Comedy is one of the most diverse yet undefined genres in Hindi film industry, thus filmmakers find their tweaks in order to keep the genre alive and the film standing tall, in an overcrowded arena. ‘Suraj Pe Mangal Bhaari’’, tries hard to stay unique but falls short owing to a few unimaginative, or regular tropes of good-guy behaviour in a satirical world. The film also lacks commentary.

Set in the 90s, the film is the story of Suraj Singh Dhillon, a good Punjabi boy born and brought up in Mumbai with a thriving milk business. His path crosses with Madhu Mangal Rane and there begins a tom-and-jerry chase of revenge and one-upmanship between the twp, where families get involved and things go on a roller-coaster ride. On paper, this Abhishek Sharma directorial is interesting and witty, however, the execution is not at par. The film could’ve been made crisper by cutting off a few minutes here and there, and by letting go a few one-liners that don’t actually pack any punch.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hs2MPHRkP9A" width="560"></iframe>

The film’s biggest strength is its cast. Diljit Dosanjh is the star of the film in every sense possible. The singer turned actor has a screen presence and comic timing that might remind you of Kishore Kumar in films like ‘Chalti Ka Naam Gadi’ and ‘Do Dooni Chaar’. He is effortless on screen and probably the show-stopper in a film laced with seasoned actors like Manoj Bajpayee, Supriya Pilgaounkar, Vijay Raaz, Manoj and Seema Pahwa. In scenes between him and Bajpayee, Dosanj takes away the spotlight with his freshness and innocence. Bajpayee delivers what is expected of him, but appears a bit tired and worn-out in certain scenes. Fatima Sana Sheikh’s Tulsi Rane deserved more meat than what was offered. She is a lost cause in the tug-of-ego between her brother and her lover. For a talent like Sheikh, we expect better than just a half-hearted attempt to portray an ambitious woman looking to become Mumbai's first female DJ.&nbsp;

The film does not have any larger issue in hand. It is paced fine and keeps you invested with the characters and their emotions. There’s certain nostalgia of the 90s, that’s refreshing. However these are the points that draw this film back as well because you see on screen the potential of something great, but that greatness is never achieved, making you feel a bit disappointed in the end. What could have been a great comic ride, turns into a passable pop-corn muncher. Nothing bad, but nothing great either. The film in all likelihood falls in a forgetful pit like numerous other romantic-comedies.&nbsp; 
&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YaSVWTkBaeA" width="560"></iframe>

‘Suraj Pe Mangal Bhari’ could’ve been another rib-tickler with a bit of strong writing and even stronger editing. However, giving credit where it's due, Diljit Dosanjh deserves more films like this to show the world of cinema that what an asset he could be, only if we know how to retain him with entertaining stories because this Punjabi singer knows his worth pretty well and filmmakers have to pull up their socks to fully tap into the potential that he carries.&nbsp;

Overall, watch this film if you want to see Diljit hold his ground strongest in an actor-driven, satirical-comedy or if you are a lover of the genre and don’t mind a passable flick. Otherwise, 'Suraj Pe Mangal Bhari' doesn’t offer anything exquisite or unique. It’s a promise half-fulfilled.&nbsp;

Comedy is one of the most diverse yet undefined genres in Hindi film industry, thus filmmakers find their tweaks in order to keep the genre alive and the film standing tall, in an overcrowded arena.

Comedy is one of the most diverse yet undefined genres in Hindi film industry, thus filmmakers find their tweaks in order to keep the genre alive and the film standing tall, in an overcrowded arena. ‘Suraj Pe Mangal Bhaari’’, tries hard to stay unique but falls short owing to a few unimaginative, or regular tropes of good-guy behaviour in a satirical world. The film also lacks commentary. Set in the 90s, the film is the story of Suraj Singh Dhillon, a good Punjabi boy born and brought up in Mumbai with a thriving milk business. His path crosses with Madhu Mangal Rane and there begins a tom-and-jerry chase of revenge and one-upmanship between the twp, where families get involved and things go on a roller-coaster ride. On paper, this Abhishek Sharma directorial is interesting and witty, however, the execution is not at par. The film could’ve been made crisper by cutting off a few minutes here and there, and by letting go a few one-liners that don’t actually pack any punch. The film’s biggest strength is its cast. Diljit Dosanjh is the star of the film in every sense possible. The singer turned actor has a screen presence and comic timing that might remind you of Kishore Kumar in films like ‘Chalti Ka Naam Gadi’ and ‘Do Dooni Chaar’. He is effortless on screen and probably the show-stopper in a film laced with seasoned actors like Manoj Bajpayee, Supriya Pilgaounkar, Vijay Raaz, Manoj and Seema Pahwa. In scenes between him and Bajpayee, Dosanj takes away the spotlight with his freshness and innocence. Bajpayee delivers what is expected of him, but appears a bit tired and worn-out in certain scenes. Fatima Sana Sheikh’s Tulsi Rane deserved more meat than what was offered. She is a lost cause in the tug-of-ego between her brother and her lover. For a talent like Sheikh, we expect better than just a half-hearted attempt to portray an ambitious woman looking to become Mumbai's first female DJ. The film does not have any larger issue in hand. It is paced fine and keeps you invested with the characters and their emotions. There’s certain nostalgia of the 90s, that’s refreshing. However these are the points that draw this film back as well because you see on screen the potential of something great, but that greatness is never achieved, making you feel a bit disappointed in the end. What could have been a great comic ride, turns into a passable pop-corn muncher. Nothing bad, but nothing great either. The film in all likelihood falls in a forgetful pit like numerous other romantic-comedies. ‘Suraj Pe Mangal Bhari’ could’ve been another rib-tickler with a bit of strong writing and even stronger editing. However, giving credit where it's due, Diljit Dosanjh deserves more films like this to show the world of cinema that what an asset he could be, only if we know how to retain him with entertaining stories because this Punjabi singer knows his worth pretty well and filmmakers have to pull up their socks to fully tap into the potential that he carries. Overall, watch this film if you want to see Diljit hold his ground strongest in an actor-driven, satirical-comedy or if you are a lover of the genre and don’t mind a passable flick. Otherwise, 'Suraj Pe Mangal Bhari' doesn’t offer anything exquisite or unique. It’s a promise half-fulfilled.

