Shanghai Review
Rating - ****
Given the current state of affairs of most Indian cities, drawing comparisons with one of the largest cities in the world will be bit of a stretch. Rather what 'Shanghai' seeks to do, is to offer insights into the ironical world that we all live in and which, very sadly, we all have agreed to embrace.
'Shanghai' is Dibakar Banerjee's weakest work and yet, it is the best Indian film I have seen since his last film - 'Love, Sex aur Dhokha'. Yes, such is the greatness of his storytelling that even his weakest is better than most (and that excludes the Salman, Akshay trash). 'Shanghai' starts slow, so it is imperative that you have ample patience to relish what is in store ahead. This isn't much of a who-dun-it plot (such as the recent 'Kahaani' ) as it is how-dun-it drama. The premise of a social activist (Dr. Ahmedi played by Prosenjit with his annoying accent) trying to oppose the government's IBP (read 'Special Economic Zone') program, since it would displace the slum dwellers, is definitely not new. But it is Banerjee's brilliant treatment that makes 'Shanghai' a disturbingly real portrait of modern India immensely watchable. There are moments that haunt you for long such as the local cop making fun of the dead photographer in front of his shocked wife. On the other hand, there are moments of humor which find their way into the narrative when you are hardly expecting any. Notice how the nurse at the hospital asks the people outside the ICU to "stop fighting" in an absolutely authentic tone and accent. Brief yet funny.
And then there are the performances. God bless the soul of casting director, Atul Mongia, who decided to cast Tillotama Shome, for the role of Dr. Ahmedi's wife. Shome, who many would remember as the housemaid, Alice, from 'Monsoon Wedding' is simply brilliant in a brief yet powerful role. So are Abhay Deol and Farooq Shaikh. This is Haashmi's best role to date and he is perfectly cast for the role of the seedy porn film-maker who tries to help Ahmedi's student/admirer, player by Kalki Koechlin.
'Shanghai' could have been as great as Banerjee's previous works but unfortunately it has slightly more flaws than its predecessors. The first and perhaps the biggest - Kalki's one-note performance. I simply didn't understand why Banerjee or his casting director couldn't find someone better than her to play this rather pivotal role. Koechlin simply pales in comparison to her peers and carries almost the same expression throughout the entire film. I could also not overlook how Banerjee hardly offered any glimpse of the media's role in intensifying the political tension that the country is currently going through. I wouldn't say that these are minor blemishes but still, 'Shnaghai' is great cinema - a guidebook of great editing, great screenplay and not to forget, great background score. I strongly recommend that you have the patience to watch this great work.
Rating - ****
Given the current state of affairs of most Indian cities, drawing comparisons with one of the largest cities in the world will be bit of a stretch. Rather what 'Shanghai' seeks to do, is to offer insights into the ironical world that we all live in and which, very sadly, we all have agreed to embrace.
'Shanghai' is Dibakar Banerjee's weakest work and yet, it is the best Indian film I have seen since his last film - 'Love, Sex aur Dhokha'. Yes, such is the greatness of his storytelling that even his weakest is better than most (and that excludes the Salman, Akshay trash). 'Shanghai' starts slow, so it is imperative that you have ample patience to relish what is in store ahead. This isn't much of a who-dun-it plot (such as the recent 'Kahaani' ) as it is how-dun-it drama. The premise of a social activist (Dr. Ahmedi played by Prosenjit with his annoying accent) trying to oppose the government's IBP (read 'Special Economic Zone') program, since it would displace the slum dwellers, is definitely not new. But it is Banerjee's brilliant treatment that makes 'Shanghai' a disturbingly real portrait of modern India immensely watchable. There are moments that haunt you for long such as the local cop making fun of the dead photographer in front of his shocked wife. On the other hand, there are moments of humor which find their way into the narrative when you are hardly expecting any. Notice how the nurse at the hospital asks the people outside the ICU to "stop fighting" in an absolutely authentic tone and accent. Brief yet funny.
And then there are the performances. God bless the soul of casting director, Atul Mongia, who decided to cast Tillotama Shome, for the role of Dr. Ahmedi's wife. Shome, who many would remember as the housemaid, Alice, from 'Monsoon Wedding' is simply brilliant in a brief yet powerful role. So are Abhay Deol and Farooq Shaikh. This is Haashmi's best role to date and he is perfectly cast for the role of the seedy porn film-maker who tries to help Ahmedi's student/admirer, player by Kalki Koechlin.
'Shanghai' could have been as great as Banerjee's previous works but unfortunately it has slightly more flaws than its predecessors. The first and perhaps the biggest - Kalki's one-note performance. I simply didn't understand why Banerjee or his casting director couldn't find someone better than her to play this rather pivotal role. Koechlin simply pales in comparison to her peers and carries almost the same expression throughout the entire film. I could also not overlook how Banerjee hardly offered any glimpse of the media's role in intensifying the political tension that the country is currently going through. I wouldn't say that these are minor blemishes but still, 'Shnaghai' is great cinema - a guidebook of great editing, great screenplay and not to forget, great background score. I strongly recommend that you have the patience to watch this great work.
