one time wanderer

I didn't really have any great expectations from this movie; in fact, I was almost sceptical of watching it, even though a lot of people I admire in Bollywood were involved in it- Tabu, SRK, Kay Kay Menon, Jimmy Sheirgill, Rahul Bose, and Khalid Mohamed. And of course, Dolly Bindra. I guess it's the way the movie was packaged- "what women really want" and all that, that made me think this was going to be another example of what I like to call "Bollywood feminism" (maybe one day I'll write a separate essay on that). And I am, at best, a reluctant viewer of that particular sub-genre, and at worst, one of its biggest haters. However, Silsiilay completely defied my expectations. At every turn, I was clenching my teeth, prepared for the worst to happen, but no. All the women behaved so beautifully, so majestically, that I was completely in awe of every single one of them. Yes, all of them, except Nandita ofc. And the South Bombay housewives who were lowkey

This was probably one of the most feel-good and heartwarming movies that I have ever seen. It was kind of like the perfect balance of hilarious, sentimental and romantic, and I swear to god it's been some time since I laughed so much during a movie. Special mention to the dynamics between Chaitanya (ANR) and Nagarjuna (Naga Chaitanya) (don't even ask)- the scene where they first meet is etched in my memory and I just might go back and watch it after this "review" is done. Many have criticised this movie as being "over-simplistic" and the plot twists as "super convenient", and to such people I say- who hurt you? Maybe if you'll sink into a nice suspension of disbelief, you'll feel okay. But seriously, suspension of disbelief was not at all a difficult task within the universe of the movie. It's a movie about reincarnation and family, for fuck's sake. Compared to the travesties dealing with these topics that Bollywood has blessed u

First things first- the actress playing Renuka sucked. Big time. If they had cast anyone decent for this role (apparently this particular casting choice was influenced by nepotism, shockingly), the film would have been loads better. That being said, Ko is still one of the better thrillers to have come out of India, and is definitely worth watching. I so did not see that #plottwist coming!! I was left shook, and also the ending... mashallah is the only appropriate word. I don't want to say anymore, coz #spoilers, but it's honest to god, so fudgin' worth it. Speaking of things that are worth it, how can I possibly not talk about the inherent homoeroticism between Ashwin and Vasanthan? SPOILERS AHEAD. RUN FOR YOUR LIFE (IF YOU CAN). So, my personal theory is that even though Vasanthan was already evil and twisted, his real decline begins when he sees Ashwin and Renuka getting a little too close to each other. Because of the oppressive heteronormativity, he can't ev

I'm going to write about these 2 movies together, since I watched them on back-to-back days, and kind of treated them in my mind as 1 movie- Baahubali , which is how I'll be referring to it later. So, here goes. My overwhelming response to the whole thing was that the women actors basically carried it on their lesser-paid-than-male-counterparts shoulders. Ramya Krishnan, Anushka Shetty and Tammanna managed to give the movies a lot more depth than I was initially expecting, even though Tams was unfairly under-utilised. The second movie was way better than the first one, mostly because of the screen time given to the ladies. Honestly, Baahubali 2 should actually have been named Devasena . There is no way that one can watch that movie and not come out whole-heartedly stanning her. Having said that, after watching Baahubali , I completely understand why it became the cultural phenomenon that it did. The trajectory of the plot is at the exact mid-point of simple and convoluted,

To be very honest, I was quite sceptical of watching it- not only because I was afraid that it had been overhyped, but also because earlier in the day I'd seen what is definitely one of my favourite movies of all time (I'd decided that when it hadn't even finished), Mahanati (2018). However, I swore to myself that I would not compare. I would put Dulquer Salmaan out of my mind (oops) and watch this movie with an open mind. I am so glad I did exactly that, because  Rock On!! definitely belongs to my bolly not-so trash list. The simplicity of the story makes it even more engaging- you feel a certain familiarity with the plot, the characters and the situations they find themselves in, and it never gets boring, even though it very easily could have. For a movie that revolves around 4 men, the women are surprisingly well-written- Sakshi (Prachi Desai) doesn't go down the boring and regressive road of "Omg how could you date someone before me??" and is very matur

Whatever I say about this movie, it'll be less. Even after a day of finishing it, I'm still somehow watching it- I can't stop thinking about specific scenes, dialogues, emotions, characters, events, etc. Maybe I just never want to let this movie go. The most remarkable thing (amongst many) is how it manages to convey the way in which the lives of superstars affect ordinary people like us, which is done through the sub-plot involving Madhuravani, BA Gold Medallist (Samantha Akkineni) and Anthony (Vijay Devarakonda). The way the whole things unravels is so- empowering is the only word I can come up with. In the most subtle way possible, it made me realise the importance of strong female role models, and why it's absolutely crucial to share their histories. By role models I don't mean to necessarily glorify such women- it's more of a comprehensive understanding of their lives, and why they did the things they did (good and bad). Another part of the movie that

