Sunday, 21 September 2014

Khoobsurat :: Movie Review

Khoobsurat is a contemporary take on a (fairy)tale as old as time – girl meets boy, girl thinks he’s a frog and boy thinks she’s insufferable, girl kisses (engaged!) frog and turns him into the prince of her dreams. Khoobsurat with its share of candy floss romance with just the right tadka of royalty has a lot going for it. The best part about the movie is that it portrays the tale in a simple way without making things look exaggerated and stays true to its genre. Even though, over the top Milli (Sonam Kapoor) widely touted as royal misfit in the promos, runs the danger of turning loud, but with fair degree of directorial restraint and whole lot of effortless effort on Sonam's part, this Milli manages to be an aafat alright, but a delightful one. Disney's Khoobsurat takes you in to the lives and luxuries of Rajasthani princely states. Through the story of a quintessential Delhi girl's tryst with a prince and his family, you too can roam the vast expanses of pure luxury. Experience the old world charm of an India mostly reserved for tourist brochures. And you can soak in all the opulence with a charming young adult romance. Yes, the film is predictable, and recycles well known rom com and fairytale tropes, but the packaging is in such shiny and colorful paper that one is enthusiastic to unwrap it and see what lies in store. The result is a film that is surprisingly layered and feel-good in every sense of the word.

STORY & SCREENPLAY                                       ::                       The screenplay for the original story that was written by D.N.Mukerjee has been penned down by Indira Bisht who has given it a new premise but has ably maintained the essence of the cult. The new Khoobsurat is  like a rainbow puked all over the old Khubsoorat on its Disneyland vacation in Rajasthan. If old Khubsoorat was about the clash of lifestyles between two families, the new Khoobsurat is more about the young couple’s love story. The most lovable part of the movie is its well etched characters. Behind their happy-hello-how-are-you smiles, both Mili and Vikram whisper through their teeth and greet each other with tags like, “khadoos” and “aafat.” The chemistry between the lead pair is so adorable that you will find yourself going ‘aww’ at their romance (or even feel your heart turn gooey. The film starts off with the introduction of a professional physiotherapist Mili Chakravarthy (Sonam Kapoor) who is in charge of treating the players of IPL's Kolkata Knight Riders' team, an 'achievement' that qualifies to get her a suitable match, according to her typical Punjabi mother Manju Chakravarthy (Kirron Kher). Due to the inability of Mili's colleague to go to the royal house, Mili fills in for him to treat the King of the palace. Right from the word go, the very vocally outspoken Mili finds herself to be a 'royal misfit' in the royal palace of Sambhalgarh, which is 'manned' by the lady of the house, Queen Nirmala Devi Rathore (Ratna Pathak Shah). Nirmala's life revolves around her family members which consists of her husband Shekhar Rathore (Aamir Raza Hussain), son Vikram Rathore (Fawad Khan), and daughter Divya. In due course of treating Shekhar, Mili realizes that there's more than what meets the eye. That's when she changes her course of treatment by befriending the King and making his life livelier and fun. Despite the fact that Nirmala and Vikram do not like Mili due to her brash behavior, they gradually come to terms with her after seeing Shekhar respond very positively to her treatments. Despite Vikram being engaged to a royal and rich Kiara (Aditi Rao Hydari), he starts liking Mili, even though being aware that there is nothing similar in them! By now, Mili also starts nurturing similar feelings for him, but refrains from confessing as she learns about Vikram's engagement with Kiara. Will Vikram choose Mili over Kiara as his life partner and does Mili succeed in treating Shekhar? And above all, will Mili manage to melt Nirmala Devi's toughened heart is what forms the rest of the film's story.

