BY ANUJ RADIA
Beyond The Clouds (BTC) - promises a lot. Primarily, it is a film which features two Oscar-nominated (and winning) names: AR Rahman and Majid Majidi.
Secondly, it is a venture which hopes to give Bollywood two new superstars: Ishaan Khatter and Malavika Mohanan.
Thirdly, the film promises to be an uplifting yet poignant tale of two siblings who face a lamentable incident and how they overcome it. Collectively, there is a lot of expectations from the movie.
After a world premiere at BFI’s London Film Festival, the movie has finally released worldwide and Asian Style gives their verdict.
The movie narrates the story of a 19-year-old peddler named Amir (Ishaan Khatter) who, when on the run from the cops, finds his estranged sister Tara (Malavika Mohanan), who in a bid to protect her brother, lands up in jail.
As tragic as the storyline is, Majid Majidi completely overlooks the tragedy and misery of the two siblings.
The themes of hope, love and humanity are at the epicentre of Beyond The Clouds. Through a simple, non-preachy and artistic way, Majidi very tells us what it takes to be human.
There is an interesting parallel to the story. Despite the fact that both Amir and Tara are torn by an unfortunate event, the hope remains consistent in their lives.
Amir, on one hand, finds himself reaching out and helping the family of the man who has ruined his life - the man he hates.
On the other hand, Tara in prison seeks comfort and looks after Chotu - the son of her ailing cell-mate (played by Tannishtha Chatterjee).
What I like about the film is that despite set against the backdrop of the Mumbai slums, that does not veer into becoming a film that highlights the difficult lifestyle of those who reside there. Majidi stays true to the story and concept.
Now, with a Majid Majidi film, you can expect a lot of realism. Every shot that is captured has so much detail. As such, the camera work is par excellence and encapsulates the cityscape of Mumbai very well.
For instance, there is a shot where Amir walks away. One-half shows a well-lit side of Mumbai, where there are tall buildings - a progressive section.
Then the other half, where Amir walks, is dimly lit and completely desolate - untouched or has minimal progression.
Not only does this scene exhibit the harsh reality of India, but it symbolises the main narrative arc of BTC well. It shows how Amir must fight the battle of releasing his sister - alone. It makes the audience sympathise with him.
The powerful story and well-developed characters are effortlessly portrayed by the cast. Ishaan Khatter, to begin with, is a firecracker. It is so hard to believe that BTC is actually his first movie.
Amir is a fierce yet compassionate character and with Ishaan, there is an intensity and innocence in him - both of which are neatly exhibited in the film.
The highlight of Ishaan’s performance is his high emotional outburst after seeing his sister - in a shocked state - being dragged away in prison.
Prior to this, we saw glimpses of Amir crying. But this eruption is just on another level... The intensity is just par excellence for a newcomer.
Malavika Mohanan is like a breath of fresh air. She has a solid screen presence and holds her character very well. The good thing is that she knows how to switch between emotional and light-hearted sequences with such ease.
However, I think with Malavika, she needs to work on her emotional outbursts more. There is definitely intensity in her performance - just that small tuning with her emotional expression will make her into a more effortless actor.
Gautam Ghose as Akshi - the man who destroys Amir and Tara’s lives is good. Initially, he has a very mysterious aura, but as time goes on, his expressions and body language do the talking.
Three-time national award winner GV Sharada has shone vastly in South-Indian cinema and undoubtedly, she is a legend. In BTC, she plays Akshi’s mother. Her presence is solid and without saying a lot, she conveys it all.
In addition to the main cast, all the child artists are equally excellent and enact their roles well - so does Tannishtha Chatterjee in her brief part.
It is quite clear that Beyond The Clouds has a lot of positive aspects and if I’m honest, there are hardly any negative traits. But as one expects, the pace is slow and requires patience - though I can guarantee you will not get bored.
Also, if you are expecting a pulsating or grand AR Rahman background score similar to what he has done in Lagaan or Slumdog Millionaire, then I’m afraid this might disappoint you slightly.
Having said that, one does not necessarily feel the lack of background music consistently throughout the film. The capturing of natural sounds oozes an authentic feel - it is this natural sound which allows the viewer to be drawn into the city.
On the whole, Beyond The Clouds is a film which leaves you in tears, but yet a smile glistens through. It is a work of pure art.
From fantastic performances to a story which connects to a worldwide audience, this Majid Majidi film has humanity as its central focus and makes us realise the true essence of life.
