Love per square foot (2018)
Is an interesting take on the property choices for young people in an expensive city like Mumbai.
Vicky Kaushal and Angira Dhar speak of dreams, independence, having their own space and home.
What follows is a cute story, where the Pathak sisters entertain in their own way, while we have tiny nuances of Mumbai which are part of its charm.
A new age tale of love and belonging.
Vidya Balan is back in many avatars to subtly amuse and investigate the going-ons in her neighbourhood. She is a budding detective, trying to get a decent case to make her independent and tickle her skills. Her accent is adorable and her antics unpredictable.
The strength of the film lies in its simplicity. It doesn’t pretend to be anything big or dramatic, it is sincere, funny, true to its socio-economic setting with characters we can relate to.
Bobby a.k.a. Bilquis is one of 3 sisters in a conservative Muslim family in Hyderabad. A boisterous rebel, she gets a mysterious case and takes us on a short 2 hour journey in the nooks and crannies of the old city area.
She is ably supported by a host of characters; Ali Fazal, Tanvi Azmi, Kiran Kumar, Arjun Bajwa, Zarina Wahab, Rajendra Gupta, Prasad Barve and Supriya Pathak as her ever understanding mother, quite a departure from ‘Dhankorbaa’ in Ram Leela.
Debut director Samar Shaikh presents us a refreshing story that entertains in an endearing way.
Guns blazing, Gujarati swear words, a 500 year old animosity of two warring sides and of course what blossoms between all this is: LOVE. An Eccentric, Sexual and Mad drama unfolds.
Not Sanjay Leela Bhansali’s (SLB) traditional film making style, he has stepped well out of his comfort zone of ‘tender love stories’, ‘social protocol’, ‘clear and slow progression’, ‘witty and U-rated dialogue’. Here the pace is fast, the language is harsh, many times lined with crass double meaning. Violence which was missing in most of his films is not only present but not easy to watch at times.
SLB is an unforgiving perfectionist. In the past we have seen beautiful sets and locations, which exude a dominant colour palette with undying symmetry. This time round, there is imperfection, a myriad of colours and an aesthetic sense that makes a scene alive without the feeling that you are watching a perfect set. He has done the music as well, and the songs are as always filled with metaphors, a visual treat to watch with some difficult dance moves. His direction makes all this seem as part and parcel of the film, but for once the story, songs or sets don’t dominate, its the acting of the 3 main characters that steals the show. We start with number 3:
Ranveer Singh is a director’s actor. He has manifested on screen what the director wanted him to, but somehow doesn’t seem man enough or strong enough to match up to his co-star, who seems to be wearing the pants. He is ‘supporting’ his female lead, a phenomenon which is usually the other way round.
Supriya Pathak Kapur is a spectrum of talent. To play Hansa Parekh in Khichdi and Dhankoraba ‘Baa’ in this film, you see the same eyes soften you in one, and terrify you in the other. Her restraint and explosions in the same sentence show you not only the character but her acting diversity.
Deepika Padukone has not grown as an actor. She has leaped to the moon. Her 4th big release this year (Race 2, YJHD, Chennai Express) she is the raw, sensual, hopeless in love energy which SLB has managed to capture on screen. You can’t take your attention off her expression, dance and threateningly seductive voice and body language.
A Ram Leela is traditionally performed on the street for all to see. Here as well, the story takes place in front of people at most times, for them to witness the tragedy. This film is a tribute to the over the top rendition of India’s most famous story, with an ‘Adult’ SLB twist. An appropriate credit to Romeo & Juliet has been given right at the beginning, so either dance the dance while you watch Ram Leela or curse Shakespeare until it is over.