Bharathi Pradhan

Pushpa: The Rise (2021). Writer-director Sukumar had thrown a revenge-seeking SP Bhanwar Singh Shekhawat (Fahadh Faasil) on the trail of Pushpa Raj (Allu Arjun) even as the cheeky red sandalwood smuggler was happily taking his wedding vows with the love of his life, Srivalli (Rashmika Mandanna). Five baits have kept the audience agog for the last three years. What will happen to the sizzling chemistry of Pushpa and Srivalli? How will the face-off between strong opponents Pushpa and Bhanwar play out? Will the item number in the sequel match or surpass the saucy raunchiness of Samantha-Allu’s ‘Oo antava’? Will the dances and songs have risque-naughty moves once again?

How refreshingly different. Writer-director Rahul Dholakia takes his camera into the life-saving heroism of firefighters, so far an unexplored subject in Hindi cinema. Cut through black smoke and scorching flames for a warm story on how Fire Chief Vittalrao Surve (Pratik Gandhi) and his colleagues respond with alacrity and put their lives on the line to save lives day in and day out. Vittal, Avni Purohit (Saiyami Kher), Jazz (Udit Arora) and Mahadev (Jitendra Joshi) are a team that fearlessly go in to bring out those trapped in a fire.

A recap of Season 1: Purva (Anchal Singh), daughter of ruthless neta Akheraj Awasthi (Saurav Shukla), a don-like figure with the authorities at his beck and call and an army of goons, has always obsessed over and been a thorn in the flesh of good boy Vikrant Singh Chauhan (Tahir Raj Bhasin). To add to his misery, Vikrant’s father (Brijendra Kala) has always been a servile, loyal employee of the Awasthis, afraid to go against Akheraj even if it means pushing his son towards Purva. Vikrant had instinctively and steadfastly spurned Purna’s friendship even in school and could heave a sigh of relief only when she was packed off to the UK. He had a dream future planned with Shikha (Shweta Tripathi), the love of his life, when Purva returned as an adult, obsession intact and ready to claim him as hers once again. With Akheraj willing to go to any lengths to get her what she desires, getting rid of Purva was Vikrant’s only way out of a marriage he dreaded. It was, unwittingly, Vikrant’s first step towards turning himself into an unrecognisably dark person, no different from the Awasthis.

When an Abhishek Bachchan starrer comes along, you’re assured that there will be something different and something endearing on offer. Whether it works or not. With a repertoire that includes Vicky Donor and Piku, director Shoojit Sircar also stands for cinema with a difference. Again, whether it works or not. The qualities associated with Bachchan and Sircar combine to tell the real-life tale of an unknown Arjun Sen, inspirational in its own way. Arjun’s days are numbered, say the docs. His surgeries can no longer be counted on his fingers. He’s lost his roof to wife in a divorce settlement, his job to laryngeal cancer. His legendary arrogance has been whittled down, he’s become a statistic. One of those that sum up your chances of survival as bleak. He almost drives his Cadillac off the cliff, one evening.

The communal bloodshed that tainted Gujarat in 2002 has been told and retold on film, in books, on TV debates. But there’s been a lid on the Godhra tragedy that preceded the riots, a lid that’s lifted occasionally to put out theories that suppress and mislead more than reveal. A gas cylinder, a cigarette? What sparked the fire that roasted 59 kar sevaks including tiny children inside a bogey of the Sabarmati Express outside Godhra station in 2002?

Much of our history was unknown in 1975 when Freedom At Midnight by Dominique Lapierre and Larry Collins, the bestseller documenting the backstage events that led to the bloody Partition of India, was first published. In recent years, there has been such a glut of printed and visual information on what happened in 1947 that Indians are familiar with most of the Nehru-Gandhi-Patel-Jinnah parleys which director Nikkhil Advani sets out to preserve on film.

Sometimes, a film takes off with an unpredictably thoughtful ending. The beginning and the middle get written to lead up to it. Director Anees Bazmee and writer Aakash Kaushik seem to have had an unexpected climax in mind before they sat down to take the audience through a maze, keeping alive the question, “Who’s Manjulika?” With the return of Vidya Balan (Mallika) to the franchise, the entry of Madhuri Dixit (Mandira) and the tussle between them, the guessing game goes on.

Is domestic abuse a hush-hush family matter or a crime against society? Is a judge who goes by the word of law (and evidence) dispensing true justice or is a lawyer who looks at the spirit of the law more inclined towards social good?