Don’t miss this!
4/5 starsRead more
BY ANUJ RADIA
Shoojit Sircar's October, a film which is presented to be a story about love, promises to be quite a poignant and profound venture.
Not only does the movie aim to showcase a different variation to Varun Dhawan’s calibre as an actor, but through Banita Sandhu from Wales, Sircar once again launches a new talent in Bollywood.
Despite the unique appeal and impressive premise, how good is the final product? Here, is our review.
The movie narrates the story of Danish Walia aka Dan (Varun Dhawan) an intern at a five-star hotel, he is a carefree young chap.
Shiuli Iyer (Banita Sandhu) is another intern who often bears the brunt of Dan’s audaciousness and the two know each other from College.
Post a sudden and unfortunate turn of events, things drastically change, resulting in Dan and Shiuli’s lives intertwined with each other.
A transformation happens and a special bond develops between the two. But unlike any other ‘love’, this is more of a deeper connection.
As prominently mentioned by Shoojit Da and the crew in the media, the movie truly turns out to be a story about love.
It is interesting to see how a mere acquaintance like Dan becomes a really close friend to Shiuli and that too under such serious circumstances.
The film doesn’t fall for the formulaic Bollywood style of love, where a hero/heroine realises how much they are attached to an individual following a ‘Lambi Judai’ (dramatic separation). October highlights a different and more complex shade to love, which is not unconditional, but a pure selfless love.
What I particularly like in this film, is Sircar’s method of transition. At one point, flowers and the changing season are the main focus.
This almost becomes symbolic of how nature continues its course and so does Shiuli-Dan’s lives in a slow and steady manner.
As such, this portrayal about love is dynamic and unexpected. There are a few sequences which completely catch the audience off-guard and pull the heartstrings in a very precise way.
Sircar, unlike any other Bollywood filmmaker, does not focus too much on a plot’s sentimentality and that is the beauty of October.
I also like the character development, especially that of Dan. Initially, he comes across as quite a rebellious, carefree guy - almost childlike and this itself is represented through his small idiosyncrasies like stepping on washed bed-sheets.
However, after the tragic events, we get to see a more compassionate, caring and protective side to Dan, even though those quirky traits are consistent throughout.
One must, at least, give credit to Juhi Chaturvedi for penning characters which are well-developed. Intrinsically, the vivid writing smoothly translates into excellent performances by the main cast.
Varun Dhawan, to begin with, brings Dan to life. To portray such an abstract character - that too in proportion is not easy. Even during the emotional outbreaks, Varun does not overdo his part.
His performance is subtle, yet effective. I think this could be considered to be one of his best performances till date. Mr Sircar has definitely mentored him well!
Whilst October marks Banita Sandhu’s debut in Bollywood, I actually felt as though I was watching a seasoned actress.
Despite having minimal dialogue, Sandhu conveys everything through her expressions and body language. She seems so in tune with her role. Honestly, I think she can work wonders in Bollywood and beyond.
Gitanjali Rao plays Professor Vidya Iyer - Shiuli’s mother and she is a perfect asset to this talented cast lineup. In my opinion, this is one of the most realistic portrayals of a Bollywood mother. Her expressions and reactions are so natural and seem very convincing. In fact, She reminds me of Deepti Naval!
In addition to several positive aspects, there are a few downsides to October. Primarily, a negative point is that the movie progresses at a snail’s pace. It feels as though the film's progression gets stuck, especially during the second-half.
Also, there seems to be a lack of atmosphere. Many of Shoojit’s previous ventures, regardless of how serious a film’s concept or how slow it is, there is usually an oomph which maintains the audience’s attention throughout the movie.
Here, the zest seems to be lacking, despite the fact that the emotions do strike a chord with the audience.
If we reflect back on Sircar’s filmography traits, all of his films/productions either seek to break taboos (Piku, Vicky Donor) or challenge society’s regressive mentality (Pink). Even with October, he challenges the stereotypical depiction of love in Hindi cinema. For this endeavour, I must congratulate him.
Overall, Juhi's writing combined with Varun and Banita’s superlative performances makes this venture a decent watch, although patience is strongly required!
*** (3/5 stars)Read more
Salman and Katrina's team work is what makes this sequel work
By FATIMA PATEL
If you enjoyed Ek Tha Tiger, then Tiger Zinda Hai will set the screen ablaze for you.
