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But Batla House is not an encounter film.K. And because in India we don’t do subtle, we’ve even had a movie called PM Narendra Modi starring Vivek Oberoi.Batla House is neither well-made nor thrilling.The encounter, in Delhi’s Jamia Nagar, led to protests which initially spoke of the dead terrorists being innocent students, and later of dubious bullet wounds.While we get brief glimpses of the encounter through the ACP’s testimony in court, the film also shows us how, while interrogating the captured terrorist, the ACP exonerated Islam but added that several Indian Muslims have been brainwashed and taken to terrorism.Soon, the encounter takes place and the film immediately creates three separate entities — the honourable cops, the terrorists and activists/politicians with agendas to grind.Batla House, directed by Nikhil Advani, presents the Delhi Police’s version as the truth, and then spends all its time refuting what has already been refuted, all the while insisting that its intent is not to influence opinion.This could have been made slightly palatable if the film were intelligent, well-made and thrilling. But again, the film uses the cop’s trauma only to shame the insensitive activists.And now we have Batla House, a film which announces at the onset that it is inspired by the Delhi Police and the facts of the 2008 Batla House encounter, but it doesn’t take any sides.
But, in this age of fake stories and blatant lies, a time in our country’s history when every flat surface and piece of technology is being used for propaganda, this is asking for too much.At some point towards the end of the film, the ACP and his team start pursuing the escaped terrorists, one of whom is eventually nabbed in a sequence that is mildly tense and exciting. And in between all this we have been treated to movies about India’s glory, past and present — at the Olympics (Gold), while fighting for the British (Kesari), fighting the British (Manikarnika), surgical strikes (Uri), creation of cheap sanitary napkins (Pad Man).Batla House doesn’t present anything new or revelatory.The case, and the controversy around it, was laid to rest by the NHRC and the courts, which said that it was not a fake encounter.But given that he lost a dear colleague (Inspector K. of cleaning the country of terrorists. In fact, you may be better off as suffering John Abraham’s one expression for over two hours does put a deep frown in your forehead. There was also talk of Inspector Sharma being killed by his colleagues because of internal politics. Verma played by Ravi Kishan), I found this a tad self-indulgent.And now, for the last three years especially, our cinema has been in the craven service of the political party in power, giving sharp shape and form to its agenda, selling its theories, dissing its political enemies, celebrating its victories, adding to the growing cult around its supreme leader.Batla House’s screenplay is so inept and daft, completely lacking any sense of cinema, that if you were to close your eyes and just listen to the painfully expository dialogue, often accompanied by a terribly didactic background score, you won’t have missed anything.
This could have been made slightly palatable if the film were intelligent, well-made and thrilling. Batla House is neither well-made nor thrilling. He responds by saying that it’s a very good idea. It is wholly and solely devoted to upholding the honour of Delhi Police and to pound in the message that certain political parties have always nurtured their vote bank by trying to protect terrorists from a certain kaum at the cost of the nation. It also shows us real footage of Digvijaya Singh asking for the cops to be punished, and hints at protests organised by the Samajwadi Party. It is, in fact, not really interested in the encounter. That the producers and director of Batla House picked this one is telling.e.That won’t happen, and it never does, especially not in India where cinema, through sponsorship and censorship, has always been used as a tool to sell morality, political ideas and ideals, instil patriotic pride, and reinstate patriarchy — every single time it feels like some women and events may have shaken it a bit.Despite this Batla House remains at pains to tell us that it takes no sides. It has a morose pace that’s in step with its sulky hero, and it is the exact opposite of intelligent. The matter rests there. The film mostly shows us one activist, a Delhi-type woman wearing silver jewellery, kajal, with her nostrils perennially flared. The sulky ACP is burdened with the task of exposing these politicians and activists.
It even puts out text in the middle of the film to reiterate that. Instead it embellishes the events and its agenda by placing at the centre one ACP Sanjay Kumar (John Abraham), when no such character existed in real life. Rating: Cast: John Abraham, Mrunal Thakur, Ravi Kishan, Nora Fatehi, Manish Chaudhari, Rajesh SharmaDirector: Nikhil AdvaniIt is not usually a film reviewer’s job to do a fact check on a film purportedly based on true events, or to have to sift fact from fiction.John Abraham takes a very short bath.Batla House is so devoted to telling us how impacted the maligned cops of Delhi Police were that ACP Sanjay Kumar, who gets shot in the chest during the encounter but is saved by a bullet-proof jacket, China screws Manufacturers keeps imagining being shot again and again, and freezing. And it has shown us how the skies roar and lightning strikes when they do.According to the official version, a Delhi Police team was keeping an eye on Indian Mujahideen terrorists who they thought were responsible for the serial blasts in Delhi on September 13, 2008. It does exactly that. Now, this may seem like jerk behaviour to some, but the film portrays this as the ACP’s complete devotion to his job, i.We’ve been treated to the revolution of the indoor shauchalay (Toilet: Ek Prem Katha), told how dictatorial and corrupt Indira Gandhi was (Indu Sarkar), how ineffectual Dr Manmohan Singh was (The Accidental Prime Minister), how Lal Bahadur Shastri was murdered at the behest of a Congress leader (Tashkent Files).