'Suraj Pe Mangal Bhari' review: Diljit Dosanjh takes the spotlight in this otherwise passable comedy

Rohena Gera’s&nbsp;internationally acclaimed debut feature,&nbsp;‘Sir’&nbsp; is in the theatres for a post-pandemic release. 
 
The film, starring&nbsp;Tillotama Shome,&nbsp;Vivek Gomber and Geetanjali Kulkarni had its World Premiere at the&nbsp;71st&nbsp;International Cannes Film Festival, in 2018, in the Critics Week competition section&nbsp;making Rohena Gera the first woman filmmaker to bag&nbsp;Gan Foundation Award for distribution. 
 
Talking about the delay in the release of the film, the director, tells WION, "I made the film for India and then it had a crazy international response, from where it got picked up for distribution in many other countries. I got busy travelling and wanted to give proper time to its India release." 
 
The film initially aimed for a March 20 release this year, however, the pandemic followed by a nation-wide lockdown forced its release to shift to November 13. "It's finally out and I hope the government keeps the theatres open till then," quips Rohena.&nbsp; 
 
 
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/tXxoTemNSDA" width="560"></iframe> 
Before 'Sir', Rohena directed a documentary, 'What's Love Got to Do?', a piece that questioned the idea of arranged marriages. On the concept of the docu-film, Rohena says, "I love love-stories. Films that question the idea of love-stories in urban spaces. People like us, urban people, would watch all kind of love-stories but still opt for arranging marriages.' What's Love' raised a basic question, is love more important or is the arrangement more important." 
 
Carrying on her love for romantic stories, Gera says, "In this film when you say is love enough, it's really about if love can overcome barriers. The film really appeals to the best in us." 
 
The director has a really interesting way to look at romance and calls love 'an equaliser'. "What I love about love-stories is that when you are in love with a person you automatically sees the other person's point of view. When you fall in love with a person different from you, you get an exposure to see the world from a completely different perspective. There's real beauty in that idea of enriching your life through a love story." 
 
Produced by Inkpot Films (Brice Poisson and Rohena Gera), and co-produced by Ciné-Sud Promotion, the film&nbsp;is a story of&nbsp;a Marathi widowed domestic&nbsp;worker who finds a complicated romantic spark with her recently single employer who’s just returned from the US after breaking off his engagement.&nbsp;&nbsp; 
 
Speaking about the birth of the film, Gera elaborates, "We have a very intimate relationship with people who work at our homes, they know almost all our life's details, yet there's a distance with which we treat them. This is something that has always bothered me. I wanted to make a film that could address the class-difference, without being preachy." 
 
So what made her turn to a love-story? The director answers, "Probably because of 'What's love' and working on the idea of love, I decided to approach this difference through a love story. In a love-story, two people are pretty much equal. However rich or poor you may be, if a person you love, doesn't love you back, it doesn't matter what you have in your bank account. So, I thought it was a nice way to make each character equal and then to explore what is the barrier actually. Love-story was a way to approach the class difference in a gentle way. " 
 
 
 
Tillotama, who essayed the role of the house Alice in Mira Nair's 'Monsoon Wedding', was Gera's choice for protagonist Ratna for several reasons, however, the director was a little sceptical over getting a positive reply from her initially. Recalling the thought, she says, "Tillotama is a wonderful actress. She's also extremely hardworking and sincere. 'Monsoon Wedding' was a big fear for me because I was afraid she would reject the film in order to not be typecast. But, she read the script, liked the role and wrote back, sounding all excited.&nbsp; 
 
"I think she's the right person for the film because the portrayal of Ratna is a complex one. She's a happy character, but she's not a stupid-happy character. She's an optimistic person but she's had a tough life. There's a level of complexity that Tillotama can bring to a role, where she maintains a dignity required by the character.", she adds 
 
When it comes to sensitive issues, there's a risk of misrepresentation that a maker might face. On being asked if she feared misappropriating the class-difference, Gera answers, "She's convincing as a domestic worker. Tillotama is very sensitive to misrepresentation and careful about misappropriation.&nbsp;For me, it's about being sensitive while writing. I've written the film quite carefully so as to not talk down in any way to the character." 
 
Elaborating on the same lines with a gendered example, Gera feels that its similar issue for women's character to be written from a woman's perspective. She says "It so happens that there are times when there are men writing women's characters. Someone asked me about the idea of Cinderella yesterday if I was writing an anti-Cinderella story. But, Cinderella never entered my mind, I'm a woman writing about a woman. I'm not waiting for somebody to come and save her." 
 
"The fundamental structure of a man saving a woman has not come from a woman writer. Along the way, who wrote those fairy-tales. those stories?" she asks.&nbsp; 
 
The onset of the pandemic and shutting down of cinema halls has seen a larger chunk of production houses and independent films move to streaming platforms. Countering the perception of festival films are meant for a niche audience, Gera wants 'Sir' to reach a larger audience, the people it's actually meant for. 
 
