Arriving at a small-town resort for a shoot, Vik smiles broadly for the cameras. If anything, he’s played by Harshvardhan Kapoor, the actor’s mousy, self-effacing manner falling in nicely with director Vasan Bala’s plans. The protagonist of Spotlight, a star named Vik, is no Uttam Kumar. In 1966, Satyajit Ray directed Nayak, a seminal meditation on the pitfalls of fame. Before they part at Delhi station, Musafir gives a striking assessment of self. The word ‘ registan’ (desert), issuing poetically from Musafir’s lips, turns appropriately arid when repeated by Baig. You can watch the entire film as a grudge match between these two giants. Within the confines of a luxury coach, Manoj and Gajraj work up a storm. The film reminded me of his Ishqiya days, with his penchant for language, music and cultural ephemera. Abhishek, coming off two heavy-hitters like Sonchiriya and Udta Punjab, seems to be enjoying himself. These ideas are present in Ray’s original story, but acquire a unique flavour in cinematic form. The central journey is peppered with flashes into Musafir’s past and psyche. Written by Niren Bhatt, this is a playful, elegantly realised adaptation. Now he must sit across from Baig and wait for the penny to drop. He was cured of his kleptomania soon after, but the guilt had lingered on. We learn that ten years ago, on a similar train ride, Musafir had stolen a watch belonging to Baig. His co-passenger is Aslam Baig (Gajraj Rao), a one-time wrestler turned journalist. It begins with Musafir Ali (Manoj Bajpayee), a celebrated ghazal singer, boarding a train from Bhopal to Delhi. Abhishek Chaubey’s film is a charming parable on time, transience and authenticity. It all adds up to a simplistic moral yarn, more tired and predictable than gleefully grotesque.Įasily, the pick of the lot. Needless to say, Indrashish puts it to good use, fooling his landlord at first and then quickly dialing up the stakes. His grandmother was a make-up supplier for Hollywood studios when she passes, she leaves him a fortune and her book of tricks. Indrashish (Kay Kay Menon) is a clerk with an unhealthy obsession for prosthetics.
#DIDI DIDI SONG HINDI SERIES#
I was put off by the exaggerated production design and bad dialogue (“You make me feel like Juliet”). In a series sold on innovation, this is the weakest link. The Calcutta setting comes complete with trams, old theatres and dingy chinese restaurants. If Forget Me Not is a modern take, Behrupiya feels more like a peace offering to Ray purists. The extended climax Srijit designs and shoots is too expository – the cardinal sin of short story adaptations.Īlso directed by Srijit, this one follows a makeup artist with a peculiar bout of god complex. My only problem is with how the whole thing ends. The sequence by the pool, where Ipsit finally blows a fuse, is starkly unsettling. Ali Fazal nails the mannerism of a man about to go off his rails. Written by Siraj Ahmed, this is a relentlessly slick adaptation of Ray, both visually and in narrative terms. Srijit Mukherji’s film sets the general tone of the series. “Try your recycle bin,” his friend jokes a few days later, confirming that Ipsit did take such a trip a few years ago. Worse, his award-winning 'computer memory' brain can’t fetch the particulars of a romantic night she claims to have spent with him. She picks out Ipsit (Ali Fazal) and attempts striking up a conversation. It’s a fitting approach to view a show like this.Īt a glitzy rooftop bar, a woman walks down with her drink.
The running order remains the same, though you’d be well advised to shake it up a bit. Since all four segments stretch the 50-minute mark, I’ve discussed them individually. But would he have approved of the films? My guess is that he would admire their experimental sheen, while being ambivalent about doing them all in Hindi. Ray himself would have approved of the format – his 1961 triptych, Teen Kanya, was the first of its kind in India. Inspired by his stories, three contemporary filmmakers have created Ray, a 4-part anthology series on Netflix. Cast: Ali Fazal, Kay Kay Menon, Manoj Bajpayee, Gajraj Rao, Harshvardhan Kapoor, Shweta Basu Prasad, Akansha Ranjan
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