So I’m going to be reviewing films from time to time for Scoopwhoop. Here are the first three, which were the last three Bollywood releases of 2015.
“You may suspect there’s something slightly wonky upstairs when you see Ved in Corsica. Why is he having conversations with mountains instead of the human being in the car with him? Why is he mimicking Dev Anand and unleashing the worst pick-up lines ever? Why are random Corsicans singing and dancing with him? Why is this erratic behaviour charming to Tara?
However, it’s when Ved hurtles towards self-discovery that his insanity becomes unmistakable. He repeatedly talks to his own mirror image. He flies into fits of rage with Tara (because how better to show your love for a woman than by yelling at her?). He also goes to a storyteller (Piyush Mishra) and asks the old man to tell him how Ved’s story will end, as though the storyteller is an astrologer.”
“Dilwale is very literally a bromance and this is a critical problem because Dhawan and Khan make for an unbearable couple. Watching Dhawan attempting to copy Khan’s acting style is painful and you’d never believe this is the same actor from Badlapur. Not only does Dhawan sorely lack Khan’s distinctive charisma, there’s so much hamming in Dhawan’s performance that he may as well have added an “oink” at the end of each dialogue. Next to him, even Johnny Lever’s over-the-top antics seem normal.”
“It’s easy to see why this story has delighted so many writers in Maharashtra. Bajirao and Mastani’s relationship was and remains as scandalous as it is progressive. The liberalism of Bajirao, Mastani and Kashi makes this historical account startlingly modern. Today, when accusations of love jihad and communal tensions surround us, this unflinching love story between a devout Hindu warrior and a non-Hindu princess (although her son was raised a Muslim, Mastani probably belonged to the Pranami sect that didn’t recognise caste or religious divides) is one that bears repeating.
Bhansali is not known for subtlety, but the way he criticises religious orthodoxy without speechifying is among Bajirao Mastani’ s finer qualities. The director is unabashedly against anti-Muslim paranoia and he cleverly weaves his liberal beliefs into the dynamics of the love triangle and political drama.”