Tag Archives: YRF

Darr 2.0 #WRITER #ASSOCIATEPRODUCER #YFILMS #WEBSERIES

As the Head of Development of Y-Films, the youth wing of Yash Raj Films, my core job is developing films, web series and TVCs and then creative producing them and releasing them too. It’s an end-to-end job from idea to development to production to promotion and release.

I have creative produced four webseries for Y-Films so far: Man’s World, Bang Baaja Baaraat, Ladies Room and Sex Chat with Pappu and Papa. I’ve also creative produced the inception and music videos of India’s first transgender band, The 6-Pack Band. I am now writing the next Y-Films series, Darr 2.0, the official reboot of YRF’s iconic Shah Rukh Khan film, Darr.

SERIES: Darr 2.0
Synopsis: Darr 2.0 will feature the characters of Rahul, Kiran and Sunil from the original but in an entirely new milieu, weaved in a modern, original tale of obsession and fear in the age of cyber stalking and digital crimes. The series holds a mirror to the perilous environment of online privacy invasion and social media harassment that can take a dangerous and disturbing turn, if unchecked.
Directed By: Vikas Chandra
Produced By: Ashish Patil
Story: Nikhil Taneja
Screenplay & Dialogues: Nikhil Taneja & Shubham Yogi
Associate Producer: Nikhil Taneja
[Full Credit List on YouTube.com/YFilms]

OFFICIAL TRAILER:

 

NOTE: SUBSCRIBE to Y-Films on YouTube for more awesome series: www.youtube.com/yfilms.

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Liked/disliked the series? Leave your comments below!
Note: This trailer first appeared on the Y-Films YouTube channel on August 30, 2016.
Link Of Full Series: https://goo.gl/JHCE6p
Picture courtesy: Google. None of the pictures are owned by the author all rights belong to the original owner(s) and photographer(s).
© Copyright belongs to the author, Nikhil Taneja. The article may not be reproduced without permission. A link to the URL, instead, would be appreciated.

What Bollywood Can Pick Up from the Digital Revolution #Digital #SuperCinema #ByInvitation

Note: This piece was written by Nikhil Taneja (@tanejamainhoonfor Super Cinema. An edited version of the piece can be found here: https://goo.gl/2AXwVJ 

If we had to look back at 2016 and talk about its highlight in terms of an international pop culture phenomenon, we wouldn’t be talking of a film but instead a Netflix show – Stranger Things. This is not an anomaly. In India too, from Permanent Roommates Season 2 to Ladies Room this year, content on digital platforms has broken out among the youth in a way films haven’t managed to.

The fact is that narrative on digital across the world caters to the same audience that buys movie tickets: the young 18-30 segment, who constitute not just the target demographic but also the protagonists in most films made today. But save a few inventive movies that side step the Bollywood formula (most hits this year, from Neerja to Pink to Airlift, have little to no ‘masala’ in them), movies in India are still predominantly star-first, content-second.

As attention spans of audiences decline, and smartphone usage and internet consumption continue growing at a rapid pace, we are today on the brink of a content revolution led by internet creators and creative talent on the web. Fortunately, it’s never going to come down to an either-or choice between film and any other medium, as audiences have proven that medium is temporary, storytelling is permanent. But there’s still a lot that Bollywood can learn from the internet content revolution to stay relevant to its core audience:

Focus on stories that *must* be told: If there’s one thing that web has proven as a fact today, it is that there are no substitutes to good stories. A myopic way of looking at the internet is only through its freedom from censorship, but creators and digital studios know that while sex and SRK can get you views, the kind of cultural impact that a Pitchers or Man’s World can have stems from just one basic truth: the audience wants good stories.

‘Actors’ are the real ‘stars’: The internet has also gone against the grain by diverging form the ‘star’ system and putting its faith and backing behind good actors who may not be names, or even traditionally chiselled and sculpted. The viralability factor of the internet today comes from not how big the star is but how able the actor is and how convincingly he/she can act. From Naveen Kasturia to Angira Dhar, the internet today creates the star.

