STAR STUCK
A nice-enough idea for a lower-middle-class love story is scotched by leads who just don’t belong in this milieu.
AUG 22, 2010 – HAVE YOU SEEN THE DIADEM CREATED BY a drop of blood as it descends from the brow of a beat-up fighter, crashes onto the floor and rises subsequently in striking slow motion? If not, I suggest you run-don’t-walk to Pradeep Sarkar’s Lafangey Parindey, which, a couple of scenes later, uses a similar slo-mo technique to detail the trajectories of droplets of water as Nandu (Neil Nitin Mukesh, playing the fighter) freshens himself while stooped over a sink. Had that drop of blood gravitated in real time and stained the ground with its horror or had those water droplets been allowed to (again, in real time) sting Nandu’s face so that every combat-deadened cell was shaken awake, this romantic drama might have acquired the jagged edge it so desperately deserved – but then Sarkar is the kind of filmmaker for whom the allure of the frame is as vital as the authenticity of the moment.
And yet, despite the fussiness of his filmmaking, we remain engaged, for a while, by the simple fact that there’s more to this love story than just the mechanics of boy (Nandu) and girl (Pinky, played by Deepika Padukone) getting together. At least on paper, Lafangey Parindey is an interesting idea – a love story fashioned from material more eligible for a morality tale. In films like Kinara and Dushman, the man who wronged someone attempted to make amends by bettering their lot, and much of the resultant drama was enacted around the dark nights of his soul. Here, all that angst is channeled, instead, into the quietly impressive score by R Anandh. (This is one of those films where it pays to actually listen to the songs, lyrics and all.) Very little such trauma, therefore, is in store for Nandu, who, as in those earlier films, wrongs Pinky and subsequently strives to make things right for her.
Unaware of Nandu’s contribution to her condition, Pinky falls for him, and if there’s a twinge in his conscience, we aren’t allowed to feel it. For that matter, there’s a noose closing around Nandu, thanks to police investigation of a crime he was involved in – and we aren’t allowed to experience that tightening. There’s a smaller danger in the form of the duplicitous Usman Bhai (Piyush Mishra), who runs the fights that Nandu routinely wins – and we aren’t allowed to feel that menace either. These portions are, to this love story, what unyielding parents, say, would be in another – mere hurdles to be surmounted. The slow blossoming of the relationship between Nandu and Pinky is what Sarkar is interested in, and to his credit, he charts a wholly believable trajectory – feelings of mutual attraction and declarations of love do not occur until well into the second half, and even when they do, they’re refreshingly muted.
The problem is that this conceit on paper never really catches fire on screen, primarily due to the fact that Neil Nitin Mukesh and Deepika Padukone are the last two people you’d expect to find on the grimy streets of tapori-lingo Mumbai. The way he chews his food with his lips elegantly pursed, the way she daintily crosses her legs while seated, or even the way they look and the clothes they wear and the way they speak – nothing, just nothing, rings true. (Remember the model-perfect Zeenat Aman trying to peddle rustic earthiness in Satyam Shivam Sundaram, and you have the general idea.) What’s worse, they’re surrounded by a group of excellent actors who look and feel and sound real, and even Pinky’s perennially shirtless layabout-brother, who appears in about one-and-a-half scenes, convinces us he’s more of a lived-in character than these two impostors, whose story we’re supposed to invest in.
And that’s a pity because, otherwise, there is a lot to savour – like the incipient romantic moment where Pinky teaches Nandu to look for shapes in clouds, or the way Aage bhi jaane na tu (from Waqt) playing on the car radio gently hints at unknown terrors ahead. One of Sarkar’s most visible qualities as a filmmaker is empathy, and his embrace extends to everyone. Pinky’s ambition, like that of the heroine of Rab Ne Bana Di Jodi, is to win a reality show. At the end of the preliminaries, when Pinky and Nandu are waiting to know if they’ve progressed to the next round, the emcee announces, “Aamchi Mumbai se…” – and we cut to the revelry in the humble neighbourhood that Pinky and Nandu hail from. This win belongs as much to them as to their near and dear ones, and that’s the real appeal of these fifteen-minutes-of-fame reality shows. They let everyone feel they have a hand in shaping stars – never mind that, sometimes, these very stars fail to shine.
