Spoilers ahead…
Like any self-respecting rags-to-riches gangster movie, Raees shows the boy before it shows the man. With a difference. In Deewar, the boy sees his father being branded a thief. He sees his mother struggling to raise her sons. So when a get-rich-quick opportunity presents itself, he grabs it, becomes a gangster. Or take Nayakan. The boy sees his father murdered by a cop. He kills the cop, flees. He ends up with the family of a smuggler, who tells him nothing is wrong if it helps a few people. This becomes his credo when he takes to crime. Now consider Raees. A Gujarati boy becomes a bootlegger in his dry state because… it’s a rush. There are a couple of cheeky masala moments when the young Raees (that’s his name!) steals something that belongs to the Mahatma, or when he walks past cops with a schoolbag stuffed with bottles of liquor. We grin. We sit back for a different kind of gangster film. Not about a gangster whose fate was decided by… well, fate, but one who decided it would be cool to be a gangster. The template, in other words, isn’t Deewar or Nayakan. It’s Goodfellas.
Parts of Raees live up to this promise. There’s a Scorsesean kineticism in the flashy editing – scenes don’t so much segue as collide and tumble into each other. Take the Laila song. Sunny Leone can’t match Zeenat Aman’s slinkiness – but the choreography keeps building, and it leads to murder, and there are undertones. Raees (Shah Rukh Khan) has just found out he’s going to become a father. And now, he’s out to kill his father figure (Atul Kulkarni). It’s good to see Shah Rukh in this mode. His slo-mo walk after the act – rings of kohl around the eyes, spatters of blood on the face – merits a long wolf whistle. As does a fight sequence set in a meat market, which involves a goat’s head. The stretch appears edited with a butcher’s knife. It feels icky, raw. It feels the opposite of the super-slick films we see today.
It’s nice, too, to not have the wife – Aasiya (Mahira Khan) – as a conscience-keeper. She’s a stock character – as is Raees’s friend Sadiq, played by Mohammed Zeeshan Ayyub – but there’s a nice little aside where we see her counting notes. Aasiya seems to know who Raees is, she seems to have made her peace with it. (Or maybe that was the attraction.) The film doesn’t bother with falling-in-love scenes. When we first meet Aasiya, she’s already in love with Raees. The catchy duet, Zaalima, comes much later, after Aasiya and Raees are married. But think back to Shiney Ahuja and Kangana Ranaut in Gangster, and you’ll see how perfunctory these love scenes are. They’re merely an excuse to bring back crinkly-eyed Shah Rukh and his dimple-deepening smile. Mahira Khan’s mannequin blandness makes you wonder if they had to go all the way to Pakistan to fill out this chalk outline of a role – but it’s not just Aasiya. None of the characters come alive. When Raees badmouths Sadiq, we don’t feel the knife-twist in the latter’s heart. When he turns his anger on Aasiya, we feel… nothing. When a Hindu neta marches into Raees’s Muslim neighbourhood, the enormity of the transgression doesn’t inform the action scene that follows. Regardless of a gangster’s profession, the general arc, filled with good guys and bad guys and cops and corrupt politicians, is always the same – it’s the characters that transform the generic into the specific. Raees never convinces us that this gangster’s life deserved a brand new movie.
Very late in the film, we get the reason for its existence, the specifics. In wanting to do good for his people, Raees ends up harming the nation. It’s a tragedy of Shakespearean magnitude, but it doesn’t register because it’s too little, too late, and we’ve lost all interest in the character. But then, we never really knew him, what he meant to these people, what they meant to him. His transformation from businessman to bleeding heart seems a function of director Rahul Dholakia’s (or maybe his star’s) doubts whether a Goodfellas will work in Gujarat, whether it’s possible to make an entire movie about a flashy, amoral gangster. But you need a solid emotional arc if you want to show Raees as some kind of saviour as well. Early in the movie, we get a line from his mother that no work is too small, that business is religion. It doesn’t quite have the same ring as the Nayakan line. It doesn’t quite make us feel for the boy like we felt for the boy in Deewar. Those were soul scars. Raees is all surface. We long to dig deep.
Was Raees always a Robin Hood at heart? Or did something trigger a transformation? Even when he promises sewing machines to the women of his locality, he has an ulterior motive – something that will help his liquor-smuggling business. But suddenly, he breaks down when a debt-ridden worker commits suicide. An older film would have made this worker a character, made us spend time with him, so that when he dies, we weep with Raees. Due to Dholakia’s decision to adopt a semi-documentary approach or maybe due to one of those things that just happens while making a movie (say, you discover there’s too much footage and the subplot about this worker is something you have to sacrifice), we get the sense not of organic character growth but life events being ticked off a checklist. There’s no one to root for, feel for. Suddenly, Raees wants to build a housing colony for the people around him. It’s hard to get a grip on the man. Or the movie.
Another problem: the lack of a mythic antagonist. Nawazuddin Siddiqui plays the cop out to get Raees, but it’s business and not personal. He has no particular enmity with Raees. He treats Raees like just another criminal who needs to be put behind bars. Siddiqui is enormously entertaining (the way he tosses off his lines leave you chuckling a few seconds into the next scene), but he’s not someone you can hang a masala-movie villain on. (Though to be fair, the film’s docu-drama approach to masala may have resulted in downplaying the larger-than-life aspects of the Siddiqui character.) Siddiqui gets a fantastic scene where he runs a road-roller over bottles of liquor, but the cat-and-mouse portions don’t result in satisfying payoffs. And because this rivalry isn’t explored, the end makes no emotional sense. It’s the kind of ending you expect in a Heat, where cat and mouse are two sides of the same existential coin. But when Raees gets all emotional and asks the Siddiqui character if he’ll be able to live with the regret, we go “Huh?”
We walk out with this question: Is it possible to make a relatively “realistic” masala movie? The lines don’t have the punch they should, and the Old Bollywood scenes are an embarrassment. (Here’s how Aasiya broaches the topic of her pregnancy to Raees: “Aap apne abbu ko kya bulaate the?”) You sense Dholakia’s discomfort. He’s a shadow of the man who made the fantastic Parzania, but then mainstream movies, especially those that come with a big star, have a way of cutting talented and ambitious filmmakers down to size. You try to walk the middle path between Scorsese and Salim-Javed (Kaala Paththar is invoked here), and you end up lost. The uncertainty in the film’s tone and pitch reflects in Shah Rukh’s performance. At times, he’s servicing the script. At times, he’s servicing his fans. But the girls in the seats next to mine kept screeching every time he showed up, so maybe he’s doing something right.
KEY:
- raees = wealthy person
- “Aap apne abbu ko kya bulaate the?” = How did you address your father?
Copyright ©2017 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
MV
January 27, 2017
Well, atleast SRK gets back his groove at the box office, with his dimaag, daring and dimples.
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Kid
January 27, 2017
BR:
“Is it possible to make a relatively “realistic” masala movie?”-
I think Aurangzeb did it quite well (for the most part)…the director truly understood the meaning of masala (“Trishul by the way of Don”) without sacrificing too much on the Noida/NCR-evils of urbanization angle. The only real issue I had with that film was Arjun Kapoor’s terribly mediocre performance (someone like Jimmy Shergill would have knocked this out of the park). I will actually say that Aurangzeb and Pandiyanadu are the only two truly meaningful additions to the masala genre (insofar as one can call masala a genre, i have often wondered whether it’s more useful to consider it as a mode of storytelling than a genre) in recent times.
A film which has quite a few elements in common with Raees (and has all the masala flourishes) is Shivrajkumar’s very underrated Kaddipudi (I love the title as well…who would have thought that the Kannada word for tobacco- Kaddipudi-would be ever be a hero’s name in a film). Soori has a talent for blending the rythms of neo-noir gangster film with the beats of a good masala movie. I found this vastly superior to Raees. I must also admit that I have always found SRK completely inept for a true-blue masala role. I simply don’t think he has a convinving persona for such parts (he was absolutely atrocious in Ram Jaane, a film I recalled while watching Raees). In this film, his performance suddenly has its moments, but it ultimately fails to lend the film any real heft. One can only imagine what someone like Vikram (or Suriya or a younger Sanjay Dutt) would have done with this role (and I know I am possibly the only one thinks this way, but I really liked Saif in Bullet Raja- that film too was plagued by the same problems which plague Raees, but which ultimately was a more interesting work than this Dholakia film).