The force is with the writers: On the internet, the writer is king. Whether or not the show has scale or stars, whether it caters to the urban elite or the rural cool, unless the writing is great on paper, the audience will see through it. The internet never forgives or forgets so it is imperative that the writers take lead to give the audience content that doesn’t take them for granted.

Risktaking is the key: Fortune favours the brave and there is no better case in point for this than the success of the digital narrative. From tackling issues like abortion to sex education, the internet has shown that the riskier the content and the more it pushes boundaries in terms of cast, producer and director, the more likely it will attract good filmmakers who thrive by doing content that is off-mainstream, in that, it tries to represent the under-represented or voiceless.

There is no formula! Ultimately, digital has convincingly proven, in more cases than one – there is no formula to what works. On this medium, a massy show about two crazy families is just as big as a seemingly niche show about conversations between women in loos. Until you follow up something that has worked, with something that you have no idea will, you will never truly achieve a cult following of loyal fans on the internet who will support your brand in any form, manner or genre!

 

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Liked/disliked the piece? Leave your comments below!
Note: This interview first appeared in Super Cinema Magazine in the October 2016 issue.
Link: http://www.supercinema.co.in/what-bollywood-can-pick-up-from-the-digital-revolution/
Picture courtesy: Google. None of the pictures are owned by the author all rights belong to the original owner(s) and photographer(s).
© Copyright belongs to the author, Nikhil Taneja. The article may not be reproduced without permission. A link to the URL, instead, would be appreciated.

THE SRK INTERVIEW #OPENMAGAZINE #SRK #QNA

Shah Rukh Khan: ‘I Give You the Right Not to Judge People’

Shah Rukh Khan dissects fame and success and confesses that many chapters of his life remain closed to all

Note: This piece was written by Nikhil Taneja (@tanejamainhoonfor Open Magazine. An edited version of the piece can be found here: https://goo.gl/NfjTiS

It’s 12.45 am, and this is the last of 13 print interviews that Shah Rukh Khan has committed to, and done, through the day, besides radio and internet interviews, over a period of 10 continuous hours. He’s visibly drained when he greets you, with a weary smile, but as soon as the recorder is turned on, the energy is back again, and it’s manic. A fifteen minute interview stretches to an hour, and that’s what Shah Rukh Khan is: a man who may get tired of being a superstar at times, but would never take it for granted.

It is the week of release of perhaps his riskiest movie in years, Fan, where he plays both a superstar, Aryan Khanna, and his biggest fan, Gaurav, a aged-down, shorter, VFX version of himself. To the audiences, Aryan may very well be Shah Rukh Khan himself, what with the name being the same as Khan’s son’s name, and with the trailers using footage of ‘SRK’ mania, but they are likely to, somewhere, identify with Gaurav, who is the reason for, and thrives on, the same mania. As Khan faces off against himself in the movie that seems to be a return to his thriller roots, he speaks about fame, stardom, privacy, fans… and being Shah Rukh Khan.

Everyone’s more interested in the ‘fan’, Gaurav, in your movie, Fan but I’m more curious about Aryan Khanna. Aryan seems like a manifestation of Shah Rukh Khan. Is it somewhere what you see yourself as, or what you think fans see you as?
No… in fact, it’s a completely written character. And that’s why I had more difficulty playing Aryan Khanna than Gaurav. When you are making a film about a superstar, so that you don’t have to establish the stardom, you could maybe go with Mr. Bachchan (Amitabh Bachchan), Salman (Khan), Aamir (Khan) but the story was of a Delhi boy, so it fit well with me. We’ve also shown the star in his personal space outside of the flamboyance and Bollywood shoots, so it was important he be a star without us having to prove that.

But the character is very different. It would be unfair of Adi (Aditya Chopra) and Maneesh (Sharma) to ask me to play me but yes, the only manifestation has been using my 25 years of archival footage. You have me getting an award from Rekhaji (smiles) and that you may not have gotten from a newer actor. Yes, a lot of people will say, ‘Shah Rukh aisa hai kya? Yeh aisa hai yaar! (Is Shah Rukh like this? Oh! He’s like this!)’ But the honest truth is I’m not like him at all. He’s more real, more grounded, more practical, less mad and probably less compassionate in his dealings than me. He’s scarily real, and I’m not like that at all.

