The Accidental Prime Minister – Simply spread the awareness.

With mixed to negative reviews, this film sure didn’t do well, critically. We shall wait to see it’s proceeds. I feel, it is the second film after Uri: The Surgical Strike to have just released with an intention to indoctrinate a simple point of view for political gains.

Here’s what I also think of it – It is to educate the public, who are unaware of the actual happenings inside the prime minister’s office during the tenure of Dr. Manmohan Singh. It is to make people learn, what made Sanjaya Baru write the novel, on which this film is based on, which stated nothing but the truths during his occupation as the media advisor and chief spokesperson to the prime minister.

Straightforwardly, I will give three points to this film for four valid reasons,

  • Anupam Kher (as Dr. Manmohan Singh) – We all know how acting is his true passion and how it runs through his veins. His past work has been more than commendable and he truly is one of the finest most experienced actors in the Indian film industry. In the film, the way Kher mimicked him, was seeming pretty cute and funny. But, before writing my views on this film, I glanced at some of Dr. Singh‘s actual videos of him giving speeches, his style of walking and his hand gestures. Kher actually managed to do it 99% right and that is a massive percentage.
  • Akshaye Khanna (as Sanjaya Baru) – His confidence, persona and wardrobe in the flick are extraordinary. He makes himself look vital and seem like he’s come with a titanium sword, licensed to kill. I have loved his performances, since the beginning. Positive or negative, he makes sure of displaying his integrity to the character or role he is playing. He is the star of the show.
  • Comedy – It had quite a few funny moments, especially where Rahul Gandhi‘s character, which was played almost adroitly by Arjun Mathur, is in front of the camera. The Accidental Prime Minister is inclusive of funny, witty and high-browed dialogue, which makes it applaud-worthy.
  • Direction & CinematographyVijay Ratnakar Gutte does a fine job here. Sachin Krishn aids him well with the camerawork.

On the contrary, a couple reasons to avoid this film completely,

  • Censorship – My mouth is dried after complaining repeatedly about this. Cutting scenes out of a film is outdated now. Herein, it literally had all limits crossed. They literally muted the words of a few dialogue which supposedly would create a “controversy”. But we could read them in the subtitles. Disappointing, really.
  • Strictly Political – You need to have a basic knowledge of Indian politics in order to relate to this film’s dialogue, plot and characters. Otherwise, it is a waste of time for you to even consider it.

There is no music, not that it’s anywhere necessary. Yet the background score is as appropriate as the supporting cast. Vipin Sharma, Aahana Kumra, Suzzane Bernert and Shiv Kumar Subramaniam and the others gave their best.

Bharatiya Janata Party fans would love this one. Indian National Congress and fans wouldn’t. People who don’t care about Indian politics at all, shouldn’t buy the tickets.



Manto – Peculiar.

Both my parents get worried [for different reasons] while and prior to denying my request of visiting Pakistan. The ironic part is that my grandfather was born there. Many of our old hats are born there. It is disheartening, the amount of hatred that has been developed between India and Pakistan for over a little more than seven decades.


I am thankful, that I was born much later than the period of independence of India and Pakistan. Why? Time and again, a film is made where the crucial struggle of humans is shown, who were born before the independence of India and Pakistan and faced a vulgar, chaotic and a horrifying separation.


There is a reason why Nawazuddin Siddiqui said in one of his interviews that he would do this film again without any charge. The intensity and the story of this film is not for everyone. It is complicated, yet so simple. Giving us the gist of life in the 1940s, director and story writer Nandita Das gorgeously explains the life story of a Pakistani writer of that era who was misplaced in two worlds which emerged from one, when the fence was was dug deep to make borders and when he had to forcefully accept one nationality, which depended on his caste and not his origin.


It also highlighted that how inferiority was a poison and how, since the beginning, there was filth in the rich ones and normality in the middle or lower class. Siddiqui plays Saadat Hasan Manto‘s stubborn, orthodox and innocent character smoothly, as usual. It also makes me realize how today’s openminded thinking was much required in the golden times.


With the cameos of a few accomplished veteran actors, Manto undeniably has the surprise game strong. The characters of Bollywood cinema developed for this film’s plot are a delight to watch too, since people born in the nineties and thereafter wouldn’t know so much about it. Music didn’t matter here and wasn’t a part of the film much, as the movie had mastered the dialogue, which was embedded with the beautiful Urdu language, making it feel authentic.


I am really glad that adaptations of Pakistani films or stories of their renowned artists are being brought into the world of Indian film industry. The thinking of today’s generation is maturing, the ideologies are changing, the traditionalistic or customary approach is casually breaking and practicality & logicality are trending.


It really is great motivation, this motion picture, to writers. Along with his bigger problems, Saadat was also struggling to prove the legitimacy of his kind of writing. He never gave up. If you’re into serious drama and would love to learn how the reality of the black and white era was, this one is for you.


Mary Kom – A failed attempt.

Vinayak Chakravorty of India Today stated, “It is the sort of make-belief that would seem amateurish even by a school-level play standard. The very Punjabi Priyanka tries her best to impress as Mary Kom, freckles on her face duly added by the make-up artist. She misses a boxer’s body language in the ring sequences and manages a purely Bollywood heroine’s routine in the scenes outside it.”


I do read the critical receptions of the Indian newspapers, magazines and news channels, whichever available, before writing my views on a film, not to copy from them, but to see who all agree to my viewpoint. Many of the critics gave Mary Kom 4 or 5 stars out of 5. However, it did NOT reach the full marks category. The above mentioned short analysis of Vinayak Chakravorty almost sums up my recapitulation.


She didn’t give her fullest and it looked like a typical Indian, emotional film. I would’ve recommended Priyanka Chopra to watch Bhaag Milkha Bhaag before shooting for this film and probably should’ve taken a few tips from the proficient, Farhan Akhtar, who trained intensely for 13 months for that film. He had to have two looks in the film, the bulky and the lean look. Here, Priyanka couldn’t even pull off one. She did train, but it sure wasn’t enough.


I would also agree to Rohit Vats of Hindustan Times who stated “Mary Kom is made for whistles and some quick money.” Well, it is all about money nowadays. Sure, MC Mary Kom got a lot of recognition which she deserved at the time she actually won all those gold medals. It was as if that the director Omung Kumar is back to his old job doing everything in 1 minute as from a TV show he used to host, a decade ago. Everything is fast paced in this film. Look, it is a BIOPIC of a sports personality, everything must surely be shown in detail.


Omung has given his input as an art director, production designer, set decorator to the Bollywood film and television industry and this is a good career boost but he should remove the rapidity from his direction a little bit. Or shall I blame the screenplay and story writer, Saiwyn Quadras? Darshan Kumar portrayed the character of her husband very well. Lastly, Priyanka Chopra is a good actor but I don’t think she can outdo her role in Barfi with a better role, at least not with this one.

Sunil Thapa Priyanka Chopra in Marykom

P.S: In some of the scenes, every prop needed is placed at a very convenient position for use. Ah, Bollywood! Grow up already?