It’s not just the wonderful Manoj Bajpayee who so rarely gets to do a light-hearted caper that the film does injustice to, even the seasoned Annu Kapoor and Supriya Pilgaonkar, and Manoj and Seema Pahwa, are wasted. Suraj Pe Mangal Bhari movie cast: Manoj Bajpayee, Diljit Dosanjh, Fatima Sana Shaikh, Annu Kapoor, Manoj Pahwa, Seema Pahwa, Vijay Raaz, Supriya Pilgaonkar Suraj Pe Mangal Bhari movie director: Abhishek Sharma Suraj Pe Mangal Bhari movie rating: One and a half stars The film opens in 1995, when Mumbai was still Bombay. Why? Stays unclear through the film. Suraj Singh Dhillon (Dosanjh), son of a prosperous dairy farm owner, is in search of a good girl who will stay mainly in the ‘kitchen and bedroom’. What, really? Yes, really. Madhu Mangal Rane (Bajpayee) is a disguise-loving detective who, in the guise of checking out grooms for the parents of anxious brides, goes around killing all prospects of holy matrimony. Why? Long wait for that answer, pal, and meanwhile there’s this loud, unfunny film to sit through. Setting up a clash between ‘doodh-wala bhaiyaa’ who hasn’t bothered to learn Marathi, and a pukka Marathi manoos, must have been funny on paper. But almost nothing in the way this plays out is a funny-bone tickler. When Mangal discovers that his doe-eyed younger sister (Shaikh) likes Suraj, he dials up his wicked plans: so what if his own behen’s happiness is at stake when it comes to putting down yet another to-be-groom? Is the film meant to be a social commentary on the tensions between north Indian ‘interlopers’ and Bombay locals? The hostility was real, and still exists. But are we meant to laugh when it is alluded to in this clunky manner? So many good artists are laid to waste in the process: it’s not just the wonderful Bajpayee who so rarely gets to do a light-hearted caper that the film does injustice to, even the seasoned Kapoor and Pilgaonkar, and Manoj and Seema, are wasted. Somewhere in there is an attempt to stand up for women who want to do their own thing. Shaikh wants to be a DJ, but has to hide the fact. Why? Because DJs work in night spots where there is drink and dancing? Who writes this stuff? And why are we watching this in 2020?

Sir movie review: Sir is an unusual, courageous traverse into unfamiliar, difficult territory, stepping in very carefully into the minefield which people like us have taken for granted for years. Sir movie cast: Tillotama Shome, Vivek Gomber, Geetanjali Kulkarni, Rahul Vohra, Anupriya Goenka, Chandrachur Rai Sir movie director: Rohena Gera Sir movie rating: Three stars Even in a plush high-rise in Mumbai, a megacity presumably without as many raised moralistic eyebrows as other places in India, the sharing of space in the same flat between a single man and a ‘maid’, can set tongues wagging. In Rohena Gera’s Sir, it does come up, only to be swept aside swiftly and decisively by Ratna (Shome): she is here only to make a better life for herself, and for her family left behind in the village. With her salary, she’s helping her sister get an education, and the residue will someday help her fulfil her own dreams. It’s only when her employer, the recently single Ashwin (Gomber) starts to see her as a personable person, rather than just a convenient fixture, that the divide between class starts to blur. Is the blurring enough, though, for two people from such diverse backgrounds to come together romantically? How will an unsophisticated Marathi-speaking village girl, however dignified she may be, and Shome does a brilliant job of coming across as a young woman of immense dignity and self-respect, bridge that near-insurmountable divide that comes with wealth and privilege? How will it work with a man who uses English with his family and friends as the language of communication, dropping into stilted vernacular when instructing domestics, like so many of us urban types? Sir is an unusual, courageous traverse into unfamiliar, difficult territory, stepping in very carefully into the minefield which people like us have taken for granted for years. It’s only because Ashwin has lived a spell in the US that he is able to talk to Ratna with a degree of respect, unlike his pretty party pal (Goenka), who deals out a stinging, humiliating slap to the ‘servant’. For a film which is subtle in many of its notes, the bald use of the word ‘servant’, from Ratna’s mouth, serves as a double-edged sword: in the saying of it, she is acknowledging her own awareness of the chasm between them, as well our discomfiture at this unlikely couple. We start by seeing the two inhabit different spaces in the flat, she in her small ‘SQ’ (servant’s quarter) and the kitchen, he in the rest of the house. Slowly, as they begin drawing closer, they start sharing the same frame, tumbling rather too suddenly into intimacy. Some more time spent between the two, some more negotiating bends, and the relationship could have been built upon a bit more: I missed those in-between moments which take place between scrupulously observed distance, and the awareness between a man and a woman. Finally, a film like this, with its fairy-tale arc, depends on how much it can make us believe in the fact of an Ashwin and a Ratna finding lasting commonalities. The ugly real-life fact in India of all-powerful employers preying sexually upon domestics, and how these things can quickly become unsavoury jokes, is side-stepped by the fact of Ashwin being the kind of guy he is. You can see he is kind and compassionate, both qualities Gomber radiates well, and that his loneliness is being assuaged by this intelligent young woman. You can see the distance being bridged by both beginning to share little details of their day, slowly, awkwardly, but surely. And the fact that the film manages to do this, and create believable upstairs-downstairs characters without being patronizing, is nice: Geetanjali Kulkarni, as the ‘maid’ working in a neighbouring flat, and the only one Ratna can depend upon, is terrific. Will Ashwin and Ratna live happily ever after? Sir, out in theatres today, scores in being able to even pose such a question, with pleasing delicacy. As to the question, who knows what the morrow will bring, but we are all allowed to dream, aren’t we?