Have you ever given a thought to what the world sees Shah Rukh Khan as? What do you think your perception is to the regular guy on the street?
No… no. But I do get a feedback, on Twitter. Sometimes, they like me, sometimes they think I’ve become anti-national or I’m a marketer or I’ve sold out or that I’m fantastic or romantic. See, the beauty of being a star or being liked is, the more different perceptions people have of you, the more different people like you for different things. I may be all of them, I may be none of them. But there’s no way I can sit down and get disturbed by them.

Suppose you say, Shah Rukh I want you to do a Chak De (India) kind of a film; achchi acting karega, mera bada dil khush hoga (you’ll act well, my heart will be filled with joy). But that’s your perception. Mujhe nahin lagta maine baaki picture mein gandi acting ki hai (I don’t think I’ve acted badly in other movies). But I can’t explain that to you because you don’t know the craft or why an actor breathes, lives and does what he or she does. And I can’t explain myself to everyone else too.

And now, with social media, you’re perceived differently depending on the day. On the day of a hit film, you’re perceived as something, on the day your team has lost a match, you are perceived as something else. As a matter of fact, it’s maddening. If you are not able to concentrate and just know yourself fully, and say no, ‘Main inmein se kuch bhi nahin hoon, main yeh hoon (I’m none of these, I’m this)’.  And if I tell you that part of me, it’ll be very boring (chuckles). So I let people think who they think I am.

I am an image. Shah Rukh Khan is an image… and I’m just an employee of that image. Now whatever that image, some girl see pink, some boys see black, some women see beautiful, some people think overrated, it’s an image. None of it is me. It’s like, you know, when you make a shadow with your fingers and you make a dog, there is no dog, it’s actually made out of fingers. I can’t show you the fingers, because the magic goes. So you think it’s a dog or a butterfly, whatever you like. I can’t break your myth that I’m working for as Shah Rukh Khan and I can’t believe in it myself. Because the day I do, I’ll be torn apart. I won’t know what happened!

 

In 2009, you played a superstar in Billu, who stayed true to his roots and was accepting of all love. In 2016, in Fan, you again play a superstar who has much to like, but one who draws a strict boundary between his reel and real life. Is this a reflection of your process as well? Do you now have try and safeguard how much of Shah Rukh Khan is accessible?
See, but I’m not even making myself accessible. I don’t even know what happens. It’s the reality we live now and it is how it’s going to be. As far as I’m concerned, I don’t change my way of being, according to the changes of the platforms of media, or according to how people start reacting to things. I’m the same person, living in the same place. I will still go for my match and cheer for my team, I’ll still take my child in my arms and walk down to the airport, I’ll still try to do the best I can in a film.

(Pause) But, to be very honest, very few people know the real me. I’ve been an open book, but the chapters I’ve opened are the chapters I’ve opened and nobody knows the chapters I haven’t opened. I’ve written a book about my life and even that book doesn’t contain all of it. I sit down to write it and I say, ‘No, yaar’. My privacy is not the space I allow people to get into physically or by a photograph or a selfie or by Facebook and Twitter. My space, which I don’t allow anyone into, is my emotions.

You know, I’m an extremely emotional person and I’m still really detached, and if I’m able to survive this dichotomy of stardom and normalcy that I live in, that’s a pre-requisite. I need to have my space. I know, what I do in my personal life and what I actually feel and think is so far removed from what people think I am, and what I could be, that it’s very strange, and very maddening.

But I’m only myself when I’m in my bedroom with my kids, yaar (smiles). With my black shorts and my hair standing out, and just being. Because my kids know me as a father and as a friend. They don’t want to know me as a star. And I don’t want to tell them what a star I am. They have respect for what I’ve done, they’ve immense amount of pride for who I am, but none of it enters my bedroom. We never talk about Shah Rukh Khan in third person, in fact, we make fun of him in third person (chuckles), sometimes, as much as others do.