You may say Tiger Zinda Hai is predictable, far fetched in some scenes, but this sequel is an enjoyable watch.
The story fast forwards eight years on from where it left from the first franchise. Indian RAW agent Tiger (Salman Khan) and ISI agent Zoya (Katrina Kaif) are now married and living a peaceful life with their son, having long left their lives as spies. However, their plans soon change when Tiger is hunted down by his former boss at RAW to go on a mission to rescue 25 Indian nurses who are held hostage at a hospital by a dreaded terrorist organisation that has taken over Iraq.
From here it becomes a Salman Khan show and the Sultan delivers with screen presence, punchy one liners and above all huge star power.
Nonetheless, Katrina is not far behind. She too follows Salman in the mission, although from the Pakistan side, to rescue a further 11 Pakistani nurses. It is because of his wife Zoya that fuels Tiger to unite RAW with ISI for the rescue mission.
The marriage between ISI and RAW for this mission, adds a human touch to the storyline, which is heartening to watch especially considering the political tensions between both countries.
Peace lovers will most certainly enjoy the scene where the agents from both sides talk about how if India and Pakistan were one, they would have the best cricket team in the world, as is the conversation about the music artists that if the likes of Mohammed Rafi, Lata Mangeshkar, Abida Paveen and Nusrat Fateh Ali Khan were all doing a concert together, how wonderful would that be! It all makes it a jubilant watch.
However, for me the real scene stealer is Katrina. When it’s a Salman Khan action drama, it’s hard for the female lead to get much mileage, but Kaif does and delivers some kick ass stunts.
Katrina compliments Salman Khan perfectly and it’s this team work that makes the film work, in an otherwise predictable and loose storyline. The pace of the film could have been a little tighter and perhaps the storyline could have been a little tenser, especially considering the subject has been taken from a real-life incident. I also feel that Ali Abbas Zafar could have done a lot more with the direction, considering he had the star presence of Salman Khan and Katrina Kaif.
The supporting cast do a good job. Paresh Rawal is effective and the antagonist, Abu Usman played by Sajjad Delafrooz performs his role well.
Over all Salman fans are not going to leave the theatres disappointed as they will most definitely get to see an avtar that they’ve enjoyed before in Ek Tha Tiger.
Rating: 4/5Read more
By RAHUL RAUT
The 'Fukrey' boys – Choocha, Hunny, Lali, Zafar – are back and so is Bholi Panjavan who has returned from the jail and is in no mood to relinquish her evil hold over the boys. The whole team of 2013's sleeper hit is back with 'Fukrey Returns' to tickle the funny bones of audiences once again by its unique characterisation and funny moments.
The trailer of 'Fukrey Returns' which released today promises more fun and gambol this time and shows the wilder side of the gang. Choocha (played by Varun Sharma) who used to see the winning lottery numbers in his dreams in the first part, can now see the future. And due to his this new trait which has been called ‘deja-chu’, the boys get in trouble again. Courtesy Choocha's extrasensory perception ability, the entire group takes off on yet another adventure that is filled with fun and chaos.
Besides Varun Sharma and his friends-in-crime, Pulkit Samrat, Manjot Singh and Ali Fazal, Richa Chadda also returns in the sequel. Her character of Bholi Punjavan is back from jail and wants to take her revenge from the four and make them run again. Actor Pankaj Tiwari has also an interesting role and he lends a great support to the boys. Especially the last scene between Pankaj and Varun is hilarious.
The trailer also shows the strange encounter with a snake and tiger leaving the audiences wondering what role they have in play and how the Fukrey gang clash with them. There are lots of moments in the trailer that will make you smile and even scream.
Overall, 'Fukrey Returns' trailer is already a winner. It promises a joyride for the audiences. Directed by Mrighdeep Singh Lamba and produced by Farhan Akhtar and Ritesh Sidhwani, this comic-caper is releasing in cinemas on 15th December.
The makers of 'Fukrey Returns' have recreated the iconic song, "O meri Mehbooba", from Dharmendra, Jeetendra, Zeenat Aman and Neetu Singh starrer 1977 fantasy-adventure, 'Dharam Veer'. Picturized on the four boys, this song is the first track in 'Fukrey Returns' and comes at a crucial point. Although the new version has Raftaar's rape and 'Kaala Chasma' fame Prem Hardeep's composition, Mohd. Rafi's voice and the original hook line have been retained in it.