Copyright ©2010 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Pradyumna M
August 21, 2010
🙂
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roswitha
August 21, 2010
I agree entirely with the leads being the major problem with this film. With two more convincing actors it may have been judged by the same standards of authenticity that the supporting cast and those throwaway bits of solid filmmaking – the festival sequences, the villain’s handful of scenes in his first-floor flat – brought to it: with two more powerful stars, we might have judged it by a whole different set of criteria altogether. I was just thinking of Amitabh Bachchan, whose tapori act was about creating an archetype rather than verisimilitude; where that edge of refinement and elegance actually adds to the way you experience the docks in Deewaar, even today.
I don’t mean to make a direct comparison of anyone, least of all NNM or Padukone, to Bachchan, but out of a sense of wistfulness for what we’ve lost in Bollywood. Even the hopelessly obvious studio sets of those seventies films reek of the rawness of desperation and ambition; even the nifty visuals of Lafangey Parindey are gentrified by its protagonists. Art imitates life in B-town, I suppose.
Loved the music, too. As you say, it was a nice enough idea. I can’t think of which actors I would have chosen in place of the lead pair, though.
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kannagi
August 22, 2010
Ofcourse, the director erred in not casting Abhishek Bachchan, who would have looked lived-in, what-not.
Why do they even make films without any Bachchan in Bollywood?
How are they going to get appreciation from the internet’s Bachchan Propoganda Machinery, if they don’t?
If only they had cast Bachchan, this movie might have got a good review in this site and other BPM websites. Sigh! A whole industry is just lacking common sense
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bran1gan
August 22, 2010
roswitha: That’s exactly what I was thinking too, about which of today’s stars would be able to portray that tapori-Mumbai-wala. Maybe Sanjay Dutt in his Naam phase? I cant’ think offhand of anyone after that.
kannagi: Every time this site is in danger of losing a bile-fuelled nutcase to the electronic ether, a new one pops up to keep the entertainment factor going. Do not disappoint us by disappearing again. Cheers.
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Raj Balakrishnan
August 22, 2010
Spot on! When will Yashraj realise that you cannot have models like Deepika Padukone play a middle-class girl. Yashraj films main drawback has always been casting. One more thing, this movie is supposed to be based on the old Vijay-Simran film Thulldha Manamum Thullum.
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Raj Balakrishnan
August 22, 2010
Manoj Bajpai can pull off tapori!
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apala
August 22, 2010
Dear BR,
I have not seen it…………looks like I am going to give it a miss (even on DVD!). But I read somewhere that it’s kind of similar to Thullatha Manamum Thullum by Ezhil (Vijay, Simran) which released a few years ago in Tamil?!!! Don’t know whether it’s true…….
BTW, saw Expendables…….guilty pleasure!!!!!!
Seems like you gave a wonderful speech on Tanglish…….Great to know that not only you can write the walk but you can talk the walk………I hope with K2K, you can walk the walk!!!!!!!!!!
Later dude…..
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Vivek
August 22, 2010
The son shall redeem the father! 🙂
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bran1gan
August 22, 2010
Raj Balakrishnan/apala: Yeah, I heard about that Thuladha Manamum comparison. The mid-90s Tamil cinema is a bit of a blur for me as I was away — so I missed the whole rise of Ajith, Vijay and so forth. But Gulzar’s Kinara, which I’ve mentioned, is pretty much the same story, and that came out in the 70s.