You’ve always been someone who’s enjoyed his celebrity and yet, had respect for it. But in the age of social media, where fame is under such intense scrutiny, do you feel differently about it? Is fame more difficult to enjoy now?
No, yaar, it’s like… if you come on a weekend and stand outside my house, the people there are mostly loving. But there are people who’ve got stuck in the crowd and traffic, who are thinking, ‘What the fuck? I don’t want to be stuck in the traffic! Who the hell is he?’ knowing fully well who the hell I am. There are also some who are irritated, thinking, ‘Why does he have these people outside his house and I don’t?’ and then, there are some neighbours who are genuinely affected because they want to sleep and a thousand people are screaming. But 80% of the people are there for the love of it. So when I go out and wave, I respect everyone but I hear only the 80%, who’ve come out of love. I share the love with them. The same love also goes out to the 20%, who can take it or leave it. Social media is exactly like that.  Most of them have followed me out of love. And I’m not worried about the X, Y or Z voice of the 20%.

You know, I really enjoy my stardom, I love it and have always loved it. I’ve said it before, and I’ll say it again, unabashedly, I came here thinking that when I am a star or when I’m good enough, I want people to love me, to hug me, to cry for me, to shout for me, to die for me. I want people to abuse me, to jump at me, to deride me too. I want people, it’s as simple as that (smiles). And people comprises of all kinds so I can’t disrespect that. Yes, I can get irritated at times, it’s my human right. I can get pissed off, and get really, really angry at trolling, or when some say I am anti-national or some shit. But, having said all that, it’s the same crowd outside my house – some of them I understand don’t want to be here, but they’re here (chuckles).

I don’t have issues of privacy, because I know what’s private is private. You can’t take that out of me because I don’t want to give it. I’m an actor, I can act like anything.

The reason I asked the last question was that today, the guy who makes a film round the year is just as big a star as the guy who uploads a five minute video on YouTube. How seriously do you take your stardom in such a time? Do you ever worry about things like staying relevant or protecting the fame?
You can’t make stardom, you can’t hold stardom, and most of all, you can’t protect stardom. Stardom is an entity by itself. It’s uncontrollable, intangible, unquantifiable. It’s not something you can just achieve and just because you have it, don’t please think you can control it. I’m not ready for it to fall or drop but there’s no reason for to try and protect it. Because you have to realise that stardom did not happen because of you.

Having said that, (pause), the model has changed. This is my understanding, I am completely off the cuff here. There was a vertical model in the world: the haves and the have-nots. The world does not have have-nots anymore… it’s all equal. We’re a horizontal world now. So, when I came into the film industry, a lot of actors told me, ‘Tu enigmatic nahin hai yaar, tu ads karta hai (You are not enigmatic, you do ads)’. I’m not Greta Grabo. She’s wonderful, I love her – but the times of Greta Garbo are gone. There are 1.2 billion people now. My biggest hit, the biggest hit in the country has been seen by only 11 crore people, 110 crore people haven’t seen it, on TV, in theaters, on every media combined. So there’s nothing like too much of me ,yaar. There’s nothing like too much love either; love is love. So there’s nothing like, ‘Arre yaar yeh bahut baari aa raha hai ghar mein, mujhe nahin pyaar karna (Oh! He’s coming to our house too many times, I don’t want to give so much love).’ You can’t overexpress yourself, you can’t over-spread yourself in today’s world.

There’s no hierarchy of stardom now, there’s no hierarchy in this country, or in the world. Each one of us is equal. It’s the reality now… it’s the truth. I can’t look down upon you. There was a time that if you wanted a star’s interview, only the top journalist of that country’s top magazine got the interview through some source of friendship of the manager that you had. Today, each of us comes out and talks to everyone. Not because you were less then, because there is no hierarchy, everybody is equal, yaar.

But the trick is, how can we be a little more equal than equal, that’s all. And for that, you’ve got to stick to the clichés – the honest basic truths. Be upfront, work hard, play harder, party hardest and love your family. That’s what I do. You have a dream? Go for it. Buy a house. Buy yourself two cars and waste one. Marry the girl that you love. There’s nothing wrong in wants or desire. That’s what we were made for. Otherwise we’d be in heaven, desiring nothing… everything is there in heaven. But at the end of it all, keep some modicum of honesty to it. Don’t have it without hard work, don’t cheat, don’t lie, don’t thieve, don’t try to make a fast buck, don’t shirk away from saying and believing the right thing, it’s as basic as that. Your father would have said this to you too.

