I really got annoyed reading the reviews of Badri & Rasik. I wanted to comment but it would have been a long comment, hence I chose to post my opinion of the film. To Badri & Rasik – No offence, friends – you are entitled to your opinion, but as passionate movie watchers, you will agree that if a film that you enjoy very much is being passed off as ‘just another’ film by somebody, then it arouses fiery and passionate feelings within you. The same thing happened to me after reading your reviews. You are welcome to post your opinions on my review – in fact, I look forward to that
Shanghai – What a film! What detailing. Starts from the very first scene in which the goon wonders what is the english word for ‘mutton’ (later on he is even shown attending English classes!). To one of the last shots in which Emraan’s character is shown to be ‘untraceable’ (he has yet again run away from a problem – he has been running away from problems ever since his father gave him options; ladna hai ya bhaag-na hai – the only fight he did in his life has resulted in this story!
Dibakar creates detailed fleshed out characters in Krishnan, Jogi, Dr. Ahmadi, Aruna, Shalini. Just like in Oye Lucky, he skillfully utilizes charater traits and the environment to aid his story telling. Take the scene in which he reveals the relationship between the driver and the maid servant, the electric ropelight in the deity (in the background) dims up! Or the scene in which Dr. Ahmadi passes away – his wife, the doctors, police officers are inside the ICU – his actual wellwishers are outside the ICU- and when the camera pans from ICU to outside, it focuses momentarily on the ‘No Entry’ sign! Or the scene in which Krishnan uses his laptop to perform his Puja! Or the fantastic scene in which Farooq Sheikh is too speechless that he even forgets to eat his Paneer Tikka that he is holding! There are so many memorable moments in the film that makes you recall fondly. Like Jogi’s mobile showing that the call is from ‘Dreemgirl’! Or the one in which Dr. Ahmadi’s character so firmly established as ’Chaalu’ – he gets down from the Chartered flight, sees that the press is mobbing around the bollywood actress and immediately goes to her to take advantage of the situation! (The press gives him just a couple of minutes – it shifts its focus back to the actress – but that is sufficient enough for the opportunist Dr. Ahmadi). Or Mrs. Kaamdaar closing the door during the enquiry and running back to her seat.(How well it demonstrates our bureaucracy – that it functions only to please the bosses).
I was reminded of Satya and Company during the scene in which a kid interrupts the enquiry proceedings when a basketball from the outside ground enters the room. And the scene immediately after that – both Shalini and then Krishnan skid outside in the wet corridor. How often do we see this kind of detailed writing about the environment in which the scene takes place, that adds to the subtle drama?
In the last shot of the film, the frame freezes just a microsecond before the van is about to mow down Dr. Ahmadi, and Dr. Ahmadi gives a questioning look at the audience. He seems to ask the sudience, now that you have seen it, what are you going to do about it? That single shot made me lose my sleep.
This is not a film for lazy afternoon watching. And in my opinion, this is not a film for lazy reviewing either – so if you dont like it, keep your mouth shut – if you choose to review it in a public platform, please do not be lazy about it.