart from the numerous other films on life in Mumbai is the inoffensive and seamless blend of pathos and humour in the storytelling style. So many of the clichés we’ve come to expect in such films are missing here. There are abuses galore, but conversations are not peppered with those by-now-not-at-all-shocking-and-in-fact-quite-irritating words “moothna” and “hagna”; nor once are we shown an image of a man wetting his pants in fear. What we get instead is a twist at every turn, so that just when you’re expecting to shed a tear, the film makes you smile, and just when you are expecting to laugh, you’re shocked out of your wits instead.

Directors Raj Nidimoru and Krishna DK (who earlier made 99) have also wisely steered clear of most actors we’ve almost come to expect in films about the dodgy side of Mumbai. I have just one word for their cast: wow! Okay, grant me two words please: double wow! Pitobash Tripathi is brilliant as Mandook who thinks nothing of soothing his wounded ego and having a spot of fun by pulling a gun on a man going about his business on a toilet commode. Nikhil Dwivedi (earlier seen in My Name is Anthony Gonsalves and Raavan) is smooth and easy as the far more level-headed Ramesh who is startled out of his wits at the discovery that his friend Tilak is reading a book! The film’s producer Ektaa Kapoor’s brother Tusshar Kapoor as Tilak is not as top-notch as these two, but he’s still the best he’s ever been, in a nicely understated way. The trio have the benefit of the most attractive of the three stories in Shor, but Sundeep Kishan as Savvy shines even without that advantage: he is both good-looking and an absolute natural in front of the camera as are Girija Oak playing his girlfriend Sejal, Hottie Ramamurthy and Radhika Apte who is the semi-literate Tilak’s college-educated wife (Apte, incidentally, also stars in this week’s other film release, Onir’s I Am).

The weak link in the chain is former Miss Great Britain Preeti Desai who is cast as the girlfriend of Abhay (Ramamurthy). Her awkward dialogue delivery kind of blunts the effect of Abhay’s frustrations which every Indian would relate to. ‘Serious’ cinema buffs may argue that there was no need for that brief scene in which Ramamurthy makes a bare-chested appearance wearing nothing but a white towel around his waist. But milord, may I point out that it takes nothing away from the film!

Okay, so I’m getting carried away with myself again. But seriously, pretty much all the elements in Shor in the City are just right: The script is tight. The camera team keeps it real and simple. A couple of the songs are catchy. The background score is used to excellent effect. The sound effects editing is near perfect. And everything comes together to give us a film that’s a tragi-comic look at life in Mumbai. Part of the tragedy is how we as viewers laugh when we watch scenes that should in fact hurt us, perhaps because we are resigned to the corruption that pervades our lives. Like the expat who finally comes to terms with the reality of Mumbai and confidently tells his auto driver to enter a one-way street because he knows his cash will silence that vigilant traffic constable. Like the frustrated businessman who pulls a gun on a goon, and says to him: “If you can get away with it, I can too.”

But it’s the little touches that make Shor in the City such a wholesome experience: Savvy’s pronunciation of the word “Hyderabad” in precisely the way that a Mumbai-based south Indian might say it; the cricket selector’s Mumbaiyya intonation when he says “mind-blowing”; Tilak telling his wife, “Ek saal baad ek badi gaadi khareed lenge – Nano”; the way she nods her head just so, when she meets her husband’s employee; the manner in which a common man caught in a bank robbery asks pathetically, “Woh hazaar rupye jo har maheene SIP mein daalta tha, woh gaya?” Shor in the City is so real, that it feels more like fact than fiction.

Rating (out of five): ****

CBFC Rating:                      U/A without cuts, several swear words have been beeped out

Running time:                        111 minutes

Language:                              Hindi with English

 

Photograph courtesy: http://www.facebook.com/home.php#!/shorinthecity