Monthly Archives: March 2012

The Agreement

He thought again! Is this the right thing to do? Is this the right time to do?


Whenever he is confused, his mind and body come in sync and react in the same manner. This time too! He locked the machine, took his wallet from the drawer and left his desk. He didn’t realize when he reached the ground floor, nor did he remember how. Did he board the lift or he followed the path. The path commonly known as stairs among normal human beings. There is something about stairs. He always wondered that people can’t see the complete trajectory of the stairs but still follow them blindly. Is it because they know they have a well-defined path, already determined and tested. Or because thats the only path available. No options! How much he had wished if his life also had the same characteristics. A journey named life… with complete itinerary in his hand before putting forward the first step. And with no other options. But then, as he has heard, uncertainty about life is also interesting. Oh yes! Uncertainty! The term associated with life, by those who don’t have control over their life?


“Isn’t he belonging to the same category?” Caught in this web of thoughts, he reached the small outlet outside his office. The person on the other side recognized his regular customer and a cigarette along with a cup of tea was ready. Ahhh yes that is exactly what he was saying to himself just now! But then he changed his loyalties. Instead of just one, he asked for a full box of cigarettes. The guy was surprised and happy at the same time.


Three and a half cigarettes down, he was still in his thoughts. She came and stopped in front of him. He stared her for few moments and then continued his love affair with his cigarette.


She moved ahead but stops after a few steps. She again looked at him and decided to wait for him.


How his mind and his heart can accommodate so much tensions. The room reserved out there for tensions is quite bigger than the room which gives shelter to the things he loves, the room he loves more than anything in this world. And the worst part about the tension room is its flexibility. Whenever he thinks that the room is full and there is no space available for another one, there enters one more and the room shows his greatness. “Oh dear! Come on in! I am dying to prove my greatness.


Four cigarettes hadn’t helped him. For the first time! He finished another one and started moving back towards his office, with his dilemma. She followed him, with a hope. He went to the top floor. Just wanted to check if the room is bigger than the city he can view from terrace.


Two more cigarettes!


She was still there, behind him, at some distance, expecting a call from him.


“There must be some other solution to this”.  He lighted another. He was not sure. And then he decided! Its high time that he quits this habit.


And he signed the agreement with the almighty. “OK! I am ready to move in.”

I am giving up. I am giving up this habit. I am giving up this habit of living.

And the life, waiting at a distance, silently turned back, with tears in her eyes.

KAHAANI – Mother of a Story

“OK! So you have to essay a role which in turn requires you to play another role.”

“A role in another role… Sounds something like inception… Hmmm interesting!”


So when was the last time you left the theater and not discussing about the movie, because you were so lost in picking different pieces and trying to assemble them!

Well Kahaani is a movie of that kind. And as the trailers mentioned it is not just the story of a mother but mother of a story too!

Let me start from the end! Thanks Sujoy Ghosh for considering the audience intelligent enough that they will decode rest of the plot on their own. I loved that there is no spoon feeding in the end like other suspense thrillers. The credits start rolling within moments after the suspense is revealed. Viewers got busy to recollect the pieces from the movie and start out solving the puzzle, in fact looking for a point which was not justified in the movie! Yes there were some debatable things, in my opinion, but the movie advances at such a pace that you don’t have time to notice those flaws. Its so gripping that you find yourself involved in it and keeps on wondering that what is happening and what will be the reality when the movie unfolds completely. Total points to Sujoy Ghosh for keeping the viewers on their toes throughout the movie.

And of course it is Vidya Bidya again that acts as catalyst for this experience. The choice of roles of this lady and the dedication with which she does her part has got everybody bowing to her. One of the remarkable scenes in the end goes like this:

The last scene!

A kick on the womb and Vidya Bidya felling down…

*you are shocked*

Close up of Vidya Bidya… you can feel the pain in the eyes!