STARCAST                                                                ::                            Full marks must be given to the casting director i.e. Nalini Rathnam as she has chosen the the right starcast who have made the characters look believable which is a big strength of the movie. We all agree that Sonam Kapoor is no Rekha but in this modern day version of Khoobsurat she has played the character of Milli with aplomb and virtually wins you over. She has an undeniable star presence and a gorgeous, infectious smile and that works well for her in the film. She gets to play an author backed role here and has completely justified her character by playing it to perfection. Coming to Fawad, the debutante actor knows his craft and given the space he is allowed in a women-centric film, he has shone brightly. He’s bang on as the emotionally-unavailable, brooding prince. He’s a man of few words and his acting is as sharp as his tailored suits. There’s no over-the-top melodrama and we buy into his royal, ruthless act. I have to add that apart from the lead actors Khoobsurat wouldn’t have been half as entertaining had it not been for Ratna Pathak Shah and Kirron Kher. As the two polar opposite mommies, these veterans have not so surprisingly given solid performances. Kirron Kher might have played the loud mouthed Punjabi Mom for the umpteenth time but she still manages to raise lotta guffaws with her witty dialogues and bring smile to your face. Ratna Pathak Shah looks every inch the strict, commanding and disciplined Queen of the royal Rathore family. Aamir Raza Hussain's performance as the wheel chair ridden King is impeccable and how i wish we could have seen more of him in the movie.

TECHNICAL FINESSE                                       ::                                        The soundtrack of the movie has been composed by Sneha Khanwalkar which is a virtual treat for the music lovers. She has put in a coterie of numbers of all genres which include peppy numbers like Engine Ki Seeti, Maa Ka Phone as well as soulful songs like Naina and Preet. The cinematographer of the movie is Tushar Kanti Ray whose lens has captured some lovely, unfussy images unto the screen. The cinematography is plush and passionate & makes the visuals an occasion for optical enchantment. He has captured both the outdoor locales as well as inner shots with elan. Two more persons who deserve a special mention are Shruti Gupte for her Production Design & Prajakta Ghag for her art direction as they have done their bit with utmost finesse. The movie has been edited by Bakul Matiyani, who although has done a good job but i feel it could have been better. The run-time of the movie is 130 minutes and slightly more crisp editing would have made it more interesting.  Director Shashanka Ghosh  knows his job well and knows how to tell a story embedding individual scenes with a distinctive personality without straining for effect. It is never easy for a director to spin a narrative which has a clear ending from its first frame. To draw the audience in, he must create a film that is crisp and engaging, peppered with just the right amount of Bollywood kitsch that will entertain for more than two hours which Shashanka has not only done well but also scored Brownie points for the same. 

CONCLUSION                                                      ::                                      Despite it’s caricatures for characters, it's clich├ęs and predictable plot, the film is cheeky, relatable in its relationship drama and has a  easy, breezy, gorgeous and inoffensive feel attached to it.. Watch it once. It won’t hurt.

Follow me on twitter at

Friday, 19 September 2014

Daawat E Ishq :: Movie Review

Daawat E Ishq is like that cake which looks real sumptuous garnished with walnut & other toppings but when you savor it, it turns out to be half baked, making you relish only the toppings. Donning a chef’s hat, the director steps into his kitchen of film making and uses the available ingredients to make out a sumptuous dish and invites us to a fiesta called Daawat-e-Ishq which unfortunately pampers your taste buds only in parts. But notwithstanding its share of false garnishing, Daawat-e-Ishq, written and directed by Habib Faisal, is not a soulless film. In fact, it has its heart in the right place. Despite being written and directed by Faisal, who wrote that warm cupcake of a film Do Dooni Char, Daawat-e-Ishq tries to root itself in a similar, realistic universe of realism, but with a few Bollywood accents. As a result, if you've managed to sit through till the interval, you know exactly what's going to happen in the end. The film kicks off in the manner of a social drama, turns into a mild crime caper, then takes on the dimensions of a culture clash comedy, and finally winds up like a love story with a happy ending.

