| Bhoothnath Returns |
Hi!!! friends, i know u must be
eagerly waiting for the review of Bhoothnath Returns.The initial plot is propped up by cheeky innovation:
Mr. Bhoothnath begs his Superior up in Bhoot World (where choice of rebirth as
Aamir Khan's dog takes only one week)—which intentionally resembles Europe
(First World= Heaven)—to give him another chance to prove his scariness. Once
he is sent back down to Earth to frighten more kids, another technical glitch
in the ghostly government system means that he can be seen exclusively by a kid
(Bhalerao) from Dharavi. This is where the relevance of the title ends.
Director Nitesh Tiwari triples his ambition and makes Mr. Bhoothnath play
Morgan Freeman to run for Elections, but makes sure the experience remains as
educative as possible.
Given the caliber of politicians that run the nation, a ghost yearning to be a political leader seems convincing and viable—much like a gangster hallucinating and taking advice from Mahatma Gandhi. This only goes to show how the sensibilities of an audience are molded by their environment's economic state.
This is a film that could have fallen apart into cliched pieces if not for its painstakingly appropriate casting. The first half belongs to the fearless Parth Bhalerao as Akhrot—one of the finest child actors in recent times. He delivers his lines with charming nonchalance, like a 10-year version of Munna from Rangeela, due to which his side-business of vacating stubborn ghosts from deserted properties seems like a legitimate profession. Sanjay Mishra as Bhoothnath's lawyer and Boman Irani as the crooked opposition leader (sequel to his Khosla Ka Ghosla rendition) almost make this idealistic world look plausible.
The second half, where Bhoothnath turns into the conscience of the largest democracy on the planet, reminds me of Aarakshan and Baghban. I'm fond of neither, because of how aggressively self-righteous their messages are. But this is a film where this lack of subtlety fits in, much in line with the political blitzkrieg that has filled our surroundings lately. When a universal message is to be delivered, it is important to cater to the most superficial levels of readability. The writers take a strong but preachy stand, stretching the medium to communicate their opinion about the importance of voting—one that I don't necessarily agree with. I'd still pick this film over sanctimonious party campaigns, because when Amitabh Bachchan speaks (even as a dead man), you listen. Throw in a couple of superstar cameos and voting trivia, and intentions meld into relevance.
Boosted by its strategically-timed release, Tiwari sculpts an unabashed tribute to Rajkumar Hirani's genre by capturing real moods within manipulated capsules of documentation. At 160 minutes, Bhoothnath Returns feels too long, but the makers will have you believe that 'Change takes time'.
My parents still call me up whenever Baghban plays on television; they feel well-represented by its contrivances and simplicity. If this film has half that effect, it'd have served a sincere purpose. In Bhoothnath's self-regulating words though: This is not popularity. This is curiosity.
Given the caliber of politicians that run the nation, a ghost yearning to be a political leader seems convincing and viable—much like a gangster hallucinating and taking advice from Mahatma Gandhi. This only goes to show how the sensibilities of an audience are molded by their environment's economic state.
This is a film that could have fallen apart into cliched pieces if not for its painstakingly appropriate casting. The first half belongs to the fearless Parth Bhalerao as Akhrot—one of the finest child actors in recent times. He delivers his lines with charming nonchalance, like a 10-year version of Munna from Rangeela, due to which his side-business of vacating stubborn ghosts from deserted properties seems like a legitimate profession. Sanjay Mishra as Bhoothnath's lawyer and Boman Irani as the crooked opposition leader (sequel to his Khosla Ka Ghosla rendition) almost make this idealistic world look plausible.
The second half, where Bhoothnath turns into the conscience of the largest democracy on the planet, reminds me of Aarakshan and Baghban. I'm fond of neither, because of how aggressively self-righteous their messages are. But this is a film where this lack of subtlety fits in, much in line with the political blitzkrieg that has filled our surroundings lately. When a universal message is to be delivered, it is important to cater to the most superficial levels of readability. The writers take a strong but preachy stand, stretching the medium to communicate their opinion about the importance of voting—one that I don't necessarily agree with. I'd still pick this film over sanctimonious party campaigns, because when Amitabh Bachchan speaks (even as a dead man), you listen. Throw in a couple of superstar cameos and voting trivia, and intentions meld into relevance.
Boosted by its strategically-timed release, Tiwari sculpts an unabashed tribute to Rajkumar Hirani's genre by capturing real moods within manipulated capsules of documentation. At 160 minutes, Bhoothnath Returns feels too long, but the makers will have you believe that 'Change takes time'.
My parents still call me up whenever Baghban plays on television; they feel well-represented by its contrivances and simplicity. If this film has half that effect, it'd have served a sincere purpose. In Bhoothnath's self-regulating words though: This is not popularity. This is curiosity.
No comments:
Post a Comment