When I wake up in the morning and sit down with my kids, I need to be able to look them in the eye and say, ‘There is no discrepancy in what I teach you about goodness’. Try and be honest – that’s the only thing I want to protect.

Fan comes at a very interesting point of your career. Shah Rukh Khan started out as a risk-taker, someone who’d do a Darr or a Baazigar, not worried about how he’d be perceived. Somewhere in the middle, a SRK film became safe, and comfortable. You’d go to watch your film so you know it’s okay. But with Fan and Raees, for example, you don’t know if it’ll be okay, and that’s exciting. What’s brought about the change?
Even if you are extremely disturbed after watching Raees and Fan, let me assure you everything is okay (smiles). If you cry after watching a film, it’s okay. If the family in the film breaks up, it’s okay. If the hero falls in love and doesn’t get the girl, it’s okay. At the end of it all, life is going to be okay. You’ll never find a guy like most of the characters I’ve played in my films, in the real world. But when you play them, you don’t have to judge them, that’s all. I mean, look at Rahul from Darr, he’s a psychopath and stalker. Or Devdas, who is an alcoholic fool. You won’t do it, I won’t do it, but you need to just tell be able to tell the story of someone like that, and still let it be okay.

You know what my movies give you? The lack of judgment. I give you the right not to judge people. When we read the third page of the newspaper and see a shoddy headline screaming out, we judge instantly. ‘Wo ganda hai, wo acchcha hai, wo politician hai toh harami, yeh hero badmaash hai, are yeh uske saath soyi, yeh ghatiya hai, yeh cheap hai (He’s bad, he’s good, he’s a politician so is an asshole, this hero is a hooligan, if she slept with someone, she’s cheap)’. Arre? You think it’s not right, so don’t do it. But let them do it, don’t judge them. So the whole idea I give in films is that it’s okay. It’s alright if somebody’s done it, you should accept that.

We are getting so judgmental in today’s time and age, that you are under the pressure to say the right thing about the right thing. Sometimes, people say, why aren’t you mentioning that tragedy on Twitter? Arre, come on, does that make me a lesser person, because I didn’t write about it on Twitter? Everybody tweets, ‘My heart goes out to…’, and my heart does go out, to what happened in Kolkata, for example, but I don’t need to write it and explain it to you. I don’t judge the ones who share but I believe that every feeling need not be shared. A tweet does not life make, or a character decide, you know (chuckles).

But there’s no reason why I have choose these films at the time. Fan and Raees were signed before Dilwale so there’s no concerted effort behind this. The only freedom I have is I should be able to make a choice that’ll make me happy in the morning, good, bad or ugly. It makes me happy that I’ll work with Anand (Rai) or that I’ve worked with Maneesh or Gauri (Shinde). If all these films don’t do well, maybe I’ll go back and only make romantic films again (laughs).

 

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Liked/disliked the interview? Leave your comments below!
Note: This interview first appeared in Open Magazine on April 22, 2016
Link: http://www.openthemagazine.com/article/art-culture/shah-rukh-khan-i-give-you-the-right-not-to-judge-people
Picture courtesy: Google. None of the pictures are owned by the author all rights belong to the original owner(s) and photographer(s).
© Copyright belongs to the author, Nikhil Taneja. The article may not be reproduced without permission. A link to the URL, instead, would be appreciated.

India Ke Hunger Ki Bajao Campaign #Written #CreativeProduced #YRF

Wrote a TVC for the first time :). For the India Ke Hunger Ki Bajao Campaign, starring Ranveer Singh. Check it out below:

CREDIT LIST
Client: Capital Foods Limited (Ching’s Secret)
Director – Vikram Gupta
Produced by: Yash Raj Films
Producer: Ashish Patil
Creative Exec. Producer: Nikhil Taneja
Writer – Nikhil Taneja
DOP – Sunil Patel
Exec. Producer: Ranimol Rao
Business Development & Sales: Jayesh Kishanchandani & Nidhi Sethia Nair
Production House: Bad Clown Productions
Producer – Shagufta Mulla
Line Producer – Radheshyam Pipalwa
Director’s Assistant – Nitesh Ranglani
1st AD – Chintan Sarda
2nd AD – Vidushi Sood
Production Manager – Darshan
Art – Avishek
Post Prod Studio – After
Offline Editor – Aniket Khanapur
Online Editor – Hiren
Sound Design – Shajith Koyeri
Colorist – Rob Lang
The Making – Sharu

What did you think of the campaign? Leave your comments below! 🙂

Follow the blog on your left and like The Tanejamainhoon Page on FB: /tanejamainhoonpage
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Picture courtesy: Subi Samuel
© Copyright belongs to the author, Nikhil Taneja. The article may not be reproduced without permission. A link to the URL, instead, would be appreciated.

YepMe Fresh Fashion, Fresh Look Campaign #CreativeExecProduced #TVC #YRF

At YRF, the first campaign I worked on was the YepMe Fresh Fashion, Fresh Look campaign, that launched during the Cricket World Cup 2015 and featured Rhea Chakraborty. The series contained nine videos.

Produced by: Ashish Patil
Written by: Ishita Moitra
Creative Exec. Produced by: Ritika Nagpal & Nikhil Taneja

A Fresh Look at Shopaholics

A Fresh Look at Brides

A Fresh Look at Film Critics

A Fresh Look at Mothers of Single Girls

A Fresh Look at Social Media Addicts

A Fresh Look at Losing Team Captains

A Fresh Look at Fashion Deisgners

A Fresh Look at Bollywood Heroines

A Fresh Look at Models

 

What did you think of the campaign? Leave your comments below!🙂

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CHING’S KE DEEWANE CAMPAIGN #CREATIVEEXECPRODUCED #TVC #YRF

At YRF, the third campaign I worked on was the Ching’s Ke Deewane campaign, that launched during the IPL 2015. It was a series of three TVCs, that were an extension to the ‘My Name is Ranveer Ching’ brand.

Produced by: Ashish Patil
Directed by: Anand Tiwaari
Creative Exec. Produced by: Nikhil Taneja

TVC #1

TVC #2

TVC #3

 

What did you think of the campaign? Leave your comments below!🙂

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Detective Byomkesh Bakshy!: Dibakar Banerjee, I LOVE YOU.

 (Full Disclosure: I work at YRF but this post isn’t sponsored by the studio but comes from the heart of a filmbuff who watched the movie in a theater with a paid ticket, instead of a film screening!)

It’s strange but I distinctly remember how every Dibakar Banerjee movie has left me feeling. I remember being euphoric at the end of Khosla Ka Ghosla. This was an Ocean’s 11 devoid of gloss, cool, swag or for that matter, George Clooney. But Anupam Kher Khosla and his motley bunch of family and friends made me want to whistle out loud for kicking Khurana’s butt so hard and so well. There was such a satisfaction that I felt after the Khoslas avenged Khurana for me – yes, I wanted to avenge him to because the film made me feel that it had happened to me, or someone I know really well.

Love, Sex Aur Dhokha made me feel cheap and ashamed. I’m not even sure why because I have never done anything like the protagonists in the film or subscribed to any of the views they had. But I felt dirty after watching the film, because I was part of a system that allows such tragedies to happen on a daily basis. I should have felt helpless but instead I felt mad that I had allowed this to happen; as if I played some part in making this possible.

In fact, it was Shanghai that made me feel helpless. It made me realise more than ever before that there is no such thing as one India. That India can unfortunately never be looked at as a single entity, because of the hundreds of worlds that it inhabits – and because most of these worlds are at odds with each other, at some level. I felt sad that one India will have to be left behind for another India to move forward, and I felt frustrated that this this won’t be allowed to happen so we may remain in this pathetic gridlock forever.

It was Oye Lucky, Lucky Oye! that made me feel the most among all Dibakar Banerjee films. I felt for days, for weeks, for months – and every time I simply think about the movie, I feel even now. This isn’t a feeling I can describe or elucidate in words, more so because it felt like the distinct lack of all emotions. It was the feeling of emptiness – the most difficult and demanding of emotions, one that you cannot shake off, because you don’t know how to. Oye Lucky, Lucky Oye is, for me, one of the greatest modern day Indian movies because of the hole it left in my heart.