STORY & SCREENPLAY                                     ::          The story has been penned down by Habib Faisal & Jyoti Kapoor who have written a screenplay which is a light-hearted take weaved around the consistent demand of dowry from the groom’s side in India, and how an educated girl counters it with her wickedly twisted understanding of Section 498 A. Loosely, and without giving the plot away, dowry is, in many ways the central thrust of the film. Good food and youthful amour do work well in tandem, but the principal trouble with Daawat-e-Ishq is that allows the two ingredients to recede to the background all too often in pursuit of larger issues of life. It moves the plot and its ensuing romance, neatly tying the story together at the end. As per the storyline,  Gulrez Qadir (Parineeti Chopra) is a feisty, smart college-going girl in Hyderabad. Her father, played by Anupam Kher, is a senior clerk in the high court. Gulrez topped her batch in class XII exams, does a part time job in a shoe shop and is also studying in college. Her father, however, wants her to get married as soon as possible and lines up several prospective grooms for her. Not only are these men caricaturish, silly and undeserving, they also demand steep dowry for marrying Gulrez, aka Gullu. Fed up of these obviously evil people, Gullu hatches a plan to con a rich guy who demands a hefty dowry. She'll have a fake nikah with him, then frame him in a dowry harassment case, wrench a lot of money out of the guy's family in an out-of-court settlement and finally escape to New York to study fashion designing. She manages to rope her father in to help her achieve her target. They decide to target the hapless gents of Lucknow who have signed up to matrimonial websites. And then Gullu meets Tariq aka Taru (Aditya Roy Kapur). His family owns the oldest kebab place in Lucknow, which is the daawat part of the title. Gullu, then in the disguise of Sania from Dubai, chooses Tariq as the target of her con because he's the richest of all the prospective grooms she's encountered.

STARCAST                                                            ::             The performances of the star-cast is the major highlight of the movie for which due credit must be given to the casting director, Shanoo Sharma, as she has chosen the apt actors as per their characters.  It's never been very difficult to sit through a film that has Parineeti Chopra in it. There is something intensely endearing about her. That's perhaps because she makes the ordinary seem engaging, the odd seem cute. and doesn't let her audience's attention stray from her when she is onscreen. She has portrayed the character of Gulrez to perfection. Although, Aditya Roy Kapoor gets considerably less screen space but he manages to bowl you over with sincerity of his performance and doesn't let  audience's attention stray from him when he is onscreen. Anupam Kher has given an impeccable performance as Parineeti's father who has lived an honest life by never taking a bribe but due to excessive dowry demands helps Parineeti in playing a con game. Another actor who makes his debut on big screen is Karan Wahi who looks cute but gets minimal screen space.

 TECHNICAL FINESSE                                         ::                        The film’s music has already made its place in the chartbuster. Music composers Sajid-Wajid with their commercial sensibilities have poured in the right amount of drama in the songs. The qawwali number ‘Daawat-e Ishq’ is pick of the lot. The cinematography by Himman Dhamija is well-executed, with liberal shots of kebabs and jalebis, enough to make you squirm in hunger. Like the plot, the camera is more skilfully used for scenes in Hyderabad than in Lucknow. However, most of the scenes are indoors and thus it is only during the songs that you actually get to see the beautiful city and enjoy the cinematography to the core. The movie has been edited by Meghna Manchanda Sen who has done a good job and kept the run-time to crisp 123 minutes. She has ensured that the narrative flows at an even pace with not many highs or lows. Habib Faisal as a director has ably extracted the best of performances from his actors. He has made a movie which is not only about celebration of  food, love, relationships but also depicts the evils of dowry system prevalent in society.

CONCLUSION                                                    ::                      Daawat-e-Ishq may not be a perfect film but it's an adorable love story and the two young actors make ita good one time watch.

Follow me on twitter at

Sunday, 14 September 2014

Goreyan Nu Daffa Karo :: Movie Review


 GOREYAN NU DAFFA KARO is a lavishly mounted pleasing Punjabi movie by Pankaj Batra which has the stamp of entertainment marked on each n every frame of it and has definitely elevated the stature of Punjabi cinema.  Although, the genre of the movie is comedy but it is in stark contrast to those mindless comedies that have hit Punjabi screens in the past and were out rightly rejected by the audience. Most of the makers proclaim their movie to be "Hatke" which though turns out to be the same run of the mill stuff but this movie has a real pleasing & fresh feel attached to it. It has a proper well written script with some lovable characters being a part of it and Kudos to Pankaj Batra who has made full use of it and portrayed the story in the most effective manner. Unlike his last offering "Naughty Jatts" which relied more on gags, comic punches this one relies on humor which is not forced but comes through various situations in the movie. This is not a slapstick comedy but it still manages to raise lotta guffaws and brings smile to your face umpteen times.  The movie has portrayed a fine tuned amalgamation of Desi & Western culture in a humorous way which has never been portrayed on Punjabi Celluloid before.

