English Vinglish – Movie Review
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English Vinglish Cover Photo,Poster |
There are no villains in “English Vinglish”. Only imperfect human
beings like you and I, who make that common error of taking loved ones
for granted.
Admit it. At some point in our lives we have all felt that if we
don’t speak good English, we are not destined to be successful human
beings. Imagine a housewife – beautiful, efficient, charming, supportive
– and imagine if she looks like, well, Sridevi and still feels she is
being taken for granted just because she can’t speak fluent Angrezi.
Shashi’s children find her embarrassing at times. Her husband openly
cracks jokes about her accent. Shashi’s husband thinks he’s just being
urbane and witty. But it hurts. We see that hurt in Sridevi’s eyes each
time she is slighted and snubbed by those whom she loves the most.
We know this world. We know this woman too. Director Gauri Shinde
brings to the comfort of the familiar a feeling and flavour of
wonderment, discovery and beauty.
“English Vinglish” is a fabulous fable of a woman’s
self-actualization. Shabana Azmi used to do such films in the 1970s. The
issues in those films about unfulfilled wives were largely
socially-defined – infidelity, adultery and betrayal. The betrayal of
the unforgettable woman in “English Vinglish” is far less dramatic and
therefore much more profoundly deep-rooted.
Shashi breaks up a little every time the three most important people
in her life – her husband, daughter and son – crack up at her vernacular
accent.
Then comes the chance for redemption. A five-week vacation in the US,
a clandestine crash course in English and best of all, a chance to feel
wanted and special when a fellow-classmate, a quietly striking French
chef, gives Shashi the attention she doesn’t get from her husband.
This is the complete middle-class woman’s fantasy. Go out on your own
and find happiness. Shinde wins over the audience at the story level
itself. And then as a bonus, she proves herself a master storyteller.
Sure, Shinde gets a tremendous boost from cinematographer Laxman
Utekar who captures New York in its quiet mellow state of bustling
grace; composer Amit Trivedi’s music simply and fluently melts into the
theme and storytelling; and editor Hemanti Sarkar cuts the footage the
way Shashi would cut her vegetables, precisely, lovingly and without
anxiety.
Finally it’s really the director’s call.
In what I rank as the best debut by a female director since Aparna
Sen’s “36 Chowringee Lane”, Shinde imbues a majestic mellowness and an
unostentatious glow to the story of Shashi’s coming-of-age saga.
Shashi’s ennui is not the in-your-face tragic pathos of Madhabi
Mukherjee in Satyajit Ray’s “Charulata” or Shabana in “Ek Pal”. No
case-history of domestic torture is built for our heroine. And no, the
husband, played by Adil Hussain, brilliant in a thankless role, is not a
cad sneaking into another woman’s bed.
The narration doesn’t try to pin its resplendent protagonist’s life
down to boomarked vignettes suggesting a violent need to be liberated
from her domestic life. It’s all very routine, recognisable and
familiar.
The miracle of watching “English Vinglish” confer such a supple and
contoured shape to Shashi’s life is attributable to the director’s
high-concept theme and treatment. Shinde abhors overstatement. You
hardly ever see Shashi break down. And so when the awards fall into
Sridevi’s lap at the yearend the nomination clip won’t be the woman who
suffers wracking trauma stereotype.
Nope. This woman is far more special than the bored housewives who
look for an alibi to burst into their own version of ‘Kaaton se kheench
key yeh aanchal’ to justify their succulent bites into the forbidden
fruit. Sridevi simply sinks into the Big Apple, biting off juicy
mouthfuls of New York’s sobering cultural grace absorbing the cultural
shock with a dignity that films about journeys tend to undervalue. Not
this one.
“English Vinglish” a delectable geographical and emotional journey
undertaken with a refreshing absence of bravura and selfcongratulation.
Much of Shashi’s inner power comes from Sridevi owning the role.
This actress simply vanishes into her character living every breath of
Shashi’s voyage from laddoo-making to self-actualisation. The journey is
so excitng for us the audience because we feel a new world of
experiences unravel for Shashi even as she savours the newness of it
all.
Sridevi is the film’s backbone. To her good fortune, and ours, the
film is supported by a uniformly impeccable cast. Hardly ever in recent
times have I seen so many wonderful performers in one film who don’t
seem to ‘perform’ at all. Whether it’s Shashi’s immediate family, or her
sister’s family in the US, and her classmates at the coaching institute
– every character stays with us. Every person populating the plot is
vididly sketched.
