11/13/2022 0 Comments Story of badlapur ki daian![]() ![]() While Johnny Gaddar had a dash of pulp in every frame, the shots here are simple and beautiful. Minus the unnecessary song with the end credits, there aren’t any frills that pander to commercialization. What works best is that Badlapur is stripped down, crystalline filmmaking. What’s more, there’s shades of James Hadley Chase and Vijay Anand in the mix as well, complete with sex-based shock value. The familiar element of a suitcase full of cash is present, and the plotline is quietly subverted by the end. No one even smokes in the film, yet there are persuasive mentions of ganja. A thirst for revenge? Too easy, let’s make the hero and the villain wait for 15 goddamn years until they actually do anything. Meandering romantic sub plots? To hell with that - Raghu just uses and throws. To have such a nuanced and offbeat film as a mainstream release is a nice change.Īt most times, Badlapur feels like Raghavan set out to take badla and mess with the clichés of the formula and genre. There’s also a lovely dynamic between Liak and his mother (Pratima Kazmi) that ends in a subtly heartbreaking way. He also extracts humour from desperation, like Liak’s bungled attempts at escape from prison. Raghavan extracts humour from apathy, like from Koko (Radhika Apte), a hapless wife willing to offer sex to a murderer without a moment’s consideration. The film zips by from one plot point to another, as we follow Raghu’s weird path of salvation. It’s a black comedy and character drama with a small dose of violence. It is surprising that unlike what the trailers suggested, Badlapur isn’t a bloody, vengeful journey. What we do get is Raghavan’s version of Ek Hasina Thi. Raghu cannot accept this - his mind fractures, and what follows is a crazy revenge trip that is set, aptly, in the town of Badlapur.įortunately, we don’t get a rehash of Ek Villain. One of the culprits, Liak (Nawaz) is caught and put behind bars, but he refuses to divulge the identity of the other guy. Much like the protagonist of this film, Badlapur renders a brutal wallop to everything going against it, and emerges as the first truly great movie of the year.ĭhawan stars as Raghu, a successful ad agency professional in Pune whose life descends into the pits when his wife (Yami Gautam) and child are killed during a car hijack. That budget was super tight and in Bollywood, only movies that cost a lot of money make a lot of money. Ek Villain, another film with a similar premise of vengeance, had been released last year, made money and gone. Varun Dhawan, the star of over-the-top romantic comedies, was headlining a dark thriller. Director Sriram Raghavan was coming from the failure of Agent Vinod. It also serves as an important source material for University students and researchers.There were plenty of factors riding against Badlapur. The journal meets the needs of higher education in India and provides for specialists and non specialists alike. ![]() It has been contributing to our understanding of other societies as well. Over the last five decades, the journal has been advancing the frontiers of knowledge about Indian society and its social institutions and culture, its structure and dynamics of change. Sociological Bulletin carries reports on research conducted both in India and abroad by professional Sociologists and Anthropologists. Except for brief quotations in scholarly works, no part of this journal may be reproduced in any form without the written permission of the Indian Sociological Society.Īs per the provision under section 10(i) of the Constitution of the Indian Sociological Society all life members are entitled to receive a free copy of the Sociological Bulletin at their registered address. Copyright (c) Indian Sociological Society, New Delhi. The journal was published biannually from 1952 to 2003, and became a triannual publication from 2004. ![]() Sociological Bulletin is published thrice a year: January-April, May-August, and September-December. ![]()
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