10 Best Bollywood Films of 2017 : Which is your favourite?

1. Baahubali 2: The Conclusion :

I will keep this at No1, solely because of the landmark it created for Indian Cinema, which was no less than a fantasy. The worthy sequel to the hype of Baahubali, this one is straight out from fairytale stuff. S.S.Rajamouli takes off with Prabhas and Anushka Shetty as he tells you the story of “Katappa ne Baahubali ko kyun mara?” in the most spectacular way, ever done on Indian screens. Though, some actions very illogical, but you won’t need logic here. Read my full review of it : https://critiquesqueblog.wordpress.com/2017/04/28/baahubali-2-indian-cinemas-landmark/

2. Jolly LLB : 2
Akshay Kumar is on a golden touch, and he can never go wrong. Thus the sequel to a wonderful Jolly LLB, is well worth a watch. It is funny, satirical, serious and asks pertinent questions about socio-political conditions of the country. Doing both well in the box office (197cr) and in the critique department, LLB2 is all about a serious court room drama built up through fun-filled sequences.

3. Jagga Jasoos :
Personally, I loved this film. Anurag Basu in his typical best. Set in a Bengal locale and casting some brilliant actors (Except Kaif), the movie is a gem. It is a musical – and the best part is, it has a reason for being so. Though, the 2nd half drags and becomes boring, but again – Jagga takes you on a fun adventure. Saswata Chatterjee – a delight. Read my full review of it : https://critiquesqueblog.wordpress.com/2017/07/20/jagga-jasoos-review-anurag-basus-treat-to-indian-cinema/

4. A Death in the Gunj :
A not so famous film, lost in between few heavyweights – but pretty well made. Konkona Sen Sharma goes behind the camera and brings out the best cat from her bag. It is a coming of age story, about a shy student Shyamal Chatterjee. The holiday and the family trip that the film starts with turns out into something very messy and suspicious. Read my fellow blogger Srobona’s review on it : https://critiquesqueblog.wordpress.com/2017/08/08/a-death-in-the-gunj-as-an-anxious-calm/

5. Newton :
Rajkummar Rao is the finest product of Bollywood of recent times and he takes up this satire in a motif to put a mirror on society, on conducting a vote in a maoist region. It contains all the farce of the so called largest democracy of India. Pankaj Tripathi is a delight, again. Though it is slow and much of nothingness happens, it creates a stir. Lost in the crowd of Judwaa 2. Read my full review of it : https://critiquesqueblog.wordpress.com/2017/10/17/newton-review-break-away-into-reality-from-the-reels-of-cinema/

6. Bareilly Ki Barfi :
Perhaps the sweetest film of the year, and again Rajkummar Rao at the head of it. A very simple plot and a delicately built climax. Though predictable, but enjoyable throughout. Ayushman Khuranna and Kriti Sanon at their best and Pankaj Tripathi again doing wonders. A very Indian locale and brilliant narration by Javed Akhtar. Read my full review of it : https://critiquesqueblog.wordpress.com/2017/08/19/bareilly-ki-barfi-sweetest-cuisine-of-the-year/

7. Toilet : Ek Prem Katha :
You see Akshay Kumar, you know it is a good film. And in this social fable like movie – Kumar delivers a message more than a movie. Bhumi Pednekar, co-operating very ably and though the message is strong, but the movie is futile and parts and falter in its main motif. A very different type of film, and definitely a brave attempt. This is perhaps more of a government initiative than a entertainment process.

8. Subh Mangal Sabdhan :
A film about erectile dysfunction – yes, you heard it right, and this is an Indian film. 2017, already a brave year for cinema in this nation, this alone defies all odds. The old cliched rom-com given a new stage of scientific setback – again an awareness process. Ayushman’s second of the year, and that too for Bhumi – both are fantastic, combined by a brilliant cast.

9. Ittefaq :
Bollywood sees very less of suspense thrillers – and this is one of them. It includes all. The twist in the end, is one of the best, seen in recent times and for sure it will leave you stunned and very less of you can predict the end. Akshaye Khanna steals the show as the cop. Siddharth Malhotra does not though achieve full potential (except when he breaks down in the prison). Sonakshi Sinha is very under-utilised and seems unsuitable.

