Bharathi Pradhan

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?

Perhaps Karan Johar, Alia Bhatt and director Vasan Bala, who co-writes with Debashish Irengbam, hope that nobody remembers Gumrah (1993), the Sanjay Dutt-Sridevi starrer which Mahesh Bhatt directed for Dharma Productions’ founder Yash Johar. In 1993, it was a besotted Sanjay Dutt who’d helped Sridevi break out of a Bangkok prison where she faced a death sentence after being framed by her boyfriend for drug trafficking. Bhatt had helped himself to the theme from the 1989 TV series Bangkok Hilton where an estranged father helps his daughter break out of a Bangkok prison in similar circumstances as Sridevi in Gumrah.

The promo promised entertainment around the missing CD of a video shot by a couple on its first night. Written and directed by Raaj Shaandilyaa, the promo stirred a strong pre-release buzz. The sense of fun does spill into the first few scenes as glib-talking mehndiwala Vicky (Rajkummar Rao) stages a scene at the engagement of his girlfriend Vidya (Triptii Dimri). It ends the way Vicky and Vidya had planned it with her lawyer-fiancé walking off in a huff and the man who applied mehndi at functions, stepping in to marry his girl.

The ritualistic Manwat Murders which brutally claimed the lives of innocent children and women and shook Maharashtra in the 70s, does it again. Amol Palekar had already put it effectively on screen in Akriet (1981).

It is a poignant dilemma familiar to most families. When a loved one is on life support, and prolonging it is unaffordable, can you bring yourself to sign the Do Not Resuscitate (DNR) form? For retired librarian Arvind Pathak (Anupam Kher), it is unthinkable. It’s easier for his pragmatic son (Kevin Gandhi) and daughter (Sangeeta Jain) who have their own lives to lead.