Post by Ally Kumari on Jan 24, 2014 11:46:19 GMT
Anyway, here finally are some of my thoughts (spoilers included - so beware if you have not seen)
Not even lack of subtitles and SHITTY cam print could discourage me (unfortunatelly the enarest cinema that plays the film is like five states away and I have no self-control). I have been excited for this film possibly more than anyone I have come across. I loved the first Ishqiya and when I got to know Madhuri was to be part of the next one, I was thrilled. Also because ever since I have become a fan and she my most favourite artist, I could only watch her past. And after I watched all the films of hers I could get my hands on, I too joined the millions of others in silent, patient waiting. Still, I need to say, that I don´t think I am being biased in my view of this film, at least not to a great extent. I think I can pinpoint flaws, because there are some for sure, and I do not feel a need to defend the film in front of those who did not find it their up of chai. Hopefully.
Ishqiya is carried forward as a franchise by the extremely loveable characters of Khalujan and Babban, a notorious uncle-nephew duo, with eyes always on some prize and constantly trying to escape their rishtedaar from previous film. However while it is their franchise, it is not their story. Much like we witnessed Krishna´s story (albeit through their eyes) in Ishqiya, this time it is another woman whose life, struggle and plans come into focus. In a certain way one could compare Ishqiya and Dhoom series (did I actually just say that?) in the sense of people connecting the films not being their main protagonists. That said Khalu and Babban are much more important and treasured than Jai and Ali have ever been or will be, and that they are better bromance and incomparably better performers goes without saying. Both really come to their own. Neither Khalu nor Babban changed since we last saw them. Khalu is still in love with the idea of love and Babban has not lost anything from his brisque nature. Naseeruddin Shah and Arshad Warsi are both great, great actors. Arshad has the advantage over other characters in the film because he is really the only one providing fun and entertainment through one-liners, which he delivers like only he can. Naseeruddin Shah looks tired at times, and he has better performances in his past, but he is still very good and his Khalu with puppy-eyes and love-struck expressions is a sheer delight.
But look for a woman behind everything, right? And this woman around whom everything is centered is remarkable. Now, we all know Vidya Balan seduced us one and all, men or women irrespective, with her earthy, raw sensuality. Begum Para seduces too, but through different means. Krishna from Ishqiya was real in every sense of the word. Begum Para seems to be from a different time and place altogether. As if she stepped out of an old painting, she carries herself with utter grace, refinement, class and distinct air of royalty. She seems an illusion the men are chasing wholeheartedly, and at the same time, as you wander through the haveli corridors in day time, it turns out the picture she gives to the outer world is a lying image, put up for the sake of mere survival. Unlike Krishna, Begum Para is not a deserted woman set after a revenge. And she does not need to sleep with anyone or lick their fingers to have them eating out of her hand. Her one look is enough to set hearts racing, as she possesses the aura of being above mere mortals and almost untouchable. She knows she has these qualities and is aware of the effect she has on people, and yet, at the same time..... she is a child in her soul. Crippled by past experiences, suffocated under the royal title and slowly dying on the inside, trapped in the enormous palace. Dedh Ishqiya heroine is just as exciting, and even more complex than Krishna, even though she is created from a different mould altogether. She too is unpredictable and unreadable, but that is where the whole similarity stops.
If one expected a shrewd, scheming woman using her raw sex-appeal to get what she wants, Begum is not it. However Munniya is. She fits much more into the expectations people had if they approched the sequel with a pre-conceived notion of how the characters are going to be. Huma, arguably the most talented actress among the current new lot, plays her role of Begum´s close confidant with ease and conviction, and she is not at all lost beside other, much seasoned actors. Her role is good, her performance is good, she looks great.... that said unlike many others I did not find her „the best performer“ of the film. Which leads to a question of – who was the best then? The obvious answer of mine would be Madhuri Dixit, but no, I will not say that. Truth is this is one of the rare Bollywood films in which all characters indeed are needed for the progress of the story and to drive the plot. And all the actors involved are so massively talented and click so well together it just doesn´t feel correct to dissect the scenes for the sake of bringing somebody up or down. They are all needed, they all deliver and in the end the FILM is more important than any actor. And it works.
