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FREEDOMLIIESBlYONDIFEIR ACTING ON THE NEXT LEVEL

filled with people who - how do we put this politely? - don't give a damn about the next person.

Motwane, who last helmed the underwhelming Lootera, brings out the apathy in the large city in a sequence where Rao announces his departure to his fatmates.Theybarely muster a response and one ofthem indifferently asks where he is going.

Answer not relevant.

The preamble, which includes a sudden eruptionofromancewith a woman Noorie (Geetanjali Thapa) ends justassuddenly once Rao's characteris trapped in an apartmentso farremoved from human contactthat noscream of help reaches anyone's ear. It is a terrifying premise, executed effectively by a script that relentlessly exploresthe theme ofisolation and survival.

CinematographerSiddharth Diwan is as fearless behind the camera as Rao is in front. Together, theyshoot Shourya's growingdecline and fadinghopeof rescue with minimalist magnificence. Theshots are cutwith no room for lingeringwoundedness. IfShourya bleedswe can't look away.

Trapped

STARRING: Rajkummar Rao

DIRECTOR: Vikramaditya Motwaney

Whatwould you do ifyouwere trapped in a highrisefordayswithoutfood, water orcompany? Eat a bird although you are vegetarian? Check. Drink your own urine to quench yourthirst? Check. Talkto a ratfor company'ssake? Check. The incredibly gifted Rajkummar Rao, nostrangerto internalised performances, immerses himself in the judiciously assembled plotwithsuch radiant authenticity thatafter a while we cease to watch theskill that underlines the outstanding performance. All wesee s thesuffering ofthetrapped soul, his desperation to get out ofthat apartment whereShourya is locked away farfrom civilisation, though not even a road away from the bustle.

Unlike othergreat survival dramas like RobertZemeckis' Castawayor Ang Lee's The LifeOfPi(the latter I exceedingly overpraised), Trapped is I set right in the heartof a swarmingcity

Rao's projection of his character's waningstrength is as authentic asTom Hanks in Castaway. Rao's Shourya is no islanded recluse. Thelittle apartment perchedsmugly and stoically in the sky is all theworld that Motwane's plot inhabits. There are no frills and no digressions. The background score by Aloknanda Dasgupta is used with rationed effect, quite liketime, food, water and hope running out on the protagonist.

The one time thatthe background score lightsupthe sound.scape is when Shourya collects rainwater in every vessel he can find in his high rise prison. It is an interludethat reminds usofwhat we have and what we take forgranted can be snatched away within moments. Even the fashbacks areseverely restricted Uust one, actually, when we see Shourya arguing passionately in favourofvegetarianism before being forcedto eat a bird in the present crisis). Whatwegetisthe core element of survival. Thevery epicentre ofselfpreservation where no action or reaction is prohibited. It isvery difficultfor one actorto hold ourattentionfortwohours.

Rajkummar Rao gets our undivided attention unconditionally. His character's awful predicament isso tangibly tactile astoleaveusshakenforgood.

Amongthe many remarkable hurdles thatMotwane'sstorytelling crosses with its beleaguered protagonist is the whole idea ofgettingthegeographical periphery ofthecrisisright. The apartment building,the isolated fat and itsdistancefrom any human contact are all measured outbythestorytellers, so thatwe neverfeel we are beingtricked into believing in Shourya's crisis.

Atone point duringthe actor'sjourney fromself-assertion to self-abnegation, and beyond, we see Rajkummar Rao's trousersfall offfrom hiswaisttothe ground.This is probably a random unscheduled crisisthatwas allowed to remain on the editingtable. t helps servetwo purposes. Itshowsthe character's complete repudiation of vanity in the face of death. It also shows how much weightthe actor has lost in the courseofhisjourney.

It's hard to imagine Trappedworking so effectivelywithout Rajkummar Rao. He lives everysecond ofShourya's struggleforself-preservation. His journey issoillustrative of a migrant's metropolitan melancholy as to make any attemptto add signboards tothe storytelling akin to shiningtorchlightto supplementsunlight.