By RAHUL RAUT
Yash Chopra's 1969 murder mystery 'Ittfaq' starring Rajesh Khanna and Nanda is considered a classic coming from Yash Raj banner. It's one of the path-breaking films of that era and is still counted as one of the best mysterious drama made in Bollywood. Now, Dharma Productions, BR Studios, and Red Chillies Entertainment have come together for the adaptation of the 1969 eponymous which has been directed by the original producer BR Chopra's grandson, Abhay Chopra.
The trailer of the new 'Ittfaq' which was released a few days back seems intriguing and gives a sense of adrenaline rush throughout. It keeps you at the edge of your seat making you eager to know more. The crime thriller which has multiple points of view, by the trailer, looks gripping, thrilling and fascinating backed by a strong storyline.
'Ittfaq' is a whodunit murder mystery and revolves around a night when two people are brutally killed by an anonymous person. Two suspects are trapped while investigating the double murder case. However, both of them give different perspectives about the same night to prove their innocence.
The trailer begins with a dialogue,"What were you doing there?". An injured Sidharth Malhotra (Vikram Shetty) lands up at Sonakshi Sinha's (Maya) doorstep to ask for help. She lets him inside the house but that mistake turns their lives around. The duo who are the only witness as well as the prime suspects, through interrogating with police, depict the incident different way making the case more challenging and cryptical.
While all fingers point to Sidharth and Sonakshi's characters, the end of the trailer shows the doorbell ringing which indicates that a third person might have also been involved in the incident that happened that calamitous night.
Sidharth who has been seen in rusky look again after 'A Gentleman' shows his rowdy attitude and trapped suspect pain brilliantly. Sonakshi as a "misunderstood" woman intrigues with a never-seen-before performance from her. However, it's Akshaye Khanna who shines in the two-and-half-minutes trailer. Akshaye plays the role of a no-nonsense cop who will stop at nothing to find the truth since both the witnesses' testimonies are immensely different.
The visuals in the trailer are fantastic. The dialogues raise the curiosity. There is a scene in the trailer where Akshaye proclaims, "There are three versions of the story. His Story. Her Story. And the Truth. We've to find the Truth." This surely arouses the interest to this crime thriller.
However, despite the trailer is riveting, it has its own flaws. Although it's been said that 'Ittfaq' will not be a direct rip-off of the original, it doesn't seem the movie has been updated to keep up with the times. There are some scenes which are very unconvincing and won't go well with the audience in 2017. For example, Sidharth climbs up to the first floor to ask for help. Usually, if someone gets injured in an accident, he goes to the nearest house which would probably be on the ground floor. So when a physically injured guy jumps to the first floor of a flat just to ask for a phone call from her landline, it doesn't look anything than flimsy.
Overall, the 'Ittfaq' trailer looks amazing. A crime thriller told through multiple points of view, no songs, no romantic angles, 100-minute run-time and a new twist to the end are the factors enough to make it an interesting watch. It seems like a not-to-be-missed movie and I am excited to catch it in theatres when it releases on 3rd November 2017.
Even if you’re not familiar with classical Indian music you’ve probably heard of the global sensation, composer and musician Ravi Shankar. At the age of 90 ‘Pandit’ Ravi Shankar began to write his only opera -Sukanya, which is a love letter to his now, Widow Sukanya Rajan.
Sold as a semi staged production the story is a tiny segment from the ancient Indian epic Mahabharata. With an amalgamation of a fifty-five piece London Philharmonic Orchestra, five Indian musicians, nineteen BBC Singers, an international cast, dancers from the Aakash Odedra Company and libretto from Amit Chaudhuri, you no doubt walk into the auditorium with plenty of expectations.
Sukanya begins and we’re introduced to Chyvana, an old sage who sits to meditate for so long that he becomes cocooned by an ant hill. When the unaware Princess Sukanya stabs at the ant hill she accidently blinds Chayvana. To make amends her father King Sharyaati offers his daughter to the sage. The loving marriage is disrupted when two jealous demigods challenge Sukanya, asking would she still recognise her own husband if he was of similar resemblance to them. She declines the challenge but her husband accepts on her behalf.
Admittedly there was a sneaky dread that Sukanya may become lost in its own grandness, thankfully this wasn’t the case. The Opera was beautifully directed by Suba Das who made his Royal Opera debut. The six singers sang their roles well, the demigod duo (Aswini Twins) singers Michel de Souza and Njabulo Madlala enjoyed great chemistry. The choreography and dancers were effortlessly perfect, mesmerising us with their swirls, turns and stamps.