&nbsp;She feels that when a film directly goes to a streamer, its relation with the audience is mediated.&nbsp; "I have been fighting for the film to not just be shown to a selective, subscriber-based audience of OTT platforms. I wanted it to be released for a larger theatre audience, where people choose to go and see a film and not just stumble upon it while scrolling. I want to face the feedback, to see if the audience get what I was trying to convey or not. Which is a bit difficult from the privilege, targetted audience", she adds. 
 
Gera, now out with her maiden feature film has already started working on her next project. "There's a silver lining of COVID. Once the release got pushed and I flew back to France, to be with my family. I had enough time to start working on a new project." she quips. 
 
However, she is quick to add, "After international recognition, you have constant doubt, self-censorship if your next will be good enough. There's a certain expectation attached to you, which you try and fulfil." 
 
'Sir' is among the top&nbsp;5 highest-grossing Indian films&nbsp;released&nbsp;theatrically in France including 'Salaam Bombay' and 'The&nbsp;Lunchbox'.&nbsp;The film has released theatrically in more than 25 countries across the world and has garnered critical acclaim and popular success.&nbsp;&nbsp;

Rohena Gera’s internationally acclaimed debut feature, ‘Sir’ is in the theatres for a post-pandemic release. The film, starring Tillotama Shome, Vivek Gomber and Geetanjali Kulkarni had its World Premiere at the 71st International Cannes Film Festival, in 2018, in the Critics Week competition section making Rohena Gera the first woman filmmaker to bag Gan Foundation Award for distribution.

Rohena Gera’s internationally acclaimed debut feature, ‘Sir’ is in the theatres for a post-pandemic release. The film, starring Tillotama Shome, Vivek Gomber and Geetanjali Kulkarni had its World Premiere at the 71st International Cannes Film Festival, in 2018, in the Critics Week competition section making Rohena Gera the first woman filmmaker to bag Gan Foundation Award for distribution. Talking about the delay in the release of the film, the director, tells WION, "I made the film for India and then it had a crazy international response, from where it got picked up for distribution in many other countries. I got busy travelling and wanted to give proper time to its India release." The film initially aimed for a March 20 release this year, however, the pandemic followed by a nation-wide lockdown forced its release to shift to November 13. "It's finally out and I hope the government keeps the theatres open till then," quips Rohena. Before 'Sir', Rohena directed a documentary, 'What's Love Got to Do?', a piece that questioned the idea of arranged marriages. On the concept of the docu-film, Rohena says, "I love love-stories. Films that question the idea of love-stories in urban spaces. People like us, urban people, would watch all kind of love-stories but still opt for arranging marriages.' What's Love' raised a basic question, is love more important or is the arrangement more important." Carrying on her love for romantic stories, Gera says, "In this film when you say is love enough, it's really about if love can overcome barriers. The film really appeals to the best in us." The director has a really interesting way to look at romance and calls love 'an equaliser'. "What I love about love-stories is that when you are in love with a person you automatically sees the other person's point of view. When you fall in love with a person different from you, you get an exposure to see the world from a completely different perspective. There's real beauty in that idea of enriching your life through a love story." Produced by Inkpot Films (Brice Poisson and Rohena Gera), and co-produced by Ciné-Sud Promotion, the film is a story of a Marathi widowed domestic worker who finds a complicated romantic spark with her recently single employer who’s just returned from the US after breaking off his engagement. Speaking about the birth of the film, Gera elaborates, "We have a very intimate relationship with people who work at our homes, they know almost all our life's details, yet there's a distance with which we treat them. This is something that has always bothered me. I wanted to make a film that could address the class-difference, without being preachy." So what made her turn to a love-story? The director answers, "Probably because of 'What's love' and working on the idea of love, I decided to approach this difference through a love story. In a love-story, two people are pretty much equal. However rich or poor you may be, if a person you love, doesn't love you back, it doesn't matter what you have in your bank account. So, I thought it was a nice way to make each character equal and then to explore what is the barrier actually. Love-story was a way to approach the class difference in a gentle way. " Tillotama, who essayed the role of the house Alice in Mira Nair's 'Monsoon Wedding', was Gera's choice for protagonist Ratna for several reasons, however, the director was a little sceptical over getting a positive reply from her initially. Recalling the thought, she says, "Tillotama is a wonderful actress. She's also extremely hardworking and sincere. 'Monsoon Wedding' was a big fear for me because I was afraid she would reject the film in order to not be typecast. But, she read the script, liked the role and wrote back, sounding all excited. "I think she's the right person for the film because the portrayal of Ratna is a complex one. She's a happy character, but she's not a stupid-happy character. She's an optimistic person but she's had a tough life. There's a level of complexity that Tillotama can bring to a role, where she maintains a dignity required by the character.", she adds When it comes to sensitive issues, there's a risk of misrepresentation that a maker might face. On being asked if she feared misappropriating the class-difference, Gera answers, "She's convincing as a domestic worker. Tillotama is very sensitive to misrepresentation and careful about misappropriation. For me, it's about being sensitive while writing. I've written the film quite carefully so as to not talk down in any way to the character." Elaborating on the same lines with a gendered example, Gera feels that its similar issue for women's character to be written from a woman's perspective. She says "It so happens that there are times when there are men writing women's characters. Someone asked me about the idea of Cinderella yesterday if I was writing an anti-Cinderella story. But, Cinderella never entered my mind, I'm a woman writing about a woman. I'm not waiting for somebody to come and save her." "The fundamental structure of a man saving a woman has not come from a woman writer. Along the way, who wrote those fairy-tales. those stories?" she asks. The onset of the pandemic and shutting down of cinema halls has seen a larger chunk of production houses and independent films move to streaming platforms. Countering the perception of festival films are meant for a niche audience, Gera wants 'Sir' to reach a larger audience, the people it's actually meant for. She feels that when a film directly goes to a streamer, its relation with the audience is mediated. "I have been fighting for the film to not just be shown to a selective, subscriber-based audience of OTT platforms. I wanted it to be released for a larger theatre audience, where people choose to go and see a film and not just stumble upon it while scrolling. I want to face the feedback, to see if the audience get what I was trying to convey or not. Which is a bit difficult from the privilege, targetted audience", she adds. Gera, now out with her maiden feature film has already started working on her next project. "There's a silver lining of COVID. Once the release got pushed and I flew back to France, to be with my family. I had enough time to start working on a new project." she quips. However, she is quick to add, "After international recognition, you have constant doubt, self-censorship if your next will be good enough. There's a certain expectation attached to you, which you try and fulfil." 'Sir' is among the top 5 highest-grossing Indian films released theatrically in France including 'Salaam Bombay' and 'The Lunchbox'. The film has released theatrically in more than 25 countries across the world and has garnered critical acclaim and popular success.