Subhash KJha

BADRINATH Kl DULHANIA

STARRING: Varun Dhawan, Alia Bhatt, Shweta Basu Prasad, Rituraj Singh, Sahil Vaid, Yash Sinha, Aakanksha Singh, Gauhar Khan

DIRECTOR: Shashank Khaitan

�.�,:

A quick-fix, from the stables of Dharma Productions, directorShashank Khaitan's Badrinath Ki Dulhania is a

Aa Gaya Hero

STARRING: Govinda, Ashutosh Rana, Murali Sharma, Makarand Deshpande, ChandrachurSingh, Richa Sharma and Poonam Pandey

DIR , E�TOR: , Dipankar Senapati ...( �,(

Dear Govinda, I wentthroughthesingular experience ofwatchingyourlatestfilm touted as your comeback, butseverelysavaged by critics as being "too 1990s" to be taken seriouslynow. In caseyou didn't notice, it is 2017. Butwhen critics say Aa Gaya Hero istoo 1990s, I don'tknow whatthey mean, because even in the 1990s, yourfilms made byyourfriends like Pahlaj Nihalani and David Dhawan, looked like they came 30yearstoo late.

But anyway,thosefilms back then like Shola AurShabnam and Hero No 1 were fun, ifyou liked thatsort of a thing-thrusting pelvis, double meaning comebacks Nowthe pelvis doesn't thrust. It thirsts.

Therewas the inimitable and remarkablywitty Kader Khan for company back then. Alas, Kader Khan is no more partofyourjourney Thewit isgone.

In a scene in Aa Gaya Hero (Here typically cliched, frothy rom-com, which exploits thesheer charm ofitsstars.

A lot happens and it happens charmingly with such quickspirit and wit, that it'senoughto putyou offromcomsfor a while. The film is not bad, but with no novelty factor. This isjust a case ofthe law of diminishing marginal utility.

Thestory involves Badrinath Bansal (Varun Dhawan), a typical small town dude from Jhansi, who itchesto get married soon. It is during his friend's wedding in Kata that hespotsVaidehi Trivedi (Alia Bhatt), a bright, spirited and ambitious girl and sets hisheart on her. How he woos herforms the crux of the tale.

What keepsyou hooked isVarun's buffoonishyet lovable characterand with his charismatic and endearing performance, he portrays itwith panache. He is aptly supported byAlia, who is effortless and convincing. Together, they have the sort of chemistry that might make any dialoguework, and it certainly works in this story about a typical Indian guy who is bogged down by his overbearing fatherand an ambitious girl, till the boy finds courageto finally come right out and oppose his father. This sort of chemistry is not always inevitable, but it works well here.

Rituraj is a powerful actor but as Amarnath Bansal, Badrinath's father, he is a misfit. Swanand Kirkire as Vaidehi's father, Shweta Basu Prasad and Yash Sinha as Badrinath's sisterin-law and brother have their moments of on screen glory.

Sahil Vaid as Badrinath's friend Somdev is delightfully impressive. Gauahar Khan as Police Sargeant Laxmi Shankar is wasted in a minisculerole.

One ofthe film's problems is thatthe plot nevergathers enough momentum, emotional or narrative, to involvethe audience. With several amusing and compelling episodes the film seems forced, predictable and yet entertaining.

Mounted on a grand scale, the songs are peppy and even soulful. They complement the narrative, but not organically.

Overall, thefilm isvisually appealing, glossy and vibrant.

TroyRibeiro

ComesThe Hero???!!!), I was aghastto seethe theatre stalwart Makarand Deshpande saying something as sleazy as- and I translate loosely - "When you grow older, what goes up in your younger days,stays down."

I am pretty surethatwas Makarand, though I could be hallucinating. I alsothink I saw Poonam Pandey in one shot. I haveno idea whatshewasdoing withyou, orwhy shewas doingwhat she wasdoing/notdoing. This film had that effect on me. It is like a lengthy, disjointed, incoherent, tawdry and tacky homage tothe honest-copssagas ofthe 1970s, executed bysomeone high on dope and low on hope.

Aa Gaya Hero could passoff as a spoof on Prakash Mehra'sZanjeer and Govind Nihalani'sArdhSatya, ifonly the director(where did youfind him???) had the sense of humourto carry offa satirical look atthe khakhi genre.

You know, how Deadpoo/ spoofsthe superhero films? The only entityAa Gaya Hero ends up ridiculing is you, Govinda - once a star now reduced to a paleshadowofwhatyou onceusedto be.

The swagger ofSarkaye lo khatiya is replaced by a grotesque parody of the funny-entertaining hero who once was King. Who is this impersonator on screen? And what is he doing in this pathetic patchwork quilt of a product. parody that parodiesthe parodic

Govinda film ofthe 1990s,withgaping holes and ongoingcontinuity lapses.

Clearly, the editor has used a butcher'sknifeon thefootage, not knowingwhat to cut because it was all so messy.

Where isthe real Govinda? Why has he allowed this charlatan to take over?

If I was you, Govinda, I would slap a defamation suit againstthepeople responsible for this hideoustravesty. Nobody must do thisto Govinda. Not even Govinda.

Subhash KJha