STORY & SCREENPLAY                                                  ::                            The story of GNDF has been penned down by Amberdeep Singh who deserves accolades for his writing skills. He has picked up a  different subject and concocted a storyline which is invigorating and exhilarating especially for Punjabi Cinema. He has worked hard on baking his characters which is one of the prime reasons of the continuous flow of humor in the movie. The dialogues of the movie have also been written by Amberdeep Singh & he deserves a pat on the back for his dialogue writing skills also as the dialogues of the movie neither go over the top nor hit below the belt. The story begins from a village in Punjab whose headman is Najjar Singh (YogRaj Singh) who hates White people like anything. He has a solid reason for doing so as his father was killed by a blow from a British during pre partition days. But, as luck would have it his elder grandson Roop (Aman Khatkar) studying in Canada falls for a white girl there and decides to marry her. The only person who can help in getting married by convincing grandfather is his bother Kala (Amrinder Gill). Kala thinks of a plan and by firing a volley of lies finally convinces Najjar Singh that by bringing a white girl into their household they would be able to get even with whites. So, the father of the bride is invited to the village and with him comes Punjabi gori Alisha (Amrit Maghera) who captures the heart of Kala. Now, whether Kala will be able to get his brother married to a white girl & win over the love of  Alisha or his lies will be unearthed form the rest of the plot.   

STARCAST                                                                            ::                 Amrinder Gill as Kala is just awesome. He has portrayed the character to perfection and undoubtedly this is his best performance so far. He has not only looked cute which he is referred to by heroine of the movie but has worked immensely on his expressions & body language. Yograj Singh looks every inch the village headman that he portrays on-screen and has given a dynamic performance. The actor who manages to raise maximum number of guffaws with his impeccable comic timing is Binnu Dhillon. Be it the automatic door scene or his letter orating scene, he manages to keep you in splits whenever he appears on-screen which is aplenty. Though, both Aman Khatkar & Amrit Maghera are watchable but they need to work hard on their acting skills. But is the ensemble cast of Sardar Sohi, Karamjit Anmol & Rana Ranbir who have portrayed their comic characters to perfection and add up to the humor quotient of the movie. 

TECHNICAL FINESSE                                                        ::           The soundtrack of the movie has been composed by Jatinder Shah who has cut a chart buster album with some fine songs in it. Laazmi Dil Da Kho Jana by Amrinder Gill,  Pyar Tere Da Assar by Prabh Gill  and even the title track Goreyan nu daffa karo are the best picks. The man behind the lens and responsible for the visual enhancement of the movie is, cinematographer, Vineet Malhotra who has done an excellent job. Be it the rural beauty of Punjab or the Skyline towers of Canada, Vineet has captured them in the frames with elan. The movie has been edited by Parveen Kathikuloth who has done a crisp and taut job. The movie maintains a stable pace and manages to catch hold of your interest all through its runtime. As a director, Pankaj Batra has affirmed that he is not only master of his craft but has also been able to judge the pulse of the audience. He has stuck to the basics with the humor being driven in by characters and situations as there are no exaggerated dramatic flourishes, no playing to the galleries. He has ably extracted the best out of his cast n crew & made a thorough entertainer with all the blockbuster ingredients in it.  

CONCLUSION                                                            ::             GOREYAN NU DAFFA KARO is a well made, entertaining Punjabi movie which can be surely relished by Pollywood lovers along with their families. It wont disappoint you at all. 