Pankaj Tripathi is on the top of his game, although right about now is a good time for him to start breaking out of the permanent criminal-mobster trap. Ludo movie cast: Pankaj Tripathi, Aditya Roy Kapoor, Sanya Malhotra, Rajkummar Rao, Fatima Sana Shaikh, Abhishek Bachchan , Rohit Saraf, Pearl Maaney, Shalini Vatsa Ludo movie director: Anurag Basu Ludo movie rating: Two and a half stars There are very few Bollywood filmmakers who can do madcap like Anurag Basu does. Life is ludo, and ludo is life, declares a character in Basu’s latest, and the game begins. The declaration comes with an invitation to observe a bunch of characters criss-crossing, sometimes closely, sometimes tangentially, and to see where they fetch up, to the beat of that lovely old Bhagwan dada song–o beta ji, o babuji, kismat ki hawa kabhi garam, kabhi naram. Meet the gang. First up, local mob boss Sattu Bhaiyya (Tripathi), and his former associate Bittoo ( Bachchan ). Stand-up comic Akash (Roy Kapoor), and have-groom-will-marry about-to-be-bride Shruti (Malhotra). Part-time restauranter, full-time Mithun fan Alok urf Aloo (Rao), and the love of his life, Pinky (Shaikh). Small-town fella Rahul (Saraf), and sweet-nurse-on-the-run Sreeja (Maaney). And assorted others. This is the kind of film where you are meant to expect the unexpected, bizarre twists segueing into crazy turns. And there are several spots which do the needful: of special note is the go-bananas sequence in which a ‘epicentre of local crime’ blows up and the consequences of the blast ripple out; a fairly sharp comic set with takedowns of ‘godi’ media, and the conjugating of cows and votes; and an absolute corker which involves a crane and a hospital bed. I won’t give anything more away but someone in the writer’s team, re the last bit, has clearly read their Modesty Blaise. Some members of this ensemble cast provide a high degree of amusement. Tripathi-the-don, gun strapped on high on thigh, is on the top of his game, although right about now is a good time for him to start breaking out of the permanent criminal-mobster trap. Rajkummar Rao steals my heart away, all over again: his role, a hopeless aashiq who is an ‘emosional phool’, is a beaut, and he does full justice to it. There are also some moments in their ‘we know but they don’t know that they are made for each other’ track, that Roy Kapoor and Malhotra fill. There’s also the guy who is having it off with another woman but expects his wife to rescue him from his troubles. He’s a good one. And as the straight-talking nurse who falls for a completely inappropriate fellow, Shalini Vatsa is a delight. The trouble with this flip-flop, clip-clop, is that it goes on for too long. The last time Basu had adopted the same unknown-characters-coming-together format in Life In A Metro, the time taken for a wrap was one and a half hours, which was perfect. This one takes two and a half hours to get where it wants to go, flattening the curve: Bachchan, for example, is saddled with a precocious, smart-talking young thing in a too-stretched kidnap thread. And a Mexican stand-off, bullets spraying, bodies falling, is fun the first time around, but by the second, it is old. Still, in this time of corona, the virus finding an honourable mention in the movie, we could do with some fun and games, even if it slackens in bits. Basu is also a dab hand at using music in his movies: the perky musical interludes tell a story of their own. A six can be a nine, and yes, a strike can take you straight to the gates of heaven. Throw that dice.

