Two Netflix Feature Films You May Have Missed

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Class of 83 (Netflix): In how many films – from Zanjeer by Prakash Mehra and Ab Tak Chappan by Shimit Amin to Kurukshetra by Mahesh Manjrekar and Wanted by Prabhudheva – have we seen the police hero fight the dreaded “system” from the outside? In the groundbreaking 1971 detective film, Clint Eastwood throws his police badge into the muddy water and deals with a rampaging killer as he sees fit. Things aren’t that simple for super-cop Vijay Singh (played with suspicious stoicism by Bobby Deol). Unlike ‘Dirty’ Harry Eastwood, Deol has to take on the role of a police officer in the rulebook. It is not either a character in make-up carried by frantic flights. What sets Vijay Singh apart from all the other cops on screen is who he is. He’s a real person.

Written from real-life dating cop Vijay Singh, Class Of ’83 adheres tightly to the facts, rejecting in the process all the flamboyant heroics of the way we look at police heroes in our films. Vijay Singh is suicidal and troubled by the arrogance of the lawless. His team of young eliminators are fresh and enthusiastic and eager to act. And I’m referring to both the young actors and the restless characters they play. Pramod Shukla (Bhupendra Jadawat), Lakshman Jadhav (Ninad Mahajani), Vishnu Varde (Hitesh Bhojraj), Aslam Khan (Sameer Paranjape) and Janardan Surve (Prithvik Pratap) are as impressive in their anxious righteousness on screen as they are as a ‘actors.

The murder of Islam at the hands of chain thieves, shot with a madness of Sam Peckinpah on a construction site, makes one of the henchmen hum, “Chain churake laya hoon” to the tune of Chand churake laya hoon from Gulzar. It’s the only music you’ll hear in this movie. No melodic bursts in the background, no compromise with the uncompromising vibe that the protagonists wear like badges.

Bobby Deol is more effective in his emotional moments with his dying wife (Geetika Tyagi) and disgruntled son, than he is as a uniformed grim reaper constantly battling his red-tapism.

The “encounters” are staged with a fierce fidelity and purpose that emblazon the screen. Crisp toasted brown cinematography (from Norwegian Mario Poljac) pinpoints the sweet nervousness of lives on the brink. Class Of ’83 effectively reflects the immediacy of swift justice. It is a hard-hitting drama, devoid of novelty but which makes up for it by making the familiar furious, fertile and worryingly futile.

RAAT AKELI HAI (Netflix): A death in the family kills many of the hopes and expectations built around the life of the person who is no more. Or less. Raat Akeli Hai, a skillfully scripted thriller that’s more than just a mysterious murder, opens with two deaths, both related to the same family. The patriarchal nightmare of Parivar Singh, a feudal realm where whims and whims rule over the quality of the air women should breathe, comes to life in flickering colors of dark and stealthy suppressed emotions.

We must immediately applaud the cinematography of Pankaj Kumar. Much of the expected glow from the bubbling hearts is lost on the OTT platform. What remains is still remarkable. First-time director Honey Trehan creates a dark and sinister universe of painful gender discrimination rocked by the Patriarch’s murder on his wedding night… His SECOND wedding night. Thakur’s horny wife is a free-spirited libertine – or at least that’s how she presents herself – who slept with the old man of the house and his robust nephew Vikram.

Enter Inspector Jatil Yadav, a tough guy, and known to solve tough cases, Jatil (with an “l”) is a Mama’s Boy tied to the strings of his mother Ila Arun’s apron and probably still a virgin. This virgin cop is sitting duck waiting for too bad! It doesn’t take long for Jatil to be attracted to Radha, the promiscuous and newly widowed second wife of the new Thakur.

It is to the credit of the writer Smita Singh that she builds a distant humor around Jatil’s struggle to change his marital status. That he falls head over heels in love with Radha testifies to the intrigue. Not only does the growing relationship between the eccentric cop and the wanton widow elevate the narrative to the level of a Greek tragedy, it also propels the thriller into a kind of romantic tumble where love and murder, blood and sperm come together. mingle in an often provocative movement. movie. In a film as complex and captivating as Raat Akeli Hai, the cast is supreme. Casting director-turned-filmmaker Honey Trehan gives the murder mystery the actors it deserves. Nawazuddin Siddiqui and Radhika Apte both muster their considerable nervous energy in performances that constantly suggest that there is more to the procedure than it seems.

Raat Akeli Hai is impressive in her rage for a society that allows men to treat women as objects of lust. Every main character, male or female, is angry. But none have the luxury of uncontrolled expression. The deep sadness that surrounds us watching Raat Akeli Hai is worth experiencing. This is what makes life bearable.

Image source: IMDb, Youtube / Netflix


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