Vivek: I saw this trailer before Naan Mahaan Alla. Superb trailer. I like Oram Po quite a bit, so really looking forward to this. They showed a trailer for Mangatha too. That was hilarious in all the wrong ways 🙂
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apala
August 22, 2010
Test Screening of Harry Potter….Deathly Hallows Part – 1 in Chicago!
http://www.slashfilm.com/2010/08/21/early-buzz-harry-potter-and-the-deathly-hallows-part-1/
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Venkatesh
August 22, 2010
Drat , i have not seen the film – but from the promos the thing that leapt out was how disjointed the leads looked from the milieu of the film.
To me if lt looks fakes – everything else fades away.
Where is a Smita Patel when you need her ?
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vijay
August 22, 2010
BR, have you caught Naan mahan alla? Seems to be getting some good reviews.
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bran1gan
August 22, 2010
vijay: I didn’t care for it much. I found Vamsam far better. Will write more in next week’s BR.
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vidyut
August 22, 2010
“They showed a trailer for Mangatha too”
That is not the title anymore. Read somewhere that Venkat Prabhu, a strong believer in numerology, decided on changing the movie title to “Mankatha”. Apparently, he is not a strong believer in acting skills. As a strong disbeliever in unsettling expectations, I have a couple of suggestions for Venkat. How about “Maangaa Thaa” or “Mann Kathai” to keep the expectations more down-to-earth.
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Rahul
August 22, 2010
Is Siddarth someone who you would expect to “find on the grimy streets of tapori-lingo Mumbai” ? He pulled off the Mumbai lingo in a very nuanced and assured manner in Striker. Lets face it, these people are just bad actors.
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Mambazha Manidhan
August 22, 2010
Naan Mahaan Alla is another Sarvam, a hapless victim of the ‘first-half-romance-second-half-action’ treatment. Not to say that such a treatment is a bane, but I feel when you set out to do a movie in that format you should embrace it fully. The second half reeked of dead air with bland action and squandered buildups. The introduction of the Kasimedu mob boss into the story as a potential threat to Karthi which turned out to be a comic meet-greet livened up things for a while. But, with even him biting the dust soon,the tension fizzled out. I feel the movie ended a half hour before than it should have.
And, may I know what you found hilarious about the Mangatha trailer? Of course,they didn’t achieve the cool quotient they set out to, and the bullets whizzing through the air sounded like deebavali pattasu. But, it was more ‘meh’ than ‘lol’.
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tejas
August 22, 2010
Beat this – went to a designer store Remanika with wifey and they have on display posters of Deepika wearing their new collection in ‘Lafangey Parindey’. Now THIS is our idea of lower-middle class girls. What more could you expect!!
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rameshram
August 23, 2010
the ‘ best bollywood critic in America’ is in surgery and will review this film subsequently.
please talk among yourself quietly.
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raj
August 23, 2010
Bollywood’s great renaissance seems to have hit a road block. The highs of 2006-2008 seems to have slowed down. Any thoughts?
Two years back, an emphatic case could be – and was – made that every other indian industry is going to dogs while Bollywood is all rosy, nice, and poised for the big leap out of the Indian league into a league untouchable by regional cinema . How is it today, BR?
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Deepak
August 23, 2010
What did you think of the actor who played Karthi’s father in Naan Mahaan Alla/ villain in Vamsam? He seems to be everywhere these days. Heard he was a producer or some such thing…
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Ratnakar
August 23, 2010
I think NNM and Deepika, not being convincing in their tapori portrayals, has very less to do with their backgrounds.
Both Aamir and Sanjay Dutt, came from privileged backgrounds, connected to the industry, and yet they pulled off some of the most memorable tapori characters in Hindi cinema-Munna in Rangeela and Raghubhai in Vaastav, not to mention Munnabhai. And how did AB Sr, who came from an erudite, literary family, pull off those tapori roles( Amar Akbar Antony) or those UP-Bihar bhaiyya stuff( Don, Ganga ki Saugandh) so effortlessly. I guess it has to do with the fact, that both NNM and Deepika, just lack the acting chops.
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dipali
August 23, 2010
The skating scenes were just fabulous. Deepika’s truly like a graceful swan in those. There was much tenderness in the making of this film- it shone through.
