D-Day

Attempt to mature

 

            Nikhil Advani’s attempt of re-re-inventing himself with a gangster thriller takes a mature step ahead over a volley a gangster films India has made. D-Day is taut and detailed and a genuine attempt of bringing authenticity to Indian gangster films. With thrilling action sequences and authentic performances, D-Day easily becomes one of the better films of the year.

            Four ISI agents from different backgrounds, join hands for a common job in Karachi, Pakistan, and soon get caught into something, the cause of which cannot be comprehended by either of them. Consequently, the merciless international politics weakens them further and dumps them to hopeless death possibilities. Advani impresses you with his detailing in terms of showcasing mission plans, use of weapons and the layers of his five main characters. The craft of the film keeps you well engaged, until the film reaches its mid second half, after which dragged emotional sequences and melodrama take centre stage. The conclusion is well staged, but is nothing that you wouldn’t expect from the film.

 

 

            Screenplay needs to be applauded for its subtle capacity of inducing emotion even for a dead Karachi main market prostitute. Editing is crisp and a fine cinematography helps recreate Karachi. Production design is detailed and genuine, and real locations are well shot. Music is unnecessary for most of the parts that it is played, although the compositions are worth appreciation.

            Rishi Kapoor as the big guy, seems a little awkward in some scenes, but the being the actor he is, he successfully hides it and delivers a convincing gangster role. Rampal as the macho ex-military agent paves his way through with ease. Huma Quereshi is functional. Irfaan Khan as the sandwiched in dilemmas ISI agent steals the show with a strong, subtle and supreme performance.

 

D-Day is the sort of film India hasn’t made till date. Although it doesn’t conclude on an ‘epic’ note, it still makes a mark on you as you move out of the theatres. It’s 3 out of 5 for the film and an extra half just for the genuine attempt.

 

Bhaag Milkha Bhaag

Fit and Fine

 

            From dialogues to screenplay and background score to the production design, Rakesh Omprakash Mehra’s Bhaag Milkha Bhaag is the closest to what they call as flawless filmmaking. With a write up of smoothly flowing story, Prasoon Joshi takes us deep into the reality and emotions of Mr. Milkha Singh’s life.

            The story’s main premise is Milkha declining to participate in a tournament based on an Indo-Pak friendly association, owing to the venue being Pakistan. The reasons why Singh is repelled by the Pakistani venue reveal themselves at proper intervals such that you don’t lose desire to know them. Often playing between many timelines, Prasoon Joshi’s screenplay helps the biopic turn itself into an interesting narrative.

 

 

 

 

            Mehra as the director grabs the opportunity of working on a brilliant script, and does a flawless job himself. Mehra uses fine techniques in showing the reality of Indian villages on the border caught in the Indo-Pak separation post Independence. For instance, the scene where Milkha’s elder sister gets sexually abused by her husband in presence of the entire family. Or the scene where Milkha finds dead bodies of his family post a domestic war. The abuse is brutal, hard hitting and genuinely portrayed by Mehra.

            Mehra smartly puts elements for quick comic relief in the otherwise hard hitting narrative. Prakash Raj surprises, and pleasantly so, in a role of a stern yet loveable military training officer. Or the parts where Milkha romances the various leading ladies are heart-warming. Some sequences with high level of melodrama could have been shortened and softened, but they hardly annoy.

            The film is very well edited by show motion action sequences and extensive use of graphics. The cinematography follows a Rang de Basanti pattern and the shades change according to the timelines. Music is good, not the best of Shankar Ehsan Loy though.

            Farhan Akhtar immerses himself into every bit of the Milkha Singh he understands. From a fabulous body build up to the turban, Akhtar gets it picture perfect and delivers his best work here. The supporting cast is perfect for their respective parts and all the performances amalgamate to create a rock solid film.

 

I am going with an out and out 4 out of 5 for Rakesh Omprakash Mehra’s Bhaag Milkha Bhaag. In your busy and fast life, spare a 3 and a half hour slot for Bhaag Milkha Bhaag, and you won’t regret it.