Film: Housefull 5 - A

Cast: Akshay Kumar, Ritiesh Deshmukh, Abhishek Bachchan, Jacqueline Fernandez, Parrot

Directed by: Tarun Mansukhani

Duration: 2 hours 45 minutes

Rating: *

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Housefull 5 is the type of film that could drive a teetotaller to drink.Even though I saw Housefull 5A as opposed to 5B, I am certain the outcome would be the same. If you are curious about the distinction between A and B, it refers to the same film but with an alternate ending. Given that there are more characters in the film than one would encounter at the Friday market in Mapusa, they have merely substituted one killer for another. However, considering how mediocrity thrives around us, this is a clever marketing strategy.

Otherwise, Housefull 5 stands out as the most puerile, sexist, and absurd film I have encountered in quite some time. Additionally, there is more skin exhibited here than one would see in Baywatch. The film is filled with double entendre jokes and visuals - for instance, a woman's skirt rises when she raises her hand in response to someone pointing a gun, and in another scene, when the lights go out, a man presses a switch, to which the other character responds, 'yeh to meri naak hain' (this is my nose). Moments later, the first man remarks, 'ab mujhe do do switch mil gaya' (now I have found two switches), followed by a woman's scream.

Set on a luxury cruise ship named 'Aiee,' in homage to the villain of the past, Ranjit, who portrays a wealthy magnate nearing his 100th birthday. The film begins with a murder on board, where a masked assailant brutally slays a man - that is not a bad way to start the film. However, from that point onward, it rapidly declines. We learn that the wealthy man passed away from natural causes but left his will through a hologram, which his secretary, displaying ample cleavage and legs, presents to the board members (Fardeen Khan, Shreyas Talpade, Dino Morea, and Chitrangada Singh). He bequeaths all his fortune to Jolly, and shortly thereafter, three of them arrive with their respective spouses. Jalabuddin aka Jolly (Riteish Deshmukh), Jalbhushan aka Jolly (Abhishek Bachchan), and Julius aka Jolly (Akshay Kumar) appear with their Afghani (Sonam Bajwa), Sri Lankan (Jacqueline Fernandez), and Nepali (Nargis Fakhri) wives.

A DNA test is conducted to determine the identity of real Jolly, but tragically, the doctor is murdered, followed by the suspected perpetrator. However, this is not a case of Death on the Nile; rather, this is death by cringe-inducing scenes and jokes. Additionally, there is a talking parrot named Gucci, who sadly meets a tragic fate, similar to his ancestor from a previous instalment.

As the number of victims increases, (excluding the parrot), law enforcement is called in; and two British officers, Bhidu (Sanjay Dutt), and Baba (Jackie Shroff), arrive with the Khalnayak theme playing in the background. While they investigate the case, their superior (Nana Patekar), who serves as the Interpol chief, also makes an appearance, holding a beedi and a lathi.

It may seem like a zany comedy, but it is not-unless, of course, you have an affinity for juvenile humour.

The film features numerous songs, each of which could easily fund an Indie film. The context of the songs is exceedingly absurd; for instance, a line such as "Do you remember when he sang at the London music festival?" will abruptly transition into a song. Nana Patekar's character discusses Fugdi (the traditional Maharashtrian song and dance) and unexpectedly breaks into a rap, prompting everyone to dance. This occurs, a good 130 minutes into the film.

The objectification of women is rampant; if the characters do not engage in it, the camera certainly will. The only moment of redemption appears in the behind-the-scenes footage during the end credits. However, I would not pay to view that-or anything else associated with this film, whether A or B.

Film: Thug Life

Cast: Kamal Hassan, Silambarasan, Trisha Krishnan

Directed by: Mani Ratnam

Duration: 2 hours 44 minutes

Rating: *?

In 1987, the collaboration between Mani Ratnam and Kamal Hassan resulted in Nayakan, which continues to be regarded as the benchmark for gangster films in India and has influenced numerous subsequent films in that genre. It is unfortunate that they did not collaborate again until the release of Thug Life. Regrettably, the outcome is not particularly thrilling. The film resembles a derivative of Nayakan and is laden with many conventional gangster clichés, such as betrayal, suspicion, jealousy, and revenge. Several scenes and themes bear the hallmark of Ratnam, including the motif of children being separated- in Dalapathi (1991), it was a mother and her son, while in Bombay (1995), it involved parents and their children.

The narrative lacks originality; any deeper messages are overshadowed by the exaggerated stylised action and mediocrity. Regardless of how much one attempts to temper them, certain expectations accompany a Mani Ratnam film. However, for the most part, this is merely another gangster film that becomes tedious as it approaches its conclusion.

We are introduced to Rangaraya Sakthivel (Kamal Hassan), who recounts how he has managed to evade death. Unlike Bergman's The Seventh Seal (1957), where the protagonist has a direct encounter with the embodiment of death, Sakthi merely speaks of death. At that moment, it becomes evident that he is essentially invincible- and immortal. The narrative that unfolds only reinforces this notion. While we have witnessed gang wars in Mumbai, this time the setting shifts to Delhi. There is also a nod to its status as the power capital, dating back to the Mughal era. In a shootout with the police, which is stylishly filmed in black and white, Sakthi rescues a young boy whose father is killed. The child becomes separated from his sister Chandra, and Sakthi takes him under his protection, integrating him into the world of gangsters. During the shootout, we witness Sakthi narrowly escape death for the first time.

Several sunrises later, we find him as the leader of the gang, sporting a long beard. The young boy Amar (TR Silambarasan) has matured into a young man and serves as the de facto leader in Sakthi's absence. The senior members, including Sakthi's brother Manickam (Nasser) and his right-hand man Pathrose (Joju George), are not particularly fond of this arrangement. The rivalry between gangs involves Sadanand (Mahesh Manjrekar), who has his own family to contend with. Sakthi is married and has also has a mistress named Indrani (Trisha), whom he attempts to charm by saying, "Madam, I am your only Adam." Initially, he mistakes her for Amar's sister, but upon realising she is not, he engages in an affair with her. The film takes its time to establish the dynamics among the characters.

A misunderstanding, fuelled by seeds of doubt, leads to a sinister plot aimed at eliminating Sakthi. Despite being shot and thrown into a gorge hundreds of feet deep, it is evident that he will survive, as his relationship with death has already been established. Alongside him, the narrative also plummets when he returns, having become a martial arts expert during his time away. From that point onward, it transforms into a tale of revenge, reminiscent of many we have encountered before. You can shoot him, you can stab him repeatedly, yet he will return. He even performs surgery on himself to extract a bullet. In Nayakan, the action sequences were supported by the narrative and setting; however, this film resembles any other action movie, complete with slow-motion shots. The missing sister Chandra reappears at the conclusion, and, while that subplot is neatly resolved, it feels like too little, too late.

The Ratnam elements, such as a train-even though it is stationary-and weather (an action sequence set against falling snow) are present, but the core story needed to be either tighter or take a different direction for the ancillary elements to resonate effectively.

Among the cast, Silambarasan portrays the angry young man convincingly, while Kamal Hassan meets expectations. However, when his character falls into that gorge, it becomes clear that making a comeback will be an uphill task - both for the character, and the film.

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Outstanding