Follow me on twitter at

Friday, 12 September 2014

Finding Fanny :: Movie Review

FINDING FANNY is an enthralling flick which is unusual yet delightful, dark yet appealing, funny yet not over the top and entertaining yet not in the typical bollywoodish manner. After a long hiatus, a movie has come in which laughter does not come through characters making poker faces, forced gags, stale one-liners but flows in the narrative through well sketched characters. The laughs are character-driven and occasionally situational; the anticipation of conflict and their behavioral oddball kinks keep you chuckling even through the silence. Finding Fanny, breaks the mould of stereotype cinema right from the first scene and treads on its own path taking you on a different cinematic journey. I bet, Finding Fanny wont find many takers because of its unconventional theme & treatment which is in total contrast to the flashy, gaudy and escapist cinematic fanfare-soaked in dialoguebaazi and masala moments. The makers have deliberately stayed away from putting any kind of gloss, melodrama or any kind of masala element making it a real different film to watch.  Kudos to the makers for offering audience a film that remains true to itself in every frame, Where there are no insecure songs, superfluous characters, overwritten scenes or obvious plot points. Laced with racy humour and witticisms, the film delivers some introspective thoughts almost like a sneaky mom who slips in veggies in fun food when no one’s watching.  Without any social message or any emotional drama, Finding Fanny looks out for that emotional chord in you, sweeps across it and leaves you with a long lasting smile on your face.

STORY & SCREENPLAY                                            ::                       The writing credits for Finding Fanny go to Homi Adajania & Kersi Khambatta. The biggest asset of the script is its consistency in simplicity without going overboard or melodramatic at any stage and perfectly layered characters. Refreshingly hatke in its tone and gorgeously mounted in terms of its treatment, this film requires you to warm up to the quirky plot layered with a range of subtexts. It also offers a plethora of idiosyncrasies unleashed by its caricature-esque characters i.e. a picture-perfect girl-next-door Angie (Deepika) who lost her husband five minutes into the marriage, her well-rounded (pun totally intended) mother-in-law Roslyn played by Dimple, a passionate painter constantly in search of a female muse, Pedro (Pankaj) and a morose young man, Savio (Arjun) that will not only tickle your funny bone, but will also take you close to the true definition of love-not necessarily romantic love though-and life! 
Angie (Padukone) and Rosie (Dimple Kapadia) are unmerry widows, Don Pedro (Pankaj Kapur) is deluded, Freddie (Naseeruddin Shah) is lost, Savio (Arjun Kapoor) is frustrated, and even the priest (Anand Tiwari) looks like he would rather be on the beach. There’s at least one redundant Russian.

Read more at:
The story revolves around five characters and is set in a village called Pocolim in Goa where life is slow and simple. Their needs are minimal and they live what I would call a retired life. A young widow Angie (Deepika Padukone) decides to help the old postman of the village Fredie (Naseeruddin Shah) to find his long lost love. He is depressed because it's now, after 46 years he finds out that the love letter he wrote to the woman he loved actually never reached her. In this mission of Finding Fanny, Angie ropes in her mother-in-law Rosie (Dimple Kapadia) the self-appointed Lady of Pocolim who calls the shots and throws her weight around with the locals. Savio (Arjun Kapoor) who loved Angie many years ago is back in town, he will drive the car as he is the only one who can, the car which belongs to Don Pedro (Pankaj Kapoor), an artist who's interested in Rosalina. It actually is not the destination that matters here but it's the journey of these five characters completely different from each other but with clean hearts. What follows is a deceptively funny and effortlessly insightful journey through a scenic Goan landscape. Once on the road, the five laugh, squabble and make-up before getting back to the routine. The ride, as bumpy as it may have been, brings them closer to each other and themselves. Like most road trip films, this one too is a journey to self-discovery — one that explores the latent desires of those who take it, while underlining the idea that it is the journey that matters, not the destination. Not once though, does the tone seem sermonizing.