Oh, and your opening paragraph is superb.
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MANK
January 27, 2017
Brangan, the film that comes to mind while watching raees is Bombay velvet. The trajectory of both the films seems to be the same. Directors who previously worked in small budget gritty art movies trying to make a big film with a big movie star by combining their Western movie sensibilities with the 70s Bombay masala and falling flat. This film is a missed opportunity . This could either have been a film like GOW or Sarkar films, or could have been in the dabang , sultan mould. It’s too bad the filmmakers couldn’t make up their mind. The confusion in the tone of the film also mirrors shahrukhs current confusion as a Star. Trying to hold on to his multiplex fans that made him a star and trying to conquer the single screen mass audience that has pushed both Aamir and Salman into other dimension as far as box office is concerned.
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MANK
January 27, 2017
I thought shahrukh gave a good performance in the title role taking in to account how unevenly it’s written, his confrontational scenes with nawazuddin really sparkle. but yeah I was expecting a much better and more iconic and powerful Performance, something of the caliber of CDI or Swadesh. Unfortunately this just isn’t it
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sravishanker1401gmailcom
January 27, 2017
So whats the score ? First Set : Raees 15 Kaabil 0 ?
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MANK
January 27, 2017
Kid, I thought the Telugu okkadu was rather realistic (at least a very toned down)masala film, especially considering it was a Telugu film and the general state of masala films there
In Malayalam , director IV sasi made a lot of what you could call realistic masala films,._ Like Eenadu,vartha, aavanazhi etc.- and so does joshi. Watch his mohanlal starter Naran if you haven’t. I think it was the last good masala film to come out of Malayalam. It does a very good job of positioning myth in midst of reality
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neel219
January 27, 2017
Spoilers ahead
SRK must definitely be doing something right.The girls sitting next to me cried when he died.
I found the movie way too long and sometimes yawn inducing. Most of the songs were out of place and unnecessary. Only a few scenes left an impression (which in such a long movie is criminal, pun intended) – SRK shedding a few tears before killing his father figure, young SRK having the guts to ask the cops to check his bag.
Also, I feel it is possible to make a realistic “masala” bad-guy movie by getting few elements right :-
1. Reasons for the guy to take the crime route (I guess, that’s what Amir Khan brought into Dhoom 3, the earlier two movies didn’t show the reason why John/hrithik were criminals)
2. The good guy making it a personal battle and has a dark secret/past
3. The female lead has to be a catalyst for the shift in morality or a reason for a misunderstanding
4. A childhood influence – mom, dad , best friend , estranged sibling or a teacher – to remind of the righteous path
5. Frequent “Heart of Gold” but “mind of a devil” moments
6. Loss of a loved one – Mom, child, sibling, best friend – better if killed by his direct/indirect consequences
Please feel free to add more pointers
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Raj Balakrishnan
January 27, 2017
Hi BR, would you be writing a piece on the Oscar nominations? 14 for La La Land. Don’t know what the fuss is all about.
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theartofexpressions
January 27, 2017
Very good analysis Rangan.. few points I have in mind..
This line exactly tells what is the issue with this movie – “we get the sense not of organic character growth but life events being ticked off a checklist” But i also felt after reading your review that you didn’t say anything about small small things which you may not have paid attention because it is projected as a massy movie and there are loop holes too.
You are correct on almost all points.. like “it’s hard to get a grip on the man” or “When a Hindu neta marches into Raees’s Muslim neighborhood, the enormity of the transgression doesn’t inform the action scene that follows”
I felt its an interesting movie.. though not up to the mark of material’s potential or hype.
I felt not disappointed but sad that the movie had very good material and they couldn’t cash it. Also that srk is still struggling with the success.. though he has certainly seems to better than before..
Anyways coming to the picture,
I disagree with you that “Nawazuddin Siddiqui plays the cop out to get Raees, but it’s business and not personal. ” . Nawaz one point says “Raees or mera rishta bada azeeb hai, paas rah nahi skta or dur jane nahi deta ” Raees specially sends sweets to Nawaz, Nawaz listening private conversation of Raees and wife and smiling like a friend.. Tea references.. All this scenes tells me that it was not just about business. Though agreed that it couldn’t become exactly like the Protagonist and antagonist arc or cat and mouse play.. and thats why you don’t feel anything about the end except that “chalo its ended” and lil sadness. You don’t feel the gravity of the dialogue when Raees asks whether Nawaz will be able to live with the regret.
Also about the scene “But suddenly, he breaks down when a debt-ridden worker commits suicide” It felt that there was some footage since He brings the card with him to give.. though one can argue that he was giving card to everyone.. But is you see the card, it was kind of special. So that made me guess there was something more in the actual scene.
Also I felt that here everything was rushing. You watching something and suddenly you are out of it without really connecting with it. I think story has too many twists and they tried to bring everything so editing is done really brutally and that makes one feels disconnect from one scene to another. Because of this fast editing, most of Srk’s dialogue doesn’t make such impact as they did in trailer, particularly “Ammi Jaan kahti thi”. “Miyan Bhai” works but not that much..
Two of my favorite dialogue from Trailer were “Naak me keel dal ke khench ke leke jaunga tujhko”.. and “Jo dhandhe ke liye sahi wo sahi, isse jyada kabhi kuch socha nahi” doesn’t show up in the movie.
In one scene Mahira is pregnant just to give lil subtext to killing Atul scene, But then 1 year happened and nobody comes.. and then in one song we see kid.. I think this was again decision at editing table..
Similarly when Hindu politician comes to Raees’s neighborhood, that scene have been shot like entry scene or energy scene before climax but it doesn’t work fully because we are still grappling with the fact that what just happened.. how it escalated
I felt they shot much footage and then they realized it. So they started to edit it. But then they couldn’t cut an entire portion as each portion had something. If you think about second half.. the political scenes doesn’t engage you much. But then also they had one or two things which maker wanted to show like the election scene and fighting with Hindu politician. These scenes had the potentials so instead of cutting an entire portion and making full movie coherent but losing a good potential whistle scene, they went with cutting small small things, which made every scene disjointed.
There is no struggle shown which can make people connect with Raees.. Neither you can love him or hate him or you really know him or understand him. In Guru, you know Abhishek is a businessman.. In Deewar you love AB, in some movies you hate someone, but here you don’t do anything. After “Apni dunia “becomes a failure, a song starts with srk looking tensed and I was reminded of song “Dayre” in Dilwale. The situation of song is laughable. A bootlegger is sad about the people and there is a song about life.
Romance is just for Srk fans. None of the song works except the first one and Laila. In one scene Atul comes to meet Raees and there is some dialoguebazi but seconds after we ran into a song.
I was disappointed to see Laila is not utilized fully. I really loved sunny leone in it and was hoping that they should end the song fully.
One more thing which acted as a disadvantage is having most of the masala in first half. you have all dialogues of Srk in first half, Laila in first half.. second half doesn’t have much.
Though Initial portions are superb and i was wondering that i am really seeing something very good which has srk the superstar in it. I loved all Srk scenes with Atul, specially the one where Raees wants to start his own business and Atul is kind of making sarcastic comment. I loved that scene because its not on the face sarcastic. It is slow disrespect which makes Raees vulnerable. Loved it.
As Rangan said, the initial fight scene is really really good. It is for the first time Shahrukh was in such a raw fight and didn’t do his usual cry or loud voices, even Josh didn’t have it.
I also loved all character actors except Sadiq wheteher its Damla seth, Musa, CM, Atul’s friends, doctor. I think Srk kind of worked for the first time in this raw setting.. Swades also was earthy but it was still felt clean. In this I could feel the dirt on road.
Another thing which works is the setting and environment shown. It felt real and dirty like it is.
I also felt that Nawaz’s dialogues worked better than Srk’s. Nawaz’s role felt like something is not fully written, but Nawaz really played those scenes well and he lights up the screen whenever he comes on screen. He looks confident and comfortable.
One of the scene where Nawz says ” baap ka naam hindu or bete ka naam muslim.Tu bada secular hai”, it was really sarcastic.
Srk seems to be in the role comfortable. He knows what is being expected. It takes lil while to adjust with young Srk’s new look in initial portions. At some point in the movie, i was seeing raees and not Srk and I really wondered if this is Srk movie. So kudos for lil brevity and being different there.