I was afraid Tillotama Shome might refuse 'Sir' because of 'Monsoon Wedding': Director Rohena Gera

The much anticipated season of Disney’s 'Mandalorian' is off to a good start. Streaming on Disney+ Hotstar, two episodes of Season 2 are out and they have offered fans enough enticement and excitement for the rest of the season. Now if you are Star Wars’ geek, you must already know that 'The Mandalorian' Season 2, aims to bring the Universe of the Lucas franchise and the series closer.

The first episode (and Chapter 9 in continuation with Season 1) titled ‘The Marshall’ made the makers' intention clear about calling back a few of the known names from the galaxy far far away. Continuing on its theme of a Western on the edge of the Star Wars galaxy, the first episode takes us to a mysterious new city full of dangerous criminals and monsters that roam the streets at night. Starting right where it left, Mando is on a mission to rejoin ‘The Child’ (Baby Yoda) with its tribe.

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/eW7Twd85m2g" width="560"></iframe>

‘The Marshall’ takes us back to Tatooine, but unlike the pure fan service we got while visiting the planet in Season 1, this time around, there's a lot more to discover. After a brief cameo from Amy Sedaris, who reprises her role as a friendly mechanic while dropping a dozen movie references in under a minute, Mando jets off to a new town where he encounters fresh faces, a possible ally, and an incredible monster to fight. 
 
Similarly, the next Chapter ‘The Passenger’ sees Peli giving Mando a lead on another covert of Mandalorians, but with a catch. He needs to ferry ‘Frog Lady’ and her unfertilized eggs to her home planet. Travelling through hyperspace will damage the goods, so it’s going to be a slow ride. Eventually, they get stranded on a snowy planet and have to fight their way through action staples (a canyon dogfight, sinking sand, spiders). 
 
The execution of the action, set-up and visual effects are at par (if not better) than the previous seasons. Jon Favreau&nbsp;has kept the spirit alive and kicking and the latest episode does the fan-service to all the Baby Yoda clubs, with abundant screen time and yet again establishing that ‘The Child’ is not just a cute package to be ferried but an inquisitive, grotesque creature. (He slurps down the unfertilized eggs of the poor lady, like a box of chocolate, at any given moment).

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mAA0hJp5MvU" width="560"></iframe>

&nbsp;

 
Season 1 might have existed in the Star Wars galaxy, but it was a new story about new characters with little connection to the mainline movies. Season 2 is already changing that approach in a big way. Episode 1 introduced a new character wearing some very familiar armour, and the final shot all but confirmed that one of the popular Star Wars characters&nbsp;is going to be the part of Mando's world soon.&nbsp;It's exciting to see for a fan, however, the clapbacks and references can send a casual fan or strict Mandalorian watcher in a bit of a tizzy (or a geek-verse with no end), losing what made this show special in the first place.

Hopefully, 'The Mandalorian' Season 2 can strike the right balance between its accessible space western story and some hardcore fan service. If the first two episodes are any indication, it's already on the right path. The Krayt dragon and the big mother spider- watching Mando taking on gigantic beasts in the first two episodes, only promises a thrilling, adventurous ride ahead. Then again, with ex-Jedi Ahsoka Tano still rumoured to show up, Moff Gideon waiting in the wings, and Baby Yoda's Force powers only growing, we could be getting something in 'Mandalorian' Season 2 that Season 1 never offered: a lightsaber battle.

Baby Yoda's antics and energetically weird tone of the episodes make it a delightful spectacle. Expect the fun to only double with more absurdity, a bit of nostalgia and Taika Waititi’s return to the director seat for a roller-coaster finale? Well, one can hope.

The much anticipated season of Disney’s 'Mandalorian' is off to a good start. Streaming on Disney+ Hotstar, two episodes of Season 2 are out and they have offered fans enough enticement and excitement for the rest of the season.