I talked about Oye Lucky, Lucky Oye! last because Banerjee’s new film, Detective Byomkesh Bakshy! is a movie that made me feel the exact opposite of it. What is the opposite of feeling empty? Feeling everything! I felt possibly every emotion in my chest from thumping tension during the opening credits to excitement and euphoria to perplexity and panic to impatience and insight, to jaw-dropping awe during the final shots. What I felt during Byomkesh Bakshy was the mother of all feelings – the feeling that you seldom get while watching a Hindi film in a big screen: I was THRILLED!

Detective Byomkesh Bakhsy! is basically Detective Byomkesh Bakshy Begins, but the film has been made so that even within the inception of the movie, there is the inception of the detective. So the first half of the film is the origin of the man and is actually Byomkesh Bakshy begins and by the end of the second half, we come to reach the origin of the detective, and Detective Byomkesh Bakshy begins. This may be why the film has two very distinct paces – the first half is beautiful, languid, slow-burning and expansive, whereas the second half is chaotic, relentless, thrilling and focused. Interestingly though, even when the first half unfolds at its pace, there is so much of the plot thickening that it seems relentless, and even with the enthralling second half, there is a poetry in the plot unravelling that it is beautiful. But every frame is delicious, every shot alluring, and every plot development tantalizing through the course of the film.

As much as I hate to use the cliché, the movie is quite the experience: Dibakar Banerjee has invited you to the theaters for a scrumptious feast but it is up to you to eat in tandem with the pace of the film, else you may be too full for desserts or stay hungry because you were too spoiled for choice. I suppose – and I can only guess here – that’s the reason why some people remained far from appetized, because this is a film that demands a certain level of engagement, commitment and attention from the viewer, and it then proceeds to reward you wholeheartedly for it.

Personally, I loved everything about DBB; from the subtlety of Sushant Singh Rajput (a class act) to the flamboyance of Neeraj Kabi (possibly the greatest find of the last 5 years) to the awesomeness of Anand Tiwari (who I absolutely love watching on screen – although I’m biased because he’s a friend). I loved the entire supporting cast, from Meiyang Chang to Divya Menon to even Swastika Mukherjee, I loved Banerjee’s quirky humour (the Maggi Tomato Ketchup ode made me laugh out so loud that I could feel the piercing gazes of the people sitting behind me in the theater), I LOVED Vandana Kataria’s production design, Nikos Andritsakis outstanding camerawork, Sneha Khandwalkar’s fabulous background song and the INSANE indie music and even the end credits sequence that a lot of people found off. Simply told, my mind was blown by the badassery of the film, and I was stumped that a film so international in design, vibe and execution could come from an Indian director!

*spoiler* Yes, if anything, I did miss some scenes of the impending Japanese invasion at the end, I do believe the climax was a little stretched and if intercut with scenes of an advancing Japanese army, would have become bigger in scope and nail-biting in tension, but considering this is (and should be) the first part of a franchise, I am not one to nitpick.

When you think of it, it’s not at all strange that I remember how every Dibakar Banerjee movie feels. This is a man who has singlehandedly raised the bar for himself and his contemporaries with every movie, but with Detective Byomkesh Bakshy!, Banerjee has raised the bar for Indian cinema as well.

 

NOTE (Not related to the movie): I know that given my new job at YRF, everything I say about any movie from now will possibly be looked at with the lens of where I work, and it may seem shady that I have written such a gushing piece on a film produced by YRF, but those who know me, know well that I’m a film fanatic first and anything else after. And for those who don’t: I graduated as a computer engineer, started my career at HT as a journalist, dabbled in digital at Viacom18 and then made shows for MTV, but the one thing that’s remained constant in my life is my complete and utter love for the visual medium of cinema and television, and no matter where I work or what I do, I will continue reacting to every movie and TV show I see from the heart, than from a calculative mind. Koi doubt mat rakhna apne dil mein, filmbuff hoon mein Mumbai ka! 🙂

 

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