The magnificent Welsh conductor David Murphy was also making his debut. The Easter and western music effortlessly danced into the air in perfect harmony, there were moments you could have easily closed your eyes and be lost in the magic. The musical utopia gave you shivers down your back and goose bumps on your arms.
The stage was designed as three staircases, with the central staircase including steps large enough to allow performances to sing or dance on, which worked perfecting when a fifty-five piece Orchestra sat at the base. I’m very fond of video imagery, the mood and space is created perfectly and quickly. However there were times when the imagery projected on performers and the background was not the background, which was a little off putting if you want to be lost in the world of the story. Saying that, one of my favourite visual moments was when the ant hill formed around Chyvana, it was a greatly effective and creative use of video projection.
Although there is love for a fusion of music and an admiration for a multicultural cast, I’m not sure it worked so well when Keel Watson (King Sharyaati) a black singer and actor played the part of a white Susanna Hurrell’s (Sukanya) father. It did lead me to ponder over questions of lack of opportunities and representation. The brilliant Alok Kumar who played Chyvana is a beyond capable singer and performer but it was clear that this character was referred to as ‘old’ and then begins the spiral down questions of where are the mature actors? Does it make a difference? How old is old? Should it make a difference?
During the interval a white lady turned to me to say “I didn’t even know you had opera” I had to get her to repeat two more times, purely because I didn’t understand the statement. It was evident my repeated ask unintentionally made her and her friend very self conscious and unintentionally I allowed an uncomfortable politically incorrect feeling fill the air.
She didn’t know I had opera?
What I concluded from that was “I” meaning “we” meaning South Asians did Opera. To be honest nor did I, but if it comes my way looking and sounding anything close to what Sukanya did, I’m not going to complain.
Excited for the future development of Sukanya and hoping the full production will be alive and touring in the very near future.Read more
Authentic Lahori food can be enjoyed at the Pind restaurant in Bradford.
Watch our review here:
Finding Fatimah is a fresh take on the great British Muslim matrimonial crisis. How to find love (and get married) as you approach your 30's while keeping it all strictly 'halal'.
The film starts with Shahid, played by Danny Ashok, approaching the big Three-Oh, trying to make last ditch efforts to get a printing business running, a business that he would eventually have to sell and worse of all, he is divorced already! After failing to find a suitable partner in his own circles , Shahid, like a true blue millennial turns to the internet.
What is British Muslim online dating all about? Shahid finds out pretty soon. After a few dates go horribly awry, Shahid almost gives up but just before he does, he finds a young doctor called Fatimah, played by the beautiful Asmara Gabrielle. There's only one tiny problem though - Shahid hasn't told Fatimah that he was previously married! Will the misunderstanding be resolved in time? I'll let you watch the film to find out.
Both Danny and Asmara do complete justice to their parts, as they play characters with their own complicated backstories. There's something endearing about seeing them together as they navigate their relationship and the people around them.
Finding Fatimah does have its shortcomings though. The execution of the comic scenes could have been better as I felt a lot of the situations that might have potentially been hilarious on paper turn out to be a bit blah when played out. That shouldn't stop you from watching it. If nothing else, it will open up a window into a very real struggle that a lot of young British Asian Muslims are going through.Read more
If you aren't a Riz Ahmed fan already (WHY aren't you by the way? but more on that later) you will be by the time you walk out because Riz is the brightest thing about the otherwise slow crime thriller set in London.
The story revolves around ace private detective, Tommy Akhtar - an obedient and caring son to his ailing father - who gets himself embroiled into a case that requires him to investigate the circumstances surrounding a missing prostitute.
The director, Pete Travis, whose previous works include, Vantage Point, has tried his hands at this noir piece of cinema that succeeds in showing London, in all its multicultural, multiracial glory. This is the London that is rarely shown in mainstream cinema. It is gritty and grimy and yet it is warm and interesting. There are dark alleys and neon signs and a living, breathing city.
The premise of the film has everything going for itself, on paper at least. We have the ghosts of the last hanging over the main characters like thick, invisible clouds, the policemen you can't really trust and religious fundamentalists preaching their own brand of religion.
Where the film suffers greatly is the pace. The story takes a while to unravel and by the time it gets to the climax, you might not care anymore. And that is not the sign of a film that calls itself an edge of the seat thriller.