The much anticipated season of Disney’s 'Mandalorian' is off to a good start. Streaming on Disney+ Hotstar, two episodes of Season 2 are out and they have offered fans enough enticement and excitement for the rest of the season. Now if you are Star Wars’ geek, you must already know that 'The Mandalorian' Season 2, aims to bring the Universe of the Lucas franchise and the series closer. The first episode (and Chapter 9 in continuation with Season 1) titled ‘The Marshall’ made the makers' intention clear about calling back a few of the known names from the galaxy far far away. Continuing on its theme of a Western on the edge of the Star Wars galaxy, the first episode takes us to a mysterious new city full of dangerous criminals and monsters that roam the streets at night. Starting right where it left, Mando is on a mission to rejoin ‘The Child’ (Baby Yoda) with its tribe. ‘The Marshall’ takes us back to Tatooine, but unlike the pure fan service we got while visiting the planet in Season 1, this time around, there's a lot more to discover. After a brief cameo from Amy Sedaris, who reprises her role as a friendly mechanic while dropping a dozen movie references in under a minute, Mando jets off to a new town where he encounters fresh faces, a possible ally, and an incredible monster to fight. Similarly, the next Chapter ‘The Passenger’ sees Peli giving Mando a lead on another covert of Mandalorians, but with a catch. He needs to ferry ‘Frog Lady’ and her unfertilized eggs to her home planet. Travelling through hyperspace will damage the goods, so it’s going to be a slow ride. Eventually, they get stranded on a snowy planet and have to fight their way through action staples (a canyon dogfight, sinking sand, spiders). The execution of the action, set-up and visual effects are at par (if not better) than the previous seasons. Jon Favreau has kept the spirit alive and kicking and the latest episode does the fan-service to all the Baby Yoda clubs, with abundant screen time and yet again establishing that ‘The Child’ is not just a cute package to be ferried but an inquisitive, grotesque creature. (He slurps down the unfertilized eggs of the poor lady, like a box of chocolate, at any given moment). Season 1 might have existed in the Star Wars galaxy, but it was a new story about new characters with little connection to the mainline movies. Season 2 is already changing that approach in a big way. Episode 1 introduced a new character wearing some very familiar armour, and the final shot all but confirmed that one of the popular Star Wars characters is going to be the part of Mando's world soon. It's exciting to see for a fan, however, the clapbacks and references can send a casual fan or strict Mandalorian watcher in a bit of a tizzy (or a geek-verse with no end), losing what made this show special in the first place. Hopefully, 'The Mandalorian' Season 2 can strike the right balance between its accessible space western story and some hardcore fan service. If the first two episodes are any indication, it's already on the right path. The Krayt dragon and the big mother spider- watching Mando taking on gigantic beasts in the first two episodes, only promises a thrilling, adventurous ride ahead. Then again, with ex-Jedi Ahsoka Tano still rumoured to show up, Moff Gideon waiting in the wings, and Baby Yoda's Force powers only growing, we could be getting something in 'Mandalorian' Season 2 that Season 1 never offered: a lightsaber battle. Baby Yoda's antics and energetically weird tone of the episodes make it a delightful spectacle. Expect the fun to only double with more absurdity, a bit of nostalgia and Taika Waititi’s return to the director seat for a roller-coaster finale? Well, one can hope.

'The Mandalorian' Season 2 review: First two episodes promise a thrilling journey into the known 'Star Wars' galaxy

It is said that you find out about a stand-up comic’s relationship on Instagram and about their break-up on stage. Zee 5’s romantic-comedy ‘Comedy Couple’ shows the same. Stand -up scene in India has witnessed a rise in recent years, with many stand-alone comics making their names in the field. To break the clutter, Deep Sharma (Saqib Saleem) and Zoya Batra (Shweta Basu Prasad), &nbsp;a young couple, decide to take their acts on stage as a pair and instantly strike a chord with the youngsters.

The story is of the couple and the little and big problems they encounter due to their differences. Now there is no introduction, cute- meet, the build-up of romance and revealing climax in the film. It takes on the slice-of-life genre, with regular problems of a regular couple. Of course, the stand-up side of their life sees an interesting turn of events, commenting lightly on the state of freedom of speech in the country and how easily harmless jokes hurt the sentiments of people.

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/E6-H3X-p-D8" width="560"></iframe>

Directed by Nachiket Samant, 'Comedy Couple' feels fresh in its approach of regular run-of-the-mill Bollywood romantic comedies. It is light, fun, easy to relate to and sans melodrama. Though it does play on the trope of a regular small-town boy meets uptown girl, but again, in a country filled with aspiring young minds migrating to bigger cities, to feel free and independent, reality making a space on-screen is understandable.

There’s nothing path-breaking in the story and the intention of the film nowhere claims that to be the case. The execution is again ‘average’, something that the film celebrates through its main protagonist, Deep. Samant does successfully manage to engage the OTT viewer with hilarious twists and circumstantial turns, that make you feel deeply for both Deep and Zoya, at times. In a time when content is merely a click away from being fast-forwarded, you don’t feel like rushing this story.

The cast is the biggest strength of 'Comedy Couple'. Saqib once again impresses with his breezy screen presence and Shweta Basu Prasad is a treat to watch. Saqib portrays Deep as a young man who has found his passion for stand-up only after meeting a girl. He’s sensitive and believes that harmless lies make your life easier. Zoya, on the other hand, is the voice of the couple. She’s the funnier one between the two with all the punchlines, is open about her life with her vivacious mother and sees a long-standing future with Deep. She’s understanding and self-reliant. &nbsp;Both are nonchalantly grounded to their characters. Be it the romance between them or the fights, nothing feels over the top or unreasonable. Supporting the main leads are the likes of Pooja Bedi, Rajesh Tailang, Pranay Manchanda, Jasmeet Singh Bhatia and even comic Adaar Malik, who elevate the average story on the scale of likeability.

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZJndGmVK5iE" width="560"></iframe>

'Comedy Couple' deserves a watch because it breaks from the clutter. It portrays urban young romance in the most realistic way possible. It turns grim miseries of the society into ‘content’ for jokes and comments on them with hilarity. And most importantly, it gives you a comfort of romantic reliability in a world that seems dystopian and blurred (quite literally). To conclude, in a world expecting satirical comedy and punchlines, 'Comedy Couple' is a reliever, it won’t give you gut-punching, jaw-hurting laughter but a warm smile and a chuckle to remember it with.

PS: Don’t miss out on the soundtrack of the film.