This movie’s curse and blessing is Srk or same thing can be said about Rahul. Because of SRK hype came, money came, Bo will come but to please his fans, movie lost its main plot. Rahul brought reality, rawness with him but couldn’t adjust with star’s limitations in the sense what can be shown. The two sides doesn’t meet properly but some how they meet. Only Amir seems to pull it off. But he is not star star.
One of the very good thing about the second half was raees’s religious take.. I love both dialogues, one when Raees sends food in four mohallas and says, “When I did not discriminate between religions while doing business ..why would I do it now?” and second one which is my one of my most favorite line of the movie ““Main dhanda karta hoon..par dharam ka dhanda nahin karta.”
I also liked the dialogue “Sheron ke to jamane hote hain”.
I also would add that it is really brave of Srk star that he worked with nawaz where setting is real and focus is very much on acting and Nawaz playing a “takkar ka role”. He has given good space to nawaz otherwise if you see, none of stars have done this kind of thing with any of solid actor. Ranagn what would you say about it?
One more thing which kind of made me respect Rahul lil more that it is the first time where a muslim character is doing normal things and shown performing all religious activities and doesn’t preach about religion. He understands “Dhandha” and have faith in religion but he doesn’t believe in propaganda and secular.
He also shown cooking. I really don’t know it was just a scene or deliberately put for showing if the character is like that. But in anger he raises his hand too.
Though not fully satisfied, but it is indeed an interesting movie and try to show srk something different. Lucky that this movie got made. It tried to mix Outim and Satya in one movie but that is difficult feat to achieve.
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theartofexpressions
January 27, 2017
Also about “Was Raees always a Robin Hood at heart? Or did something trigger a transformation? ” I felt he was always a businessman. In apni dunia also its his dream to build such a society but he has made calculation about his profits, how to sell.. ya he also want lil good fame that he has made such society and that why he is lil passionate about his “Apni dunia”. When “apni dunia” get scrapped, I think the reason he breaks down or feels really sad about others, because he never wanted to harm anyone. Its not like philanthropy didn’t work out.. not a socialist sadness rather a shopkeeper’s sadness that his customer got loss.. Though it is presented in such a manner that He looks like Robin-hood. Not really sure if that was the actual thought in director’s mind or done just to please fans.. As in, may be director wanted to make point that Raees was shrewd businessman and knew how to sell or how to present, same like Steve jobs or is it done so that fan feels that he is robinhood.
I felt that line which is not shown in the movie but was there in trailer tells more about him “Jo Dhandhe ke liye sahi wo sahi, Jo Dhandhe ke liye galat wo galat.. isse jyada kabhi socha nahi”
Rangan what you say about this theory..
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theartofexpressions
January 27, 2017
About Srk
I felt Srk was really comfortable in Dear zindagi and he was really proud of Fan and got critical success but still commercial success was required.. and i though Raees would bring commercial and critical success he needs but seems like Srk continues to struggle to get one BB movie. He is still doing great and trying different things. He is still among top 3, but he is at 3rd position now.
He still has to find his comfort zone where he can give BB in today’s time. But nevertheless he is more interesting star than other two. He is the middle of the other two khans and have shown that he can act and can take risks. He is spontaneous but does calculation too. As a movie buff you are still unsure where he will go, what kind of choices he will make. Whether he will mix salman and aamir together and continues to give average hit movies (as he tried in Raees) or he will find his unique path where he will hit six. It will be interesting to know how his future turns out..
Raees looks like hit movie definately but will it hit six, I doubt. Lets wait for Imtiyaz’s movie and Anand rai’s movie. It feels lil sad that a movie which has such a strong story and had potential, good actors, good director couldn’t cash it fully, given you are srk’s fan.
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theartofexpressions
January 27, 2017
@rangan what is your pov about my last comment.
@kid, dhoom 3 was a horrible movie
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theartofexpressions
January 27, 2017
Once Upon a Time in Ahmedabad
A history of violence: Shah Rukh in a still from Raees.
The lanes of Popatiyawad in Dariyapur, in the heart of Ahmedabad, remain noisy throughout the day. Pedestrians jostle for space and two and three wheelers weave their way in and out of the snarling traffic. Paan shops, auto garages, shops selling readymade merchandise and vegetable vendors line the streets, ensuring constant footfall. It’s only at night that there is some relief from the endless traffic. It’s also the only time of the day when mini trucks can commute easily along these lanes.It was in the dead of the night, in the ’80s and ’90s, that trucks would make their way into the deserted lanes surreptitiously, halting briefly outside a two-storied building opposite the house of Abdul Latif, offload cartons and glide out to make way for more. The scene replayed every night for years.
Gujarat has been a dry state since its inception and bootlegging was a thriving anti-social activity. Latif began his career as a gambler-turned-bootlegger, but unlike his contemporaries in the trade, he would go on to have a thriving career in organised crime, gaining notoriety as a mobster who was also the only known pointsman in Gujarat of the elusive gangster Dawood Ibrahim. The Shah Rukh Khan-starrer Raees, set largely in Ahmedabad, and scheduled for a January 25 release, is said to have unmistakable parallels with the life of Latif, though the filmmaker and actor have refuted it.
Abdul Latif at the peak of his power.
The house in Popatiyawad, known as Latif’s “club”, even today, has a basement, now used as a godown. Till Latif was alive, it was said to be the “remand room” where his rivals were tortured. It was said, “Latif ka chhokra log kisi bhi bahari admi ko pehchan leta tha (Latif’s boys would recognise any outsider). Ik parinda bhi chhup nahi paata tha (Even a bird could not hide).” “We would not know what kind of people they were or who came to collect liquor. Danger lurked till he lived and we wouldn’t dare to step out for even a glimpse,” says a neighbour in Popatiyawad, on conditions of anonymity.” Latif’s men would be deployed at every nook and corner of the street to keep vigil for the police. With trucks dumping hundreds of cartons of liquor outside his house, there would be queues of bootleggers to get their “maal” for retail trade. Latif was the wholesaler who controlled the major network of bootlegged liquor across the state. The people who would line up for the cartons at his house would sell it to the small bootleggers who would eventually supply them to end users,” says Habib Shaikh, a journalist who lives opposite Latif’s house. “Liquor khule-aam milta. Table pe sajaya hota tha (Liquor was easily available and placed on tables),” says Mehboob Baig, alias Mehboob Senior, a former Latif associate, now a real estate dealer.
Apart from the drone of trucks and clanking of bottle cartons, neighbours recall hearing the choicest of Bambaiyya abuses hurled at faceless people standing in the dark alleys from chinks in the windows and doors. “He was a short-tempered man who loved to play Solitaire and smoke cigarettes, particularly Four Square. He would play Solitaire for hours by himself. He used to drive a Fiat. He was, in many ways, a simpleton, who felt awkward in unfamiliar, public places. When he wanted to leave Gujarat and go to Dubai in 1992, he asked if I could arrange the tickets; he appeared to be clueless. He was always dependent on others,” says another former aide, who has also turned into a real estate broker.
Latif, who also went by the names Abdul Aziz, Md Iliyas, Md Hanif and Rehman, was also an immensely charismatic man, loved and feared in equal measure. “The reason behind his success was the fear he inspired among his enemies and the image of a messiah he had among the poor and the destitute. He needed the support of local residents in order to run his illicit liquor business, so he spent a lot on them,” says a long time associate of Latif. In the ’80s, when there were frequent communal riots on the streets of Ahmedabad, he rallied behind Muslim victims, retaliating to attacks on them. He became a bit of a local Robin Hood, helping the needy and the distressed with food, shelter and clothes. “Muslims, already on the margins, would suffer a lot. Their businesses reeled under the frequent curfews. There is not an ounce of doubt that Latif helped them profusely,” says Aziz Gandhi, a local social worker in his 60s.
The bungalow where Latif was killed in a police encounter in 1997.
But, if he was a hero to the poorer members of his community, Latif did not find much favour with the educated and elite Muslims, or even the Tableeghis, who dominated Dariyapur. “Dariyapur is dominated by Tableeghis and his activities had irked these staunchly religious people. The poor, who were there in large numbers, did support him, but not the educated and elite Muslims or the religious ones,” says a neighbour of Latif.
