Saturday, January 20, 2018

REVIEW 559: UNION LEADER


Release date:
January 19, 2018
Director:
Sanjay Patel
Cast:


Language:
Rahul Bhat, Tillotama Shome, Tirth Sharma, Haresh Dagiya, Chetan Daiya, Jay Bhatt, Vivek Ghamande, Jay Vithlani, Jayesh More
Hindi



The workers at Apollo Chemicals, a chromium sulfate factory in Gujarat, are falling like ninepins. Many have developed respiratory disorders and ulcers, others cancer, some have died as a result. The head of their union is indifferent to their plight since he has sold his soul to the management. As more men succumb to the unsafe conditions in which they operate, another leader emerges from their midst. Reluctantly at first, and then more decisively, Jay Gohil (Rahul Bhat) takes it upon himself to ensure that his colleagues get justice and Apollo is set in order.

India-born, Canada-based director Sanjay Patel’s Union Leader goes where few Hindi films have bothered to tread in the past two decades: to the area of workers’ rights, once the favoured destination of parallel cinema and the pre-1990s mainstream. Union Leader’s strength is that it is committed to its cause, it seems to have some knowledge about the inner workings of a chemical factory and its weight rests on the capable shoulders of Rahul Bhat, an actor of tremendous talent who has inexplicably been largely ignored by mainstream Bollywood.

Bhat was fantastic in Anurag Kashyap’s underrated 2014 film Ugly. Here in Union Leader, he brings an X factor to his performance that rises above the limitations of the screenplay. Even before we are told that Jay is in physical pain, it is possible to sense an underlying suffering that he is not revealing to us, to sense that there is more to that furrowed brow than just his worries for his co-workers and his family.

Bhat’s charisma and Patel’s evident good intentions help Union Leader pull through despite the pale writing of several promising supporting characters and the too convenient resolution of the workers’ issues. In truth, labour unions in India are up against the rarely-surmounted combined might of unscrupulous industrialists, corrupt politicians and bureaucrats in addition to double agents in their midst, with their troubles compounded by caste and regional divides. Union Leader fails to convey the extreme complexity of the circumstances in which the country’s poor factory hands find themselves.

In addition to Jay’s colleagues, we are also introduced to his wife Geeta (Tillotama Shome) and teenaged son Harsh (Tirth Sharma). Shome here carries forward her reputation as a dependable actor. Sharma made a mark as the heroine’s schoolmate in Advait Chandan’s Secret Superstar just a few months back, and lives up to that promise here. The warmth in the trio’s equation, Harsh’s fledgling interest in Gandhian values and his influence over his initially cynical father give the film its relatability.

It is also nice that though the screenplay portrays Jay’s journey from hesitation to complete involvement in the workers’ struggles, it does not feel the need to show him metamorphosing into a ferocious sloganeer and orator. He remains, till the end, a low-key man whose fierceness lies entirely within.

Where the film falters is in its exploration of the battles at Apollo Chemicals. In the engaging first half, the conversations between Jay and his co-workers feel real, the actors playing those supporting parts feel not like actors at all and Darren Fung’s music sets a muted mood that serves to highlight the despair and turmoil in their midst. As it progresses though, Union Leader is unable to effectively tap its supporting cast. I wanted to be better acquainted with Jay’s colleagues beyond the realm of their problems that are discussed at length pre-interval, but after the break the writers add little to our understanding of them as persons. This robs Union Leader of the emotional stirrings that should be a given in such a story.

The screenplay by Patel himself and John Winston Rainey is also unable to capture the magnitude of the problem at hand, the years of back-breaking, dispiriting toil that go into procuring workers their rights. This is not to say that the labour scenario is entirely hopeless or that no legislative and judicial battles have ever been won, but that the ease with which victory is achieved is unconvincing in Union Leader. The film’s portrayal of trade unionism is too simplistic then for it to be considered a serious study of the subject or for it to leave a lasting impression.

Still, this is clearly a heartfelt film. Whatever be its weaknesses, the genuineness of Patel’s concern and Bhat’s sincerity make Union Leader watchable.

