There Is A Light That Never Goes Out Music Video Review of ‘Bombay Talkies’, A Bollywood Anthology Film of Four Shorts

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Review of ‘Bombay Talkies’, A Bollywood Anthology Film of Four Shorts

Director Dibakar Banerjee strives to create a small world where his big and small characters live. You feel more inspired and connected to these people because Banerjee weaves her creations more than just weaving patterns; He allows his camera to capture the look, sound, and essence of his world, and you will respond and react to it more than any other director’s work. He’s one of the best new Indian directors I’ve seen whose films have gotten way less than they deserve. Everyone talks about the presence of Karan Johar or Anurag Kashyap and few (including me) might have gone to Bombay Talkies to observe Dibakar Banerjee. His segment is called Star and it comes right after Johar’s opening segment; Banerjee’s work blows other parts out of the water and only Kashyap’s Murabba escapes unscathed. But poor Zoya Akhtar’s segment Sheila Ki Jawaani is not so lucky and barely lives up to the standards of Banerjee’s work. Dzhokhar’s gay hockey-themed segment looks weak in comparison.

By saying all this, I do not mean to skip the other parts and stick to Banerjee alone; Bombay Talkies is far better than any other Indian movie to watch in theatres. It had a limited release and managed to garner mediocre box office collections, but it deserves to be judged as a novel, not just for the sake of being a novel. Four different directors with different styles and palettes have contributed to the anthology film (a term used to describe many short films as a feature film), and you, the viewer, have more to discuss here than just the quality of the film. the film itself: you compare the works of these filmmakers and form your own choice. As much as I love Banerjee’s work, I hear many others praising Karan Johar, but you see what is happening here, everyone is talking about the film more than usual. For that alone, people should catch Bombay Talkies before it leaves the theaters as a final salute to Bollywood.

Bombay Talkies, named after the prestigious film studio of the same name that opened in the 30s and has now closed, is a celebration of Bollywood’s centenary. This verse is sung by four directors: 1) Karan Johar, known for his epic-length songs that often start with the letter ‘K’, 2) Dibakar Banerjee, an incredibly talented director whose works evoke the diversity found in neorealist films 3) A multi-award-winning multi-talented actor in India , Zoya Akhtar, who hails from a family of musicians and lyricists, 4) Anurag Kashyap, whose work has been screened at Cannes. While Johar and Akhtar share this style of directing with many directors brought up in the industry from scratch, Kashyap and Banerjee infuse the flavor of world cinema into commercial Bollywood.

Johar begins with his film, Avinash, a single gay man estranged from his family, who encounters a lonely married straight woman whose sex life (with her husband, of course. Infidelity is not often addressed in Indian films). A husband is bored and lonely (not arousing his wife at all) like old hindi songs and when Avinash meets his husband, things get complicated and his gay touch tingles. You know very well what will happen next. It’s Banerjee’s turn after Johar: Her film is about a lower-middle-class Maharashtrian (Nawazuddin Siddique, awards await) with many small passions, including breeding emus. Share screen space with megastar Ranbir Kapoor for a day. If Banerjee makes us hate the owners of her film, Zoya Akhtar’s post-break sequence makes us hate the editor of a film about a toddler who hates football, likes to dress like a girl and idolizes actress Katrina Kaif. Includes Dibakar’s story. The final part is a little weird and weird and it’s Kashyap; His film is about Vijay, a native of Allahabad, who, at the insistence of his ailing father, goes to Bombay to offer the half-jammed pickles of Murabba to the king of Bollywood, and the other half is once blessed with Bachchan’s umhm…teeth. Vijay’s father can drink to recover.

Dzhokhar’s segment is very simple and predictable; You know exactly what’s going to happen, and since it’s a Johar film, you know the characters are going to shed a lot of tears. Aside from the hokey, queer subject matter, I wasn’t sure if it portrayed gays in a good light. Akhtar makes a film full of annoying underdogs and one-dimensional characters, especially the boy’s father who keeps repeating, “Soccer is a man’s game.” Football will make you strong”. Anurag Kashyap’s “Murabba” is sweet and charming, but nowhere near the richness of Banerjee’s offering. There is much to enjoy in Banerjee’s film, seeing so many small things happen, and she is a pro with her camera and sound handling. All four shorts have a common theme of father-son relationships.

There is a music video after the shorts celebrating the centenary of Bollywood and they added a montage showing Bollywood during this time. Stars like Aamir Khan appear at the end, but actors like Sonam Kapoor are here, which I was disappointed about, shows the backwardness of Bollywood. Why didn’t they let Nawazuddin sing? Or Kalki Koechlin? When your film is all about celebrating real stars, why ruin the moment by bringing in the hundred crore club, whose films are star-studded and short on sentimentality?

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