Among those who opposed him was his father, Abdul Wahab, a devout Tableeghi who preached at the local mosque and ran a small tobacco business. Latif, born in October, 1951, was one of his eight children. He studied upto senior secondary school, till he was forced to drop out because of financial constraints. He began working with his father. In 1971, he got married to one Akila Banu.
The maze of lanes in Popatiyawad have undergone many changes since the time Wahab and his family inhabited it. It was a low-income neighbourhood, with a high rate of unemployment. Now, multi-storied buildings dominate the landscape and it’s not unlikely to come across residents who don’t know their neighbours. Back then, there was still a sense of community among its people. Houses shared walls and one could hop from one house to the next with ease, or disappear into the labyrinth from under one’s nose. It would help Latif escape from the police many times in the years to come.
By the time Latif joined his father’s business, he already harboured a burning ambition to rise beyond his station. He was friends with the unemployed youths in his locality. Together, they would gamble and Latif would assist them in bootlegging, the most lucrative way to mint money in the state in the mid-’70s. This eventually became a flashpoint with his father. “After Latif turned to bootlegging, his father expelled him from the family, refusing to accept any of his money as it came from liquor sale,” says Mehboob Senior. His family then moved to Madh no mohallo, Lalbaba no tilo, Charvad, Dariyapur. The family members refused to meet for the story.
Gaznafar Khan, who was jailed for helping Latif after the 1993 Mumbai blasts.
According to Senior, Latif soon became familiar with bootleggers such as Hanif Doodhwala, Saiyed Bapu, Pilu Marwadi and Abbas Andha among others, who were involved in serious crimes such as murder and extortion. Then, he came in contact with one Manzoor Ali, who ran a gambling and liquor den at Idgah in Kalupur. “Latif was employed by Ali for a monthly stipend of Rs 30. This was around 1977-78, when he started peddling thelis (pouch) of country-made liquor and soon graduated to English daaru (India made foreign liquor or IMFL),” says Senior. “Latif invested heavily in liquor breweries in Udaipur and other parts of Rajasthan, enhancing his income manifold,” says a former associate. Senior adds, “He partnered with big liquor suppliers from Rajasthan and started taking on his rivals. In those days, one truckload of IMFL would yield a profit of Rs 1.5 lakh. On any given day, at least 10 truckloads of liquor used to arrive at Latif’s door. His monthly income started running in crores.”
A police officer, who requested not to be named, says, “Latif was minting money like anything in those days. He would give hafta as well as expensive gifts to the local policemen. There were instances when he gifted new Bajaj scooters and Bullet motorcycles to policemen, ranging from constables to inspectors. He turned the Kalupur police station into a plum posting.”
Latif, after his arrest in 1995.
But that was far from the extent of Latif’s ambition. As his nexus with the local police and their superior officers grew stronger, Latif decided to get into politics. His growing muscle and money power had, by now, grabbed politicians’ eyeballs and he was known to fund political parties. In 1986-87, Latif contested from five municipal seats — Dariyapur, Jamalpur, Kalupur, Raikhad and Shahpur — and won all of them. His men had reportedly contested six other seats and won them too. Interestingly, he was in jail at the time, booked under the Prevention of Anti-Social Activities (PASA) act, and had to approach the Supreme Court to seek bail — his presence was mandatory in the Ahmedabad municipal corporation general board to avoid nullification of the elections. Latif hired prominent advocates, including noted criminal lawyer Ram Jethmalani, to defend him in the Supreme Court. The picture of Latif in handcuffs flashing the victory sign is frozen in the timeline of Ahmedabad’s politics.
But like in his business, in politics too, Latif could brook no opposition. According to Supreme Court records, the then Congress Rajya Sabha MP Rauf Waliullah was murdered in broad daylight in the Paldi area by Latif’s men in 1992 for “preparing a dossier on Latif-police-politicians nexus.”
“Daring toh tha usme, lekin dusro ke zor pe tha. Sharif Khan Pathan, Rasool Khan jaise log they uske paas jo sharpshooter they, knifer thay. In logo ki vajah se Latif ka naam ho gaya and woh form me rahne laga (He was daring, but it was mainly because of people such as Sharif Khan Pathan and Rasool Khan, who were sharpshooters and knifers. He made a name because of these people),” says retired assistant commissioner of police IC Raj. Raj was instrumental in Latif’s arrest in 1995 and had interrogated him for months when he was posted in the Gujarat Anti-Terrorism Squad. He admits that “initially, Latif was patronised by the local police who used to tip him off when any action against him was to be taken. It’s unfortunate, but it’s a fact.”
Sharif Khan Pathan and Rasool Khan Pathan alias Parti were members of Mumbai-based gangster Karim Lala’s dreaded Pathan gang. Sharif was originally from Pakistan and his parents had settled in Rajasthan. His dossier of crimes included dealing in drugs, extortion and smuggling among other things. His name would also later figure in BJP leader Haren Pandya’s murder. Sharif still eludes the police. Latif came in touch with them through Alamzeb, Lala’s nephew and sworn enemy of Dawood Ibrahim. When Dawood was lodged at Sabarmati Jail, he narrowly escaped an attempt on his life by Alamzeb. Members of Latif’s gang say that this incident left a deep impression on Latif. He decided to become “a gangster or a ‘bhai’”. He started hitting out at rival bootleggers and threatened them to stop operating on their own. “Latif’s liquor trade spread across the state and many were killed,” says another former aide of Latif’s.
By the early ’90s, Latif and Dawood would meet each other again in Dubai. This time, a maulvi would administer an oath to them on the Holy Quran to remain friends and work together. It was Dawood who advised Latif to leave bootlegging for smuggling.
Ahmedabad, too, was going through rapid changes. In 1990, Chimanbhai Patel became the chief minister of a coalition government. “There used to be sloganeering in those days during elections —“Latif ki sarkar chahiye ya Hindu ki sarkar chahiye.” The BJP was on the rise while the Congress was losing ground. There were times when Patel’s government was negotiating Latif’s surrender but he dodged them. I witnessed these developments closely. Latif also ruined my political career,” said Gaznafar Khan, alias Gajju Khan, who was once the general secretary of Youth Congress and close to Latif. Khan was jailed for allegedly keeping AK-47 rifles and spent five years behind bars.
After the demolition of the Babri Masjid in 1992, Dawood had smuggled in a huge cache of arms, including AK-47s, automatic revolvers, hand grenades and other lethal weapons from Pakistan through the coastal town of Porbandar. Some of these weapons were used in the 1993 Mumbai serial bomb blasts, while some were diverted to Ahmedabad to Latif’s den. A large cache of these weapons were later recovered from Jharania, in Madhya Pradesh’s Ujjain, the home turf of another gangster Sohrabuddin Sheikh. Then came the gruesome murder of a rival bootlegger, Hansraj Trivedi, and eight of his men at Radhika Gymkhana in Odhav. That was the first time, apparently, that a Kalashnikov was used in the state. In 1992, Latif was booked as a “terrorist” under the Terrorist and Anti Disruptive Activities Act.
It was no longer safe for Latif to remain in India and he fled to Pakistan via Dubai the same year, joining Dawood there. But, after three years, he returned to India in 1995, living in hiding in Delhi. “He was a bhai in Ahmedabad. People used to salute him all the time. He got bored in Pakistan because he was just like everybody there. That’s why he returned,” says Senior.
By then, the BJP had come to power in Gujarat and Latif’s arrest had become an electoral issue. In November 1995, following months of surveillance, Latif was nabbed by the Gujarat Anti-Terrorism Squad from a PCO booth in old Delhi. He was lodged in Sabarmati Jail for two years, but through that period, his men kept his clout alive — several big builders and businessmen were kidnapped for ransom. Sagir Ahmed, a builder in Juhapura, was murdered.
On November 29, 1997, Latif was taken out of jail for interrogation. On the way back, he was shot dead. Police records claim he had sought permission to answer nature’s call and attempted to escape, leaving them no option but to shoot. Latif was 46 then.
After Raees was announced, Latif’s son, Mushtaq Sheikh, filed a litigation in a city civil court seeking a stay on the release of the film. He later submitted that he will move ahead with the litigation after watching the film. Despite repeated attempts he refused to meet or talk about his father.