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Radhika
August 24, 2010
>>which of today’s stars would be able to portray that tapori-Mumbai-wala
maybe not a star – but arshad warsi is quite talented. and lookswise, tushaar kapoor would have fit – and it would have been a reprise of kinara! or ritesh deshmukh – who was good in naach ina subdued role- i thought antara mali did an excellent job in naach as a middle-class girl who also danced
deepika looks gorgeous but when she opens her mouth, she has this odd accent that pretty much slots her as a convent educated student – neither the very upper class nor the middleclass –
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Amrita
August 25, 2010
So am I the only one who thought it was 80s-lite? Roller skates, ambition in a chawl, various “chhotu”s, friends on bikes gathering outside the chaiwala, steely police with a soft corner for romance, etc. It’s interesting you mention Sanjay Dutt, because the moment I saw this I pictured it with either him or Salman v. 1.0 co-starring Pooja Bhatt or Revathy or Neelam. Maybe Mads Dixit. Equally out of place but to a different level because they’d be able to fake the accent to a certain degree at least.
What really destroyed this movie for me was Deepika’s accent. I don’t really notice it / can gloss over it in her yuppie avatar but here it just stood out a mile. When she wondered what she was doing there with these people, I literally LOL’d.
And I think that’s pretty much the problem with this crop of actors. To be fair though, if we’re talking current stars, I think Priyanka Chopra could have had a decent shot at Pinky and that is not something I would have said when she first started acting or for many years after. Everyone looks so polished these days compared to ye olde days of horrific debuts when Saif looked like a ladyboy and Karishma looked like a shemale that too many people seem willing to forget that these are basically pretty children with no formal training who’ve made a half dozen movies – so this is about par for the course.
PS – Piyush Mishra and KK Menon ought to be in everything. Actually, they probably are.
PPS – Do not rag on Zeenie Baby. Zeenie Baby is above comparison in every way. Esp acting. Acting is for mortals. Also, that SSS example is just not right. She wasn’t peddling rustic earthiness. Earthiness, yes. But quite a different kind. And that she peddled excellently. The rustic bit was just, er, window dressing. 😛
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KPV Balaji
August 25, 2010
I quiet enjoyed Naan Mahan Alla. It dint have those punch dialogues, screaming villains, terrible comedy tracks, pre climax kuthu songs and yet was entertaining within its commercial format. Loved Yuvans work while cinematography by Madhi was brilliant. Don’t remember the last time a stunt sequence was picturised in such a realistic fashion. It din have much of a story going through, and was only a sequence of events that was unfolding in a bit random way, though it never seemed an issue while sitting through the cinema hall. I would take this ahead of the likes of Singam anyday.
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munimma
August 26, 2010
Shows the range of today’s actors I guess. Arshad I agree would fit, so would a few other small-time ‘actors’, but then that is not what mainstream bollywood is about, right?
Amazing that all your comment tracks twist and turn and find their way to tamil movies 🙂
talking about kay kay menon brings aage se right to mind. Loved his role there.
ha ha Amrita 🙂 window dressing indeed!
hope the ‘best bollywood critic in America’ recovers soon.
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bran1gan
August 26, 2010
Mambazha Manidhan: Oh, I just found it so badly wannabe. And I LOLed at the breaking of the coffee mug. Don’t ask me why.
Deepak: I think his name is Jayaprakash. Yeah, he’s everywhere these days. He seems to be adequate.
Radhika. There was a flintiness about Antara Mali that made her a very interesting heroine to watch on screen. I guess she chose a lot of wrong films.
Amrita: “And I think that’s pretty much the problem with this crop of actors.” Actually, I don’t think it’s a problem with actors. Not every can do everything. No one asked Shammi Kapoor, for instance, to do Mughal-e-Azam, and his strength was cannily expolited in those frothy romances. The problem lies more with the people who make the casting decisions.
