Sooooooo many mistakes!

Rohit Shetty and directors like him are lucky they aren’t showing their work to a more discerning audience! Granted, that Hindi films were never one for logic, and most of today’s Bollywood hits are hits because they take us into an alternate reality, where the hero can punch a hole through a wall and the villain’s henchmen, and even the crack marksmen, have atrocious aim with their guns!

But what I saw in Singham today defies even a lot more logic, let alone the laws of physics! Here’s a short list.

  1. When Bajirao Singham first alights from his motorcycle at his home, the licence plate shows that the vehicle belongs to Goa. But we are given to understand that this is a village in the interiors of Maharashtra!
  2. Second, Jaikant Shikre is shown as a criminal-turned-politician. and he belongs to Goa. If he is a state-level politician, how come he has enough clout to get a police officer transferred from one state to another, that too from a state where he has no political effect? And if he is a national-level politician, which gives him the required clout, how come he is never shown visiting Delhi to exercise the clout?
  3. When just a little judicious policing and detective work could expose every facet of Shikre, why does Singham choose the hot-headed way?
  4. The way Singham destroys public property with gay wanton, why doesn’t the police department act against it? I mean, what logic does he have for uprooting a public lamp to beat up the baddies?

I leave it up to you to unearth the rest of the discrepancies. Feel free to add to this list. I will update it over time. And will try to dissect more films like this. Wish me luck, folks!


Long overdue…

Yes, this post has indeed been looooooooooong overdue. And yes, it’s about Anna Hazare. Heard a lot about him, read a lot about him, and seen him in action, seen what he is capable of. Finally, we have someone who cares about what the f*ck our government is doing, AND take them to task! However, a lot has been said and written by him and about him, leaving me little scope to say something new.

But how about the way ahead for him? He says poll reforms is his next stop, and the agitation regarding the Lokpal Bill needs to continue. But how does he ‘armtwist’ the government time and again to make them bow to his wishes? It remains to be seen.

Meanwhile, it is indeed interesting to see how, instead of treating the symptoms, Hazare is bent on treating the actual disease. Most of India’s biggest problems today are caused by politicians who are too strong or too weak. In either case, power is being misused. A strong Lokpal and poll reforms should light enough candles on their a** to do the public’s bidding rather than risk losing their elected seat. This should solve several problems, from the farmer suicides in Vidarbha to the widespread instances of corruption permeating several levels of society.

However, how far Hazare succeeds remains to be seen, because one of his greatest enemies is his age. Also, as of now, he has no strong follower to whom he can pass on his mantle. So many questions right there! But, instead of leaving you with them, here’s something on a much lighter note.


Have a nice time, and please, keep tuned in to my quiz blog!

They must be so confused!!

I am talking of Ram Gopal Verma and Madhur Bhandarkar here. Since Company and Fashion respectively, both directors have tried, more than once, to create the same magic they had in those films, and those just before them. And yet, no matter what they did, neither the critics nor the audience seemed to like what they did!

What both directors may have failed to realised is that they had become some or the other version of one-trick ponies, in some way or the other. Much to their dislike, and much in the way Manoj Night Shyamalan had.

Wonder if RGV has realised this, but the very plot or screenplay elements he used—and to great effect, I might add—in Sarkaar, Company or his other underworld flicks, might just be his undoing. How many times in his films have we seen some or the other major character speaking something that is of absolute importance to the plot, but the words are not heard and the background music takes precedence? Or those unusual, and sometimes near-impossible, camera angles?

As for Bhandarkar, no matter what industry he picks, his quest for showing its underbelly results in the same series of events!

Both these taits were initially lauded by critics, who saw these as a breath of fresh air bringing life to the stale plot elements of storytelling in Bollywood. however, as time progressed, the ideas grew stale, and yet, I think both Bhandarkar and Verma must be wondering what they are doing wrong despite putting in the same ingredients that had once transformed their films into critically acclaimed hits! Someone please tell them!