Senior, Gandhi and a group of youngsters who live in Latif’s neighbourhood are convinced that the film is based on Latif. “The movie has scenes from Prem Darwaja and other localities in Dariyapur. There was no other don who was larger than life in the whole of Gujarat,” they say.
http://indianexpress.com/article/lifestyle/life-style/raees-movie-shah-rukh-khan-don-abdul-latif-once-upon-a-time-in-ahmedabad-4473046/
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brangan
January 27, 2017
theartofexpressions: I think Shah Rukh is too classy to do a Salman (he’d look too “intelligent” for a Bajrangi Bhaijaan) and too massy to do an Aamir. The kind of film that best utilised his USPs are dwindling, and he’s ageing too — so I don’t really see him pulling out THAT level of blockbuster out of his hat anymore. Though he still remains an interesting actor/star, and his choice of films look great at least on paper. I think he’ll continue giving hits though not at the Aamir-Salman level.
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venkatesh
January 27, 2017
We have a new Utkal i see.
“His slo-mo walk after the act – rings of kohl around the eyes, spatters of blood on the face – merits a long wolf whistle.”
That will do.
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Anu Warrier
January 27, 2017
I had hopes for Raees until I read a pre-release interview with Shahrukh, where he said he and Farhan Akhtar sat with Rahul Dholakia to add their brand of cinema to that of the director’s. That elicited an uh-oh from me, and from your review I’m beginning to think my reservations are right. I do wish Shah would let go of his need to cling to his image. He’s an interesting actor, and one who made some daring choices in the initial stage of his career. That man is long gone.
Now, all I see is a man who is threatened on the one hand by the stupendous success of his peers (the other two Khans) and the young blood that is baying on his heels to take away the roles that he was extremely good at – the romantic ones.
I haven’t watched this film but I’d like to, and I hope I can get to the theatres this week. All this said, I might still like it. 🙂
(P.S. I did wonder what all this hype about Maheera was about – she looked as generic a heroine as any of our lot, and doesn’t seem to have Fawad Khan’s acting chops to prop her up, either.)
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Imran
January 27, 2017
Rares the best movie no words plz go and see shahrukh Bhai acting no one can compare him in this world Bhai ek no hai air Bhai ko Jo pasand nahi Karta hai to kyu hate hai Bhai ko movie dekhne air galti comments latte hai so plz shut up nonsense aur shahrukh Bhai ko kuch nahi bolna aur ek baat kaabil kya movie blind hai phone bhi fight intna acha Karta blind hai dance bhi acha Karta Jo normal log nahi Karta pate kuch bhi nonsense hritika aur yami ko sab kuch ache se aaya hai lagta hi nahi blind hai kuch bakwaas
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Radhika
January 27, 2017
Went to see it today. Underwhelming is putting it mildly. Giant meh. The first half hour had its moments and then the whole thing degenerated to a mishmash – like an old 70s movie had been shot with modern production values. There was zilch chemistry between Raees and his sidekick (I remembered the love story between Munnabhai and Circuit), zilch between him and his whey faced bride. The villains looked like stock characters. The segues made me giggle – the same kind of action scene that shows how the Boy grows up to be a Man in the old Manmohan Desai films. Siddiqui is the only character who brought some pizzazz to the screen, and he too seemed to be not fully invested.
I couldn’t help comparing this to Company – where Devgan’s cold and efficient don had that cat and mouse game with Mohanlal’s intelligent cop. So that was a movie which did masala very well, while plumbing depths of gangster minds and relationships.
I’ve walked out of very few movies in my life – this was one of them, so i guess this time I will enjoy reading all the spoilers that will tell me how the movie ended – if I care enough, that is.
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Rishikesh
January 27, 2017
@brangan Could you spot any difference when Raees addresses a gang of women and SRK addressing press in real life..I felt SRK was doing same in both..he has not yet been able to blend with the character..and I thought he was particularly ordinary in the initial scenes with those horrible specs..coming to the film, i felt film gained some momentum in second half..there were more things happening..and I think dholakia got more comfortable when attention turned to wily netas of Gujarat..to be fair i felt film has some nice touches despite the largely ordinary writing ..nawaz receiving raees’s sweet and still going on to eat it, him overheraing the tele conversation between raees and wife and letting out a smile. also loved the way jairaj getting shot is intercut to an item scene. Also any idea how the sub plot of selling goats in the first half added to the whole plot, i felt entire Raees-jairaj track was poorly etched
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MV
January 27, 2017
In the middle of the intolerance controversy & with such a strong Central Govt in place, this guy chooses to do a movie like Raees which
a) unabashedly proclaims his religion, (as some reviews mentions – where the identity and religion are emphatic)
b) imports a Pakistani actress for a role which any hindi actress (Anushka comes to my mind, for one) could have serviced,
c) engages Rahul Dholakia the guy that made Parzania on Gujarat riots
This is why I like SRK – his conviction / confidence / irreverence / defiance – call it what you may – to do what his mind dictates is what makes him stand out.
(No, PK though released in 2014 Dec was actually commissioned in 2011 as per Wiki. Though Aamir had his “intolerance” outburst, his movies tread middle path)
(The other Khan plays it safe with Bajrangi Bhaijan)
(This isnt about the movie which may be flawed – but about the star)
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Radhika
January 27, 2017
I remember watching Jalwa back in the day and laughing at Johny Lever’s uncanny imitation of Ashok Kumar’s recaps of Hum Log – (see at 2:00 )
what he says in the end pretty much echoed how I felt about Raees – “main chahta hoon, yeh sab mar jaye, meri jaan chhoot jaye”
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csimumbai
January 27, 2017
Thanks for the lovely review Rangan. A ‘realistic’ ‘masala’ film seems to be the genre for our times. It will be interesting to see who is channeling whom – are the realistic types channeling the masala or the masala co-opting the realistic.
But it is apt that SRK has opted for this genre. He was the actor who made his name depicting the anxiety and neurosis of the middle class (Baazigar, Darr) and then forsook it for the decidedly elite and NRI Rahul. And now times have changed, films have changed. Many films are now situated in smaller cities. He is now trying to reinvent himself as an actor, perhaps reflecting on the roads he has taken and not taken and also the competition that Anu wrote about. The genre (docu-drama masala) seems expansive and hybrid enough to capture his attempts at reinvention.
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Nishanth Krishnan
January 27, 2017
“Raees”… A disappointingly generic story of a criminal, with too few highlights
exactly my thoughts, ditto word to word
you stole the words from my mind, Mr. Rangan
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theartofexpressions
January 27, 2017
Also about “Was Raees always a Robin Hood at heart? Or did something trigger a transformation? ” I felt he was always a businessman. In apni dunia also its his dream to build such a society but he has made calculation about his profits, how to sell.. ya he also want lil good fame that he has made such society and that why he is lil passionate about his “Apni dunia”. When “apni dunia” get scrapped, I think the reason he breaks down or feels really sad about others, because he never wanted to harm anyone. Its not like philanthropy didn’t work out.. not a socialist sadness rather a shopkeeper’s sadness that his customer got loss.. Though it is presented in such a manner that He looks like Robin-hood. Not really sure if that was the actual thought in director’s mind or done just to please fans.. As in, may be director wanted to make point that Raees was shrewd businessman and knew how to sell or how to present, same like Steve jobs or is it done so that fan feels that he is robinhood.
I felt that line which is not shown in the movie but was there in trailer tells more about him “Jo Dhandhe ke liye sahi wo sahi, Jo Dhandhe ke liye galat wo galat.. isse jyada kabhi socha nahi”
Rangan what you say about this theory..
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Iswarya
January 28, 2017
Venkatesh: I hear you. 🙂
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Garvit Sharma
January 28, 2017
So,here I was after a long time in my city of Meerut which has a half Hindu,half Muslim population amidst a closely fought U.P election and so the atmosphere is somewhat communally charged but nothing in comparison to say a decade before. I am seated next to a Muslim gentleman (Mr Munshi) and my staunch Brahmin mother. Introduced is SRK on screen and there is a hint of a cheer and all of a sudden everyone is silent.In one go,SRK somewhat manages to irritate everybody by what he is doing on screen. Mr Munshi says to his friend disappointingly “Ye to Shia hai” (“He is a Shia) and my mother says to me “Pakki Musalmani movie mein le aaya tu”(You have brought me to see this staunch Muslim movie).I am sure SRK knew how much risky this movie was for his image and the agenda this movie had of pushing secularism by placing business and harmony at the centre of how various groups project each other as.