Who knew that #feminism would come dressed in a bridal lehenga, dancing its way across a palatial hall, only to kick Sonu Sood's depraved ass all the way to purgatory? A horror movie where black magic is legitimised, where the female protagonist protects the men around her (and not just by good old self-sacrifice), and where, most importantly, femininity is not seen as a handicap- why wouldn't anyone want to see this movie? Admittedly, the script is simple- but what's so wrong in that? Here, "simple" is not a synonym for formulaic, or for boring- Arundhati 's simplicity provides ample space for the actors and dubbing artists to truly shine through with their craft, and of course, the strong sense of catharsis is something we all need from time to time. It's an engaging, albeit exhausting movie (I had to take 2 coffee breaks), and it fills you up with so many emotions that you do not know what do with them (I felt so affected by Sonu Sood and his dubbing

No one does god-tier cinema like Mr. Abbas Burmawalla and Mr. Mustan Burmawalla. From Ameesha Patel's fabulous acting (at times more god-tier than the rest of Bollywood put together), to all the #plottwists, this movie comfortably finds a place in the list of movies that are so bad they're genius. Akshaye Khanna, as always, shines through. He basically does all the acting for everyone involved, notable exception being Johnny Lever (I really related a lot to his asinine character). Bobby Deol was... averagely average. That's the only way I know to describe it. I have already mentioned my views on Ameesha's acting abilities, and honestly, the less said the better. I was insanely bored in the first half of the movie, but the second half had me HOOKED. Another classic Abbas-Mustan move, tbh. I mean, is it really a movie of theirs if it doesn't require extensive editing? The soundtrack is a bop, thanks to our lord and saviour HIMESSHH. R & I discovered a new &

I've seen very few movies that were as immersive as this one. From the first few scenes itself, the movie took over my emotions, and even now, almost a day after having watched it, I can't get the image of Ramya Krishnan as a fearsome goddess out of my brain. Also, let me just talk about Ramya Krishnan for a minute, or I just might explode. Even though the movie is named after her character (Ammoru means "goddess" in Telugu, and in this specific context, refers to a local deity that the villagers pray to), she does not have a very long screen presence. However, whatever scenes that she is a part of are so powerful (I screamed once or twice) that you won't get them out of your head any time soon. She is just that amazing. Thanks, L, for introducing me to this glorious woman. This movie was so intense that I just had to take a nap after finishing it and even after that, I felt so disoriented. The hatred for the villains in this movie is truly next level exhaust

Without a doubt, this one must be considered as a classic of Indian cinema. It's beautiful in every aspect- the setting, the cinematography, the acting, the music, and the script. I couldn't stop crying once it finished (actually I couldn't stop crying from before that, but no spoilers.) I immediately texted a few close friends once I was done, urging them to go watch it, because it's that kind of a movie, one that you want everyone to watch, especially those you care about. It doesn't have any high and mighty morals to impart (as is the case with a ton of movies revolving around working class lives); it only humanises everything so brilliantly that you don't even realise it's happening. You're just drawn into the stories, as you would be drawn into the stories of the people around you. You learn to root for the love these characters share, and when their hearts break, yours do too. The script is so simple, yet the climax will leave you staggered (in

This movie will always be remembered as the point in my TCU spiral where I officially went off the edge. I watched this only and only for Queen T , who only appeared in a song, and for about 3 mins afterwards. Yes, I am neck deep in my obsession. No, I have no regrets. Moving on from my derangement, the movie was basically a Telugu version of Patrick Read Johnson's Baby's Day Out (1994). I have some recollections of watching the OG as a child, so I knew what was going to happen, etc. Nonetheless, the movie was funny in places- my favourite being the scene where Jamba tells Madha that she's "still glamorous." Yep. Otherwise, I was basically zoned out for the major portion of the movie. Very reminiscent of my Agatha Christie spiral back in 2012, where I have zero recollections of certain books that have been marked as "read" on my Goodreads. New decade, old me, but with a new life-consuming passion. Now I'm even writing a fanfic about Tabu and Nag