Finally, of course, this is Sridevi’s film. In the past she has given
outstanding performances in awful films like “Nagina” and “Judaai”.
Here her inviolable virtuosity and exceptional grace get brilliant
support from every department of the film.
Specially memorable are her scenes with her French co-star Mehdi
Nebbou who is so splendidly supportive, we forget what a major star he
is in France.
Each time the two get passionate and emotional about one another,
they speak in their native tongues, certain that their words would not
impede the meaning of their thought expression.
Words, this beautiful work of unassuming art tells us, are redundant.
More so, when the embodiment of silent eloquence Sridevi needs to
express her inner thoughts. She never allows her character to look like a
victim. That is the real triumph of “English Vinglish”.
Sublime, subtle, seductive and thoroughly engaging “English Vinglish”
is in some ways, a life-changing experience. It turns around the male
gaze, making patriarchal tyranny seem like an acceptable tradition that
we never thought we needed to break. With oodles of persuasive charm,
the director breaks down the bastion of male pride with a film that
generations will look back on with affection. As for the incandescent
Sridevi, was she really away for 16 years? She makes the contemporary
actresses, even the coolest ones, look like jokes with her flawless
interpretation of a woman who seeks only respect because love, she
already has.
Flaws? Yes one. Amitabh Bachchan’s cameo, interesting as it is,
overstays its welcome. Actually Shinde plays the Big B the best possible
compliment in the opening credits: “100 Years Of Indian cinema 70 Years
Of Amitabh Bachchan.”
To that we can add, a good 40 years of Sridevi. If you watch only
two films every year make sure you see “English Vinglish” twice!
Rush – Film Review
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Rush Cover Photo |
Ouch, the TV channels won’t be flattered. “Rush”, like Ram Gopal
Varma’s “Rann” three years ago, rushes into the cut-throat world of
TRP-driven competition among news channels where news, if not discovered
is created in the newsroom. So Varma told us in “Rann”.
And now late director Shamin Desai’s “Rush” takes us into the
ostensibly murky chatroom politics of newchannels where news-baron Roger
Khanna (Aditya Pancholi, unintentionally hilarious) gets reporters,
civilians, politicians and criminals bumped off to make news. Just like
that.
Far-fetched, yes. But “Rush” has its adrenaline rushing moments in
the second half when the narrative picks up momentum and moves steadily
towards a climax that is not entirely edge-of-the-seat. But certainly
the popcorn on your lap is likely to ignored for a bit as ambitious
crime reporter Sam Grover (Emraan Hashmi) gets sucked into a web of
crime created by his over-reaching dangerously-connected boss.
“Rush” is not the first film about a young ambitious professional
losing moral and ethical equilibrium to attain success. Recently, we had
Kunal Khemu in “Blood Money” and Paoli Dam in “Hate Story” reaping the
bitter fruits of their savage harvest.
More closely, “Rush” resembles Goldie Behl’s “Bas Itna Sa Khwaab Hai”
where Abhishek Bachchan got trapped into a glamorous web of grime by
media baron Jackie Shroff. Sushmita Sen had played the suave chic
assistant to Jackie who took Abhishek under her sexy wings. In “Rush”
it’s Neha Dhupia, every bit as suave and chic as Sushmita, playing the
media baron’s right-hand woman who gets too close to Emraan for comfort.
And yes, they even share a furtive kiss in a long-shot to ensure
Emraan’s hardcore following doesn’t commit suicide.
“Rush” does have its sluggish chunks in the storytelling. But the
narrative gathers strength from the basic plot structure where a
television journalist is shown to be on the run. Some of the chase
sequences are expertly done. And the whole theme of the newsmaker’s
descent into compromised journalism makes for some riveting moments.
While many of the characters are sketchy, some like the sharp-shooter
(played by Murli Sharma) who befriends our journalist-hero provide the
plot with a spicy if not completely pungent propulsion.
The entire episode after the murder of Emraan’s journalist-friend Rikin (played by TV actor Alekh) makes for absorbing viewing.
Emraan as the backbone of plot performs decently. He has more
speaking lines and less kissing to do here than in all his recent films.
Whether the verbosity actually translates into something substantial or
not is debatable.