But then followed the rest of the movie where the highs of certain dialogue-baazi and showdowns would never compensate for the unfocused characterisations of the supporting cast and stuffing of all Angry Young Man’s movies and a Black Friday in one.If SRK was ready to risk this much why not concentrate on a single theme out of so many and play it all out and bloody by creating somewhat of a nexus between that obvious nod to BJP politician and Dawood character and play a Muslim bootlegger “Arjun” (Sunny Deol).
When Raees takes on that Hindu politician,ideally,the movie hall I was watching should have gone to a riot like situation. The situation should have ideally been like that of a PETA activist beating a pro-Jallikattu protester on screen in a Tamil movie. Yes, even if played at an effectively entertaining masala pitch, this should have been the tension transmitted from the screen to the audiences.But for reasons mentioned in the review above,fortunately such events didn’t come to pass.
I am a massive SRK fan and extremely happy that he is trying to somehow reinvent himself.What I cant understand is why he cannot balance. the ingredients of his movie like “Fan”. Why not avoid decapitating song sequences like in Raees.I am tired of explaining to friends why SRK is a better performer than Aamir despite having better movies consistently.Raees’ trailer finally had me expectant of giving one back to them.But this time too I left dejected and disappointed.
But still I have not left hope that Aanand Rai or Imtiaz Ali finally get it right with SRK. He is the last of Bollywood superstars who can actually carry Hindi dialogues like a boss and make them memorable.
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Akhilan
January 28, 2017
@MANK
I kinda disagree with your comparison with Bombay Velvet here… If anything, Bombay Velvet was Anurag Kashyap’s passion project (albeit an overambitious one…) and I think he was completely aware as to what kind of movie he wanted to make… He just bit off more than he could chew… I’ve read Gyan Prakash’s Mumbai Fables, and it’s pretty darn hard to adapt it to celluloid… And besides, with Ranbir on board, there was never any need for Kashyap to go ‘mainstream’ if you will or compromise with his initial vision in the first place…
Sure Ranbir’s a huge ‘superstar’, but he has yet to reach the level of stardom the three Khans enjoy… In fact, I doubt we’ll ever see that sort of adulation/love again for any actor simply because times are changing, and so are the audience’s sensibilities and attitudes towards everything they consume… Ranbir’s always been different with his movie choices… He’s never played the quintessential romantic hero nor the superhero kind of roles and hence doesn’t really have an image to maintain per se…
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FAYAZ
January 28, 2017
Raees is not raees this movie ghee rice very bakwas movie
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brangan
January 28, 2017
Akhilan: Reg. your point about the three Khans versus Ranbir, I made a similar observation when asked recently for a quote about ARR. (They were doing an article about his 25 years.)
When asked about his longevity, I said — apart from his obvious talent — he also established himself as a brand BEFORE the internet era happened and altered the DNA of our consumption patterns. ARR is the last major music director that we listened to when we were still listening to music as a standalone thing and not while doing other things, as just background noise while surfing or whatever.
That kind of branding/loyalty cannot happen with today’s music directors, however talented they are. They are products of a less permanent, more disposable age, and they will never be able to get the kind of adulation/respect that ARR and the composers before him did.
Makes you feel sad for talents like Ranbir and Amit Trivedi but that’s the truth.
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theartofexpressions
January 28, 2017
@brangan after giving a thought about your comment about srk and agreeing with it initially, I still hope that srk can give a BB.
I think his strength for making a BB lies in romantic comedy, multi starrer romantic comedy or family movies or a earthy setting movie (Raees, probably Anand l rai’s new moview). Though family movies are out of date but romantic comedy is very much relevant today also.
His last BB was CE which is romantic comedy though every body loved it because of Deepika and it hadn’t got much of critical appreciation but it worked on BO. If you think of Raees also, it is doing great business and got decent critical appreciation, though he can’t repeat it.
If you take HNY and Dilwale, these movies could have been BB and could have got okayish critical acclaim.
So I think He still can give a BB with decent or okayish critical acclaim. But I agree on the point that for him it is very difficult to get the very good critical acclaim and BB. I agree that he can outdo Aamir as it looks or appears currently.
But then he never got that with any movie. MNIK was not BB, OSO, RNBDJ didn’t have very good critics appreciation.
Only movie I think come closer in this area is Devdas. Devdas was BB and got good critical response but then also it didn’t have unanimous critical acclaim. CDI and Veer Zara also comes in this category. Both got good critical acclaim and earned a lot of money but they were not BB. CDI lifted his position which none of the movies came after did. CE also did a lil bit and now I think Raees has done that though very little.
As early trends says, Raees is doing great business and if there would be no clash then it could become superhit movie. IT has certainly found a lil connection with masses.
His next movie is with Imtiyaz which looks like will get decent kind of appreciation [like any of his recent movie is getting] and can work with multiplex and somewhat with masses.. though it still not will be a Bajrangi bhaijaan or Dangal.
But Aanand l rai works well with masses, multiplex and critics and it again has a role which can connect with masses So if you think there is a potential and it may work fully.
So I still think he can potentially give BB if his stars works fine, its not like that he can not give at all like you will say for younger generation as they have limited connection.
Anyway lets see. Please see my other comments too and if possible reply.
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theartofexpressions
January 28, 2017
In addition to this, I also feel that its good he is trying different character as that way he will have a filmography where he has some decently critically acclaimed movies and hit/super-hit movies. When I look at Fan, Raees or Dear Zinadagi.. I feel that I can re-watch them after 5-10 year too as they have some good moments, specially Fan and probably Raees.
If i look at Salman or Amir’s recent filmography, I don’t think I can re watch them except Talash or probably some scenes of Dangal(not counting RDB,Laggan, Tzp DCH as they are pretty old) I can re watch all of their recent movies on Tv with family but I cant re watch them on laptop alone, as I feel these movies are straightforward and haven’t got any layers. So in a way srk is going good movies but haven’t found his fully satisfactory movie after CDI.
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brangan
January 28, 2017
theartofexpressions: I don’t think critical acclaim is much of a factor when it comes to star-driven films. What critics say can help a small film, but with the big ones, word of mouth is usually a more important factor.
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theartofexpressions
January 28, 2017
@ Akhilan I also agree with you. The three khans are the last superstar and as SRK said on anupam kher’s show that he is the last superstar. He also added that there will new stars like digital stars, youtube stars, web series stars. So now stars will come from various areas and will not be limited to just movies or cricket.
Who is going to stand at Mannat or Salman khan’s house when they can access them via Instagram, Facebook or youtube quickly and anyway people have very little patience left.
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theartofexpressions
January 28, 2017
@brangan what i actually meant from critical acclaim was “the word of mouth”. I used wrong words.
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Garvit Sharma
January 28, 2017
@theartofexpression The BB aspirations of SRK are highly correlated with a fabulous soundtrack. When was the last time movie of SRK had an exceptional soundtrack.If Imtiaz or Aanand are able to get the best out of their music directors,weave songs into the screenplay and not just for namesake like in Raees,SRK even today has fandom enough to deliver a blockbuster.
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Shvetal
January 28, 2017
Hello. The movie may have been less compelling that one had hoped, but I still think it is a very significant one for the times we live in. It is significant in that the film places daily Muslim living practices at the heart of its imagery. And not just any Muslim practice, but those that are most often seen as the marker of their otherness – Muharram, meat markets and regular praying. It weaves these images as the everyday, lived context of a Muslim person’s life. After all, if Bengali characters are given Bengali idiosyncrasies in a movie like Piku, why should Muslim characters be forever decontextualised? Ordinarily, having characters behave according to their context should not be a matter for discussion. It becomes significant, however, because there has been a recent judgement in India where being from another religion is provocation enough to justify murder. (http://indianexpress.com/…/bail-in-muslim-youths-mohsin-sh…/) In such a situation, where being visibly Muslim is grounds for being murdered, ShahRukh Khan and Rahul Dholakia have been brave in not choosing the safer option of playing down the Muslim elements of a Muslim character’s life. Rahul and Raj are not, after all, the only people who live in this country.