Rating (out of five stars): *1/2

CBFC Rating (India):
UA 
Running time:
106 minutes 20 seconds

This review was also published on Firstpost:




REVIEW 558: MY BIRTHDAY SONG


Release date:
January 19, 2018
Director:
Samir Soni
Cast:


Language:
Sanjay Suri, Nora Fatehi, Zenia Starr, Ayaz Khan, Aryan Veir Suri, Pitobash, Purab Kohli 
Hindi


Most people worry about the end of their youth. What may be just another birth anniversary in the eyes of some, could turn into a nightmare for those who view the start of a new decade in particular with dread. In Rajiv Kaul’s case, you can take that literally. A tragic death – murder or accident? – mars his 40th birthday, but he wakes up the next morning to find that all seems to be well and that the bloody episode of the previous night appears not to have happened at all.

Tidbits from that day, however, keep repeating themselves, in different ways and different settings. At first, the premise is interesting enough. Has Rajiv slipped through a crack in the universe and got caught in a time loop in a Groundhog Day Redux? Is someone playing a cruel joke on him? Is he the victim of a crime? Is the film capturing the goings-on in the imagination of a mentally unwell individual? Or is this just a metaphorical depiction of gerascophobia, the fear of ageing?

When My Birthday Song initially throws up these questions, it evokes curiosity. After a while though, it reveals that it has little to offer beyond its clever concept. The repetition of events in Rajiv’s life then becomes increasingly dull rather than fascinating as it should be, so that by the time the answer is unveiled, it does not have the desired jolting effect. Ho hum. Yeah yeah, very smart, but…yawn.

Model-cum-TV-star-turned-debutant-film-director Samir Soni’s My Birthday Song lacks punch in its narrative style, depth in its writing and imagination in its camerawork. Among other things, it sorely needs some layering in its examination of Rajiv’s crisis of conscience that is a crucial part of this tale.

Soni has co-produced this film with his lead star, Sanjay Suri. The screenplay too is Soni’s, with inputs by Vrushali Telang.  

In Onir’s My Brother Nikhil (2005) and Nandita Das’ Firaaq (2008), Suri has shown us that he is capable of complexity given the right project and director. He is earnest playing Rajiv Kaul in My Birthday Song, but the screenplay gives him little to sink his teeth into. His co-star Zenia Starr, playing Rajiv’s wife Ritu, shows some spark that may be tapped in a better film.

This birthday song goes flat too soon to sustain interest.

Rating (out of five stars): *

CBFC Rating (India):
Running time:
95 minutes 40 seconds

This review was also published on Firstpost:




Monday, January 15, 2018

REVIEW 557: KAALAKAANDI


Release date:
January 12, 2018
Director:
Akshat Verma
Cast:



Language:
Saif Ali Khan, Akshay Oberoi, Isha Talwar, Sobhita Dhulipala, Kunaal Roy Kapur, Shenaz Treasury, Vijay Raaz, Deepak Dobriyal, Amyra Dastur, Neil Bhoopalam
Hindi



When the writer of Delhi Belly announces his intent to direct, obviously there is reason enough to sit up and take notice. That film – released seven long years back, produced by Aamir Khan and directed by Abhinay Deo – was an excellent black comedy that pushed the envelope in the genre more than most Bollywood filmmakers had for decades before that or have since. Its writing, direction and casting were in sync with each other. Kaalakaandi gets one element right: its cast. But though Saif Ali Khan is funny as hell here and several of his talented co-stars show spark, the writing does not give any of them enough substance to bite into and the film does not fully take off at any point.

Khan plays a man who has just discovered that he has stomach cancer and barely a few months to live. He is shocked at the diagnosis because he has lived what he considers a clean and healthy life. Read: no smoking, no drinking, no drugs, no fooling around. Since his family is celebrating a wedding when the doctor breaks the news to him, he decides to keep it to himself but also to live it up since he now has nothing to lose. His bizarre transformation confuses the groom (Akshay Oberoi) who, in any case, is coping with his own set of problems arising from pre-marital heebie-jeebies.