&nbsp;

It is said that you find out about a stand-up comic’s relationship on Instagram and about their break-up on stage. Zee 5’s romantic-comedy ‘Comedy Couple’ shows the same.

It is said that you find out about a stand-up comic’s relationship on Instagram and about their break-up on stage. Zee 5’s romantic-comedy ‘Comedy Couple’ shows the same. Stand -up scene in India has witnessed a rise in recent years, with many stand-alone comics making their names in the field. To break the clutter, Deep Sharma (Saqib Saleem) and Zoya Batra (Shweta Basu Prasad), a young couple, decide to take their acts on stage as a pair and instantly strike a chord with the youngsters. The story is of the couple and the little and big problems they encounter due to their differences. Now there is no introduction, cute- meet, the build-up of romance and revealing climax in the film. It takes on the slice-of-life genre, with regular problems of a regular couple. Of course, the stand-up side of their life sees an interesting turn of events, commenting lightly on the state of freedom of speech in the country and how easily harmless jokes hurt the sentiments of people. Directed by Nachiket Samant, 'Comedy Couple' feels fresh in its approach of regular run-of-the-mill Bollywood romantic comedies. It is light, fun, easy to relate to and sans melodrama. Though it does play on the trope of a regular small-town boy meets uptown girl, but again, in a country filled with aspiring young minds migrating to bigger cities, to feel free and independent, reality making a space on-screen is understandable. There’s nothing path-breaking in the story and the intention of the film nowhere claims that to be the case. The execution is again ‘average’, something that the film celebrates through its main protagonist, Deep. Samant does successfully manage to engage the OTT viewer with hilarious twists and circumstantial turns, that make you feel deeply for both Deep and Zoya, at times. In a time when content is merely a click away from being fast-forwarded, you don’t feel like rushing this story. The cast is the biggest strength of 'Comedy Couple'. Saqib once again impresses with his breezy screen presence and Shweta Basu Prasad is a treat to watch. Saqib portrays Deep as a young man who has found his passion for stand-up only after meeting a girl. He’s sensitive and believes that harmless lies make your life easier. Zoya, on the other hand, is the voice of the couple. She’s the funnier one between the two with all the punchlines, is open about her life with her vivacious mother and sees a long-standing future with Deep. She’s understanding and self-reliant. Both are nonchalantly grounded to their characters. Be it the romance between them or the fights, nothing feels over the top or unreasonable. Supporting the main leads are the likes of Pooja Bedi, Rajesh Tailang, Pranay Manchanda, Jasmeet Singh Bhatia and even comic Adaar Malik, who elevate the average story on the scale of likeability. 'Comedy Couple' deserves a watch because it breaks from the clutter. It portrays urban young romance in the most realistic way possible. It turns grim miseries of the society into ‘content’ for jokes and comments on them with hilarity. And most importantly, it gives you a comfort of romantic reliability in a world that seems dystopian and blurred (quite literally). To conclude, in a world expecting satirical comedy and punchlines, 'Comedy Couple' is a reliever, it won’t give you gut-punching, jaw-hurting laughter but a warm smile and a chuckle to remember it with. PS: Don’t miss out on the soundtrack of the film.

'Comedy Couple' review: Saqib Saleem, Shweta Basu Prasad starrer stands out with its breezy take on romance and life

If you've been living under a rock (or just avoiding watching news for your own personal reasons),&nbsp; a little Canadian show 'Schitt's Creek' recently made history at Emmys 2020. The family-comedy show won the big television night by taking home seven awards in the comedy categories including the Best Actor, Actress, Director and Outstanding Cast.&nbsp; It was a clean sweep for the series and a historic one at that. Schitt’s broke a slew of records by becoming the first comedy to win all four main acting awards in one year, and also became the most awarded comedy in a single year. What's even more fascinating is the fact that the show found recognition in one of TV's biggest nights only with its final season. The six seasons of the Rose family and their struggles, concluded this year and while the fans bid goodbye to the show, the jury at the Emmys made sure to give them a gala farewell.

'Schitt's Creek' is about John Rose, a successful businessman who loses all his wealth and goes broke, only to find a home in a motel in a little unknown town called Schitt's Creek that he bought as a joke. The entire series is about him and his eccentric and dandy wife Moira Rose, as they try to adjust in this new life along with their two adult kids - Alexis Rose and David Rose. Featuring veteran actors like Eugene Levy and Catherine O' Hara along with brilliant Annie Murphy and talented Dany Levy, the show is the perfect blend of hope and distress, acceptance and denial, and a call to keep looking for greener pastures.

A blessing in Pandemic

As someone who came across this brilliant series during the awful pandemic, I can vouch when I say it's one of the most relevant pieces of art you can enjoy while cribbing about an uncertain future. The entire world could relate to the Roses when their world turned upside down overnight and they were left with nothing but their family in a two-room suite at an almost empty town. The interactions they never had in their mansions when everybody was busy in their own lives. From getting to know their child's middle name to their relationships and more, everything that happens between the Roses, resonates with the lockdown period spent with the family. Probably, this was the reason that while accepting his Award for Eugene thanked the Netflix audience for making this spark of a show, rage like fire and become visible enough to be noticed across the globe.

Characters that grow on you

The tale of a dysfunctional family, Schitt's Creek, takes on the humour of four bizarre characters and weaves into this beautiful, heartwarming yet hilarious narrative, that morphs into something beautiful in every season. John, as the patriarch of the family, is the softest of them all and the one who keeps his head out of water and breathes for the entire family. He is a caring husband, and puts in every effort to make his children's life less miserable than it already is. He is also a good friend to town's mayor Roland Schitt (who is again a character that takes a while to grow on you).&nbsp; Moira Rose, probably, deserves a whole other article. One of the most flamboyant characters in comedy series history, Moira, is a show in herself. Unapologetic, self-centered, a diva in every sense of the word, you feel her when she goes through a nervous breakdown and celebrates her 'caww'&nbsp; as she gets back on her feet without letting anyone walk over her.

David Rose is the pessimist son who celebrates queerness in the show without it looking like tokenism. He along with Patrick, make one of the most romantic pairings in the LGBTQIA+ TV history. I mean, yes, we all love Mitch and Cam from 'Modern Family', but David and Patrick take romance to another level. What's great about David (apart from his wardrobe), is his arch in the show - from being a complainer to a business owner. Similarly, his equation with sister Alexis, is as real as sibling relationships can get. Easily, one character who has the best arc in the show is Alexis, from a carefree,&nbsp; confused rich brat to a kind, compassionate, understanding and ambitious woman, Alexis is one character we all hope to be, at sometime in our lives.

Other than the Rose family, each and every supporting cast in the series, owns your heart - from Stevie, Roland to Bob, Ted and Twlya. Every character has been given enough attention during the six season run, to find their own story and path, without feeling rushed or incomplete. All the characters are a prime example of what good writing and attention to detail can bring out in a story, which has nothing else to offer other than human bonds, 
&nbsp; 
Quirks- like never before

As it is with every sit-com, Schitt's Creek also gives you ample one-liners that deserve their own fandom. While Moira Rose wears the crown with her "What's your favourite season? Awards." to her "Stop acting like a disgruntled pelican" and her style of saying 'bebe'. Alexis 'Ew David' is probably one of the most famous quote coming from the show. The show has ample quirks in it to become a pop-culture phenomena. The niche audience discovered it in 2015, but the way the Roses' tragedy fits perfectly, and eerily in these difficult times, is something that the pop-culture enthusiasts will study for years to come.

Another standout in the series is the characters' looks and outfits. Be it Moira's innumerable wigs, to her outrageous ensembles, if any character can give Met Gala red-carpet a run for its money, it's Moira Rose. David's amazing sweaters deserve a retail place of their own, his every look shouts 'MOOD' in Alexis' voice.

A wholesome show that never sounds preachy

As stated by the cast members during the Emmys, the main purpose of the show was to celebrate inclusivity and optimism during trying times, and it serves it pretty well. From one of the best gay romances in TV history with a song of their own, to wholesome friendships and dysfunctional bindings, Schitt's Creek celebrates them all. It's a safe space where women who keep themselves first are celebrated, being unapologetic is encouraged, queerness is showcased without any past trauma, shame and with simple ease, and economic disparity is showcased without any mockery, but as a set-back to achieve something more permanent. A show that is genius in terms of creativity and limitless in terms of inclusivity. All that, in a simple setting of a small town. Schitt's Creek does have a big Canadian heart of its origin.

A year when everything looks bleak and the tunnel seems to be never ending, Schitt's Creek is a little light of warmth and happiness that might give you joy for a little while, as you try to make it through. Just like the Roses, the greener pastures await, and like Moira says, "One must champion oneself and say, I'm ready for this."

And there's nothing more this shows teaches us more than valuing yourself and those around you. Maybe the entire Canada felt the same emotion as they lit up the CN tower in the colour of Schitt’s Creek to honor its historic win.

Cheers to the show that deserved all the success it got this week and more. Now, it's time for another rerun because the world deserves more of Roses and ‘it’s never bad to ask for what you deserve’.

If you've been living under a rock (or just avoiding watching news for your own personal reasons), a little Canadian show 'Schitt's Creek' recently made history at Emmys 2020.