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Ratish Ravindran
January 28, 2017
Amazing review Rangan sir…as usual. Unlike superstars and top directors your reviews never disappoints. Apart from razor sharp reviews you also able to read the mind of the actor or the director during the filmmaking process (refer:the director/actors doubt whether a goodfellas kind of tale will work with our audience). Sometimes these insights are graciously accepted by some directors like on the case of masaan director. I follow your your reviews on films religiously like I did earlier with late Roger Ebert. Your review of Sairat last year was brilliant.
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theartofexpressions
January 28, 2017
@garvit Dilwale had good music.. Didn’t work. Also I am not saying that Raees can not become BB, who knows how much people are liking it. I have seen videos where people are dancing on lailla.. So it can become superhit.. Only thing which tells me that it can not become BB is Kabil since kabil is also doing steady business..
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Rishikesh
January 28, 2017
I don’t think soundtrack of Raees was below par. I will rate it a touch above average not upto Sultan or Dangal. Zaalima and Dhingaana are pretty good and Ghammar Ghammar is a kind of song that is unusual in a commercial movie like this. I reckon, Rangan did not feel anything spcl abt music, and that could be reason he didn’t mention anything abt it in the review except fr a word on zaalima.
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Anuj
January 28, 2017
Never thought of SRK as a particularly good actor. “He’s too classy to be a Salman”, isn’t that what’s acting all about? The classy Aamir Khan of TZP & 3 Idiots can pull off a Mumbaiya accent in Rangeela or a Haryanvi diction with mannerisms to perfection in Dangal. However, with both SRK & Salman its always about the same persona and the same set of expressions/dialogue delivery. They’re no doubt brilliant within that limited domain but that’s about it for them. I found no difference in the Jahangir Khan of Dear Zindagi or the Raees Khan of Raees or the Kabir Khan of CDI. It was always the SRK that I know. Similarly, I found no difference in the Prem of PRDP or the Pawan of Bajrangi Bhaijaan or the Sultan Ali of Sultan. The same mannerisms for different characters. I’d rather watch an HR play a Rohit Mehra in KMG to a Mr.A of D2 to a Rohan Bhatnagar of Kaabil. At least he brings in an iota of variety (despite the fact that he might not be succeeding at it completely unlike Aamir). Or even an Akshay in films like BABY, Special 26 and Airlift was a refreshing change from the Housefull films which in itself was chalk and cheese from a Rowdy Rathore.
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Supertramp
January 28, 2017
This country don’t know how to celebrate their heroes, a hero like Raees (Abdul Lathif) surely deserved a better film. He is like the Gandhi of fight against prohibition.
Srk surely missed a chance to do something more with the code red word. I mean Srk should have run people down with the car or shoot them whenever that word is uttered by Zeeshan Ayyub.
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Garvit Sharma
January 28, 2017
@theartofexpression The last time I as a fan truly felt connected with SRK as a frontman through a song was “haule-haule” of RNBDJ. Even though MNIK had memorable songs they were not hummable Bollywood types.You place SRK in Ae Dil hai Mushkil type scenario and I bet he will not have to go on these crazy promotion sprees to bring the audiences to theatres.
@Shvetal and @MV I am glad some of us notice the courage of SRK “the star” playing a flourishing Muslim character and that too a Shia pissing a section of audiences off.But the point is they are just pissed and not offended or invoked when the material of the script could have easily led to a Parzania like climax and sent people to sleepless nights.So,at the end I am really disappointed in SRK not seeing the match off to victory.
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discotonks
January 29, 2017
One of these days you will get lynched by SRK/Hrithik fangirls or Bhai-sexuals. And live to write 500 words about it. heh
Top of your head, what would be a good remake SRK could star in?
That said, go watch Train to Busan, even Stephen King says “Holy shit, it’s like John Woo meets the zombie apocalypse. This makes THE WALKING DEAD look tame”
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sachita
January 29, 2017
Khans that way have had unique longevity, isnt it? It seems like for 25 yrs the country has been stuck on one triumvirate.( even in cricket it was another). The super stars before them had probably only a decade run at max.
But what you say of the last superstar is more applicable for music than film stars. Music is moving more towards one instant hit wonders. Movies will always need a star.
I am glad that the not so salman level blockbuster has finally made srk step out of his formula driven(his own rahul/raj) films. Even that is just from last year with Dear zindagi, raees, fan. I have only seen dear zindagi so commenting purely based on what i have read. He is a pretty good actor and it will be nice to see him in movies that will explore that. Of the three, I can visualize only him making an amitabh-ish transition. ( piku, ekalavya etc).
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Subhash
January 29, 2017
After watching Raees and Dear Zindagi, if SRK wants to reinvent himself, I wish to see him in a grounded Indian adaptation of Late Spring with Alia Bhatt playing his daughter. Any comments on this?
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hikicha
January 29, 2017
Folks , IS Raees as good as Fan ?
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theartofexpressions
January 29, 2017
@sachita
Last superstar thing was said by srk. Agree that Khans have longevity and amitabh also maintained his super-star status for very long time.. Its just that when times changed, he became lil old for romance or family drama. But now when times changing, there is lot of variety too so there is lot of opportunities to stay relevant once you have fan base. Srk don’t have to stick to action if his romance not working. He can mix both or even can try Fan, dear Zindagi.
@Subhash ya, that may work if there is a complexity in relation.. or you can remake lolita too or why not make a love story too.. or sugar daddy..
@hikicha depends on what u think good is. Fan is layered and lot of subtext and meta elements but unsatisfied,, its a film you analyze and think about it but not very enjoyable.
Raees is not as layered as Fan but it has got some moments and small points to analyze but you don’t bring raees into your sleep too much.. But its more enjoyable than fan. At the end cant be compared..as both are different space…
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MANK
January 29, 2017
Shahrukh khan is overexposed. he is anywhere and everywhere , from hosting award functions to dancing at neighborhood weddings, i dont know any other superstar who has cheapened himself like SRK has.
This extreme familiarity that the public has for SRK is spoiling his performances. the way he interacts with his co actors on screen is very reminiscent of how he interacts with the media or his fans, that one gets to see every other day. one hardly feels anything special when one sees SRK performing on screen.
that what is so great about someone like Aamir , he knows when and how to restrict himself to the public and media. he certainly has that old world star mystique that others lack. that’s why every film and performance of his is very special
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MANK
January 29, 2017
Amitabh Bachchan is the last official superstar for me. the kind of stardom that he enjoyed from north to south and from east to west has hardly been duplicated by anybody who came after him. others who came after him are naam ke vaasthe superstars really
even though the Khan triumvirate has been ruling for almost 25 years now, their superstardom is nothing compared with what Amitabh Bachchan enjoyed between 1975 and 1997. the kind of pan indian appeal he had, His sheer range as a performer and the kind of footfalls his films generated had never been and will never be duplicated IMO
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discotonks
January 29, 2017
@Subhash Yes! He would do really well in slice of life types. Gosh, now that you mention it, there are quite a few manga/manhwa he can bring to life.
For once, just for once, I want him to step down from the grand “hero” pedestal.
Or maybe instead of a loong movie do a small webdrama of 4 episodes like White Teeth. Or be a bitchin stalker again. No prosthetics, no dancing, be all anti hero Darr and Baazigar.
Too much to hope for I suppose, I have to be happy reading BaddyRang be mean to Sidharth Malhotra.
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Anuj
January 29, 2017
Star worshipping is an absolute bane in Indian cinema and a complete joke by the Indian audiences on themselves. Ideally, any movie should be about 90% content and 10% “stardom”. But here in India, its a 50-50 division between stardom and content (in some cases even higher for the star value) for a film to work. No wonder rejected films that trended poorly and ran to near empty houses from week 2 onwards like Bodyguard, Happy New Year and Ek Tha Tiger still ended up being huge grossers due to the gullible audience desperately wanting to witness their stars on celluloid. While a movie like Bajirao Mastani carrying a 90%+ word of mouth ended up doing as much business as a rejected movie like Ek Tha Tiger, mainly because Bajirao Mastani did not have the “star value”. Till the time Indian audiences (especially mass audiences) do not give more importance to content and stop this preposterous idol worshipping of film stars, our cinema is bound to be stuck up in mediocrity. Ideally during the process of film making, the script is written first and then the performers are chosen based on the requirement of the script. But out here, if a so called “superstar” is signed up, the script is even altered and tweaked to give more screen space and relevance to the “superstar”. Ridiculous!
http://bollywoodtradeguide.blogspot.in/
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Garvit Sharma
January 29, 2017
@MANK ” i dont know any other superstar who has cheapened himself like SRK has.”Why would you say something so rude like this.SRK has never been apologetic about dancing at weddings and parties and considers them a job as normal as any. “Koi dhandha chota nahin hota bhai”. He never dabbled in pretentious social pseudo-intellectual whining and has been nakedly narcissistic in his interviews and interactions.IMO he is the most honest Bollywood superstar who just cannot sit idle.