The only thing that stands out is the atmosphere that Rebecca manages to create occasionally. Even in this, the film is more engaging in its first few minutes in sunny South of France, rather than in the imposing bleakness of Manderley, which is where everything of import happens. Rebecca movie cast: Armie Hammer, Lily James, Kristin Scott Thomas Rebecca movie director: Ben Wheatley Rebecca movie rating: One star I’ve just finished watching Rebecca, the one in which Armie Hammer and Lily James play Mr and Mrs De Winter, and go to Manderley, just like they did in Daphne du Maurier’s 1935 novel, and Alfred Hitchcock’s 1940 film, of the same name. How I wish they hadn’t. This latest version in no way compares to either, making a mockery of one of the best gothic horror novels ever written. Not because it is ghastly; that would have been something, but because it leaves you completely cold, and unmoved. With such rich, evocative source material, you would imagine that it would be the easiest thing to translate it on screen, and there’s no harm in dusting off classics to present them to the new generation of movie-goers. As you hear the Lily James character saying ‘Last night, I dreamt I went to Manderley again,’ you are prepared for the familiar goose-bumps with which you responded to the haunting opening line. But not once in the film, I’m sorry to say, do you even feel a frisson run down your shoulder-blades. When you first come upon James, she is in a luxury resort in Monaco, dutiful companion to a horrid, overbearing dowager. Somehow the unassuming young woman manages to catch the eye of the dishy Maxim de Winter (Hammer), who lounges about on the sunny terrace, kitted out in a mustard suit. The two are swept up in a languorous romance, and before we know it, she is going home with him, to one of the stateliest mansions in Cornwall. Where she encounters the formidable Mrs Danvers ( Thomas ), lording over a phalanx of liveried staff, and over everything else that goes on, at Manderley. Soon, the new Mrs de Winter (we never know her name, just as we didn’t in the novel), learns that in every shadowy nook of Manderley, there are memories of Rebecca, the first Mrs de Winter. Some tangible (porcelain figurines that Rebecca loved, scattered about her desk); some in the elements that visit in the new bride’s nightmares ( a mysterious shadow that lurks in the corridors ); and in the darkness that furrows her husband’s brow, as he resolutely refuses to talk about his first wife, and how she died. The only thing that stands out is the atmosphere that the film manages to create occasionally. Even in this, the film is more engaging in its first few minutes in sunny South of France, rather than in the imposing bleakness of Manderley, which is where everything of import happens. James is adequate, but never able to channel the bone-chilling terror that suffused the novel, or even the B&W starkness of Hitchcock’s film, starring Laurence Olivier and Joan Fontaine. The clean-cut, handsome Hammer is all wrong for Maxim de Winter: when he tells the shy companion, ‘ I want to marry you, you little fool,’ it sounds wrong. The only one who internalises the vibe of the period and is suitably menacing is Thomas, dressed in black, her mouth a slash of scarlet, but even she cannot rescue the film.

Keerthy Suresh, excellent in Mahanati, proved that she was able to carry a film on her slender shoulders. But here she’s saddled with a dull-as-ditchwater story-line, rendered more so by the dull direction. Miss India movie cast: Keerthy Suresh, Jagapathi Babu, Naveen Chandra, Sumanth Shailendra Miss India movie director: Narendra Nath Miss India movie rating: One and a half stars Headstrong young miss Manasa Samyuktha (Suresh) is convinced that she is born to do business, and lets everyone around her know this loud and clear. Trouble is, all her near and dear ones are deeply horrified at this declaration: good girls need an education simply to snaffle a good groom; only bad girls step out of this laxman-rekha. From frame one, you know how this thing will pan out. Suresh, excellent in Mahanati, proved that she was able to carry a film on her slender shoulders. But here she’s saddled with a dull-as-ditchwater story-line, rendered more so by the dull direction, where you can predict every single beat in this women-are-capable-of-everything flick from a mile off. There’s a nice idea in here, but gets squandered in the treatment. A tea-loving girl, armed with the easiest-earned MBA degree from a San Francisco college without seemingly having attended a single class, wants to spread the benefits of Indian chai amongst coffee-loving Americans. To which end she has a series of run-ins with various men, all of whom either want to strong-arm her into submission, or sweep her away into their loving arms. She’s having none of it, of course. Her most fearsome rival, Kailash Shiva Kumar (Babu), is king of a famous coffee chain. In a more interesting film, their conflict would have given some bite to the proceedings, but uh-huh, it ain’t happening here. Babu, attired in monochrome suits and a permanent smirk, comes up with schemes, one sillier than the other, to outwit the newbie, but is shown the error of his ways. A couple of potential suitors are also squashed: again, these would-be relationships could have been executed with some flair, or wit. Which is what’s missing from the whole film. Bake.......