The chemistry is at work between all four main protagonists, but interestingly Babban/Khalu and Begum/Munnia have better chemistry together than opposite each other. Babban and Khalujaan are indeed one of the most loveable „bromances“ I can think of, up there with Munna/Circuit, Karan/Arjun, „Shashitabh“ in most of their film and Anil/Jackie in everything they ever did together. They are comfortable with each other and it shows. What is much more rare and actually made Dedh Ishqiya so special, at least to me, was the bonding between Begum and Munnia. I have not seen two female characters being so close and in such a tight-knit relationship in a movie ever. At one point Begum adresses Munnia as her dost, behen and jaan. And there are more hints on what the relationship is actually about. The possibility that they MAY and MAY NOT be homosexual is enthralling. Munnia is Para´s „jaan“? We all know this word can be interpreted in more ways than one. And perhaps it is innocent. Perhaps not. It depends on the viewer, who can freely choose what they want to believe. And if indeed they are supposed to be lovers, then it is the most subdued, tasteful portrayal of such situation on the screen in Indian cinema. Nothing about it is in your face or riding on stereotypes.
There are flaws. Most notably I thought the second half of the film somehow dragged, at the same time I cannot imagine any scene missing from it (sort of the same feeling I had while watching Bhaag Milkha Bhaag or even classic Mera Naam Joker). Another complaint would be that Jagave Sari Raina dance number happens quite all of a sudden and out of nowhere – and I would have preferred it picturized on Madhuri solely. The effect of its beauty was kinda lessened by the flashback and shots to people roaming on the corridors. The song is gorgeously choreographed and executed though. Regarding the flashback – I LOVED that Khalujan and Begum have a history, but I definitely felt more should have been said about it. How close they were? What happened to them really? Why was it her specifically that Khalu set his mind upon once he realized he wanted something in life for himself? Was she his first love? How did he find her? Or was he keeping eye on her throughout the years? Too many questions to be asked.
Musical score is commendable. I liked the whole soundtrack. But it is not memorable as such. After watching the movie not one of the tracks are stuck in your head. At the same time background score is hauntingly beautiful and truly underlines the atmosphere of some of the scenes – Begum´s entry being one of them.
To me the highlight was Begum Para, brilliantly brought to life by Madhuri. Perhaps it is because I simply notice her more, then again there is reason why I consider this woman my favourite actress and she re-assured me I am justified in that opinion. And I am proud of her, because Begum Para is a role not everybody would or could do. Begum Para is not a Miss Goody-Two-Shoes. She is emotionally, possibly mentally disturbed woman. She is not interested in love, and of course there is the already mentioned homosexual colouring. Add to it you have to share screenspace with twenty years younger and fresh power-house of talent Huma Qureshi in most of the scenes. In her 30 years long film career Madhuri has given us some truly inspiring, strong characters. Independent and fierce women. Begum Para has something I don´t believe I have seen in any other of Madhuri´s roles – she is extremely frail and fragile. She is vulnerable. For all the plotting and mystery she has gentle innocence in her eyes. She projects such a feeling of helplessness and desperation one just wants to cuddle her up and comfort her, protect her from the realities of the world – and that we love Munnia for doing just that. And be it Para who is furiously scratching her own face out of old pictures or Para who in matter of seconds transforms into a seductive temptress, Madhuri plays the role to perfection. Is it her best performance? No. But I easily rank it among her TOP 10. Her skin almost changes colour with the mood she portrays, she radiates warmth one moment and it is completely lost in the next, her expressions are lucid and clear and beautiful. And her dialogue delivery yet again flawless. Finally, this is a woman in her 40s, shown as extremely desirable, a central piece of the story, and both she and Munnia make for some of the best feminist characters in recent times. The world of Ishqiya is unique because it shows that WOMEN ARE PEOPLE wihout need to call anything female-centric and flaunting any such „progressive“ tag.
And so a complaint of mine would be we did not seen nearly enough of her in the film. The screentime is distributed amongst all the actors pretty evenly, which gives them all their chance to shine, but ultimately takes away from the most interesting person of the story. I desperately wanted to know more.
Given I have watched a very poor cam print, the beauty of poetry used in the film escaped me due to no subtitles. Also I cannot really comment on the visuals.
Dedh Ishqiya is not a flawlessly, perfectly sculpted film, but that doesn´t take away from the charm it possesses and while the story may not be amazing, it still stands pretty strong. What carries the film are superlative performances, chemistry and camaraderie between the leads. And from what I heart also the use of language and the whole atmosphere created. In any case, Dedh Ishqiya may not be a film for everybody, but it stands out in the crowd. At least for me, who found it emotionally gripping and -as a woman - very satisfying.