This is not Riz's first mainstream cinema outing. He has recently starred in Rogue One, the HBO mini-series The Night Of and Mira Nair's The Reluctant Fundamentalist, all roles where he has been recognised. Ahmed has also been admired for his speech in the parliament on the need for British TV to reflect the diverse reality of the people who make up modern Britain (hear, hear). City of Tiny Lights is definitely carried through by Ahmed and is sure to get him acting accolades and critical acclaim.
The supporting cast tries its best to add something special to the film. Billie Piper as Ahmed's love interest from the past is brilliant but sadly doesn't have much material to play with. One of my favourite characters has to be Ahmed's dad, played by Roshan Seth. Roshan is a treat in the few scenes that he is in.
Overall, City of Tiny Lights is a film that audiences who are fans of noir cinema will enjoy. Others might want to go in with some extra patience!Read more
Phillauri is Anushka Sharma’s second home production, and much like her first, NH10, it tries to tell a different story. The film has a simple storyline. It starts off in the present day, as Kanan Gill (Suraj Sharma) returns from Canada to get married to his childhood sweetheart, Anu (Mehreen Pirzada) in a big fat Punjabi wedding. There is a problem, however. The priest tells the family that Kanan is ‘Manglik’ which means that he has to symbolically marry a tree first in order to ward off evil influences that might affect his life with Anu. Much against his will, Kanan agrees and gets married to an old tree. Unknown to anyone though, the tree has a resident ghost, Shashi (enter Anushka Sharma) who now considers herself to be married to Kanan. Thus, begins a Love Aaj Kal-esque love story where the past guides the present through, to find the real essence of love.
Shashi shares her backstory in flashback and we are taken back to pre-partition India, more precisely to a small village called Phillaur, which is steeped in tradition. Shashi lives with her strict brother, who is a doctor who believes that music and arts are tabooed pastimes and must be avoided. The doctor, who has a sympathetic corner for the freedom fighters of the time, is unaware of the fact that his own sister Shashi is a talented poetess whose poems are loved by readers all over Punjab. Keeping in line with her brother’s beliefs, Shashi keeps her identity hidden and writes under the pseudonym ‘Phillauri’. All is well until she comes face to face with Roop (Diljit Dosanjh) and what follows is a beautiful love story that will make your heart skip a beat.
Shashi and Roop’s love story offers audiences a window into a very different world. A world where love isn’t transient, it holds and lives on through distances where all lovers have are stolen glances and infrequent letters from the other. In that regard, Phillauri’s tale of love will appeal to audiences of all ages; in today’s age people may not believe in love that lives on beyond death but the idea is still an endearing one. The director Anshai Lal lends subtlety to the romance, which I wish he brought to the modern day couple of Kanan and Anu as well.
While Phillauri’s basic premise may have shades of Tim Burton’s ‘Corpse Bride’, the treatment is different. Phillauri is also much more than just a love story as the writer, Anvita Dutt, adds a lesson or two about the importance of letting women pursue their dreams and the value of respect and dignity in a relationship, but without making the narrative preachy and that is always a win!
Phillauri is a musical treat. Shashwat and Jasleen have put together an album that takes influences from folk melodies and gives them a refreshing feel. From the soulful Dum Dum to the melancholic Sahiba, the music is hard to forget; a much needed, pleasant break from the auto-tuned songs that we have been subjected to of late. Anvita Dutt’s meaningful lyrics add to the magic.
In the acting department, Anushka Sharma is a clear winner. She delivers her hilarious wisecracks with a straight face and does an equally good job emoting the pain of love lost. During the flashbacks, she looks every bit a strong, yet vulnerable girl. A special mention must be made of the costumes – from the traditional shalwar suits to the silver jhumkas – everything adds to the authenticity of the story. Diljit, who brings honesty to his role shines as a kohl-eyed musician who is transformed by love. Mehreen Pirzada doesn’t have so much to play with but she still makes an impact – I particularly liked her in the second half. The only let down is Suraj Sharma, who albeit brilliant in his Hollywood outings, just could not express himself in Phillauri. So much so that in the first half it feels like he pretty much has the same expression of bewilderment on his face.
Overall, Phillauri has more positives than negatives and despite its weak moments, it is a film you need to watch, especially if you like love stories. You will leave the theatres with a smile on your face!Read more