Shweta Basu Prasad does a credible job of playing someone who is confident and passionate about her goals. But Saqib looks like he is trying a tad bit hard to come across as the chill, upbeat and reckless Deep. A modern-day love story of an urban couple, in a live-in relationship, who aspire to be India’s first and best comic duo. This is the one-line gist of Saqib Saleem and Shweta Basu Prasad film’s Comedy Couple. Despite its somewhat fresh premise, for the most part, the Nachiket Samant directorial remains a well-meaning, generic romantic film. As with most rom-coms, you know how this one is going to end too. Shweta Basu Prasad is Zoya Batra and Saqib Saleem is Deep Sharma. Zoya likes Deep because he is ‘average.’ Not a great reason to fall for anyone, but okay, it’s a free country. And Deep is a habitual liar ala Jim Carrey’s Fletcher in Liar Liar. Now the lies he tells in the pursuit of his passion and love drive the narrative forward. So far, so good. The blend of romance, comedy and lies is not novel, but at least it has some potential, which is fully realised towards the fag end of the movie. It is then that we see characters truly coming into their own, tackling their fears, trying to resolve a central conflict and even evoking some laughter in the process. The last 20-25 minutes of Comedy Couple is engaging and enjoyable. The director and scriptwriter try to infuse some sense of distinctiveness and vivacity by populating the frame with supporting characters of Rajesh Tailang, Pooja Bedi and Aadar Malik who make fleeting appearances. Their presence adds that zest to Comedy Couple. Tailang plays Deep’s strict, conventional father who thinks Science is the best subject and becoming an engineer is the peak of a professional career. Whereas, Bedi is the liberal, free-spirited artist mom of Zoya. She continually disapproves of men and their ways, and dislikes Deep. Tailang’s character feels lived in. He is unintentionally funny (in a good way) and feels grounded, real. Malik plays the quintessential stoner guy who doesn’t have any of his priorities sorted and practically lives in a pigsty. Shweta Basu Prasad does a credible job of playing someone who is confident and passionate about her goals. But Saqib looks like he is trying a tad bit hard to come across as the chill, upbeat and reckless Deep. The ZEE5 movie also talks about comics’ censure by media and right-wing political outfits. It tries to discuss freedom of speech but doesn’t do a great job of it. But points to the writer for having good intentions.

Laxmii, previously called Laxmmi Bomb, seems to have been assembled as it went along, with not one coherent thought through it. Laxmii movie cast: Akshay Kumar , Kiara Advani, Manu Rishi Chadha, Ashwini Kalsekar, Rajesh Sharma, Ayesha Raza Mishra, Sharad Kelkar, Tarun Arora Laxmii movie director: Raghava Lawrence Laxmii movie rating: One star Somewhere deep inside the mess that’s Laxmii, is the kernel of a solid idea: to give us the story of a transgender person, with empathy and sympathy. But this Akshay Kumar-starrer is a two-hour clutch-your-head, can-I-really-be-watching-this nonsense, from beginning to end. When it starts, you have hope. Kumar plays Aasif (gulp, yes, a Muslim), married to Rashmi (Advani), a good Hindu girl. Given that the star has been fervently waving the nationalist flag in his recent movies, just the fact of him playing one half of a Hindu-Muslim jodi, hawww, comes as a pleasant surprise. Rashmi’s mum (Mirza) asks runaway ‘beti’ to come home, all is forgiven, ‘naaraaz daddyiji’ ( Sharma) notwithstanding, and along goes the happy couple, expecting to be blessed, and taken into the fold. A precocious child actor is made to spout this line: ‘abhi bhi Hindu-Muslim mein atkey huey hain.’ But don’t be fooled, going against ‘love jihad’ isn’t this film’s intention. It’s fashioned as a horror-comedy, based on the director’s 2011 Tamil original, Kanchana. So we get, in rapid succession, a haunted parcel of land, menacing shadows flitting about in the middle of the night, creaking doors, heartbroken sobs, reducing the household, which includes Rashmi’s brother (Chadha) and sister-in-law (Kalsekar) to gibbering buffoons. And Aasif, whose life’s mission it is to fight superstition, starts acting funny: is he just pulling a fast one on us, or is he possessed by a ‘bhatakti-hui-aatma,’ out to take revenge? Akshay was a hoot in Bhool Bhulaiyaa, Priydarshan’s 2007 flick which was also a horror-comedy. As befits a Priyan