*you are still shocked*

A tear rolling out… Eyes getting closed…

*Pause* *now what*

Vidya Bidya about to open her eyes again…

*you are getting high and desperate to know what next*

And and and she opens her eyes and you can notice the vengeance in those eyes!

*and you are wondering what is this*

Not more than this, in case you haven’t watched it yet! 🙂

Vidya Bidya here leaps ahead all of the others!



But its not about Vidya only.

The movie showcases some other brilliant performances too. You cannot ignore theadorable, sensitive and soft Parambrata Chatterjee as Satyaki Sinha/Rana and the aggressive, straight and focused Nawazuddin Siddiqui as Khan, the IB officer. But the  show stealer and surprise performance for me is by Saswata Chatterjee! Bob Biswas, the contract killer who, in a brilliantly scripted way, is a LIC agent in another world! He shows a perfect example of how even lesser number of appearances can create a impact on viewers. The moment he appears on screen, you know dangerous and shocking is about to happen!



Another character which silently registers is the city Kolkata. Beautifully captured! And not just Howrah Bridge. I think the Paschim Banga Govt should declare the movie tax free, at least in the state, as it is definitely promoting the tourism for Kolkata. For me the next destination on cards is Kolkata… and the metro, and the tram, and the yellow taxis and the red Kolkata Police Van… and all this of course during Durga Puja!

I also loved the metaphors in the movie. A few to mention includes Vidya Bidya telling the meaning of Satyaki as Arjun ka Saarthi wearing a mysterious smile, whose actual reference was later revealed in the end! Idol of Durga getting submerged as if to signal the identity and story of Vidya Bagchi getting lost.

One more thing! You can pull Jhankaar Beats from theaters, but you can’t pull it off Sujoy Ghosh’s heart 😀 Something will be there which will ignite the memories of Jhankaar Beats. First and obvious one was the Boss! Various compositions of R D Burman can be noticed playing in background in several scenes. Arnab calling Vidya, his wife, as biwi in a flashback scene reminded me of what Deep (Sanjay Suri) used to call Shanti (Juhi Chawla) in Jhankaar Beats (Not sure if this is a characteristic of being a Bengali).

Now the debatable points. Managed to get two till now. The count may increase after another show of the movie. But I hope it does not. The first one is why Vidya was shown with Milan Damji, as her husband, in flashback scenes when there was no similarity between her husband and Milan Damji, as presented throughout the movie but later clarified in the end! Also how come Vidya knows about the peacock near the lift in MonaLisa hotel/lodge when, in reality, her real husband never stayed there!

Oh yes! In case you are still wondering about what the beginning part served here in this post, its my way of a dedication to the movie. The movie too starts on a completely different node and as it advances the things shown in the beginning start to make sense. If you have watched the movie you can understand this. And if you haven’t watched it yet… well go and I assure you will not regret witnessing this experience! Aami Shotti Bolchi!

Paan Singh Tomar dekhi? Kaho Haan!

Paan Singh Tomar, the movie – A few things other than the obvious…

There is difference between a dialogue and a dialogue delivered by Irrfan! No one in this industry can match or even come close to that cadre. And the cherry on the top is when he delivers this dialogue without uttering a single word. Yes! The eyes, the expression, the body language… you’ll realize later that he didn’t opened his mouth, yet conveys you the dialogue! In a scene in the movie Paan Singh Tomar, Irrfan’s coach tells him that he will be training him for the steeple chase. Irrfan says that he don’t have any idea about steeple chase… but he will run and so says yes! Out of this, the only word he said was  ‘Ji‘. For the rest, he didn’t have to say a word. Thus, no wonder, he was the apt choice to play the protagonist in Tigmanshu Dhulia’s biopic about the athlete turned dacoit baaghi Paan Singh Tomar.


