Friday, October 31, 2014

#SuperNani #HindiBollywoodFilmMovieReview #JohnsonThomas Rating: * *

#SuperNani #HindiBollywoodFilmMovieReview #JohnsonThomas Rating: *  *

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#SuperNani(Hindi) Rating: * * Oh No! Not #KhoonBhariMaang again? The twist is that she’s a Nani now who gets into the same get-up,Kyun Ki..I won’t go there. Needless to say she is all right and her family are all wrong. Old fashioned, antiquated plotting, strong on melodrama , banshee theatrics, hyperventilating hysterics and low on artistry. Rekha looks gorgeous and Sharman sounds strange. Moral Sermonising has little connect. #Rekha #IndraKumar #ParagDesai #UniversalPR #MarutiInternational #SharmanJoshi 



Hindi Film Review
Johnson Thomas
Well-meaning Old-fashioned Trick

Film: Super Nani
Cast: Rekha, Sharman Joshi, randhir kapoor, Anupam Kher, Shweta Kumar
Director: Indra Kumar
Rating: *  *
 
Plagued by a rowdy husband(Randhir Kapoor) and a bunch of obnoxiously shrill kids, this Super Nani(Rekha) a.k.a Bharati…new-age mother India has plenty of old fashioned and highly predictable tricks up her designer sleeves. Mommy Dearest is the most unappreciated person on the earth and Indra Kumar plies it on quite early on, trying to squeeze as much sympathy as possible from the ill-treatment meted out to our oh-so-loving and dear heroine. ‘Baghbaan’ meets ‘Kyun Ki..’ meets ‘Khoon bhari Maang’ and it’s all fashioned out in a way that is entirely predictable. The tone is completely shrill. The film is populated with hyperventilating women using sound bytes to score high decibel points(there’s really no attempt to act by the supporting cast) in a war of words that could well burst your ear-drums.
 
The story is standard Bollywood issue best suited to the 70’s era of filmmaking. Bharti(Rekha) Bhatia, is the unsung sacrificing mother stereotype who lives and works for the betterment of her children and grandchildren. But none from her family are appreciative except for a grandson Manorath(Sharman Joshi) who decides to teach them a lesson they won’t ever forget. Bharti of course needs some convincing and makes it clear she won’t tolerate any open mudslinging. So it’s love that will do the trick.Some songs and a lot of sermonizing later the family are united in love and ever smiling appreciation. Phew!
 
Even if you are prepared to forgive that, there’s more in line to torture you silly. The sheer predictability of the moralizing monotone meant to arouse the younger generation, makes the sincere though obsolete looking enterprise as antiquated and extinct as a Mastodan.
 
Gory newspaper headlines highlighting crimes by women and their neglect of family in the past few decades should have by now put paid to the perception that a mother can do no wrong. But Indra kumar and his bollywood ilk appear to have been wearing blinkers all along. There’s no harm in celebrating womanhood or appreciating their worth but to do so in so kitschy and unappreciable fashion is an insult to their very humaneness.  Indra Kumar’s attempt to make his titular character, a  Maaa.. long suffering ideal of womanhood, is as misconstrued as it is out of date. 
We know that the film is based on an adapted screenplay( from the hit Gujrati play ‘Baa Ae Maari boundary’)  by Vipul Mehta who takes credit for story and dialogues too. That play was emotive enough and came at a time when the onset of globalization saw a rising graph in the numbers of old and ageing parents feeling abandoned by their yuppie cultured children. Society has not improved in any measure but the idea that a silly makeover can in fact transform a self-centered lot into a dutiful, loving and respectful groupie set is more than just merely ridiculous.
The half-baked  attempt to make Bharti look new age  following the corny ‘Tujhe Mother Mary se Maa Durga banni padegi’ dialogue with a transmogrifying makeover that turns the gracefully ageing mother to a super-model type – a ‘khoon Bhari maang’ appropriation that looks ridiculous and plays out stupidly.

Rekha, ageless and looking absolutely gorgeous at 60 plus gets back her groove in both the comic and dramatic movements but a weird sounding Sharman Joshi and a boisterously loud lot of co-actors makes the excitement of her return to the screen( after a long self-imposed hiatus) dim and disappointing. As far as Indra kumar’s creativity  is concerned it’s not much of a stretch from ‘Grand Masti’ to ‘Super Nani’ both are retrograde and baser in nature. Super Nani, is much cleaner though and some fun too. This is certainly not womens’ Empowerment- it’s more like womens’ powder-puff moment!

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