Not even lack of subtitles and SHITTY cam print could discourage me (unfortunatelly the enarest cinema that plays the film is like five states away and I have no self-control). I have been excited for this film possibly more than anyone I have come across. I loved the first Ishqiya and when I got to know Madhuri was to be part of the next one, I was thrilled. Also because ever since I have become a fan and she my most favourite artist, I could only watch her past. And after I watched all the films of hers I could get my hands on, I too joined the millions of others in silent, patient waiting. Still, I need to say, that I don´t think I am being biased in my view of this film, at least not to a great extent. I think I can pinpoint flaws, because there are some for sure, and I do not feel a need to defend the film in front of those who did not find it their up of chai. Hopefully.
Ishqiya is carried forward as a franchise by the extremely loveable characters of Khalujan and Babban, a notorious uncle-nephew duo, with eyes always on some prize and constantly trying to escape their rishtedaar from previous film. However while it is their franchise, it is not their story. Much like we witnessed Krishna´s story (albeit through their eyes) in Ishqiya, this time it is another woman whose life, struggle and plans come into focus. In a certain way one could compare Ishqiya and Dhoom series (did I actually just say that?) in the sense of people connecting the films not being their main protagonists. That said Khalu and Babban are much more important and treasured than Jai and Ali have ever been or will be, and that they are better bromance and incomparably better performers goes without saying. Both really come to their own. Neither Khalu nor Babban changed since we last saw them. Khalu is still in love with the idea of love and Babban has not lost anything from his brisque nature. Naseeruddin Shah and Arshad Warsi are both great, great actors. Arshad has the advantage over other characters in the film because he is really the only one providing fun and entertainment through one-liners, which he delivers like only he can. Naseeruddin Shah looks tired at times, and he has better performances in his past, but he is still very good and his Khalu with puppy-eyes and love-struck expressions is a sheer delight.
But look for a woman behind everything, right? And this woman around whom everything is centered is remarkable. Now, we all know Vidya Balan seduced us one and all, men or women irrespective, with her earthy, raw sensuality. Begum Para seduces too, but through different means. Krishna from Ishqiya was real in every sense of the word. Begum Para seems to be from a different time and place altogether. As if she stepped out of an old painting, she carries herself with utter grace, refinement, class and distinct air of royalty. She seems an illusion the men are chasing wholeheartedly, and at the same time, as you wander through the haveli corridors in day time, it turns out the picture she gives to the outer world is a lying image, put up for the sake of mere survival. Unlike Krishna, Begum Para is not a deserted woman set after a revenge. And she does not need to sleep with anyone or lick their fingers to have them eating out of her hand. Her one look is enough to set hearts racing, as she possesses the aura of being above mere mortals and almost untouchable. She knows she has these qualities and is aware of the effect she has on people, and yet, at the same time..... she is a child in her soul. Crippled by past experiences, suffocated under the royal title and slowly dying on the inside, trapped in the enormous palace. Dedh Ishqiya heroine is just as exciting, and even more complex than Krishna, even though she is created from a different mould altogether. She too is unpredictable and unreadable, but that is where the whole similarity stops.
If one expected a shrewd, scheming woman using her raw sex-appeal to get what she wants, Begum is not it. However Munniya is. She fits much more into the expectations people had if they approched the sequel with a pre-conceived notion of how the characters are going to be. Huma, arguably the most talented actress among the current new lot, plays her role of Begum´s close confidant with ease and conviction, and she is not at all lost beside other, much seasoned actors. Her role is good, her performance is good, she looks great.... that said unlike many others I did not find her „the best performer“ of the film. Which leads to a question of – who was the best then? The obvious answer of mine would be Madhuri Dixit, but no, I will not say that. Truth is this is one of the rare Bollywood films in which all characters indeed are needed for the progress of the story and to drive the plot. And all the actors involved are so massively talented and click so well together it just doesn´t feel correct to dissect the scenes for the sake of bringing somebody up or down. They are all needed, they all deliver and in the end the FILM is more important than any actor. And it works.
The chemistry is at work between all four main protagonists, but interestingly Babban/Khalu and Begum/Munnia have better chemistry together than opposite each other. Babban and Khalujaan are indeed one of the most loveable „bromances“ I can think of, up there with Munna/Circuit, Karan/Arjun, „Shashitabh“ in most of their film and Anil/Jackie in everything they ever did together. They are comfortable with each other and it shows. What is much more rare and actually made Dedh Ishqiya so special, at least to me, was the bonding between Begum and Munnia. I have not seen two female characters being so close and in such a tight-knit relationship in a movie ever. At one point Begum adresses Munnia as her dost, behen and jaan. And there are more hints on what the relationship is actually about. The possibility that they MAY and MAY NOT be homosexual is enthralling. Munnia is Para´s „jaan“? We all know this word can be interpreted in more ways than one. And perhaps it is innocent. Perhaps not. It depends on the viewer, who can freely choose what they want to believe. And if indeed they are supposed to be lovers, then it is the most subdued, tasteful portrayal of such situation on the screen in Indian cinema. Nothing about it is in your face or riding on stereotypes.
There are flaws. Most notably I thought the second half of the film somehow dragged, at the same time I cannot imagine any scene missing from it (sort of the same feeling I had while watching Bhaag Milkha Bhaag or even classic Mera Naam Joker). Another complaint would be that Jagave Sari Raina dance number happens quite all of a sudden and out of nowhere – and I would have preferred it picturized on Madhuri solely. The effect of its beauty was kinda lessened by the flashback and shots to people roaming on the corridors. The song is gorgeously choreographed and executed though. Regarding the flashback – I LOVED that Khalujan and Begum have a history, but I definitely felt more should have been said about it. How close they were? What happened to them really? Why was it her specifically that Khalu set his mind upon once he realized he wanted something in life for himself? Was she his first love? How did he find her? Or was he keeping eye on her throughout the years? Too many questions to be asked.
Musical score is commendable. I liked the whole soundtrack. But it is not memorable as such. After watching the movie not one of the tracks are stuck in your head. At the same time background score is hauntingly beautiful and truly underlines the atmosphere of some of the scenes – Begum´s entry being one of them.
To me the highlight was Begum Para, brilliantly brought to life by Madhuri. Perhaps it is because I simply notice her more, then again there is reason why I consider this woman my favourite actress and she re-assured me I am justified in that opinion. And I am proud of her, because Begum Para is a role not everybody would or could do. Begum Para is not a Miss Goody-Two-Shoes. She is emotionally, possibly mentally disturbed woman. She is not interested in love, and of course there is the already mentioned homosexual colouring. Add to it you have to share screenspace with twenty years younger and fresh power-house of talent Huma Qureshi in most of the scenes. In her 30 years long film career Madhuri has given us some truly inspiring, strong characters. Independent and fierce women. Begum Para has something I don´t believe I have seen in any other of Madhuri´s roles – she is extremely frail and fragile. She is vulnerable. For all the plotting and mystery she has gentle innocence in her eyes. She projects such a feeling of helplessness and desperation one just wants to cuddle her up and comfort her, protect her from the realities of the world – and that we love Munnia for doing just that. And be it Para who is furiously scratching her own face out of old pictures or Para who in matter of seconds transforms into a seductive temptress, Madhuri plays the role to perfection. Is it her best performance? No. But I easily rank it among her TOP 10. Her skin almost changes colour with the mood she portrays, she radiates warmth one moment and it is completely lost in the next, her expressions are lucid and clear and beautiful. And her dialogue delivery yet again flawless. Finally, this is a woman in her 40s, shown as extremely desirable, a central piece of the story, and both she and Munnia make for some of the best feminist characters in recent times. The world of Ishqiya is unique because it shows that WOMEN ARE PEOPLE wihout need to call anything female-centric and flaunting any such „progressive“ tag.
And so a complaint of mine would be we did not seen nearly enough of her in the film. The screentime is distributed amongst all the actors pretty evenly, which gives them all their chance to shine, but ultimately takes away from the most interesting person of the story. I desperately wanted to know more.
Given I have watched a very poor cam print, the beauty of poetry used in the film escaped me due to no subtitles. Also I cannot really comment on the visuals.
Dedh Ishqiya is not a flawlessly, perfectly sculpted film, but that doesn´t take away from the charm it possesses and while the story may not be amazing, it still stands pretty strong. What carries the film are superlative performances, chemistry and camaraderie between the leads. And from what I heart also the use of language and the whole atmosphere created. In any case, Dedh Ishqiya may not be a film for everybody, but it stands out in the crowd. At least for me, who found it emotionally gripping and -as a woman - very satisfying.