film, the strokes were broad, but there was some thought and structure to the film. Laxmii, previously called Laxmmi Bomb, seems to have been assembled as it went along, with not one coherent thought through it. How does a film, you may want to ask, whose leading man is meant to be a crusader against ‘bhoot, pret and aatma,’ happily stuff itself with babas, and protective ‘vibhuti,’ and a ‘three-eyed-coconut’ which rotates if it senses an evil spirit? Nope, not kidding. And as we are being very secular here, there’s also a kohl-eyed Musalmaan character who holds out a ‘taaweez’ which will keep our hero ‘mehfooz’? The threat of a Christian priest is held out too, but mercifully the script, such as there is, forgets about it. Claiming to break stereotypes by heavily stereotyping people across the board is a device bad Bollywood never seems to get enough of: all the transgender characters clap their hands, and dance around a fire; a good Muslim character wears a ‘topi’ and beard; and everyone else speaks their lines in the hope of making us laugh. No one succeeds, not even Akshay, who can be really good when he isn’t taking himself too seriously. The only one does take his role seriously is Kelkar (effective), as Laxmii-the-transgender, who is wronged.

Soorarai Pottru is marred by the high-pitched melodrama whistled up every time the script needs to create fan-pleasing moments. Given Suriya’s mega popularity, that is an always present temptation, and the film gives in, much too often. Soorarai Pottru movie cast: Suriya, Aparna Balamurali, Paresh Rawal, Urvashi, Mohan Babu Soorarai Pottru movie director: Sudha Kongara Soorarai Pottru movie rating: Two stars How a young man with dreams in his eyes owned the skies is the story of Soorarai Pottru, in which Suriya plays Nedumaran Rajangam, the pioneer of low-cost aviation in India. Maaran (Suriya), a thinly-disguised version of G R Gopinath and his prolonged battle to start Air Deccan, overcomes one obstacle after another, to put the common man (and woman) in an aircraft, making flying universally accessible. It is an uplifting underdog tale, where victory was hard-fought, and won. Going by the goings-on in Sudha Kongara’s directorial, Maaran’s troubles were never-ending. His number one enemy, the snooty, elitist Paresh Goswami (Rawal), who wants to prevent ‘coolies and beggars’ from stepping into his airline, keeps snapping at his heels. A corrupt, complicit babu in the Ministry of Civil Aviation keeps finding rules to stop him. And the lack of funds is a continual struggle. What keeps Maaran going is the love of a good woman, Bommi (Balamurali), the belief of countless people from his village, led by his mother (Urvashi), and his conviction that he can do it. Given all these elements, each more dramatic than the other, the film should have soared. And it does in parts, especially when Suriya and Aparna are jousting, him showing his softer aspects, her refreshingly real, brimming with spunk. As well as some other sequences in which he, along with his two faithful pals, goes full tilt at the challenges strewn in his way: it is Suriya’s way, all the way. The film is marred, however, by the high-pitched melodrama whistled up every time the script needs to create fan-pleasing moments. Given Suriya’s mega popularity, that is an always present temptation, and the film gives in, much too often. A sequence in which Maaran arrives home to confront his mother’s teary recriminations for missing out on a crucial happening would have been a better fit in a masala entertainer. Oh wait: is this why it is in this movie, which insists on dousing real life with loud reel tamasha? The film is careful to tell us that it is ‘not’ a biopic, and that it is based on ‘several true stories from low-cost aviation’, so we never quite know who is real, and who has emerged from the creative license claimed by the filmmakers. There’s a Mallya-like character called Ballaiya, who mentions his ‘beer company’ and fun-loving ways. Both Ballaiya and Goswami are drawn as caricatures, as are many other characters who are simply stock, only there to buff up the film’s run-time. But the incredibly inspirational nature of the story, in which a common man creates history by starting ‘the Udupi hotel of the airline industry’ comes through. Gopinath’s venture meant that class and caste barriers (Suriya speaks of this) were swept aside, and the average Indian could fly. Those faces, wreathed in delight, are the most pleasing takeaways from the film.

