By Ashwini Gangal

Sircar, Bachchan push the envelope

Director Shoojit Sircar had once proudly declared in an interview that he always pushed his actors, his writers, his musicians, his cinematographers, and his entire team till he got his shots right. In his latest directorial outing I Want To Talk, Sircar appears to have pushed Abhishek Bachchan harder than any director might have in the past. Sircar, best known for directing films like Vicky Donor (2012), Madras Cafe (2013), Piku (2015), October (2018), and Sardar Udham (2021), might also have pushed himself over the brink for this one.

In the movie, which is based on a true story, Bachchan plays Arjun — with an ‘O’ — Sen, a Bengali settled in what seems to be a suburb of Riverside County in California. After a few brief scenes that establish Sen as a happily divorced, successful, Don Draper-esque advertising executive, the audience discovers, along with the protagonist, that he has an aggressive form of throat cancer. One of the affected areas is his voice box, which is where the film gets its title from. He is pronounced a man with around 100 days to live. At this point, the film truly begins.

Around 20 surgeries ensue over the next several years. It is in the depiction of his life around and between these procedures that the story unfolds. The audience is given a ringside view of what living with the sword of death hanging over one’s head looks like.

Not conventionally entertaining

Of all his relations — his parents make a brief appearance, his ex-wife is conspicuous in her absence, and his surgeon eventually becomes a friend — it’s Sen’s equation with his daughter Reya (Pearle Dey, Ahilya Bamroo) that is most well-defined in the film. At some level, it is through her coming of age that we put the hardships in Sen’s life in perspective.

I Want To Talk is a story about death. Death by suicide, death by heart attack, and of course, impending death by cancer…

The film contains many bleak realities, such as sickness and hospital scenes, that might trigger unpleasant thoughts or memories for sensitive viewers. It is intense, slow-moving—I mean that more in terms of camera work than anything else—and at times hard to watch. It is certainly not the average date-night type of film. It does not entertain in the conventional sense.

That said, I Want To Talk has stillness, something we could all use a dose of in an age of brain rot. And it makes one think long and hard, well after one has left the theater. It will certainly go down in Sircar’s filmography as one of his most daring attempts at storytelling. Outside of film nerd circles though, it will be remembered as an Abhishek Bachchan movie. After all, he is in nearly every frame.

Bachchan’s most ambitious performance yet

I Want To Talk might just be Bachchan’s most ambitious performance yet. For his fans, this is a must-watch. This film will definitely be something to reckon with for the I-only-liked-him-in-Guru brigade while rating his work again. If you don’t like him, this might just be the film that changes your mind. It is evident that he has approached this role with sincerity, both in terms of his craft and his physicality — he has gained considerable weight for this role.

It’s safe to say I Want To Talk is a story about death. Death by suicide, death by heart attack, and of course, impending death by cancer… it’s all in there. Vicariously, through Sen’s experiences, the audience spends the better part of two hours either looking Yamraj in the eye or dodging his ugly shadow that lurks around for years.

But it’s equally true that this is a movie about life. The real Arjun Sen didn’t cower in the face of a diagnosis that can bring even the most fearless person to their knees. This brave survivor showed us that when life gives you cancer, you fight.

Read: ‘Widespread’ sexual abuse of children in entertainment business revealed

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Ashwini Gangal is a fiction writer based in San Francisco, who has published stories and poems in literary magazines in the UK and Croatia.

Courtesy: India Currents (Posted on Jan 16, 2025)

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By Sana Zubair

The film “B 32 to 44” elaborately navigates the subtly landscape of women’s experiences, deftly addressing profound themes such as body politics and societal expectations. Written and directed by Sruthi Sharanyam and produced by Kerala state film development cooperation. Its narrative revolves around six female protagonists, each uniquely grappling with the challenges woven into their life journeys.

At Kerala literature festival on January 13, director Shruthi artfully introduced these characters, juxtaposing their identities with a poignant exploration of body imagery. The titular “B” serves as a dual metaphor, symbolizing both body and breast, underscoring the film’s examination of how women’s bodies are often romanticized as objects for male pleasure.

The storyline unfolds with a deliberate correlation between each character, weaving a tapestry that not only exposes the struggles of the individual but also explores the unbreakable bonds of sisterhood. The movie’s thematic richness extends beyond mere portrayal, delving into the profound notion of women uplifting one another through mutual support.