STARCAST                                                               ::                    Now for the main part, performances, one can't surely get enough of it in this offering. To start with Naseeruddin Shah, who plays the role of Ferdie in the film. Impeccable, flawless, enchanting, etc. the English language would be short of adjectives to describe what a marvelous actor he is. He personifies the character of an old post man who lives in world of his own and has no regrets or complains about it. His mere presence in the frame can grip the audience. The quest of him looking out for his long lost love is portrayed perfectly via his expressions and body language. Pankaj Kapoor plays the role of an artist, Don Pedro Cleto Colaco, who has a fetish for voluptuous women. The eccentric character is portrayed hilariously well by him. The change in moods and expressions are so effortless, that one remains amazed.  Dimple Kapadia who plays Rosalina "Rosie" Eucharistica, in the film, is annoyingly hilarious, and the credit definitely goes to her caliber as actor where she can actually make the audience annoyed. Her voluptuousness in the film is justified as it adds to the reason of Pedro (Pankaj Kapoor) in the film. Deepika Padukone looks gracious as a goan. Even without makeup she looks great on screen. She plays the role of Angie, the reason for the whole journey in Finding Fanny.  Arjun Kapoor who plays Angie's heartbroken lover Savio, is this angry young man in the film, whom you fall in love with. He is full of sarcasm and thus hilarious at certain situations.

TECHNICAL FINESSE                                                    ::                  The background music of the movie that has been composed by Mathias Duplessy is also one of the highlights of the movie. It has a pleasant, soothing Goan feel to it which goes in perfect tandem with the movie and make the on-screen proceedings seem more lively. The cinematographer of the movie is Anil Mehta who has done a great job behind the camera. He has captured some breathtaking shots of Goa and the best part is that it is minus those beaches and parties that we are accustomed to watching in most of the movies shot in Goa. The movie has been edited by A.Sreekar.Prasad who has done a real crisp job. He has kept the run-time to 1 hour and 32 minutes with the pace of the movie going even all through. But, the movie belongs to its director Homi Adajania who has kept the flow of narrative very smooth and sublime, without adding anything superfluous in it to disturb its original texture. Finding fanny  is such assured film making that whether you like the movie or not you can't help but believe and buy into the weird, insular, rural world that Homi creates. The film has some dark and dramatic moments, but Adajania gives you no time to mull over them, bringing in a comical or satirical twist almost in the next shot and turning the mood right on its head.  

CONCLUSION                                                            ::                       Finding Fanny is a movie which is really different in the way that despite the presence of some established stars, it stays true to its simple and meaningful script without adding any unnecessary commercial elements to it. In an industry where the economics of filmmaking overrides the essence of the craft, Finding Fanny reasserts the power of simple story telling, making it one of the most refreshing and delightful films of recent times.

Follow me on twitter at

Friday, 5 September 2014

Mary Kom :: Movie Review

MARY KOM is a well concocted inspiring flick not only about boxing but also about determination, selfless love of a doting husband and red-tapism, politics prevalent in sports bodies. "Mary Kom" is a motivational masterpiece. From first frame to last it grips your senses and irrigates the parched corridors of your heart like very few biopics in recent times. Admirably the narrative doesn't over-sentimentalise MK's struggle. This is "Mother India" without the glycerine and melodrama. As played by Priyanka, MK is both gritty and giggly, plucky and precocious, a ferocious fighter and a tender mother. Clearly, Mary Kom is not just about delivering punches to bleed the opponents. It is about the odds the iron lady challenges despite proving her mettle twice over to stay in the reckoning, to reinforce her grit and-above all, else-to save herself from the ignominy that one draws upon oneself inadvertently for being a forgotten sporting hero. Generally, movies revolving around sports resort to the formulaic ‘emergence of an underdog’ theme. Mary Kom doesn’t travel the beaten path. Omung Kumar shows how true champs get going even when the going gets extremely tough. He shows his protagonist as a born fighter, but then he escalates the drama to showcase how the fierce fighter converts herself into a perpetual winner by facing the odds that are stacked against her.