KPV Balaji: Oh, I’d take something unpretentious like Singam any day over something like this that thinks it’s thinking out of the box and ends up falling prey to a lot of the same cliches. At least Singam is honest about what it wants to be.
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mohan
August 26, 2010
@brangan
Mr.Rangan, I’ve been one of (I guess) many silent readers on your blog. And I’m a bit curious. In many of your reviews, and almost all your Between Reviews columns, you do a lot of analysis and dissection and all that. But at the end of it all, I ,as a reader, am often left wanting for a lack of bottom-line in the sense that, did you like the bloody film or not? May sound a bit simplistic, but that’s something I’ve always missed in your writings. You never end with a “Miss it, it’s crap” or “This is some good shit” or their sophisticated equivalents. Why?
Coming to Naan Mahaan Alla, I thought the film was pretty good.
While there was the odd glitch like the song in remembrance of the deceased father(seemed contrived and unnecessary), the climax which didn’t gel well with the rest of the psycho-thriller story, and a love-story that really wasn’t central to the film, Suseenthiran did do a darned good job of telling a seamless narrative. While the love story was left to hang mid-way, the dada character to whom we are introduced during its course ties in neatly at the end.
And ultimately, if the director’s aim was to make a realistic movie that could also keep us entertained for the better part of 2 and half hours, he did succeed.
Yes, Singam did make no bones about its “commercial” identity, but does that automatically qualify it to be called a good film.
Its story was a stale rehash of earlier Hari films(which themselves have trite, inane storylines). 5 songs that that have the same horrendous picturisations with the same old telugu-film tunes and (horror oh horror)same old dance steps that we’ve witnessed in countless other similar “commercial” offerings.
Pray what did you find so enchanting about Singam? That it openly, unabashedly proclaimed that it’s a shit film of the kind whose heroes advise us to “leave your brains at home”?
And you say, NMA fell prey to “commercial” stereotypes.
1)NMA did not have a fight scene every 10 minutes where the hero performs impossibly idiotic stunts like tearing apart a Tata Safari with his bare hands ala Surya in Singam.
2)NMA did not have 5 “kuthu” songs where the heroine gets a chance to do ridiculous gyrations going under the guise of “dance” in titillating “costumes” in Namibia or Nigeria or Switzerland.
3)NMA’s hero is a vulnerable anybody like any of us who does get hit when he fights with 4 people and who looks on helpless when a man in the crowd stabs his father. Go back to a similar scene in Singam where a man in the crowd jumps out with a knife to stab Surya and recall his fate.
There are many more such points if you compare the two films.
As far as I see, NMA, despite a few nods to the “commercial”(which also don’t jar the senses by their incongruity), retains its psycho-criminal soul and hence stands out from the pack in much the same way as Vettaiyadu Vilaiyadu did. Though VV was much bigger in scope, of course.
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KPV Balaji
August 26, 2010
@BR : I was very sure you would say this :). But NMA was /is never publicised as some thinking mans movie or an offbeat attempt. It is purely publicized as a commercial potboiler, and it succeeds in that sans its mandatory elements. I would put NMA something as similar to Polladhavan ( whats ur take on that )which i equally enjoyed watching.
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Dualist
August 27, 2010
“Oh, I’d take something unpretentious like Singam any day over something like this that thinks it’s thinking out of the box and ends up falling prey to a lot of the same cliches. At least Singam is honest about what it wants to be.”
What sort of BS logic is this? A fashionable cliche this, bandied around quite often. It’s better to have pretensions than vacuity and bad taste.
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EbertWasRight
August 27, 2010
@munimma:
No, Mainstream HINDI CINEMA is about beating your think fucking skull into a pulp oh and can’t you say HINDI FILMS? Looks like you should be beaten until forced to.
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Kiruba
August 27, 2010
Don’t think I’d call it pretentious/wannabe, but NMA was pretty much boring stuff, especially when it turned serious.
Good that Suseendhiran has chosen little known actors for his next.
Felt sad for Kajal, though.
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