Jab Harry met Sejal (2017)

Finally! After a while I liked SRK as a romantic lead in a fun film which didn’t take itself too seriously. Imtiaz Ali has a certain way of story telling, and indulges you with glimpses from his past patterns.

Anushka is far and away one of the best talents we have in this industry, she is the life of the film. Her range of emotions make you laugh and cry with equal ease. Her portrayal of Sejal is dramatic, naive and very funny.

SRK has done a role stepping outside his usual realm, yet being unapologetic about it. He is real, and from the credits scene onwards, he establishes what Harry is all about. He hits the humour home every time, deriving it from his apathy towards the bizarre situation he is in.

The story is convenient to drive the plot forward and show you stunning Europe. The logic isn’t strong, but the moments that make up the interactions between the couple are super. The chemistry is intense and some of the songs are well placed and soulful.

The title is a rip off and the story is oft repeated, but watch it for the banter between the two, which is the best part of the film, and let’s you sail effortlessly from start till end.



Tubelight (2017)

Director Kabir Khan was trying for a follow up to the ‘Bajrangi Bhaijaan’ act but doesn’t achieve it for many reasons.

While the emotional quotient was high in BB, the proceedings were kept to a luke warm intensity this time round, neither investing your attention nor wavering it.

Salman Khan does a decent job, crying the most in any of his roles to date, without making you question his sincerety. He has worked hard to step outside his comfort zone and deliver an act. The effort is present but the final result may leave a lot to desire. A cameo by Shah Rukh Khan makes for an interesting twist.

Child actor Matin Rey Tangu and his mom Zhu Zhu deliver lines with conviction, while Sohail Khan ably supports Salman. Om Puri is the wisdom in the film that uses parallels from history and non-violent events to show NOTHING is a co-incidence.

It was a decent attempt but not cohesive or with lasting impact.


Dear Zindagi (2016)

Gauri Shinde is a nuanced story teller. She delved into language, empowerment and touched the surface of human relationships in English Vinglish. In Dear Zindagi, she dives in to more complex human behaviour, patterns and emotions.

Dear Zindagi is a film I have been waiting for Shah Rukh Khan to do. A simple film, which involves him being SRK a la Swades or Chak de. Mature, understanding, introspective and a subtle sense of humour.

The film starts with, ends with, belongs to and is completely Alia Bhatt. She has delivered such performances before, but for a young actor to hit the ball out of the park every time isn’t easy. She does it like a seasoned player.

Supported well by a host of actors who all enter, exit or endure Alia’s universe, the film is a refreshing tale on seeking advise or direction. Ali Zafar and Kunal Kapoor are memorable, while Ira Dubey and Yashaswini Dayama are adorable reality checks.

A small film with a big heart, it encourages us to talk and listen.


Ae Dil Hai Mushkil (2016)

Karan Johar plays the heart strings like a pro in this witty, filmy, fast paced movie. Surprisingly filled with laughs galore, the humour is like a buffer for the emotional quotient.

He usually romantisizes a city in every film, here the chosen ones are London and Vienna. A lot of memories are resurrected in the moments that have been strung together delicately, which are nostalgic, leaving a lasting smile on your face.

Anushka Sharma is as sharp as a tack, her lines and attitude keep you on your toes. She embodies the free spirit without an anchor, because she doesn’t need one.

Ranbir Kapoor is getting more nuanced with every performance. Tamasha was a fine act, this one ranges from sublime to pure abandon. He demonstrates the anguish of unrequited love from your best friend.

Aishwariya Rai Bachchan has a difficult role to play, which she does with ease. This should have been her comeback film, but better late than never. She looks and acts every bit the poetess.

The film has a mood, which it keeps intact throughout, a sense of security, of comfort, of a chemistry that goes beyond the physical attraction of people.

Karan Johar has stepped away from his usual grandeur and into the vast and unchartered territory of the blur between love and friendship. He didn’t get lost, but navigates us out of the labrinth of complex emotions into a love which has no name.

Bravo! And Happy Diwali!