STORY & SCREENPLAY                                                      ::      The story of Mary Kom has been penned down by Saiwyn Quadras who has infused some some bollywood elements in this biopic to make it more of an entertaining drama but still the narrative has a soaring quality and texture. It simply takes off with scarcely any room for breathing space. The breathless quality of storytelling goes well with the protagonist's stormy mercurial nature. A flashback narrative employed at the start of the film soon gives way to linear storytelling, taking away the misplaced sense that the unrest in Kom’s native Manipur will play a significant role in the plot. As MC' story unravels in a flashback we meet a woman who is not affected by gender rules and discrimination that governs our society.  Very early in the tightly clenched narrative, we see MC get into a full-fledged scuffle with a school bully. Later she takes on another far more dangerous bully who threatens to destroy her boxing career. In and out of the arena Mary never stops fighting. As far as the storyline goes, Mary Kom (Priyanka Chopra) is daughter of a rice paddy farmer who wants her to join athletics but she has a undying passion for boxing. Post her opting to box, Mary accidentally lands up at the boxing training academy of her coach Narjit Singh (Sunil Thapa), who, after seeing her persistence, teaches her that 'the world maybe round for everyone, but her world should be the shape of the boxing ring, a Square'! Mary's talent for the sport combined with her coach's training form a deadly unbeatable lethal combo who go on to win international competitions galore. However, things come to standstill when Mary marries Onler Kom, despite her coach's firm opposition, and Mary's subsequent pregnancy, and her delivering twin children, thus bidding adieu to her long cherished game of boxing, something which her coach had always feared for. Resigned to live the life of a commoner finding it difficult to survive with two kids, Mary applies for a job, but the job she gets is that of a 'hawaldaar', something that slaps her from within. Unable to continue with a mundane existence, Mary vows to make a comeback in the ring. Now, after serious losses in the ring, the absence of her coach and the unbending politics of the boxing federation, Mary faces an uphill task. Will she manage to convince her coach to train her again and will she manage to overcome the boxing federation forms the rest of the film

STARCAST                                                                ::                      It is Priyanka’s spirited portrayal of the pugilist that makes it possible to ignore the flaws in craft as it’s hard to point a finger at her performance. Right from the body language of a boxer, to her mercurial temperament, her vulnerability and the fight within her, PC brings alive the living legend. If the real Mary Kom gave her all to be the boxer she wanted to be, Priyanka does no less to become Mary Kom. She may not have transcended the physical attributes of the diminutive Mary in the actual sense but she has brought the boxer to life convincingly enough, leaving you rooting for her, long after the end credits roll. If Mary is the champion inside the boxing ring, Onler is the superstar off it. And Darshan brings just the right amount of sensitivity to the part. It’s a marvel how he underplays himself next to a superstar (PC) just like the real Onler does in Mary’s life. He also seems to have got the diction right unlike his other co-stars, which makes him a natural fit for the role. Full marks go to Sunil Thapa, who shows his emotional, professional and rational sides with equal ease. He is exactly what the highly ranked coaches are made up of. 

TECHNICAL FINESSE                                               ::                        The soundtrack of the movie has been composed by Shashi-Shivam which is on a very average scale which sounds good while the movie is playing & does not have repeat value. But the background score by Rohit Kulkarni aptly makes up for it and lifts the tempo of the movie with its quality. The cinematographer of the movie is Keiko Nakahara who has done a fabulous job with the camera. as the visuals of the movie aptly befit the grandeur of a biopic. Be it the milieu of rural Manipur or the aggression in a boxing ring, cinematographer Keiko Nakahara astutely captures it all. The movie has edited crisply by Sanjay Leela Bhansali who has kept the run-time to 123 minutes which makes it quite short in duration when compared to other biopics that we have seen. The little hiccup is that the movie shuffles between past & present quite a bit in the beginning which is a tad confusing. As a debutant director, Omung Kumar has made a sincere effort and has managed to impress as a director. The best part is that   Kumar’s film does not dwell much on boxing, focusing on the sportsperson rather than the sport itself. The matches are an aside, acting as relief in between events from the boxer’s life.

CONCLUSION                                                                ::                 One aspect that makes Mary Kom worth a watch is that it has its heart and soul at the right place. It might not be as exciting or thrilling as the regular Bollywood masala fares but it still manages to entertain you due to some earnest performances & inspiring storyline. 

Follow me on twitter at