By the way,whats so great about hiding yourself from the media in order to satisfy a template of old star mystique.Take Takishi Kitano. When it comes to being ubiquitous,Kitano is ten times more visible on any medium in Japan and still manages to do great work on one-note performances. And please,I know assessing acting performance is subjective but saying Aamir is special at acting is a little far fetched.The guy basically imploded his own movie Taare Zameen Par.By the last third of Raees, Shahrukh managed some sort of equanimity in front of Nawaz by getting rid of his eccentricities while Aamir got eclipsed by Rajkumar Rao in Talaash despite having more meat in his character. I am not trying to take anything away from his movies, they are special but not because of Aamir the actor.
@Anuj “Star worshipping is an abolute bane in Indian cinema.stop this preposterous idol worshipping of film stars, our cinema is bound to be stuck up in mediocrity” Preposterous is blaming the stars and audience for being stuck in mediocrity. We should never forget that while Hollywood has gobbled up every film industry globally, ours has only grown from strength to strength. A major reason for the survival has been our stars.We have no pop industry,is it because of stars? The reality is the weakness of our content makers,be it directors or writers. Again take Iranian cinema. They dont even have the extent of freedom that our filmmakers have but still they make “great” cinema. Silly generic movies do well everywhere. Take “the expendables” or “fast and furious franchise”. We are no exception.
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theartofexpressions
January 30, 2017
@Mank “i dont know any other superstar who has cheapened himself like SRK has.”
I kind of agree with you.. but not sure if this is the only reason.. But also wants to add that, Its the over expose that keeps him relevant and special and keep him among top 3. He interacts with people and they get to see that he is witty and philosophical. He is everywhere and thats what keep him in news and he can never vanish from people’s mind. Though his films are not BB but he still have the image of superstar which can give a BB any day. I agree thats what makes his performance less special if he is not acting really good and even then some may not feel that he acted really good [ex raees]. But people connects with him via his overexpose. Otherwise there is no other way they can connect. Old world mystic worked only in old world.
In his time, the feeling that there is guy who is really confident and is really rich and have lost his parents and we also can make it.. made him superstar. In Srk case, its is offscreen personality that really helped him in being superstar and currently thats what keeps him in the list of 3.
Salman connects with people in a different way.
But I think Aamir is not superstar, he is perceived as superstar because the amount of respect people have for him. He is respected but not loved.. His stardom is because of consistent good movies. If he makes movies like srk or salman did, he will hardly be considered among top three.. and that is what happened before 2000. People doesn’t hate him or love him like srk, salman but they respect him. And thats why his fans are more sensible and doesn’t indulge in fighting and all..
I was not there to see amitabh stardom but i know he didn’t have any hater.. He was universally considered as a great actor and people connected with him because of the kind of movies he did. Saleem javed played a very good role in his stardom.. as Karan and Adi did it for srk..
He was kind a masseha in his movies or people perceived him as Masseha.. he gave them a person who will fight with crime, corruption or injustice and who is true friend. He gave them a hope in those times. So to have the mystique worked for him as otherwise people would loose his image as Maseeha.
In SRK case, his initial stardom was based upon romance and guy next door kind of image. The image that is one of us and can win girl’s heart and thats why his overexposing, interviews worked for him as it further added that he is rich also and he does lot of hard work and there is way to get prosperous in every way of life by just being honest and doing hard work.. He gave people hope in time when india was doing ok and hopeful. And now, people connect with his offscreen personality more.
@Anuj, Human in general likes to have a superstar kind of figure.. its their god who will solve all their problems.. just follow him. Sachin is a superstar because of that and Nehru and Gandhi were superstars.
In industry, superstarism works as in this time where times are changing, industry is making loss, only superstar is making money and we need them more than ever..
I agree that makes movies mediocre but who goes to cinemas to see art, just few.. More than 70-80% people go to cinemas for entertainment and want the 3 hour away from their normal life into a imaginary world where everything is happy ending.
You cant say that is wrong.. because that is value they want from movies.. Of course times are changing because economics is changing.
Any art has to provide some value to its receiver. You and me probably need some good acting, some meanings, something so that can affect you for days, answer to your questions, morality.. But they go for 3 hour entertainment and what is wrong with them..
Art is dependent on people having money and they should spend their money only on the thing that you think is worth spending for.. and you cant say its unfair that people are ok with mediocre.. In a place where people struggles everyday for making ends meet and frustrated by lack of prosperity.. you cant be angry about having mediocre movies.
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Anuj
January 30, 2017
“We should never forget that while Hollywood has gobbled up every film industry globally, ours has only grown from strength to strength.” ~bound to happen in a country of 1.3 billion with 85% of them not well versed with English.
“The reality is the weakness of our content makers,be it directors or writers.” ~definitely disagree. We got plenty of supremely talented writers and directors in this country but unfortunately even the best of writers are forced to tweak scripts to accommodate for “star value”. There is no way Shoojit Sircar would be able to make movies as wonderful as Vicky Donor or Piku if he casts a “superstar” for one of the male leads (AB is a yesteryear megastar with minimal star value today). Contrarily, there is no way an Airlift would have recorded 1.3 crore footfalls had Akshay’s role been played by Irrfan (despite the film being equally competent). Even the supremely talented Neeraj Pandey who made a modern day classic in “A Wednesday” needed to give in and portray “star” Akshay Kumar as a near invincible commando in Baby which led to minor plot-holes in an otherwise gripping narrative. Of course I’m not blaming the actors concerned for this situation. The blame squarely lies with the audiences who save up money for Eid/Diwali/Xmas releases of their favorite “superstars” round the year and never give competent films with lesser known actors a chance to survive at the box office (despite the fact that their favorite superstars fail them on half the occasions). The blame squarely lies with the gullible public who pour milk and garland posters of their favorite superstars, be it film stars or cricketers.
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brangan
January 30, 2017
I may have deleted a comment by mistake, so if anyone sees their comment missing, please re-post if possible. Apologies for the inconvenience.
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sanjana
January 30, 2017
Where there is respect, there is love. And where there is love, there is respect. Both cant be separated. The problem is with the kind of fans one attracts.
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Subhash
January 30, 2017
@theartofexpressions: Lolita, despite being a black comedy mostly, has stronger romantic portions and if successful, will be credited to his “King of romance” tag rather than speaking for itself. I thought of Late Spring because of its content which can be recreated easily for the ‘eventless’ film generation we are in. Not that Yasujirō Ozu made no other good films, he did. He really did. But Late Spring is special for unexplicable reasons. I saw it, enjoyed it, but could not understand what made it great than many of Ozu’s better films. Perhaps, Rangan may comment on its brilliance (if any).
@discotonks: I thought of that film because of the same reason, to see him step down from the grand hero pedestal. SRK can’t be the hero despite being one of the protagonist but still can be the hero. In short, it has space for both the actor and the superstar, only in the second place. The girl (I wish to see Alia, but I don’t know whether it is possible) gets the first place in the script from start to finish. Which director in your opinion can do justice for this if it ever turns into a reality?
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discotonks
January 31, 2017
@subhash: Hmm. I on the other hand would prefer someone who looks older or rather their age, Alia with a scrubbed face and hair in a ponytail looks like a 15 yr old. Heck she looks younger than most 15 yr olds. Top of my head I can think of quite a few serial actresses, but bollywood wise no one strikes me. You know, I want Rekha as Mrs. Miwa, was it?The widow lady who had a thing for the dad?
Director? Late and lamented Rituparno Ghosh. Or maybe, Shlok Sharma. I have a feeling he can sneak in some snarky, funny bits compared to most directors.
If you have time, see if you can catch the korean dramas “Misaeng” and “Awl”. I have a feeling you might like them.
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