The titular “B” serves as a dual metaphor, symbolizing both body and breast, underscoring the film’s examination of how women’s bodies are often romanticized as objects for male pleasure

The stellar ensemble cast, featuring Ramya Nambeesan, Anarkali Marakar, Ashwathy B, Zarin Shihab, Krishna Kurup, and Raina Radhakrishnan, deliver performances that effortlessly draw the audience into the narrative. Each actor brings authenticity to their roles, creating a captivating cinematic experience that resonates with the complex of the characters’ lives.

Noteworthy is the film’s exploration of body shame, exemplified through the character Nidhi. Her struggles, tangled portrayed, shed light on the societal challenges imposed on women with smaller petite sizes, impacting even essential aspects like job opportunities.

The portrayal shed light on societal attitudes toward women with less conventional sizes, offering a poignant reflection on prevailing norms.

Ramya Nambeesan portrayed Malini, grappling with mastectomy and perceiving shifts in her husband’s behavior during treatment. Imaan, a schoolgirl and rape survivor with a child, had her post-rape life uniquely depicted, highlighting the challenges of teenage motherhood.

“B 32 to 44” emerges as a thought-provoking cinematic piece that courageously tackles societal norms, celebrating the strength and resilience of women in the face of adversity.

Anarkali Marakar, embodying Ziya, skillfully portrayed a queer character, contributing depth to the film. Sajitha Madathil, as Reetha, exemplified the role of sisterhood in women’s empowerment, showcasing the profound support one woman can provide another in times of need.

“B 32 to 44” emerges as a thought-provoking cinematic piece that courageously tackles societal norms, celebrating the strength and resilience of women in the face of adversity.

In her remarks at the Q&A session held after the movie screening of “B 32 to 44” at Kerala literature festival on January 13, Shrestha emphasized the necessity for the film to be incorporated into school screenings, believing it could contribute to fostering essential awareness. Shruthi pointed the absence of sex education as the primary cause behind the behaviors depicted in the conclusion. She noted that children often consider gender and sex as same due to this deficiency in sex education. She expressed the view that till now the society is not ready to address this inadequately.

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Sana Zubair is a convergent journalism student at Media One Academy, Calicut Kerala

Courtesy: Counter Currents (Posted on 23/01/2024)

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By Rashmi Bora Das

Faith gets a wakeup call in Bhagwan Bharose

Faith keeps most of humankind alive and shapes our behavior and actions. So when any of these deep rooted beliefs – social or religious – is challenged by the power of science and reason, there is turmoil. Based on this premise, Shiladitya Bora’s Ab Toh Sab Bhagwan Bharose, also explores how the spread of misinformation and false knowledge sows the seeds of discord and hatred in innocent minds.

In the village, it’s all up to God

Set in 1989 against the backdrop of an unnamed village in North India, Bhagwan Bharose opens with a Gandhian quote that sets the tone for what is to follow:  “If we are to create peace in our world, we must begin with our children.”

We are introduced to two little boys, Bhola and Shambhu, peeking at the village well and having a serious yet innocent chat about a mythological belief. Bhola’s life essentially revolves around his mother, grandfather Nanababu, and his constant companion Shambhu who never leaves his side. His father works in the city to support the family and visits intermittently.

In a village where progress happens at a snail’s pace, reason does not shed its light. Every incident that happens is attributed to divine intervention. Nanababu smilingly summarizes the situation: “Sheher mein har kaam sarkar bharose hota hai; gaon mein sab kaam bhagwan bharose hota hai!” (In the city, everything is up to the government; in the village everything is up to God!)

The local priest serves as a teacher and imparts lessons to kids in his courtyard, drawing everything from Hindu mythology; Bhola and Shambhu imbibe his teachings as though they are embedded in stone.

Carefree and happy, the boys revel in their passion for flying kites and indulge in all childhood activities with unalloyed delight.

When old beliefs are upended

All goes well until Bhola’s father enrolls him in a traditional school. The knowledge imparted in the new classroom is totally contradictory to what the boys have learned from the pundit, and Bhola finds himself irked and in complete disbelief.