A good old masala film with a strong cast and a gripping plot that takes on the menace of fake encounter killings in India- I swear to god, I don't think I have ever been as invested in a fight sequence as the one between Sekhar (Ravi Teja) and Nagesh (Subbaraju). (I have always been really scared of violence, and usually look away during these masala movies, but this time, I could not look away.) All this, of course, comes from the fact that it was really easy to get emotionally invested in the film's storyline- I know what police indifference looks like up close, and moreover, I have heard countless accounts of terrible police brutality over the years. The system is so rotten, so corrupt, it doesn't take even a full minute to completely unravel and destroy an innocent life. Even if there are a few good men, they honestly don't stand a chance against the overall depravity. And as for the people who are entrapped by this system and its torchbearers, there is no end t

Filhaal... was probably the best take on surrogate pregnancy I have seen in Indian cinema (let's not even go near the TV experience). Not to say that it wasn't without its flaws, but overall, an interesting watch especially when "altruistic" surrogacy has become such a hot topic in political discourse. The star of the movie, and probably the reason why everyone should watch it, is yet another fantastic performance by Queen T. If there's one word that comes to mind when describing her character Rewa, it's "frustrated". And Tabu makes sure you can physically feel her frustration. I'm not saying that she overdoes it- she is as subtle about it always, and doesn't give a one-dimensional performance. What I'm trying to say is- I am not the kind of person who wants children. It's not a life-goal for me to become a mother. And yet, I could empathise with Rewa, I could understand why she did what she did, and why her emotions were so erra

Took a short break from my TCU adventures to watch a movie with the fam. Our first choice was Darna Mana Hai (2003) , but due to certain logistical considerations, we changed plans and ended up watching... this. First of all, this is so not a horror movie- it's barely even a movie. "Special effects" make no sense whatsoever in the context, and seem to have been thrown in for no good reason except to appear "cool" and "modern". AS IF! The story is a convoluted mess, and after a certain point, I just gave up on keeping track of... whatever that was happening. So yeah, there was no chance in hell that I was getting scared- I was just not psychologically invested enough, and nor was the fam. The only, only things that had me halfway invested in the movie were Shanti (Anita Hassanandini) being jealous, insecure and petty about her bae Manav (Sohail Khan) and Disha (Isha Koppikar) (major, major REL88888); and Akshay (Hiten Tejwani) always trying to star

Cannot believe Jimmy Sheirgill (credited here as "Jasjit Shergill") invented acting in his final scene in this movie. And that Veeran (Queen T in her first National Award winning performance) and Palli (Chandrachur Singh in a singularly spectacular performance) invented romance with this exchange- "Zukaam ho gaya hai tumhein." "Tumhein bhi." "Mujhe bhi toh tum hi se laga." As I was watching Maachis , I couldn't shake off the feeling that it was ahead of its time. It was only after it ended that I realised that it's not- it's actually firmly rooted in the fabric of Indian polity, and that's why, 24 years after its release, I could sense its relevance to the time I am living in. The movie is sheer brilliance- it doesn't glorify or villainise either side. Instead, it shows how ultimately, humans make up these movements. I guess I'm not explaining myself very well. What I'm trying to say is that the movie is not polit

I honestly did not hate this movie as much as most folks on Letterboxd seem to. Manoj Bajpayee and Tabu are one of the most well-matched pairings ever, and considering that it's Bollywood, the thriller wasn't half-bad. Of course, there were weird loopholes in the movie, and of course, the entire thing falls apart upon 2 minutes of close scrutiny, but let me present to you 2 points that just cannot be ignored in the movie's favour: 1. Tabu and Manoj Bajpayee. Together. On screen. Tabu and Manoj! 2 of my favourites!! 2. SPOILER - Very few on-screen psychopaths have been able to give me goosebumps the way Queen T did in the final scene. Hannibal Lecter who??  SPOILER OVER Yeah, I realise the uselessness of saying that I'll give 2 points in the movie's favour, and making one of them a spoiler. I would be embarrassed, but I have long since accepted my nature as a perpetual disappointment. Anyway, the background score is annoying and unnecessary. Wish the editing

Another day, another iconic Tabu movie. According to my calculations, this must have been the first Tabu movie I ever saw (and also Kamal Haasan movie, but don't want to inflate his god complex anymore). Either this, or Hera Pheri (2000). The fact that both of them are genuinely such hilarious movies, and have survived the test of time, and wokeness, and what not, makes me feel quite pleased. It's nice to know that you can go back to certain movies and, if not feel the same way again, then at least feel good for some time. Also, the fact that Queen T graces both movies with her god-like (sorrz, KH) acting skills has not escaped me. Maybe I was born to be a life-long stanner of TCU. The most iconic aspect of this movie for me was the complete, no-holds-barred annihilation of Brahminical superiority. As a Brahmin myself, few things give me more pleasure than watching Brahmins being taught a lesson in humility and humanity. Kamal Haasan was truly a man (?) ahead of his time.