“Rush” has the bone though not enough meat to make for a juicy fare
on the excesses of television journalism. It leaves you wondering what
director Shamin Desai would have done with his film making career had he
lived
Student Of The Year – Movie Review
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Student Of The Year Cover Photo |
After love your parents message, Karan Johar now talks about loving
your friends in his latest film “Student Of The Year” (SOTY).
“Student Of The Year” is light and fluffy, yet full of substance. The
lead threesome – Varun Dhawan, Siddharth Malhotra and Alia Bhatt – are
adorable.
The narrative goes back and forth in a similar fashion that was
witnessed in “Jaane Tu… Ya Jaane Na”. School friends meet after a decade
of leaving school when they come to meet their dean, Yogendra Vashisth
(Rishi Kapoor) who is unwell and recap their final year in school.
They studied in St. Teresa, a formidable school where kids of rich
and famous mingle with hardworking scholars. The contrast is evident
when the have-nots are at the beck and call of the creme de la creme.
The rich and flamboyant, Rohan Nanda (Varun Dhawan) is the heartthrob
of the school. Shanaya (Alia Bhatt) is his taken for granted
girlfriend. Life is hunky dory, till Abhimanyu Singh (Siddharth
Malhotra) enters.
SOTY is quite unpredictable. Instead of the regular cliched rivalry,
here are two friends who bond together, till circumstances push them
away.
For those who are not into teenybopper may find the film dragging in
parts. It’s only post-interval when the competition for the Student of
the Year Award hots up that the viewer is glued to his seat. The pace of
the film picks up and we wonder who will walk away with the coveted
trophy?
The film emits Karan Johar’s pink humour in plenty.
Rishi Kapoor as the gay dean with a roving eye and soft corner for
sports coach, played by Ronit Roy, is fabulous. The scene where he
throws the ‘dafli’ at the coach’s wife during the sangeet ceremony of
Rohana’s brother is thoroughly enjoyable.
The camera does not miss any opportunity to capture the best of the
male leads Siddharth and Varun, with their six-pack abs et al. A treat
for the eyes of many.
In terms of performances, all the three debutants are confidence
personified. Siddharth is a bit stiff in certain scenes, whereas Alia
Bhatt obviously has acting in her genes. But it is Varun Dhawan who
steals the show with his charismatic and endearing performance. He is
spontaneous and an elegant dancer.
Niranjan Iyengar’s dialogues have their moments. With puns and rhymes, he wows the audiences.
Alia’s dialouge that her marriage will not be decided by ‘rab’ (god
in Punjabi), but at the rich wife’s club elicits lots of laughter.
If Rensil D’silva’s screenplay is sleek, production quality is
visually appealing, glossy and vibrant. Vishal-Shekhar’s young, peppy
and soulful compositions are enjoyable and foot-tapping.
Son of Sardaar – Movie Review
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Son of Sardaar Cover Photo |
Every time Vindoo Dara Singh, who plays a part of an extended
patriarchal Punjabi parivaar in the Sikh heartland, opens his mouth to
speak, he is shushed down by others saying, “Silencer lagaa.”
By God, at times you feel this loud, flamboyant, ostentatious yet-all
right, admit it-sinfully engaging film should just pipe down. There is
so much that’s noisy about this film. And we aren’t talking about
Sandeep Chowta’s over-accented background score. Yet it’s never
unpleasant noise.
“Son Of Sardaar” takes us into the core of a family feud in Punjab
where Sanjay Dutt, playing a goofy oddball of a Panjabi patriarch as
only he can, wants our affable Sardarji Ajay Devgn dead to fulfil an
ancestral vendetta.
The IQ level of every character in this film is way below average.
Every man in Ashwani Dhir’s world of belligerent bloodbaths is more daft
than the previous. The women are slightly more intelligent, though our
leading lady Sonakshi Sinha, photogenic as she is, has begun to get
repetitive in her chirpiness. Juhi Chawla, as the woman who waits 25
years to marry Sanjay Dutt and then finally tells him, “Sorry, I don’t
want to build my mandap over the grave of another woman’s love”, is also
intellectually challenged.
The smartest character in this smarter-than-the-characters film is
played by Tanuja who, as the matriarch, feigns senility whenever it
suits her.
The men around her make it easy. They are incorrigibly dumb, you see.