Nagging questions persist in his mind, and he gets confused and sad when his religious beliefs are at odds with scientific explanations. As the film progresses, many occurrences torment his mind, from otherwise mundane power outages to the unexpectedly wise words of a local atheist, to a tragic loss in the family. Eventually, his exposure to another religion’s way of life and the sociopolitical tensions of the era lead to a series of tumultuous events that change his life forever.

Spectacular cast makes the story come alive

Child actors Satendra Soni and Sparsh Soman play the pivotal characters in the film, and they truly hit the mark. Satendra as Bhola, who carries the bulk of the film’s weight on his young shoulders, does an outstanding job, emoting flawlessly and delivering his dialogues with unencumbered ease. Sparsh as Shambhu has lesser scope but makes his presence felt. Shiladitya Bora deserves due credit for bringing out such stellar performances from these young talents.

Veteran actor Vinay Pathak, as the endearing Nanababu, is great as always, and Masumeh Makhija, as Bhola’s mother Radha, stands out as an emblem of maternal warmth.

Shrikant Verma’s performance as the priest is convincing, wonderfully etched with streaks of buffoonery and fanaticism. Essaying the part of the much-reviled atheist in town, Manu Rishi Chaddha leaves a mark, doling out truly memorable pearls of wisdom.

Enjoy a laugh or two!

The humor is refreshing and uplifting. It is subtle and flows naturally, in no way denigrating the seriousness of the subject matter. For example, the naiveté of the villagers is portrayed through a comic scene. When a monkey sits on a TV antenna and interferes with its transmission, one of the village locals is in complete awe that Lord Hanuman has come to bless them.

Brilliant feature debut for Bora

Bhagwan Bharose is Shiladitya Bora’s debut feature film, and it has indeed gotten off to a glorious start with a Best Film Award win at the 25th UK Asian Film Festival.

The film is based on a story by Sudhakar Nilmani Eklavya, with screenplay and dialogues co-written by Mohit Chauhan. Seamlessly crafted, the narrative endorses a theme that has a universal appeal. The pace could have been better to get to the climax a little earlier; nevertheless, the story manages to keep you engaged.

The background score by Indian Ocean is soothing, and the photography by Surjodeep Ghosh brings to life the natural beauty of a village.

Simple and honest storytelling

Glitz and glamor are totally absent from Bhagwan Bharose. With utmost honesty, it portrays the sad realities that afflict today’s society. It is a parable of how blind faith can destroy the fabric of society. The film’s tagline raises the question: in a world blinded by faith, can innocence win over hate?  Bhagwan Bharose compels us to ponder upon this reality that engulfs humanity in present times.

There is no moralizing here, but the message emerging from the story is that love, respect, compassion, and tolerance are the ideals that we need to foster in our children in order to build a world of peace and harmony.

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Courtesy: India Currents (Posted on Dec 3, 2023)

The post Film Review: When Reason Challenges Faith first appeared on Sindh Courier.

By Aindrila Roy

A mother’s real-life trauma

In 2011, Sagarika Chakraborty and Anurup Bhattacharya, a Bengali couple living in Norway, faced their worst nightmare. The Norwegian Child Welfare Services, known as Barnevernet, took their children Abhigyaan and Aishwarya away, to be kept at a foster home till they turned 18. The traumatic event caused the couple to part ways. After a long legal battle, Sagarika gained sole custody of her children, who now live in Kolkata with her parents. Sagarika lives and works in Noida.

When love looked a lot like abuse

Based on Sagarika’s book, The Journey of a Mother, Nikkhil Advani’s 2023 Hindi film, Mrs. Chatterjee vs. Norway, opens with three women hurriedly getting into a car with a baby in their arms. Shortly afterward, Debika Chatterjee (Rani Mukherji) is seen running after the car, only to tumble to the ground. The film, a fictionalized take on Sagarika’s story, follows the uphill battle Debika must fight to retrieve her children from the child services agency, Velfred. The agency alleged that Debika was mentally unstable and was therefore an unfit mother.

Sia (Kärt Tammjärv) and Matilda (Britta Soll), the two social workers for Velfred, had been visiting the Chatterjees for 10 weeks. In their findings, they stated that Debika would feed her children by her hand which was construed as being “force-fed”. They also did not like that the children, three-year-old Shubh and five-month-old Suchi, were co-sleeping with the parents. Shubh was also suspected to be autistic and Velfred was not convinced that the child was getting adequate attention. A prior complaint of domestic violence only served to work against the parents.