10. Raees & Tiger Zinda Hai :
Yes, you will need a bit of commercial stuff, to round it off, and ShahRukh Khan and Salman Khan packs punches in both of them, respectively. They both have seen setbacks in the fates of Jab Harry Met Sejal and Tubelight, but have earned box office collections with the show of muscles. SRK in Raees is fantastic. Salman Khan in Tiger Zinda Hai is in his comfortable pair of shoes. Read my review of Tiger Zinda Hai here : https://critiquesqueblog.wordpress.com/2017/12/28/tiger-zinda-hai-review-not-at-all-endangered/

Let us know your pick. Happy New Year.

Article by :- Anish Banerjee.

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A DEATH IN THE GUNJ- AS AN ANXIOUS CALM

P.S :- Spoilers included.

THE COINAGE OF THE WORD “SEANCE” DIRECTLY COMES FROM THE FRENCH WORD FOR “SEAT”, WHICH GENERALLY IN FRENCH HAD A MEANING “TO SIT” OR TO HAVE A “SESSION”. HOWEVER IN ENGLISH THE MEANING GOT A LITTLE DEFLECTED AND CAME OUT TO BE A SESSION TO CALL UPON SPIRITS OR GHOSTS. THE MYSTERY OF THE AFTERLIFE OR THE MYSTERY BEHIND DEATH IS WIDESPREAD YET UNSOLVED.

KONKONA SEN SHARMA, USUALLY KNOWN AS AN ACTOR, UNFURLS INTO HER DIRECTORIAL DEBUT, A DEATH IN THE GUNJ IS TAKEN AND INSPIRED FROM THE STORY “A DEATH IN THE McKLAUSKIEGUNJ’ BY MUKUL SHARMA.IT IS AN UNCONVENTIONAL PIECE OF WATCH FOR ITS INTIMATE CONNECTION WITH THE HUMAN BEHAVIOR AND BEHAVIORAL TRANSITION. THE TITLE STRONGLY HOLDS A HINT OF A MURDER MYSTERY BUT AS THE STORY UNFOLDS IT RARELY STANDS UP TO IT.

THE DEATH AND WHAT LEADS TO THE CATASTROPHE IS AN UTMOST CONFUSION. KONKONA LEAVES A PERFECT EXAMPLE BEHIND IN DEALING WITH DEATH IN THE CALMEST WAY POSSIBLE. SHYAMAL OR AS HE IS COMMONLY KNOWN, SHUTU (VIKRANT MASSEY) PLAYS A SILENT PRONOUNCER OF THE DYNAMIC RAPTUROUS OF THE SITUATIONS THAT ARE PRECEDING. THE MOVIE IS FILLED WITH SYMBOLS OF DEATH. THE DEAD FATHER’S SWEATER WHICH HE PUTS ON, EMBRACES THE POSSIBILITY OF DEATH AND DISMAY ON SHUTU’S LIFE.THIS SHOWS HIS INTERNAL HE IS THE FEARFUL KID STILL TO BE A ‘MAN’, CONSTANTLY CHASED BY THE ANXIETY OF LOSS AND FAILURE. HE ACTS AS A PUNCHING BAG OF THE ENTIRE FAMILY, KEEPS ON TAKING ALL DIFFERENT COMMANDS OF DIFFERENT DEMANDS UNTIL HE DOES REVOLTS. HE IS DEFENSELESS AND VULNERABLE AND PLAYS THE PREY OF OTHERS. WE ALL MUST HAVE GONE THROUGH THAT CERTAIN PERIOD OF OUR LIVES WHERE WE HAVE FELT ALONE AND UNIMPORTANT. SHUTU IS THE BRILLIANT PORTRAYAL OF THIS, THUS BINDING HIMSELF IN THE SHACKLES OF CHILDISHLY THINGS AND INVOLVING HIMSELF IN THE ACTIVITIES OF TAANI. HE IS A SHY, INTROVERT BOY FEELING ALIENATED AND UNWELCOMED IN HIS FAMILY.

AMONG ALL THE PROMINENT ELEMENTS DEATH IS A CERTAIN AND MAJOR ONE IN THE MOVIE. THE VIEWERS ARE IN A CONSTANT ANTICIPATION OF AN EVENTUAL LOSS OF ONE OF THE CHARACTERS. INTERESTINGLY THE MOOD IS CALM AND EVEN IN THE IN MOMENTS OF AGITATION THE CALMNESS PRICKS IN AN UNEASY WAY THAT IT RENDERS THE MOOD OF EERIE.