Love it or hate it, “Son Of Sardaar” is what a mainstream Hindi film
is meant to be. A full-on masala-maar-ke action-comedy with dollops
drama dripping from the edges like wet cheese in a tasty pizza. This is a
film which is not just smarter than its character but also much more
intelligent than it actually seems.
“Son Of Sardaar” derives its feisty energy from the original Tamil
film by S. Rajamouli (“Maryada Ramanna”). The feudal plot is transposed
from Madurai to Punjab. With that journey that the plot undertakes the
film acquires a whole lot of cocky humour and a kind of eclectic warmth
that keeps popping up most unexpectedly.
Providentially, “Son Of Sardaar” turns the vendetta saga on its head.
The bloodshed between two warring families is converted into a crisp
comic currency where action speaks louder than the words. Director
Ashwan Dhir, whose antecedents in television show up here in the
episodic movement of the plot, sustains the action, comedy and drama in
the same line of vision. Miraculously, the plot moves steadily from mood
to mood without seeming scattered. There is space even regular breaks
for romance in the narration. Though the songs could have been avoided,
the song breaks are pleasant.
By the time the chaos is all sorted out, the narration collapses in an exhausted but triumphant heap.
Some sequences such as Devgn and Sonakshi’s first encounter in the
train overstay their welcome. Just like the mehmaan Paresh Rawal in
Dhir’s last Hindi film “Atithee Tum Kab Jaoge”, Devgn refuses to leave
once he enters Dutt’s family home. The rather eccentric comic strain in
the plot hinges on trying to get Devgn out of Dutt’s home to settle an
old family score.
While Dutt is more satirical than sinister in his search for vendetta
(and that’s what the script requires him to be), Devgn’s Sardar act is
brilliantly controlled and moderate. He plays the foreign-returned Sikh
who is suddenly thrown into a fatuous feud with a sense of wonderment.
The quips about Sardar jokes and Sardar quirks lend a
self-deprecating transparency to the character. Ideally, Akshay Kumar
would’ve played this part. But Devgn takes the rather dimwitted but
affable character to a higher than the goofy plane. This man knows when
to act dumb.
Among the truckloads of supporting players, Mukul Dev as an oafish
loutish drunkard stands out. But didn’t he play the same character in
Samir Karnik’s “Chaar Din Ki Chaandni” not too long ago? Come to think
of it, haven’t we visited the Punjabi heartland frequently enough since
Imtiaz Ali’s “Jab We Met”? Give this one a chance though.
“Son Of Sardaar” is a rollicking rumbustious wild and wacky
action-comedy. It’s a spaghetti-western relocated to Punjab that would
keep Devgn’s fans regaled. Even if you are not a big fan of the typical
potboiler this one makes you smile.
Talaash – Movie Review
 http://www.bollywoodworld.com/wp-content/uploads/2012/11/Talaash_poster1.jpg |
Talaash Cover Photo |
Aamir Khan never ceases to surprise viewers. In “Talaash”, he does so
quite literally. The succinctly written, complex screenplay, smoothly
interlays between the police investigation and personal emotional
turmoil of the characters make “Talaash” a nail-biting thriller.
The plot about a police officer Surjan Singh Shekhawat (Aamir Khan)
investigating a high profile case of film star Armaan Kapoor’s
accidental death keeps you riveted. Alongside the main plot, one gathers
that Shekhawat and his wife Roshni (Rani Mukerji), have lost their
eight-year-old son Karan in a freak accident in a lake, for which
Shekhawat blames himself and lives in guilt.
His investigations constantly lead him to Kareena
Kapoor, a prostitute with a good heart, who acts as the ace informer
for Shekhawat. Kareena as Rosy, has shades of her earlier “Chameli”,
although she makes a conscious effort to be different. She is effective
and convincing, touching your heart with the innate goodness of her
character, in spite of her circumstances.
The mystery shrouding the case, unravels gradually in a carefully
written tight script, with no loopholes. The film is entirely
unpredictable, not conforming to the usual approach to thrillers in Bollywood. This one is clearly different and keeps you guessing till the very end.
The climax brings you to the edge of your seat, but leaves you
satiated. As the case unfolds, you get your answers from the characters
on celluloid. But clearly, Reema Kagti and Zoya Akhtar, the scriptwriter
duo, give you much more than just that. They take you through a
complete self-exploratory journey and bring you back replete with
answers. Farhan Akhtar’s dialogues in colloquial parlance are witty and
unleash several underlying messages.