The film chronicles Debika’s journey as she fights for her children in a country where she can’t speak the language, and struggles with depression and an unsupportive husband. She is under intense scrutiny, where every action she takes is analyzed, judged, and criticized by those around her. Amid all this, she takes makes some drastic moves that cause her further troubles.

Rani – the star of the show

Rani Mukherjee, over the years, has solidified her position as one of the most versatile and reliable actors in the Hindi film industry. Here too, she is near perfect. She speaks mostly Bangla, sprinkled with broken Hindi and English.  The challenge here was to maintain consistency in the character’s linguistic style, and in that, Rani is fairly consistent. Add to that Debika’s highly charged emotions, and Rani’s performance is nothing short of fantastic. For the most part.

Where she faltered, was in the final scene where she had to give a monologue. There I felt she channeled the late 90s- early 2000s acting style, instead of the nuanced performance she had been delivering throughout the movie. There has been some criticism about the loud pitch of her performance, but I don’t agree. As I interpreted it, Debika was stretched to the hilt and had gone beyond caring about niceties.

Stable supporting cast

The performances of the supporting cast can be divided into two neat categories – the nuanced ones and the caricatures.

Anirban Bhattacharya as Aniruddha Chatterjee, Debika’s husband, is superb as the patriarchal man who has some antiquated ideas of what a husband’s role is and how a wife must be. My favorite in the cast, though, was Jim Sarbh as Daniel Singh Ciupek, the lawyer for the parents. He is the most nuanced character in the story and Jim gives the character a calm, assured air.

Other notable supporting cast are Balaji Gauri as advocate Ms. Pratap, Barun Chanda as the Judge of Kolkata High Court, and the Norwegian foster parents.

The caricatures

One of my biggest grouses about the movie is that it has only two types of characters: either they are with Debika or they are against her. The characters, including Debika’s, are painted in broad strokes. With the sole exception of Daniel Singh Ciupek, everyone that is in camp Debika is a good person and everyone against her is a bad person. While the writers Sameer Satija, Ashima Chibber, and Rahul Handa, attempt to give Aniruddha some shades of character, they fail to do so with the remaining characters.

The social workers from Velfred are shown to be smirking and gesticulating, almost deriving pleasure from Debika’s plight in a very Disney villain way. Debika’s in-laws are shown to be the stereotypical saas-bahu soap in-laws, scheming against her, and berating her. Soumya Mukherjee as Anurag Chatterjee (Debika’s brother-in-law) also comes across as a petulant child.

Lack of depth

As I was watching the movie, I couldn’t help but think of another movie, Talvar, also a fictional retelling of a horrific real-life incident. The difference between Talvar and Mrs. Chatterjee vs. Norway is the sensitivity with which they are handled. That is not to say that the latter isn’t sensitive to the core issue. But it also suffers due to its mainstream Bollywood treatment. I would have liked to linger a little more on the internal conflicts and the mental anguish of the mother who wants her children back. When that bag of milk falls on the ground, I wanted to see Debika break. I would have also liked to see more of the kids.

A picturesque backdrop

The stunning visuals of Norway are presented by cinematographer Alvar Koue. After all, it’s hard to go wrong with visuals when the Northern Lights are dancing in the sky. Amit Trivedi’s music blends very well with the story. A special shout out to Sheetal Sharma’s costume designs for Rani Mukherjee’s gorgeous sarees.

Director Ashima Chibber did make a sincere effort to present a story that deserved to be told, but this film would have benefitted from a deeper look into Debika’s and the children’s psyches instead of simply chronicling the events as they occurred.

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Aindrila Roy is a stay-at-home mom with her fingers in many pies. She writes, reads, makes jewelry, sings, and dances and is a huge Paleontology nerd. Her book, I See You, was self-published on Amazon. She also has stories in anthologies, such as City of Screams and Dark Valentine. Several of her movie reviews have been published in the Monster magazine. She is currently working towards pitching her second novel, and building a Paleontology blog.

Courtesy: India Currents (Posted on May 12, 2023)

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