Series Review This drama got off to a fiery start and then it took an emotional turn making it even better. It does justice to all of its genres of medical, romance and drama. I would highly recommend watching this one and I am glad I watched it while it aired. Doctor John follows the life of the youngest Professor in anaesthesiology, Cha Yo Han, who specialises in pain medicine. He is a genius who excels in diagnosing his patients but his talent is overshadowed by a malpractice case when he euthanized a terminally ill patient who was under his care. It resulted in Yo Han being imprisoned for 3 years. What looks like just a euthanasia case, actually has something else brewing on the side, which is more sinister. The series starts at the end of Cha Yo Han’s prison term and him going back to his job. Despite him finishing his sentence, Prosecutor Son Seok Ki (who handled his case) still on Yo Han’s tracks. Nurse Cha Eun Jeong who is obsessed with taking her revenge on Yo Han joins hands with Son in this. How Cha Yo Han manages to treat patients while handling his personal life forms the rest of the plot. The series touches upon the controversial subject of euthanasia. It showcases the different viewpoints on euthanasia from the angle of both the patients and their guardians. Throughout the series we see the various characters talk about it, argue and discuss the subject under different circumstances. This was well scripted and depicted, as one can understand every person’s point of view. The show focuses on pain management. It portrays the various degrees and types of pain that patients go through. It also depicts the suffering that they go through realistically. Few episodes into the show and one comes across the rare disease called CIPA where a patient doesn’t feel pain or temperature and doesn’t have the ability to sweat. CIPA patients do not live past the age of 5. Later, it is revealed that Cha Yo Han is a CIPA patient who has managed to survive all along by using methods that he has devised. The scenes showing how Yo Han goes about his day to day life and the in-depth portrayal of life as a CIPA patient is commendable. Pain is always considered bad, but the latter part of the show focuses on how important it is to feel pain and how it helps to keep one alive. It shows pain as a means of communication the body uses to let one know that something is wrong so that it can be treated. It also portrays how the lives of the doctors are affected while they treat various patients. The scenes with the patients are so well made that the viewer can connect with the patients and their life. As the series progresses, one shares the same feelings of that of the doctors treating them. One of the significant parts of the drama was where the show highlights how difficult it is for the guardians of the patients and what they go through while supporting their loved ones. The medical content in the drama is of great quality and educational. Each case covers the symptoms, diagnoses and treatment in a detailed manner. Since each disease is a rare one, one also learns how difficult it is for the doctors to diagnose it as the symptoms often overlap with other diseases. The relationship between the leads is that of understanding and care. Their relationship grows stronger with every episode and is based on supportiveness. Every scene where the leads shared screen space was a great watch. The romance plot is in par with the medical content of the drama which is exceptional. It was interesting to see how the medical content intertwines with the romance plot. This was yet another remarkable performance by Ji Sung who portrays Cha Yo Han, a doctor who stops at nothing to treat his patients. He fits the role of the melancholic, secretive, composed but assertive Cha Yo Han very well. Cha Yo Han is selfless and lives just to save his patients. It is awe-inspiring to see how Yo Han goes up against the management/laws/rules/regulations to treat his patients whom he has just met. Despite the characters mentioning that Yo Han is anti-social, he comes across as a great mentor and empathetic to his patients. Lee Se Young has given a noteworthy performance as Doctor Kang Si Young. Kang Si Young’s character is heavily emotive and Lee Se Young has done a marvellous job with her role. Her performance in the crying scenes is laudable as it evokes sadness and sympathy for the character making the drama even better. Kang Si Young is an empathetic and competent second-year resident who is emotionally strong. This character is one of the best female leads by far, as she is matured, caring, strong-willed, loving and talented. Lee Yoo Joon portrayed by Hwang Hee is my pick out of the