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Madness ensues when a 'Player' in the world of romantic relationships finds a girl who's a worthy opponent. Tu Jhoothi Main Makkaar is a film that believes Love is a battle of wits.<br/>Mickey, a carefree businessman and womaniser, helps couples break up. However, things change for him when he falls for Tinni, a witty and beautiful chartered accountant.<br/>Cast: Ranbir Kapoor, Shraddha Kapoor, Anubhav Singh Bassi, Dimple Kapadia, Boney Kapoor<br/><br/>In a normal universe, Tu Jhoothi Main Makkaar is about a ‘boy’ and a ‘girl’ who fall in love only to realize that they want different things from life. Breaking up is a problem because they’re not Gen Z enough to ghost each other. At most, they hang around in the relationship until the love dissipates. Anything to not have “the talk”. In this normal universe, the film is certainly not called Tu Jhoothi Main Makkaar, or anything on the lines of Sonu Ke Titu Ki Pyaar Ka Punchnama. But in Luv Ranjan’s universe, this same story is a bitter battle of sexes between a good-looking boy and a gorgeous girl who tries to leave him because – horror of horrors – she likes her independence and his family is too overbearing.<br/><br/>You can’t say Ranjan isn’t trying. If anything, this is him reacting to the criticism – that is, the (correct) accusations of casual misogyny bubble-wrapped in crowd-pleasing comedy – of his previous movies. You see, the women in those movies (Pyaar Ka Punchnama, Sonu Ke Titu Ki Sweety) were scheming, conniving caricatures who forced their boyfriends to choose between bromance and romance. Love was a messy war of ownership. But here, the conflict is centered on the woman’s inability to be cruel and manipulative; she is too evolved to be the quintessential Luv Ranjan heroine. (Coincidentally, actress Shraddha Kapoor’s breakout film, from 2011, was called Luv Ka The End). Her Nisha in this film is so nice that, rather than force poor Rohan (Ranbir Kapoor) to choose between his family and her, she attempts to do the nobler thing: Gaslight him into believing he’s the issue. Nisha would rather have Rohan reject her than the other way around. You see, her dishonesty is merely an expression of compassion. This is Luv Ranjan being progressive.<br/><br/>Never mind that Rohan, like his Kartik Aaryan-esque predecessors, decides to turn her predicament into a game. At stake is the incorruptible Indian idea of marrying not just the person, but also the family. In the pink corner lies Rohan’s courage to go from cold Casanova to heartbreaking martyr, and his pride of being a Momma’s Boy. In the blue corner lies Nisha’s reluctance to sacrifice her own ambitions at the altar of Rohan’s Barjatya-shaped love. There can be only one winner. At one point, he subjects Nisha to a sexist rant about women and jobs – except that he’s only pretending to be a horrible man. He’s pretending to be a Kabir Singh so that nobody blames her. For a moment, I was almost impressed by Luv Ranjan’s self-awareness to use toxic masculinity as a smokescreen.
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Aniplex USA
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Ittefaq talks about a challenging investigation of a double murder case. Dev, a police officer interrogates two witnesses who are also the suspects in a murder case to find out the truth. The screenplay was written by Abhay Chopra, Shreyas Jain, and Nikhil Mehrotra. The film was produced by Shah Rukh Khan, Karan Johar, Gauri Khan, Renu Ravi Chopra, and Hiroo Yash Johar and directed by Abhay Chopra. The makers of the film disclosed that the film will have a different climax than the original film Ittefaq (1969). This 2017 mysterious thriller stars Sidharth Malhotra, Akshaye Khanna, and Sonakshi Sinha. Clear cut editing by Nitin Baid and adept cinematography by Michal Luka makes it a watchable movie. It was released on 3 November 2017 and was distributed by AA Films. The music was composed by Tanishk Bagchi. The film was made on a budget of ₹29 crores and it collected ₹ 56.26 crores at the box office. The Censor Board has categorized the movie under UA certification and occupies a screen time of 107 minutes. The film has a non-stop schedule and was completed in 50 days.<br/>Karan Johar and Shah Rukh Khan have come together to bring to us a brand new Ittefaq in their 10th collaboration. A remake of the 1969 film Ittefaq, directed by Yash Chopra, the film has Sidharth Malhotra stepping into the shoes of Rajesh Khanna, Sonakshi Sinha in Nanda’s character and Akshaye Khanna as a cop played by Iftekhar in the original. The trailers promised an edge of the seat drama for all those who haven’t seen the original. But what about those who already have? I was really looking forward to find out what’s new in Sidharth-Sonakshi’s Ittefaq.<br/>One rainy night in Mumbai, two murders, two versions, two suspects, one truth. UK based novelist Vikram Sethi (Sidharth) is a prime suspect in two murders. One, of his wife Catherine and another of Maya’s (Sonakshi) husband Shekhar. While he has been pleading not guilty, Maya has been accusing him of killing her husband. For investigating officer Dev (Akshaye), both are suspects till he unearths the truth and finds Vikram’s motive behind killing Shekhar. Both Sidharth and Maya’s versions of the night when it all happened are believable, leaving you confused about who the real killer is. Are they really innocent or is one of them lying? Could there be a third person who’s actually committed the crime? Does the police truly want to nab the killer or just close this high profile case ASAP? Are these two murders on the same night, just hours away from each other an Ittefaq or have a connection?<br/>
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The character Kabir Singh, or Arjun Reddy for that matter, is basically an updated Devdas, a loser in love, with additional anger management issues, who hits the bottle at the drop of the hat. There’s even a Chunni babu in his life in the form of bestie Shiva who keeps coming to his rescue and appears to have no life whatsoever of his own. In fact not a single character in the apology of a script — from his college principal to the family to the hospital staff — seems to have any raison d’etre other than pandering needlessly to a man, who, instead of any sympathy or indulgence for his “troubled” mind needs some serious treatment and therapy to control the inherent noxiousness he is spreading in the world around him. The entire arc of the film is to somehow make his negativity attractive, explain it away as “unconventional” and have him find redemption despite his unforgivable ways. Well, he is a genius at everything after all, even at performing surgeries when he is sloshed and coked out.<br/><br/>Having watched and balked at Arjun Reddy for its celebration of a misogynistic, infantile bully of a hero, Kabir Singh felt like a doubly suffocating experience. One that makes you feel violated. Devdas at least had the headstrong Paro and graceful Chandramukhi, two beholden women alright but with personalities of their own, to bring some sense of balance to the man-woman game. Here the woman is denied any agency whatsoever. She is a property, marked and owned by the man. She will meekly follow him wherever he takes her, eyes always down, is masochistic in allowing herself to bear with his violent ways. While the soulful ditty in the background plays “tujhpe hi to mera haq hai (I have the right on you)”. He is the protector and the saviour.
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Gamer's Little Playground
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