Ram Sampath gives an apt background score, in keeping with the
flavour of the film and if anything, only enhances the viewer’s
experience. Music in the film otherwise is nothing to write home about,
but you’re definitely not complaining. The plot and performances leave
no room for frivolities.
Rani Mukerji in her de-glam avatar, is true to her character as the
distraught mother. Nawazuddin Siddiqui as Taimur, the lame Man Friday in
the brothel doing odd jobs, excels in a superbly written role.
Realistic performances and get ups of all the characters, add to the
ingenuity of the plot.
The cinematography, though simple, captures the essence of Mumbai.
The locales of the city are wonderfully depicted, making those, a
character in the film, rather than a mere backdrop.
Devoid of the usual Bollywood masala and gimmicks, this one is a pure
treat. Aamir Khan’s fans apart, “Talaash” has the power to grip all
cine-goers.
Khiladi 786 – Movie Review
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Khiladi 786 Cover Photo |
What can be said about a film where a couple named Mili and Bhagat conspire to bring their employer’s empire down?
Mili? Bhagat? Get it?
“Khiladi 786″ is the kind comic orgy done in shades of green, orange
and pink, which doesn’t require us to strain our brain. The kicks and
grunts, guffaws and chortles, the antics raillery and tomfoolery flow
out unstoppered like an uncapped toothpaste tube.
The formula is simple. And stark. Get the audience to laugh at any cost. And some of it does work quite well. Shukriya.
We have a hero. No, make that a super-duper-hero, who flies across
the air, pounds automobiles to a pulp with his bare fists, breaks down a
jail cell’s stone walls with a flick of his manly fist, gets goofy or
gooey-eyed depending on his co-star on screen.
Akshay’s crazily improvised performance as a sham cop borrows dollops
from Salman Khan’s “Dabangg” and Akshay’s own “Rowdy Rathore”. The
derivative derringdo doesn’t diminish the impact of the italicised
antics that range from the arresting to the exasperating.
Sample this. Asin (back in fetching form for the first time since
“Ghajini”) loves a lout who is chronically incarcerated. Each time the
jailed loverboy (Rahul Singh, well-cast effectively played) is about to
be released, he’s sent back packing for some unintentional crime or the
other.
Aa ab ‘lout’ chalen?
The script seems to be written by someone who loves Akshay’s humorous
heroics and his emphatic but spoofy hijinks. Both the traits are amply
accentuated in the script. “Khiladi 786″ ultimately becomes a showcase
for its insanely successful superstar hero’s talents. Akshay, as we all
know, loves to play the Punjabi Devdas. He did it effectively in Vipul
Shah’s “Namastey London”, where he stepped back gallantly to let his
wife Katrina Kaif make a fool of herself with an undeserving boyfriend.
Exactly the same triangular situation crops up in the second-half of
“Khiladi 786″, when midway through the anarchic hilarity, Akshay decides
to play the bleeding teary-eyed martyr “gifting” Asin to the
aforementioned jailed jerk.
Mamta Kulkarni in the early ‘Khiladi’ film “Sabse Bada Khiladi” had
done the airheaded lovergirl running after the wrong man. Back then,
Akshay stood guard over Mamta with the same steadfast loyalty as he does
for Asin.
Some things never change in our cinema. Heroines may come and go. Heroes live on forever.
A sense of continuity runs through all of Akshay Kumar’s comedies. He
doesn’t do anything here that he hasn’t done before. The trademark
goofy grin and the self-deprecating humour are back. Here, the hero is
desperate to get married . That’s a sporting part whose subtext screams,
‘Look, I am such a big star and I play a character who can’t get a
woman to marry me, ha ha.’
It’s all done in fun, with plenty of unzippered zest and a comforting
absence of vulgarity. The ensemble cast, particularly Mithun
Chakraborty and Raj Babbar, catches on to the shrill sur of a music that
suggests a blend of parody and homage to the Formula Cinema. So, we
have long-lost brother of the hero showing up in the climax with a
mocking mawkishness that Manmohan Desai would have approved of.
The music by Himesh Reshammiya is splendidly in-sync with the film’s
wacked-out mood. He often uses standard background effects from old
Hindi films to remind us that we are laughing at conventions that never
grew outdated in our cinema.