TCU is a gift that keeps on giving . *duayein hands emoji* Queen T as Simmi Sinha is definitely one of her best roles (I'm halfway convinced though, that a bad Tabu role just cannot exist). The devil is definitely in the details here- look closely, and you'll see the histrionic desperation of an actress whose last chance at stardom was taken away from her, and now her only chance at constructing a masterpiece is through a web of lies, deceit and subterfuge. Every scene is magnificent- nay, every second. I often found myself going back, just to look more clearly at what this woman might be upto now. The camera-work here is pretty flawless- even though I guessed some of the twists and turns in advance (you are doomed to a lifetime of accurately guessing thriller movies if you read nearly the entire Agatha Christie bibliography in your teens), I still audibly gasped (read: screamed) when they actually happened, and that is all because of the camera, its intricacies and mind g

The second movie in my TCU jaunt after Mani Ratnam's Iruvar (1997) where Queen T is not a lead actor. As if that's gonna stop her though. Hera Pheri  probably launched Canadian Kumar's comedy career. He gives a strong performance as the constantly conniving and borderline amoral Raju, and complements his co-stars perfectly. Paresh Rawal is frankly ICONIC in his portrayal of the pragmatic drunkard Baburao Ganpatrao Apte, and is single-handedly responsible for 50% of Indian memes. Sunil Shetty as Ghanshyam "Shyam" is a tad annoying in his dialogue delivery, but that adds to the effect of him being a sad, desperate young man whose future prospects seem dim. The chemistry between the three is amazing, and has miraculously stayed fresh even after 20 years of this film's release. This reminds me, it had been some 10 years since I had last seen this movie, and after the first half hour I was apprehensive of continuing, because of the fear that it might turn pRoBle

Another excellent TCU foray. Tabu plays a high-strung badass cop, who displays early a strong dislike for men and their perpetual violence against women. Because of this aspect, the movie was quite cathartic for me, as India has yet again been rocked by a scandal, one that involves adolescent boys sharing morphed pictures of girls, planning rapes, and what not on a group chat known as "Boys Locker Room". Lovely. It made me relive some of the most traumatising memories from school, and so I was glad that I could witness Tabu enacting all the asinine rage that I felt. However, this movie is not just about Tabu- it presents itself as an ode to female friendship, and the strong bonds of sisterhood that can never be replicated. It takes place primarily in a girls' college, amongst final-year students and their petty rivalries and jealousies. A major reason why this movie was a refreshing treat is because there were hardly any male characters. And lowkey spoiler, but the onl

Oh, to be a sad and lonely 20-something seeking refuge in TCU (Tabu Cinematic Universe, for all you non-men of culture) during this quarantine, and finding it. The beginning of the movie made me assume that it was going to be a satirical take on the functioning of police administration in India, and I was looking forward to it. However, that element was lost pretty quickly- I suppose with how there was an absolute lack of censure regarding Archana's mother's activities. From then on, the movie twisted itself into the contours of a classic, archetypal Indian marriage romantic comedy. Tabu as a female cop kicks ASS tho, and of course, it was worth it to watch the movie to see her OWNING it.  The main "twist" of the movie was more hilarious than I expected. Lowkey spoiler, but this movie was one of the best examples of the "1 man pretending to be 2" trope, and that is one of my favourite tropes of all time, so I was quite entertained by the glorious me

First of all, I watched this movie primarily for two reasons- my all-consuming interest in the trajectory of Tabu's filmography, and also, to investigate the claims of Nagarjuna Akkineni and Tabu having "amazing" and "unforgettable" chemistry. So this movie is basically a mashup of Shakespeare's Romeo and Juliet , Sooraj Barjatya's Hum Aapke Hain Koun..! (1994), and of course, Aditya Chopra's Dilwale Dulhania Le Jayenge (1995). And if that sounds like a double big eeeeks, it most assuredly is. However, I honestly did not have as big a headache after watching Ninne Pelladatha as I did after watching the Hindi movies, and for context, I was very young and "unwoke" when I watched them. I think the difference can be attributed solely to the female cast of this movie, which carried the movie on its shoulders. Special mention, as always, to Queen T. After watching Barjatya's 1999 "family friendly"  Hum Saath-Saath Hain  last yea