But six days later, on September 19, what was to be an intelligence gathering visit turned into an encounter in which two terrorists and Inspector Mohan Chand Sharma were killed. In a serious scene, where she is supposedly dying of tension as her husband is at an encounter scene and she is calling to check if he is dead or alive, she bounces about to show off her curls. But its bias bursts out when ACP Sanjay Kumar speaks of “in ki kaum…” in his testimony. That’s because this sort of divisive political messaging about a certain kaum, which has been at the receiving end for the last five years, sits easy in this particular case. Two terrorists escaped and one was nabbed. It is a bit a precious to expect politics and life to play itself out without touching popular culture, especially films. PTSD, it seems.Police encounters make for thrilling films.Our cinema has sold us Socialism, labour rights, animal protection through ichcha-dhari nagins.Mrunal Thakur is terribly inept. The message always being that as long as you are convinced you stand with the good and you think the world is spinning out of control because of a few bad men and women, what’s a little violence, what’s a little lawlessness as long as it’s for the greater good. It has also, of course, taught us how to romance, but while doing so it has always reiterated the Lakshman rekha which girls, especially, must not cross.It has also often told us that vigilantism is good.We first meet the ACP at home where his wife, Nandita (Mrunal Thakur), a TV anchor, is saying she is fed up with having a husband only in name and threatens to leave him.There were any number of police encounters — fake and otherwise — to pick from.
Where the film scores is in enabling its characters, letting their emotional sense of judgement ride and anchor the plot instead of leaving it all for the yearning scenarist’s inferences.Set in 2049, hunt for outdated replicants is as rampant, with the plot following a very sombre LAPD official, K (Ryan Gosling), in his quest to religiously follow his lieutenant (Robin Wright in an inspiredly tenacious act).The film, rich in visual poetry is as much Roger Deakins as much as it is Villeneuve’s. Hans Zimmer and Benjamin Wallfisch’s score works wonders for this dystopia, albeit often distracting. However, 35 years down the line, if there’s one director who could produce a worthy ‘replicant’ to Ridley Scott’s commendable vision, it’s Villeneuve. And that, the auteur does.
A loner in a world of his kind, the casting of Ryan Gosling might have looked apt on paper, but fails to translate effectively on-screen.Villeneuve’s Blade Runner 2049 is grim, gritty, appropriately allegorical and morally ambiguous, sans an iota of brute force. The more he delved, the more mysteries surrounding his own past confronted him. single expansion anchors Manufacturers Rating: Director: Denis VilleneuveCast: Ryan Gosling, Harrison Ford, Ana de Armas, Robin Wright, Mackenzie David, Jared Leto, Dave BautistaBlade Runner might not have been the finest piece of cinema (contrarian discourse is welcome), but sure has acquired one of the biggest cult followings cinema as a medium has known. Particularly similar is a certain intimate moment in the film.Be as it may, Blade Runner 2049 is still a sequel towards the right direction, one of the better ones of all time, that trumps the original. Despite its gratingly predictable twists, the film works wonders when it comes to putting across contemporised social commentaries aided by metaphorical plot arcs.Though the film has Gosling in every other frame, it’s a regurgitated Harrison Ford who steals the show in a performance that could very well have been mistaken for an extended cameo.
Ridley Scott, with his alarmingly precognitive visual and mortal landscape, had done to the then generation what Black Mirror has consistently been achieving with millennials. Despite his unquestionable talent, Leto is a clichéd liability, one that could hitherto have been avoided had a relatively less A-list face been cast. A still from the film. In a stint that is one of the better performances of his illustrious career, Ford’s Deckard is determined, vulnerable, broken and emotionally stunted. The latter, who proved a good science fiction fare might not need visual, CGI-laden extravagance to prove a point with 2016’s staggering Arrival, reiterates it with this one that, science fiction is much beyond the dispensable realms of visual effects.The film stars Ryan Gosling, Harrison Ford, Ana de Armas, Robin Wright, Jared Leto and Dave Bautista in the lead roles.Blade Runner 2049 is replete with odes, both subtle and blatant, the most prominent being K’s ‘romantic liaison,’ eerily reminiscent of Spike Jonze’s superlative Her.
Maybe it’s time Hollywood stopped hyping its sure-fire blockbusters pre-release, for Blade Runner 2049 deserved to have been devoured before it had already been labelled a masterpiece, because that’s everything it could have been and everything it is not. Often through particularly poignant scenes, the actor seems to be unintentionally holding back a giggle or two, much like his stint on Saturday Night Live. Though not short on its fair share of merits, the film seemed inadequate in front of Terry Gilliam’s riotously smart Brazil, a retro-futuristic dystopian satire- the first of his trilogy.Kafka himself is referenced in K’s trajectory..However, the most blasphemous miscast is Jared Leto as the sinister, blind Niander Wallace, the replacement to Joe Turkell’s electrifying Tyrell from the first instalment.The relevance of an effective background score in cinema has been established since time immemorial, right from Bernard Hermann’s ‘shower alarm’ from Psycho, to the scores of Martin Scorsese’s Shutter Island and Villeneuve’s own Arrival, for that matter.At 163 minutes, the film might induce a sporadic snore too many, but Deakins, if not anyone else, deserves your while for the stunningly ominous visual doom he’s created