Oh yes, Reshammiya also plays an important part in the film as a
hopeless inept wedding planner. It’s good to see Reshammiya doing a
Gujju act. He was born to play Mansukh.
As for Akshay Kumar’s ‘Khiladi’ act, he can do the parodic paces
blindfolded. Adding adrenaline to the antics are the crashing, tumbling
somersaulting cars, which provide thrills in a very Rohit Shetty way.
Incidentally, one character played by Sanjay Mishra thinks he looks
like Amol Palekar. And bursts into “Aanewala pal jaanewala hai” from
Hrishikesh Mukherjee’s “Gol Maal”
Dabangg 2 – Movie Review
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Dabangg 2 Cover Page |
For those who thought Chulbul Pandey in Abinav Kashyap’s “Dabangg”
was wacky and fun only because Salman Khan played him, here is more
spoof-proof in the sequel of how Salman adopts, embraces and assimilates
the characters he plays until one can’t tell the star apart from the
character.
This is not to say Salman is a method actor. God forbid! He’s just
the opposite. Chulbul Pandey, if ever such a khaki-clad law-enforcer
ever, would want to be as chirpy and obnoxious as Chulbul Pandey.
So what does Chulbul do in “Dabangg 2″ that he didn’t do in
“Dabangg”? Nothing, and everything. There’s more of everything in the
sequel and hence a sense of deja vu.
The fights which begin, end and bolster the plot, are done with that
irrepressible mix of guffaws and grunts that Salman patented in Prabhu
Deva’s “Wanted”. Indeed it wouldn’t be wrong to say that Prabhu Deva was
the father of Chulbul Pandey, in a manner of speaking.
Here of course in “Dabangg 2″ Vinod Khanna is back as Chulbul’s
father. The scenes between Salman and his screen-dad are written with a
delicious mix of irreverence and affection. There is a hilarious
encounter on the rooftop of their Kanpur home where son asks his sleepy,
annoyed father about the deceased mother (Dimple Kapadia, a mere photo
on the wall in the sequel).
And then Salman leaves in a huff saying, “Mom was right. You’re no fun to sleep with. I am better off sleeping with my wife.”
Ahem. Save the blushes for a rainy day. Salman’s Chulbul gives us no
time get bothered with niceties. Chulbul simply sweeps us along into a
tidal wave of wackily written and executed action sequences undercut by a
sharp sense of self-deprecating humour.
The storytelling is breathless. The characters can’t really keep pace
with the breakneck storytelling. They are underveloped and largely kept
in the shadows to accentuate the hero’s larger-than-life (though
blessedly never larger-than-laughs) persona.
Sonakshi Sinha, of course, enjoys playing the seductress in the
shadows. In film after film, she plays the dutiful beloved soul-mate to
the macho-hero. And really, her sartorial styling and the designer
sarees and backless blouses in a film that pays a lot of attention to
mofussil modes is way-way-way over the top. It’s hard to see her
expressions beyond the eyeshadows.
That reminds me…Sonakshi shares the shadows with Arbaaz Khan who as Chulbul Pandey’s brother is delightful daft and goofy.
The villains have a coherent voice (never mind their livid screaming)
and more space to develop as characters. The plot goes into spasms of
explanation as to why one of the villains Niktin Dheer needed to take
off his shirt in the climax .Really, Salman’s shirtless act needs no
accompaniment.
Prakash Raj does his usual snarling sneering arch-villain act, no
surprises here. Deepak Dobriyal who gets to die in a rather gruesome way
in the irate Chulbul’s hands, is sharp and cutting in his brief role.
Some of Salman’s subordinates in the police station are also engaging.
But make no mistake. This film belongs to Chulbul alias Salman from
the first frame to the last. Salman goes through the motions without any
punctuation except a string of exclamations. While the other characters
remain dutifully tenuous, Chulbul’s comic-book valour is highlighted
unapologetically.
“Dabangg 2″ takes off effortlessly from the first frame creating a
wackier, wilder, wittier saga than “Dabangg” woven around Chulbul
Pandey’s agile, anarchic antics.
Though the plot is written in half-hearted measures leaving many
episodes including the climax looking incomplete, the film is loads of
lowbrow fun with some peppy songs by Sajid-Wajid which are filmed with
an earthy gusto. Aseem Mishra’s camera looks at life in “Kanpur” through
wide-eyed lenses that stare unabashedly at the characters’s quirks.