supporting roles in this drama. He is a pleasant and supportive character, which is much needed for the plot. The dialogues in the show are exceptional and it is accompanied by great acting and screenplay. Despite it being a medical drama, the romance, legal and mystery aspects of the drama are catchy as well. The OST’s are definite additions to one’s playlist. Doctor John is one of the most informative dramas out there. It is a layman’s encyclopaedia of rare diseases. Despite it being heavy on the subject of diagnosis and treatment, it is easy to follow. The drama, on the whole, was deep-seated and emotive. With its optimistic and happy ending, Doctor John definitely tops my list of favourite medical dramas making it a must-watch

Karthik Subbaraj’s short Miracle, starring Bobby Simha and Muthu Kumar, is the shortest, but the most interesting: there is, of course, a twist in the tale. Putham Pudhu Kaalai movie cast: Jayaram, Kalidas Jayaram, Urvashi, Kalyani Priyadarshan, M S Bhaskar, Ritu Varma, Suhasini Mani Ratman, Anu Hasan, Shruti Haasan, Andrea Jeremiah, Leela Samson, Sikkhil Gurucharan, Bobby Simha, Muthu Kumar Putham Pudhu Kaalai movie directors: Sudha Kongara, Gautham Menon, Suhasini Mani Rathnam, Rajiv Menon, Karthik Subbaraj Putham Pudhu Kaalai movie rating: Two stars It’s hard to pull off anthologies because the arrangement can get forced, leaving you wondering about commonalities. But one of the side-effects of the pandemic is that everyone who is lucky to be alive, has more time to invest in and repair relationships, especially those that have gone south, or gone missing. Can we dare hope that things will be better? That’s the theme running through Putham Pudhu Kalaalai, five shorts made by a bunch of well-known directors. The lockdown and its impact has already been seen in many similar efforts by filmmakers around the world. But despite some perky moments here and there, this anthology remains mostly blah. Sudha Kongara’s Ilamai Idho Idho (Jayaram, Kalidas Jayaram, Urvashi, Kalyani Priyadarshan) has a pair of lovers reconnecting after years. They remember dancing around like leads in winsome Mani Ratnam’s romances, as well as squabbling about wet towels left on beds, and spoons stuck in dishes in the fridge. The film goes back and forth in time, and we get to see the young lovers turning into their elderly selves, hiding from their grown-up children, till one day… Sweet, but needed to have been more bitter-sweet, for requisite impact. A granddaughter and her ‘thaatha’ are at the centre of Gautham Menon’s Avarum Naanum/Avalum Naanam ( M S Bhaskar, Ritu Varma). She arrives at her grandpa’s house to tend to him, as his house-help is stuck during lockdown. She is an IT professional; he is a scientist, and both are shown trying to find a way to get back to each other, having had no contact for years because of family complications. The girl has an amazing wardrobe (I fully drooled); the grandpa knows how to fix routers (yay for him), but the way they do this is much too straight, and heavily underlined. A comatose mother has been rescued from the pain and indignity of the ICU by her husband, much to the consternation of their daughters, one of them played by Suhasini Mani Ratnam, also the director of ‘Coffee, Anyone?’ Anu Hasan and Shruti Haasan also appear in this segment, which talks of the importance of being together and healing, and there are a couple of interesting plot points superficially touched upon (a late child born to middle-aged parents, and the acceptance of a special needs child), and it’s all too treacly. Rajiv Menon’s Reunion has an empathetic mother (Leela Samson), a doctor son (Sakkil Gurucharan), and a surprise visitor from the son’s past, a girl he was in college with. Sadhana (Andrea Jeremiah) is an attractive boho-chic singer at a bar, and sports knee-high boots. She also has a secret. What’s interesting is the degree of relaxed support that the mother extends to the girl (it’s the kind of thing most people would be horrified by), but again I kept looking for that something extra that Menon is usually able to bring to his work. The short just slides by, minus nuance. The fifth short, Miracle, by Karthik Subbaraj seems to have been shoe-horned into this anthology. What have two down-on-their-luck petty thieves rootling around in run-down backyards have in common with the immaculately groomed people of the previous four films? Bobby Simha and Muthu Kumar play the scruffy ruffians who luck into a cache of cash. Do they manage to make off with it? Subbaraj’s short is the shortest, but the most interesting: there is, of course, a twist in the tale. Click And Share.... Movies Revies .. Search........ Back.....