IN THE BEGINNING WE ARE CERTAIN THAT THE DEATH HAS ALREADY TAKEN PLACE, AS A BODY IS BEING TRIED TO PUT IN A FOETAL POSITION. AS WE PROCEED IN THE MOOD WE WOULD NATURALLY FEEL A KIND OF AMBIANCE WHICH IS NOT SO HORRIFYING, BUT SHUTU’S OCCASIONAL PROJECTION OF HIS “OVER SENSITIVE” SIDE KEEPS US REMINDED ABOUT THE FACT THAT APART FROM BEING A TAG-ALONG IN THE VACATION HE PLAYS A MERE CARE TAKER OF THE CHILD.

KONKONA’S BRILLIANCE IS EVIDENT BY THE FACT THAT SHE DOES NOT PAY HEED UPON USING MUCH WORDS INTO AN ACTION; WHEREAS IT SHOWS THAT SUBTLE EXPRESSIONS AND PRECISED DIALOGUES HEIGHTEN THE UNDERLYING MEANING AND HELPS TO RESURFACE SUBTEXTS. MIMI (KALKI KOECHLIN) IS THE WOMAN WHO USES HER SEXUALITY AS A WEAPON BECAUSE DEEP DOWN SHE IS A VULNERABLE SOUL WHO JUST SEEKS UNDIVIDED ATTENTION AND IS NOW TORN APART BETWEEN HER INTEGRITY AND HER FORMER LOVER. AS A RESULT SHE THROWS HERSELF TO ANOTHER VULNERABLE THAT IS SHUTU, AND DECEIVES HIM BY GIVING HIM A FALSE HOPE OF A FUTURE WHICH IS NEVER TO BE THERE.

THE SÉANCE TAKES PLACE AS MERE INVOLVEMENT IN THE REMOTE RURAL STATE WHERE THERE IS NOTHING ELSE TO BE ENGAGED WITH AND TURNS OUT TO BE A PRACTICAL JOKE AGAINST SHUTU. IN ANOTHER PERSPECTIVE IT IS A VITAL SYMBOL OF DEATH. SHUT IS BEING BULLIED AGAIN AND BEING TOLD THAT HE WILL BE THE ONE TO DIE FIRST.THEY KILLED AN ALREADY DOOMED SPIRIT ALL OVER AGAIN. AS A RESULT SHUTU DREAMS OF A MAN WHO KILLS HIM IN HIS SLEEP WITH A GUN, WHILE THE SCENE IS TENSED WITH A TRIBAL SONG IN THE BACKGROUND. THE SLICE OF FRUIT CAKE IS ANOTHER PORTEND TO THE DEATH. IN THE CLIMAX WHEN SHUTU FALL INSIDE THE PIT AND EVERYONE FORGETS ABOUT HIM IS SYMBOLIC OF HIS OWN PREDICAMENT. IN THE MEANWHILE THE CALMNESS CONTINUES TO BUILD UP AND THE VIEWERS ARE LEFT UNSETTLED AND ANXIOUS.

SHUTU’S SECRET IS REVEALED IN FRONT OF ALL AND HIS IMPORTANCES EBBS DOWN TO A CERTAIN POINT WHERE HE IS TOLD TO GO BACK TO HIS MOTHER. THE SHY BOY, AFRAID OF RESPONCIBILITIES AND PRESSURED BY EXPECTATIONS, GETS SHATTERED. FINALY THE TONE OF CALMNESS BREAKS WHEN SHUTU IS LET DOWN BY MIMI AND GATHERS A HORRIFYING TRANQUILITY. AFTER THE GUNSHOT, I THINK MOST OF US ARE CONFUSED WITH THE NEXT SCENE. YES, IT WAS SHUTU WHO KILLED HIMSELF TO PAINT HIS BLOOD ON THE FAMILY TREE. BUT FIGURE AT THE BACKSEAT IS THE MOST AMAZING SYMBOL WHICH HAS TO BE DECIPHERED. EVEN AFTER HIS DEATH SHUTU IS NON-EXISTING, LIKE HIS BODY HIS MEMORIES ARE ALSO TUCKED INSIDE THE TRUNK AND WILL NEVER BE OPENED AGAIN. THIS MOVIE HAS A MOTIF WHICH HAS TO BE THOUROUGHLY STUDIED AND REVISED.

AN AMAZING WORK OF ART.

Article by :- Srobona Choudhury.