There are several things to be appreciated in the movie apart from just the story. Its not always easy to make a biopic and keep the interest level same throughout the movie. But Tigmanshu Dhulia and Sanjay Chauhan (the writers) has done a fantastic job in this case. Thanks to some dialogues and one liners by Tigmanshu Dhulia himself which kept the audience glued and entertained in case they might have felt the movie monotonous. Some examples:

  • The most popular: Beehad mein ‘Baaghi’ hote hain, ‘Dacait’ milte hain parliament mein!
  • baap chhalkaaye jaam aur beta baandhe ghungroo!
  • beta daro mat… ye police ki vardi mein police hi hai!
  • baap na maare mendaki, beta teerandaaz!


Its a very well researched biopic which leaves very little to point a finger at. The location, the dresses and most importantly the language and dialect! All these things show the extensive research done by Tigmanshu Dhulia and Sanjay Chauhan. Having a connection from that area, I was at ease in the movie, as against others who are not able to understand the dialogues. Anyways for such guys there were sub-titles provided in some theaters. (I watched the movie in two different theaters. Cinemax had subtitles while the subtitles were missing in the show at BIG Cinemas.) The usage of words like hamaayi for hamaari (ours/mine), haigi and haigo for hai (it is), mauda-maudi for ladka-ladki (a boy and a girl) and bhajat for bhaagna (to run). The last time I saw such seriousness in dialogues, according to the language and dialect of the place, was in Vishal Bhardwaj Ji’s Omkara.


The story also showed that a person can leave the Army but the things that he learns from there remains with him. The fondness and special liking for a particular ice cream even 30 years after retiring from army clearly says this. At one place he says to his nephew, “Gusse ko aakhiri round ke liye bacha kar rakho”. The same was taught by his coach during his training. Asking his son to go and join his duty, against his will, in irrespective of what happened with his family. Calling the Collector for the land issue and going to the police (after his son was beaten up mercilessly), instead of instantly drawing out the gun and go for the kill actually depicts that the Army has made him disciplined and increased his faith in the system that to go by the process is the right thing. Incidents like these showed that ‘Once a Fauji always a Fauji.’


Though being a dacoit baaghi, PST also has another side of his character. Hailing from Chambal, he has got the rawness, roughness and impudence stuck to him. But at the same time he has got a considerable emotional quotient too. The time he is with his family, specially sending his children to buy lemonchuse to spend some ‘quality’ time with his wife, shows another side of the coin named PST. His agreement to withdraw his name from the 5000 meter race on the grounds of a personal problem of his coach sends the message that sometimes things for him don’t get categorized on the plane logic of good and bad. Also his justification for not surrendering to the police (Surrender means he is guilty of his acts which, he thinks, is not) is another facet of this part of his character.


Some other high points (according to me). Flies humming over petha (sweets) at a sweet vendor, the naai (barber) acting as messenger, the fidgeting of the father of the pakad (kidnapped) and his shaving by the naai, though he is clean shaved, but to deny any clue to anybody nearby  that his kin is kidnapped by PST. These kind of minute details are brilliantly embedded and actually added to the credibility and the authenticity of the time and place in which the movie is set.


Of course there are a few shortcomings in the movie. In the end, PST got shot on his back by the police force. But in the next scene, there were no bullet holes on his back. Also at this time while some incidents of his life flash against his eyes, there was a scene which was not shown earlier in the movie (must have got edited out during final editing but it was not removed from the last scene). However these things are like needles in a haystack of awesomeness which should not be given too much of weightage.

In the end, TD dedicates the movie to those sportsperson who made India shine but later they were forgotten and not taken care by government. Their demise didn’t bother anybody. In some way, TD is also signaling towards the condition of those film makers who have got potential and whose movies are remembered but no one knows about them. A perfect case is the movie Haasil. Many people have watched and loved Haasil and Saheb, Biwi Aur Gangster but only few know Tigmanshu Dhulia. Yes! the name is still not known to the much of the jantaa! But I hope Paan Singh Tomar will make his name common in the households. Kaho Haan!

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