Halal Love Story develops organically into a charming movie about love, faith and heartbreak. And more importantly, it gives us insight into a community and their way of living. Halal Love Story movie cast: Indrajith Sukumaran, Joju George, Sharaf U Dheen, Grace Antony Halal Love Story movie director: Zakariya Mohammed Halal Love Story movie rating: 3.5 stars Director Zakariya Mohammed’s Halal Love Story is sort of an antidote to movies that showcase the sheer ruthlessness of Muslim rulers from about 5-6 centuries ago. While such films aim to paint Muslims as “invaders”, Zakariya’s movies encourage us to remember that after Delhi Sultanate, there was British, independence struggle, Mahatma Gandhi , and the formation of modern India as “a secular and democratic republic.” Zakariya shines the light on the community, which is aspirational, and shares common values that are prevalent and distinctive to India. You won’t find a single character in his movies (Sudani from Nigeria, Hala Love Story) that fits the usual on-screen stereotypes of the community. Halal Love Story is about deeply religious men who set out to make a movie that would fit their description of ‘Halal’, which means “permissible or lawful” in the Quran. Zakariya also examines the conservatism that controls the community and therefore, the expression of its female members. Now, the director is not taking sides, passing judgements or trying to preach us about “what should it be.” Instead, he has simply opted to show us things as they are. And it is up to us what we make of it. Now, what is a better place to start a movie that addresses growing Islamophilia, than at the beginning: September 11 attacks. The film opens with TV channels repeatedly playing out two rouge aeroplanes bringing down New York’s World Trade Center. Rahim (Nazar Karutheny), a member of a ‘progressive, social’ Muslim organisation, is in the process of editing a critical video speech about America’s “neo-invasionist” missions in the wake of 9/11. And we can understand that the film is set in the period of early 2000s. Newspaper clippings, ambassador cars, small-engine bikes, basic mobile phones, and public phone booths create the ambience of the period. Rahim is troubled that popular culture is filled with what he considers ‘haram’, which is the display of romance, violence and titillating songs. He is not alone. Indrajith Sukumaran’s Shereef, a star of street plays, is also looking for an opportunity to step up the game by doing movies. But, the problem is nobody is making a ‘halal’ movie. And together they approach Thoufeeq (Sharaf U Dheen), a 28-year-old school teacher. Thoufeeq is tasked with the responsibility of writing a script, which is fully in sync with the do’s and don’ts of their faith. And then comes in Siraj, an in-form Joju George, who is opposite of things considered ‘halal.’ He is approached to make a movie titled ‘Moonamathum Umma.’ “It is a romance movie, no?” asks Siraj’s assistant. “No. It is about Umma, the mother,” says Thoufeeq. Now, the telefilm has a good message and intention. But, Siraj’s task is not simple. He has to make a movie that appeals to the conservative belief of the producers, starting from picking the cast. For example, Siraj is forced to pick a real-life husband and wife so that strangers don’t feel awkward playing husband and wife in the movie. The comedy in Halal Love Story is not loud. It is mainly situational as Zakariya, with his honest observations, brings out the irony and the paradox of faith and how people inte rpret it. Halal Love Story develops organically into a charming movie about love, faith and heartbreak. And more importantly, it gives us insight into a community and their way of living.

All hopes for a fresh take are dashed practically as soon as the film opens: not one of the characters is interesting enough, nor are the proceedings. Ginny Weds Sunny movie cast: Yami Gautam, Vikrant Massey, Suhail Nayyar, Ayesha Raza Mishra, Rajiv Gupta Ginny Weds Sunny movie director: Puneet Khanna Ginny Weds Sunny movie rating: One star West Delhi. Punjabi. Middle class. Rom-com. Keywords which lead you to the endless fascination Bollywood has for movies featuring ladka-ladki, mummyjis and daddyjis, gaana-bajaana, and shaadi -vyaah. But not every film hoovering up this template can be Band Baaja Baraat, can it? Sunny aka Satnam Sethi (Massey) has a dream, to fulfil which, his fond father declares, he (Sunny) will have to get married. Why? Who knows. Once ‘papaji’ (Gupta) has made this decision, ‘puttar’ has no choice but to obey. Ginny ( Gautam ) is a confused soul, stuck with a commitment-phobic ex (Nayyar), and a loving mom (Mishra) who is dying to get darling ‘beti’ married. When the title itself leaves no room for ambiguity, the only interest is in the manner in which the wedding will be accomplished: will the path to the altar be smooth or rocky? All hopes for a fresh take are dashed practically as soon as the film opens: not one of the characters is interesting enough, nor are the proceedings. You would have thought that Massey, as the rough diamond Sunny, would be a hoot. And Gautam, who was so good in Bala, would sparkle. You would be so wrong. And neither Mishra, who can perk up any scene, nor Gupta are given anything to work off. Nothing wrong with the actors. It’s the pallid writing that lets them down. There was some potential in the on-off relationship between Ginny and her ex, who refuses to let her ‘move on’ and keeps popping up at the most inopportune moments, but that too trails off. Just like the film.