Bharathi Pradhan

To pick one from the ultimate storyteller’s repertoire requires a special talent. Writer- director Ananth Narayan Mahadevan has done just that–he has unerringly chosen a subject that blends two cultures (Bengali, Gujarati), poking fun at neither but having fun all the same. It’s not just about retired storyteller Tarini Bandopadhyay (Paresh Rawal) feeling the fish and bargaining before buying it in Calcutta or the strict vegetarian dhokla-thepla that he says is “delectable” to his wealthy host Ratan Garodia (Adil Hussain) in Ahmedabad while muttering, “disgusting” over the phone to fellow Bengalis. There’s a good-natured swipe at capitalism and socialism too. To this, add unpreached undercurrents like the need to evaluate your self-worth with confidence along with some intrigue on where this is going, and you get Satyajit Ray’s short story Golpo Boliye Tarini Khuro.

Have you spared a minute to check if your bank balance has an insignificant discrepancy? Would you invest precious time and energy to make the bank accountable for Rs 27.50? It’s precisely this common customer lethargy that makes suave and merry Micky Mehta (Neil Nitin Mukesh) make dizzy sums like Rs 20,000 crore. Small amounts that don’t tally, interest credited just a day later, inconsequential figures that account holders ignore. Micky preys on just this customer ignorance to live life like a party. But there’s always one aam insaan whose brain works like a calculator. Senior Ticket Collector Radhe Mohan Sharma (R Madhavan) arrives laden with oranges that he generously shares with passengers. “I don’t touch stolen goods,” huffs passenger P Subhash (Kirti Kulhari). His enthusiastic reply about taking oranges to balance what the fruit seller owed him as change, delightfully introduces Radhe’s quirk. Debits and credits must tally. He’d once rejected a marriage proposal too because the girl was weak in Maths.

There is honour among enemies – sometimes. When the Indian Air Force captures decorated Pakistani officer Wing Commander Hussain Ahmed (Sharad Kelkar) in the 1971 war, Wing Commander Om Ahuja (Akshay Kumar) interrogates him. And learns that Ahmed got his gallantry award for shooting down an Indian aircraft in the Sargodha attack in 1965. But the Pak officer won’t reveal anything more. After the ceasefire, Ahmed is sent back to Pakistan. India has acted honorably with a PoW. The downing of the Indian aircraft in Sargodha opens unhealed old wounds.

At the end of nearly two-and-a-half hours, you want to ask director Abhishek Kapoor and his writing team that includes Ritesh Shah and Suresh Nair, just one question. What was the story you ventured to tell? Was it about a magnificent, Chetak-like horse that could give its life to his master? If yes, then the most-loved animal film remains Rajesh Khanna and Chinnappa Devar’s Haathi Mere Saathi (1971) where entire families had a jumbo-size crush on Ramu, the hero’s pet elephant. But Abhishek and company treat Azaad like a backdrop, never letting the viewer warm up to the animal who is shown throwing off, neighing noisily and kicking the hero, most of the time. Oh, yes, he also likes liquor and breaks wind loudly (humour alert).

It is a misleading title. When it takes off with little Indira in her grandfather’s house at Anand Bhavan in 1929 where her early dislike for aunt Vijayalakshmi Pandit is established, and it tracks her until the day she was assassinated in 1984, it’s not just about the biggest mistake of her political life. What writer-director Kangana Ranaut has made is a full-fledged, political bio-documentary, detailing the defining moments of Indira Gandhi’s public life, before and after the Emergency that she infamously clamped on the country in 1975. In seeking to understand the person behind the Emergency, Ranaut and her writers Tanvi Kesari Pasumarthy, Ritesh Shah and Jayant Sinha, bring to the fore the vulnerabilities of the PM with the iron facade.

“Papa, I want a lal batti gaadi and people to salute me. I want to be a minister,” says a goon with a nose stud to his grotesque dad. He gets it on a platter. In the wake of last year’s Jawan and this year’s Pushpa, the fondly-held theory that south Indian filmmakers have cracked the box-office code, gets busted with writer-director Kalees’ remake of Atlee’s 2016 Tamil film Theri. The exhausting plot in two sentences: fearless IPS officer DCP Satya Verma (Varun Dhawan) is on a collision course when he takes on gruesomely repulsive gangster Babbar Sher (Jackie Shroff) and kills his criminal son. The same one who wanted a lal batti gaadi and maims, tortures and sets on fire, helpless young girls.

We’re in leafy Pune, the idyllic city of the retired. Aadima (Sharmila Tagore), graphics novel illustrator, has her grandson Neel (Jihan Jeetendra Hodar) visiting her while his parents (Sonali Kulkarni,Neeraj Kabi) grapple with their work schedules, their roles as mom and dad and with their marriage. Nana (Mohan Agashe) lives on his own, has his own routine and brushes off his son (Sunil Abhyankar) who wants dad to transfer his flat to his name to facilitate a loan, and move to Mumbai. Not quite lonely, companions like a cat who steals his milk and friendly banter with neighbour Londhe (Pradeep Jeshim) keep life moving for Nana.

The core premise is potent with possibilities for an empathetic experience. When elderly Deepak Tyagi (Nana Patekar), battling dementia, is abandoned in crowded Banaras by his hard-hearted family of three sons and their wives, his journey back home and comeuppance for the callous is an emotional space. Co-writing with Amjad Ali and Sunil Sirvaiya, director Anil Sharma places the family property named Vimla Sadan in a picturesque, snow-laden Palampur in Himachal Pradesh. Tyagi has plans of turning it into a trust. His sons and daughters-in-law who want to get their hands on the money, would rather desert him in faraway Banaras with no papers to identify him than let him sign the deed. It is tough for a man with memory lapses to survive.