In the same city lives a young couple on the verge of parting ways since she (Sobhita Dhulipala) is leaving him (Kunaal Roy Kapur) behind while she heads off to the US for a PhD. With just hours to go for her flight they attend the birthday party of a close friend (played with aplomb by Shenaz Treasury).

What seems like light years away from their swish lifestyles, a notorious gangster’s sidekicks (Vijay Raaz and Deepak Dobriyal) are dealing with dilemmas of their own.

During the course of the film, the paths of these disparate characters cross in the most fleeting fashion, resulting in dramatic consequences for all of them.

Kaalakaandi (which, I have learnt from one of Khan’s pre-release interviews, means “gadbad” or “everything going wrong) is about karma taking over as we make other plans and the importance of occasionally surrendering to fate. The film is set in Mumbai and about two-thirds of its dialogues are in English, a choice that is well suited to the milieus it inhabits. Verma has an interesting enough concept in place here and has picked just the right bunch of artistes to get where he wants to go. The opening half hour offers plenty of Saif-Ali-Khan-induced laughter and zaniness to hold out the promise of more to come.

Sadly, the rest of the film does not live up to this potential, since it is neither madcap enough nor pacey enough nor raunchy enough nor witty enough nor shocking enough nor clever enough nor gutsy enough nor experimental enough to have the effect that it seems to be aiming for.

Verma’s inability to flesh out his basic idea for Kaalakaandi is particularly unfortunate because Khan is in his element here. In film after film, this actor has shown that he has the chops to pull off pretty much every genre, but his industry is not offering him projects to match. He was sweetly likeable in Chef last year and beautifully melded amorality with heart in Rangoon just months earlier. In Kaalakaandi, he lets his hair down wonderfully as he descends into nuttiness, but the script is too frail to give him the space to spread his wings.

That said, the writing of the thread about his character is the only one with the substance and life to keep this film going. The highlight of Kaalakaandi is his encounter with a transgender sex worker played by a luminous Nary Singh. The easy blend of light-heartedness and poignance in their interaction marks an important milestone for the portrayal of the trans community by Bollywood.

In the sensitivity Verma seemingly effortlessly combines with humour in that one episode, he proves that he has what it takes to be a director. If only he had spent more time on his script, it may have occurred to him that the strand involving Khan could have been a standalone venture.

The rest of Kaalakaandi is dead before it takes birth. Getting Oberoi to say “fuck” a few times, infusing Raaz and Dobriyal’s segment with ma-behen abuses, showing a naked woman covered in a sheet and throwing her lingerie at a horny lover or injecting a heavy dose of drugs into the plot doth not a black comedy make.

Each member of the cast has provided ample evidence of being a gifted performer in earlier works. Vijay Raaz was the heart and soul of Delhi Belly and Kunaal Roy Kapur was a hoot in the same film. We know from the Tanu Weds Manu films that Deepak Dobriyal is a killer comic. The good-looking Akshay Oberoi is just emerging from the brilliance of Gurgaon last year. Sobhita Dhulipala – who is a hottie – made a smashing debut in Anurag Kashyap’s Raman Raghav 2.0 in 2016. Yet in Kaalakaandi, when they are occasionally engaging, it feels more like a factor of their natural charisma than the writing of their respective characters. And then there is the usually exceptional Neil Bhoopalam who has zero impact in a pointless cameo here.

Besides, the timeline is inexplicable. The events in Kaalakaandi happen over one night, yet everything seems to take much longer than it possibly could in reality. The young couple, for instance, pack so much into the two hours before her flight that you have to wonder what clock they are operating on. This loose writing deprives the film of the compactness it should have had considering that its 111 minutes and 54 seconds is far less than the average Bollywood length.

It is hard to believe that a film directed by the writer of Delhi Belly is, for the most part, a drag. Despite Saif Ali Khan being in cracking form, Kaalakaandi lacks fizz and purpose.

Rating (out of five stars): *1/2

CBFC Rating (India):
Running time:
111 minutes 54 seconds

This review was also published on Firstpost: