AleksaandraPL Reviews

Chennai Express (2013)

Solid entertainment: comedy with romance and action

[7/10 · 1 August 2021]

Chennai Express is a good comedy starring Deepika Padukone and Shah Rukh Khan. With good acting, bright colours and catchy music it is a solid Bollywood entertainment, a blend of humour with romance and action. Nothing serious or complicated, just a film to have fun but with nice message that, despite hundreds of languages in India, love has no language.

The story is simple, built around two characters of Meenamma and Rahul. It is weaker in the middle but gets better towards the end and the climax is really good (though the fight is too long). The story is based on India's north&south contrasts. Dialogues are therefore partly Hindi, partly Tamil. If you are not Indian you will need good subtitles. Certainly there are things lost in translation, but even I, with my very elementary knowledge of Hindi, could mostly distinguish two languages and have some fun from that. Some knowledge of SRK's earlier films is helpful to enjoy the film since jokes (like song dialogues or Meenamma's entry) often are reference to his earlier work.

Shah Rukh Khan plays Rahul, a pampered immature man from Mumbai, past his youth, who gets a chance to change his life, grow up and take responsibility. Rahul, after the death of his overprotective grandfather, sets out to meet his friends in Goa, though he is supposed to immerse his grandfather's ashes in a completely different part of India. Deepika Padukone plays Meenamma, a south-Indian beauty, running away from a marriage arranged by her father. They meet accidentally in a train, the title "Chennai Express", that takes them to an unexpected (for them but predictable for a viewer) destination. Shah Rukh Khan is really good (funny deliberate overacting in comedy part or whatever is required), but somehow Deepika Padukone steals their scenes. She is adorable, strong and funny. Sathyaraj and Nikitin Dheer make their mark as Meenamma's father and Tangaballi.

Action scenes, sometimes ridiculous, are well-made and funny. Cinematography captivates with beautiful bright colours. I like most of the songs, particularly "Titli" (for me the best), "Tera rastaa Chhodoon Na" and "Kashmir mein tu Kanyakumari". "One two three four" is a nice energetic dance number. Characteristic background music completes the story without being too dominant.

I enjoyed the film a lot, I might re-watch it anytime and still have fun.

Zero (III) (2018)

Unusual and captivating. Good entertainment

[8/10 · 11 July 2021]

Definitely very unusual and difficult to classify. While I was watching the film I had mixed feelings, particularly in the second part when, with eyes wide open, I was following the story's improbable development. But eventually I admit I like the film. First, it kept my attention. Second, it made me wonder what it is all about and made me to re-watch it in order to understand some issues. So probably my first issue with the film is that it lacks some clarity.

I like the film on many layers: 1) Message: how much a man can achieve, despite disabilities, if he/she is determined, and that love is a powerful motivation; disability should not be an obstacle in life or in love and should not be an excuse for a mean behaviour; when chasing stars, chase the right ones.

2) Characters: unglamorous almost unlikeable. Bauua, a dwarf man with unusual talents leading a useless life and looking for a wife. Mostly he is unlikable, sometimes charming, once a loser once a hero, arrogant but vulnerable. Aafia, a successful scientist on a wheel-chair with movements disorders, who wants to be loved not only for her sharp brilliant mind. Babita is stuck in a toxic love, admired by crowds but unhappy in her glamorous life of a film star.

3) Performances: leading actors play against their popular star image. Shah Rukh Khan (Bauua) is just great. Katrina Kaif (Babita) is convincing, her top performance. Anushka Sharma (Aaifia) could have done better, for me her acting was not consistent. Zeeshan Ayyub as Bauua's friend is worth mentioning. Cameo of Salman Khan is really nice.

4) Music - dramatic, sometimes even overdramatic but it fits the film's overall tone; amazing songs: "Mere Naam Tu", "Bann Ann", "Tanha Hua" 5) the most obvious: respect for the technical effort in visual effects.

The film is difficult to classify, if it is a pastiche or drama, particularly at the end. Bollywood is often mixture, but here this lack of clarity of the film's tone disturbs my perception. Because if I don't recognize pastiche, I might simply see a kitsch. Absurdity is acceptable in pastiche, otherwise it is unbearable. And that's the case of the last 20 minutes (scenes like no-gravity scene, Aafia driving her wheelchair in a wedding sari or the final countdown). It spoils my overall impression of the film.

It is not that kind of film that I could fall in love with and re-watch constantly favourite moments (though I have some). I read the film as an Indian science-fiction fantasy tale. And in that convention it is worth watching. Good unusual entertainment.

Pardes (1997)

From boredom to powerful final

[7/10 · 6 July 2021]

If you are able to survive the film's long opening of the snail's pace boredom, you get a chance to watch a very decent Bollywood drama of the late 1990s with convincing performances and very good music.

The first half an hour is dragging painfully, the next hour gets some pace and the part after the interval is really captivating and energetic. Songs are still very good, particularly "Meri Mehbooba" and "Yeh Dil Deewana".

The film reproduces too many stereotypes and clichés, particularly of America and NRIs, but overall it is a good and interesting drama, which offered at the time of its release more than a romance, praising traditional Indian culture and addressing NRI audience. Nowadays it works rather only in romantic plot. "Pardes" may attract a western viewer (like me) who likes old-school Bollywood.

I like the film mostly for its last 40 minutes. And some of the very final 20 minutes belong to my favourite Bollywood scenes. There is something memorable in the climax: rhythmic cuts of shots with a backdrop of Fatehpur Sikri historical location in line with the background song "Nahin Hona Tha" performed by choir in a theatrical manner. And a moment later a confrontation among Kishorilal, Arjun, Ganga and Ganga's father and grandmother.

Amrish Puri as Kishoriral, a head of a wealthy Indian family in America, is really great, showing power, dominance and his bond to India. When visiting his friend in India he chooses his daughter Ganga as a future wife for his westernised son Rajiv. He entrusts Arjun, his foster son, task to convince Rajiv to marry Ganga.

Ganga, played by Mahima Chaudhry, is attracted to Rajiv and befriended with Arjun. Mahima Chaudhry is not only beautiful, she shines in the movie. Ganga is building relations with her future family, trying to get to know Rajiv's world, but in that sticking to traditional values, showing independence and strength in obedience. There are also some touching scenes with her father.

Shah Rukh Khan plays Arjun with sensibility and balance, rarely showing his typical mannerism of that time, his character more and more in conflict between his heart and his loyalty to family and Kishoriral.

Apoorva Agnihotri as Rajiv is attractive enough to convince a viewer that Ganga might prefer him over Arjun, but generally the character should be something more and this performance is not good enough. Worth praising are, however, Alok Nath as Ganga's father and Dina Pathak as her grandmother.

Mahima Chaudhry steals the film but its final belongs to Shah Rukh Khan. His climax confrontation with Kishoriral is remarkable - outburst of passion in comparison with all the self-restraint that Arjun kept earlier in the movie.

The film is still an option when travelling through the Bollywood cinema of the 90s, at least for its music, actors and climax. If someone is considering watching it for Shah Rukh Khan, it is one of his best performances of that time.

Raees (2017)

High quality production: good story with strong acting, entertainment that will not make you smile

[8/10 · 16 June 2021]

I liked the film more than I expected. Crime thriller, classic Bollywood mixture of drama, action and romance with good music. Overall it is a good story, engaging from opening to closing credits, though with a lot of violence, which is smoothed by a romantic plot and some humour. I have no idea to what extent the film reflects the Indian reality of the late 1980s and early 1990s. It is however a sad picture of Indian society with poverty, criminality and corruption, where a criminal has more conscience and social responsibility than clichéd politicians.

It is a story of Raees, a gangster building his criminal empire with an ambition or a dream to create his "own world", not only for his relatives but also for his community. The film has some unexpected twists, it is much more than a rivalry between a clever smuggler-businessman and a police officer Majmudar during prohibition. Throughout the film Raees grows up as a character, his motivation and development are understandable, that's why I understand the ending on his part. I have though some problem with the final on the Majmudar's part, for me his transition as a character is lacking some justification.

Overall good performances from leading characters to minor parts. Shah Rukh Khan as Raees: mature acting (great voice work), charm and good looks. Generally, flops or not, in his recent (diverse) films SRK as an actor shines, the older the better and his Raees is another example of a strong performance. Mahira Khan as Aasiya is equally good, not just a beautiful decoration, she complements Raees and is essential to the complexity of his character. They make a very good screen couple, husband and wife for good and for bad, and some of their married life scenes are really touching. Nawazuddin Siddique as police inspector Majmudar is brilliant, at least equal match for SRK, and his performance contributes vastly to the film's overall impression. Nawaz's and SRK's joint scenes are a treat. Worth mentioning is also Zeeshan Ayub as Sadiq.

Film has great cinematography (I like the choice of colours). It transports a viewer to Raees's world. Music is also good, both songs and background scores. "Zaalima" as a song was deservedly a hit but I am not sure if its picturisation really helps the film. I like however "Udi Udi Jaye" and my favourite "Saansson Ke" which makes the film final more moving.

Probably less commercialisation (i.e. Less songs or shorter action scenes but with more characters' development) might have helped to make a stronger story. The film has had potential that was not fully used. On the other hand I watch Bollywood movies because of the genre's originality and good songs are important for me. So probably as usual a director and producers had tough choices how to deliver a perfect product. It works for me but as an European I am not their target audience

"Raees" is one of those films that might be appreciated by western audience not particularly familiar with the Bollywood genre. It still has songs and dances, but they logically complement the action (maybe with an exception of "Zaalima"), and the film is a high quality production in all aspects with no irks that might discourage a western viewer.

Happy New Year (I) (2014)

Poor taste and guilty pleasure

[6/10 · 10 May 2021]

My first reaction to this film was "too much". Too long, too loud, too flickering, too many cheap jokes and too much India pride (I am not Indian). On the other hand I must honestly admit that, when watching in a company, I laughed wholeheartedly many times and had fun. This film is a complete brainless entertainer and nothing more, but with good performances of acknowledged actors losing some dignity in silly (sometimes disgusting) jokes. So generally a professionally executed comedy in poor taste. There are some references to other Bollywood films, which I am able only partly to catch.

The story: group of losers plans to steal diamonds from a safe in a Dubai hotel. It is a revenge to punish a villain who earlier framed the group's leader innocent father, who was in a turn unjustly imprisoned. In order to cover their burglary they, complete amateurs, intend to take part in a world dance competition as Team India.

Team India members Abhishek Bachchan (in double role also as the villain's son), Boman Irani and Sonu Sood play expertly whatever (little, stupid, funny) they were given to play. Shah Rukh Khan's performance is also good. He as Charlie, the brain of the operation, is the only male character in Team India who maintains dignity. The film provokes me, however, to ask if isn't it too easy to stand out when your co-stars play halfwits. Deepika Padukone as Mohini, a night-club dancer and the team's dance teacher, is really good. Unsophisticated but good-hearted, infatuated with Charlie and his English, her Mohini fights for respect and does not want to lose it.

There are some moments to remember like initial dancing lessons, scenes in an hotel elevator, efforts to unscrew a wall cover (cheap but funny gag) or closing credits with worst dance competition among film production departments (usual Farah Khan's trademark). I also managed to learn how is nine in Hindi. And I like flying sparks every time Mohini touches Charlie.

There are also irritating or nonsensical issues. Multiple repetition of the plan. A glass of water with ice through airport security?! - Really, is there nowadays anyone who doesn't know how it works? How so little dance can make a number in a world dance competition final?

Surprisingly the music is the film's weakness. The only song that remained with me is "Manwa Laage". "India Waale" is a good film number but nothing to listen to on its own.

So generally this film is a guilty pleasure, which I should despise in the first place, rather than partly enjoy it. Good for watching in a company to multiply its ridiculous effect. For me it is a weaker work from the director Farah Khan in comparison to "Main Hoon Na" or "Om Shanti Om". Vomiting jokes are unbearable.

Dilwale (2015)

Only for Shah Rukh Khan and Kajol

[6/10 · 29 April 2021]

I watched Dilwale for Shah Rukh Khan and Kajol. And they remain the only reason that make the film (re)watchable.

When comparing with the film's overall impression, Shah Rukh Khan and Kajol shine in the movie. They both look great (particularly Kajol) and play convincingly romance and comedy in their part of the story. Varun Dhawan and Kriti Sanon, as their siblings and the younger generation couple, are not bad but in comparison to older stars their characters are faint.

The story, simple and ridiculous, is not that bad as it sounds. Separated lovers, who met in Bulgaria 15 years earlier, meet again in Goa, where their siblings get to know each other, not aware of their families' past. This story, with addition of mafia plots, has its moments, e.g. A five-minutes date, Meera's confessions, Pogo and Ramlal story, some dialogues of Raj and Veer or the line "15 saal, 4 maheene, 10 din" perfect for my Hindi elementary course.

I may live with clichés or the adopted convention for action scenes and fights, it is tolerable. Cinematography with bright colours is pleasant. But as a comedy the film fails too often. In Dilwale too often I see a joke but I don't laugh. Who is to blame, I don't know. Director, editor, screenwriter, actors, culture/language differences? Varun Sharma's and Sanjay Mishra's scenes just don't work for me. Even Johnny Lever was not his usual. I appreciate, however, Boman Irani as King. Finally, the most irritating in the film were slow-motion scenes with tingling background score that created overdramatic atmosphere.

I also have mixed feelings about the music and songs. The returning dominating music theme got on my nerves. Some songs are good. I like "Daayre" and "Gerua". "Janam janam" is good as a song but its picturisation does not appeal to me as a part of the film story. "Gerua" is really a nice music clip as a part of the film and on its own, but a bit kitschy.

Generally Dilwale is a disappointing average film and a missed opportunity for a really entertaining comedy with romance and action. Watch it though if you like Kajol's and SRK's on-screen reunions. Their charm still works. References to Dilwale Dulhania Le Jayenge are therefore easily digestible.

Dilwale Dulhania Le Jayenge (1995)

2021: still lovable all-time classic

[10/10 · 26 April 2021]

What an European can write in 2021 about this classic Bollywood love story?

I watched it for the first time around 2008, with a couple of other Shah Rukh Khan's films, which as some novelty were then easily available in Poland. I liked the film and I have been keeping, out of sentiment, a few Bollywood DVDs, one being Dilwale Dulhania Le Jayenge.

After years I rediscovered Bollywood. I re-watched some films, including DDLJ, and saw some more. Some of these older ones lost their former charm, but not DDLJ.

First of all, it is still a lovable simple story of Indian boy and girl, both born and raised in England, who fell in love on holidays in Europe. The girl, engaged to a never-before-seen fiancé, moves with her family to India for her arranged marriage. The boy follows the girl determined to win the bride.

As far as I understand from some reading the film became the Indian all-time blockbuster not only due to its captivating story, memorable performances and music. It presumably had perfect timing. The director and story writer, Aditya Chopra, then 23 and whose it was a directorial debut, delivered a perfect product for India of that particular time undergoing major economic and social changes. The film set the pattern in Bollywood cinema for years, showed non-resident Indians in a new light and enthroned a new superstar Shah Rukh Khan.

To western audience, apart from romance, the film offers an easily digestible glimpse of popular Indian culture like originality of music, dances and costumes or introduction to some Indian traditions. It presents values like importance of the family over the individual and conflict between tradition and modernity, where characters' choices might be sometimes hardly understandable by a western viewer. At the same time one must be ready for Indian emotionality that affects acting and storytelling.

In 2021 for me the story is still touching. The film's favourite scenes have remained favourite scenes. The cinematography more or less maintains quality. Performances of Shah Rukh Khan and Kajol as Raj and Simran retain their charm. Kajol is just great. Shah Rukh Khan nowadays is a more mature and better actor. Some of his DDLJ scenes were overplayed with energy excess, giggling or crying, but it is repaid with brilliant ones or his personal charm. Amrish Puri and Farida Jalal are memorable as Simran's parents.

Surprisingly songs are still fresh. "Ho Gaya Hai Hujhko To Pyar Sajna" and "Tujhe Dekha To" belong to my Bollywood playlists (although generally I am not fond of Lata Mangeshkar). "Zara Sa Jhoom Loon Main" is still funny with its "drunken" picturisation. "Mehndi Laga Ke Rakhna" is classic.

So I am able to overlook the story's weaknesses, technical deficiencies and some irks of the 90s, and fall in love with the film again.

Watching Bollywood movies without DDLJ is incomplete. Motives from this film were remade in so many other productions. The film is also important to understand the Shah Rukh Khan's road to stardom, since that film made him a romantic hero. Without the DDLJ it is also difficult to understand Indian fuss about Kajol's and SRK's later on-screen reunions.

However, nowadays I would probably not recommend it as a first choice for people who want to taste Bollywood. One must be ready to appreciate it.

Jab Harry Met Sejal (2017)

What a pleasant surprise! Don't be discouraged by low ratings but check what you are looking for

[9/10 · 22 April 2021]

What a pleasant surprise! I did not expect much, having at the back of my mind that this film was considered a flop with no story, brainless, boring (really?). Not immediately, yet I fell in love with this movie. And I really can't understand that many extremely negative reviews. Even if the film is not a masterpiece, it is a good story, far, far away from a disaster, definitely not worse than many others with average ratings. But I am not the Indian audience, with their expectations, and maybe that makes difference.

The film is not about looking for a lost ring. The film is not about travelling across Europe either. European sites and the ring are just a background, a pretext for a more meaningful story. The action could have taken place anywhere provided that it was far away enough from home to westernize Harry and make him lonely. I wouldn't either advertise this film just as a sweet, funny romantic comedy since there is something more.

And this "more" is found in a simple story of two people - Harry and Sejal, performed convincingly by Shah Rukh Khan and Anushka Sharma. At the end of the European tour Sejal on some impulse leaves her family and her fiancé at the airport, determined to find her engagement ring, lost somewhere on the tour. Reluctant Harry, the group's tour-guide, is forced to assist the client in that task. These two people, complete strangers (though they already spent a month on the same tour), start their search during which, getting into silly scrapes, they get a chance to find something that completes their life.

Harry and Sejal by small things (dialogues, exchange of looks and gestures, growing intimacy) develop their relationship from indifference to desire and from antagonism to love. And this doesn't come to them as a sudden realisation at the end of their ring quest. Because, quite early in the film, they do not concentrate their efforts on searching the ring but on their mutual attraction. Sejal provokes Harry, Harry challenges Sejal, they shorten the distance, both more and more uneasy about the perspective that the ring might be actually found. This is a questionable behaviour of an engaged woman, inexperienced in that game, towards a single knowledgeable man who answers inducement with some self-restraint, aware that they play with fire. Following these developments the film's mood changes, there is less comedy and more drama, characters are warmer, their interactions evolve from harshness to affection and desire. Eventually Harry and Sejal, both more mature and open to each other, face the question what is real and what are their expectations.

The story is as simple as that but with substantial contribution of good music and songs. "Safar" introduces Harry. "Radha" changes initial unfriendly attitude of Harry and Sejal to each other. "Hawayein" opens their eyes to mutual attraction. "Phurrr" and "Yaddon Mein" deepen their relationship. "Raula" makes them comfortable together, while "Ghar" makes them longing.

With an exception of Mayank (good Aru Krishansh Verma) this is a film of two actors, others - relatives or strangers - are in the far background with almost no story. Shah Rukh Khan surprised me. He managed to create another distinctive character - he is Harry, born in 1980, attractive, in a sense homeless, stuck in his job and jumping from one meaningless fling to another. Harry's image - ordinary look - is perfect. Anushka Sharma as Sejal grew on me. At first irritating both as an actress and a character, she becomes softer, sexier and more mature. Some of their scenes are brilliant and their on-screen chemistry is clear.

I accept this simple story as it is, predictable and with some weaknesses. Probably, depending on viewer's expectations, the weaknesses might be found in completely different places. For me the night life and criminals' plots were overdone. I would have added some dialogues instead of (nice) "Beech Beech Mein" song. "Phurrr" and "Yaadon Mein" (the tram part) could be cut shorter. But it is mostly a background. Leading characters, their personal development and their love story won the film for me.

If you like the film, you may look in internet for deleted scenes. Really good pieces from Anushka Sharma and SRK. Have fun in deciding if and which should have been added to the film.

Worth pointing out, Pritam's soundtrack from this movie is excellent with my favourite "Safar" and surprising Hindi Fado "Yaadon Mein". The film wouldn't have been that good without that input.

Cinematography is pleasant. The shots of Lisbon reminded me how much I like this picturesque city.

I am not Indian. In Bollywood I am looking for a captivating story, romance and music with some originality for an European viewer. I have found it all in Jab Harry Met Sejal. That encourages me to look at other works of the director Imtiaz Ali.

I am probably overrating with 9 to counterbalance all these extremely low notes. But I simply love the story and the film belongs to my favourite Bollywood ones.

Kabhi Alvida Naa Kehna (2006)

2021: No reason to watch this movie

[4/10 · 19 April 2021]

I watched this film as a part of my Bollywood fun travel 2021 and it is definitely one of the biggest disappointments. I knew that the film was not a hit, but it took up an interesting topic of unhappy marriage and infidelity and gathered a group of acknowledged actors whom I am fond of.

After the first hour I did not like the film. After the second hour I knew for sure the film was not good. I watched it till the end only to find out if there is anything I could like. So the only details to remember: Preity Zinta slapping Shah Rukh Khan's face and short shots of the couple checking-in in a hotel. So maybe one minute for three hours.

I don't know what the director Karan Johar wanted to achieve. The mannerism of the film is unbearable, particularly with some scenes shot as a TV soap opera. The music does not help and I didn't find a song that I could add to my Bollywood playlist. Even if the film had had some freshness upon release, it didn't age well. The story is predictable, lacks charm, New York location doesn't help and characters do not win my heart.

Actors do not present their potential. Rani Mukerji is boring. Preity Zeinta has little to play. Amitabh Bachchan maintains some dignity. Abhishek Bachchan is probably the best. As for Shah Rukh Khan, he is good-looking, convincingly limping, charming and embittered (though nothing fresh), but so dreadfully overdramatic in a soap-opera style. And it comes from the actor who already showed his talent in fantastic 2004 releases. I am SRK's fun but I am not blind. SRK sometimes overplays but it usually has some charm or is counterbalanced by other scenes. KANK is not such a case - probably joint effort of the actor and the director.

I am not Indian. In Bollywood (old-school or modern) I am looking for a captivating story, romance and music with some originality for European viewer. This film is just not good and from 2021 perspective I see no reason to watch it.

Phir Bhi Dil Hai Hindustani (2000)

Worth watching for its surprisingly deep plot and SRK - but too much masala

[8/10 · 6 April 2021]

As non-Indian Polish lover of Bollywood I recommend "Phir Bhi Dil Hai Hindustani" for Shah Rukh Khan's fans and because of its unique and still fresh plot on relations between media, business and politics shown aptly in a satirical way.

Film, released in 2000, with its melodious songs, bright colours and art of shooting belongs to the 90s aesthetics in a good way.

I liked most of the songs, particularly "Banke Tera Jogi" and its picturisation with Johnny Lever's character breaking into safe. "Phir Bhi Dil Hai Hindustani", "I am the best" and "Kuch To Bata" also fit well with the action and caught my ear.

I liked the romance between Ajay and Ria and their development as reporters when discovering and defending the truth. The commercialization of media and interactions between media and politics are a really good satire (e.g. Mechanism of creating a terrorist, interview with hangman). The climax scenes of the marching people under Indian flag bring further drama. Comedian subplots with Pappu Junior are ridiculously funny (even the Chinese reporters).

All these plots separately are good. However, for me they do not fit together in one film - probably too much "masala". There are two powerful, very good scenes - city riots and the story of Mohan Joshi. Their reality just clashes too much with romantic and satirical scenes. Cheesy dialogue between Ria and Ajay at the very end of the film is a sweet closure but out of place right after the scenes that precede it.

Film is well performed, also in supporting roles. As for SRK, as Ajay Bakshi he gives solid performance, shifting easily from comedy to drama, romancing with Juhi Chawla's character Ria, though I don't like tears in his eyes during his final dramatic TV appearance. That kind of acting just does not work for me.

Juhi Chawla is charming and very convincing as Ria. Paresh Rawal as Mohan Joshi is very good. Johny Lever's Pappu Junior to be remembered.

It's not the SRK's acting that I particularly recommend here for SRK's fans (though nothing to complain about). PBDHH is first independent production of SRK, Juhi Chawla and Aziz Mirza. It was not a success in cinemas but it shows somehow what kind of movies SRK wanted to produce when, at the top of his career as an actor, he decided to start his own film business.

It's not the best ever Bollywood movie and it's not the best performance by SRK. I recommend it, however, to all classic Bollywood lovers and SRK fans. It reminds me of SRK's 1999 "Badshah", but for me, from 2021 perspective, "Phir Bhi Dil Hai Hindustani" is much better and more up to date. Try and enjoy it!