Manmarziyaan-Honest Film Review
Manmarziyaan-Honest Film Review
Produced by: Aanand L. Rai, Vikas Bahl, Madhu Mantena & Vikramaditya Motwane
Directed by: Anurag Kashyap
Written by: Kanika Dhillon
Music: Amit Trivedi
Starring: Abhishek Bachchan, Taapsee, Vicky Kaushal, Ashnoor Kaur, Arun Bali, Neetu Kohli,Saurabh Sachdeva, Vikram Kochhar, Sukhmani Sadana, Poonam Shah, Priyanka Shah, and others
Manmarziyaan is the least violent Anurag Kashyap film till date. In this film, there is no group fighting, no fighting but this film dealt with another type of violence, such as emotional and verbal wound which is generally encountered by young people in real life. This film also shows the magic power of forgiveness.
In the background of Colorful Amritsar, Rumi (Taspe Pannu) and Vicky (Vicky Kaushal) are involved in Fayaar (Carnal love) and probably deep love (real love). The family pressure Rumi to settle with a suitable husband, but Rumi want Vicky to come home and ask for marriage, though his parents. But the scene does not go that way. So Rumi has to go with a marriage Robbi (Abhishek Bachchan), who recently returned from England (banker). The Vicky has some financial insecurity and does not have the courage to take the girl responsibility and to get married. The film represents the experimental nature of a director whose description is more motivated than the dramatic event of character psychology. Although the film is constantly busy in its 150-odd minutes, the film does not propagate in forwarding direction but leaks through sideways. In the middle of the film you can think that anything is "happened", the way we often do with movies and rarely with life. This is a rare film that is completely created on uncertainty, second-guessing the characters by themselves.
The film tries to describe the life deliberate girl about a complex love life, Kashyap, working with screenwriter Kanika Dhillon, composer Amit Trivedi and photographer Sylvester Fonseca, lose himself in food and graffiti in Amritsar and possibly the slang language of the youth. To work inflow is good, but it seems overstuffed sometimes as like the famous Amritsari The dance twins that appear in the music sequences first feel fake after some time, and the nature documentary about the season of simian sex during the first night of the couple, will be a smart gag in a Dumb movie. It is through Robbie, a contestant for the best boy in Hindi film history, that the film tries to feel his way towards an emotional breakthrough. Even when Rumi starts to warm him (it takes a drunken scene, which is a step away from usual Bachchan), Robbie is slowly pushing that he will check his feelings. "I am happy in this relationship," he argued. "Why are we discussing this?" "Because the discussion is good," he replied - perhaps this year is the most sensible thing in a Hindi movie.
All this leads to a remarkable final scene. There is no potentially deadly punch, not a disintegrated body, no bullet-rudal corpse - only an extended walk and talk. In a near-continuous music, film, the soundtrack only registers the ambient noise. Some issues are resolved, others are wisely left alone. It is very beautifully written and acted that when the music finally swells in a nutshell and has a slo-mo shot, it seems like the betrayal of the mood.
The Mukaabaaz, which was released earlier this year, was a tough film with a soft center. In the boxing drama of Kashyap, the unanticipated tenderness of the central romance steals the show in that film. In spite of barbs throwing to the wiki, we are never asked to see him as a shock, and there is no doubt about the depth of his feelings for Rumi (or for him, at one point, he tells her Is that how grateful she is that she was her first love). Despite all the injuries, sweetness disturbs the film, with the humility of Robby's drinking scenes, for some poetry of some of Shelley's songs, his father (the lover's neck becomes "Choonch Ladia" - Beek Meeting).
Hindi cinema has struggled to show off the romance of app-offs, a specially brilliant example of an old director with Baiffrey (2016), who is trying to guess what kids like today, By showing that the complex system of youth, love in India has already become simpler and more complex by the more complex, Manmarzian feels close to the messy reality. The central pairs hook up on the tinder and remove the app from each other's phone. And a song urges: “Zamana hai badla/ mohabbat bhi badli/ ghise pite version nu/ maaro update” – times have changed/ love’s changed too/ antiquated versions/ need to be updated.
My Honest reaction after watching this film
Regards
Bankim
www.bankimpandey.ooo