If you've been living under a rock (or just avoiding watching news for your own personal reasons), a little Canadian show 'Schitt's Creek' recently made history at Emmys 2020. The family-comedy show won the big television night by taking home seven awards in the comedy categories including the Best Actor, Actress, Director and Outstanding Cast. It was a clean sweep for the series and a historic one at that. Schitt’s broke a slew of records by becoming the first comedy to win all four main acting awards in one year, and also became the most awarded comedy in a single year. What's even more fascinating is the fact that the show found recognition in one of TV's biggest nights only with its final season. The six seasons of the Rose family and their struggles, concluded this year and while the fans bid goodbye to the show, the jury at the Emmys made sure to give them a gala farewell. 'Schitt's Creek' is about John Rose, a successful businessman who loses all his wealth and goes broke, only to find a home in a motel in a little unknown town called Schitt's Creek that he bought as a joke. The entire series is about him and his eccentric and dandy wife Moira Rose, as they try to adjust in this new life along with their two adult kids - Alexis Rose and David Rose. Featuring veteran actors like Eugene Levy and Catherine O' Hara along with brilliant Annie Murphy and talented Dany Levy, the show is the perfect blend of hope and distress, acceptance and denial, and a call to keep looking for greener pastures. A blessing in Pandemic As someone who came across this brilliant series during the awful pandemic, I can vouch when I say it's one of the most relevant pieces of art you can enjoy while cribbing about an uncertain future. The entire world could relate to the Roses when their world turned upside down overnight and they were left with nothing but their family in a two-room suite at an almost empty town. The interactions they never had in their mansions when everybody was busy in their own lives. From getting to know their child's middle name to their relationships and more, everything that happens between the Roses, resonates with the lockdown period spent with the family. Probably, this was the reason that while accepting his Award for Eugene thanked the Netflix audience for making this spark of a show, rage like fire and become visible enough to be noticed across the globe. Characters that grow on you The tale of a dysfunctional family, Schitt's Creek, takes on the humour of four bizarre characters and weaves into this beautiful, heartwarming yet hilarious narrative, that morphs into something beautiful in every season. John, as the patriarch of the family, is the softest of them all and the one who keeps his head out of water and breathes for the entire family. He is a caring husband, and puts in every effort to make his children's life less miserable than it already is. He is also a good friend to town's mayor Roland Schitt (who is again a character that takes a while to grow on you). Moira Rose, probably, deserves a whole other article. One of the most flamboyant characters in comedy series history, Moira, is a show in herself. Unapologetic, self-centered, a diva in every sense of the word, you feel her when she goes through a nervous breakdown and celebrates her 'caww' as she gets back on her feet without letting anyone walk over her. David Rose is the pessimist son who celebrates queerness in the show without it looking like tokenism. He along with Patrick, make one of the most romantic pairings in the LGBTQIA+ TV history. I mean, yes, we all love Mitch and Cam from 'Modern Family', but David and Patrick take romance to another level. What's great about David (apart from his wardrobe), is his arch in the show - from being a complainer to a business owner. Similarly, his equation with sister Alexis, is as real as sibling relationships can get. Easily, one character who has the best arc in the show is Alexis, from a carefree, confused rich brat to a kind, compassionate, understanding and ambitious woman, Alexis is one character we all hope to be, at sometime in our lives. Other than the Rose family, each and every supporting cast in the series, owns your heart - from Stevie, Roland to Bob, Ted and Twlya. Every character has been given enough attention during the six season run, to find their own story and path, without feeling rushed or incomplete. All the characters are a prime example of what good writing and attention to detail can bring out in a story, which has nothing else to offer other than human bonds, Quirks- like never before As it is with every sit-com, Schitt's Creek also gives you ample one-liners that deserve their own fandom. While Moira Rose wears the crown with her "What's your favourite season? Awards." to her "Stop acting like a disgruntled pelican" and her style of saying 'bebe'. Alexis 'Ew David' is probably one of the most famous quote coming from the show. The show has ample quirks in it to become a pop-culture phenomena. The niche audience discovered it in 2015, but the way the Roses' tragedy fits perfectly, and eerily in these difficult times, is something that the pop-culture enthusiasts will study for years to come. Another standout in the series is the characters' looks and outfits. Be it Moira's innumerable wigs, to her outrageous ensembles, if any character can give Met Gala red-carpet a run for its money, it's Moira Rose. David's amazing sweaters deserve a retail place of their own, his every look shouts 'MOOD' in Alexis' voice. A wholesome show that never sounds preachy As stated by the cast members during the Emmys, the main purpose of the show was to celebrate inclusivity and optimism during trying times, and it serves it pretty well. From one of the best gay romances in TV history with a song of their own, to wholesome friendships and dysfunctional bindings, Schitt's Creek celebrates them all. It's a safe space where women who keep themselves first are celebrated, being unapologetic is encouraged, queerness is showcased without any past trauma, shame and with simple ease, and economic disparity is showcased without any mockery, but as a set-back to achieve something more permanent. A show that is genius in terms of creativity and limitless in terms of inclusivity. All that, in a simple setting of a small town. Schitt's Creek does have a big Canadian heart of its origin. A year when everything looks bleak and the tunnel seems to be never ending, Schitt's Creek is a little light of warmth and happiness that might give you joy for a little while, as you try to make it through. Just like the Roses, the greener pastures await, and like Moira says, "One must champion oneself and say, I'm ready for this." And there's nothing more this shows teaches us more than valuing yourself and those around you. Maybe the entire Canada felt the same emotion as they lit up the CN tower in the colour of Schitt’s Creek to honor its historic win. Cheers to the show that deserved all the success it got this week and more. Now, it's time for another rerun because the world deserves more of Roses and ‘it’s never bad to ask for what you deserve’.

'Schitt’s Creek' creates history at Emmys 2020. Here’s why it deserves all the applause

As a millennial, Disney has been a big part of my life growing up in the early 2000s. For any animation film junkie, the moment you ask their favourite animated film, 8 out of 10 times the answer is a Disney film. Does that mean no other studio has the fan-base that matches the supremacy of the studio giant? Maybe yes. However, there’s a studio far out in the east that has given Disney a run for its content since the 1980s. Studio Ghibli, established in 1985, is a prominent name in the Japanese Anime genre and is known for heart-warming films depicting the nuances of Japanese folklore and traditions. Though Buena Vista (Walt Disney Motion Pictures) holds the international distribution rights of Ghibli Studio films, the power of content is still in the hands of the latter with a serious ‘no cuts’ clause.

So what makes us talk about the Ghibli studios right now? Well, Disney has recently released the live-action version of one of its first South-Asian films, 'Mulan', and while we all love the 1998 animated version, the film, like much of its other Disney Renaissance counterparts, lacked the depth of the diversity. While the live-action film is yet to release in India, and efforts have been made in the times of inclusion, to make it as authentic to the culture it is representing, let’s take a step back and refocus our gaze to a studio which has been relentlessly producing authentic eastern stories, the kinds Disney can never make.

The ‘Spirited’ adventures

The essential soul of the Ghibli studios are it's magical creates, which unlike fairies, are rooted in the culture of the east. The spirits are the magical beings in the universe, derived from the ancient cultural belief of ‘everything is alive’. In ‘Princess Mononoke’, the main story revolves around the Forest Spirit. In Ghibli’s most successful film, ‘Spirited Away’, the entire magical journey takes place in the spirit land, the kinds we hear stories from our grandparents. In ‘Castle In The Air’, it’s again the magic of the stone that drives the entire storyline. The entire magic in the Ghibli Universe is rooted to the elements that make the Universe. They are not just writers’ figment of imagination, but imagination rooted into a culture’s history and beliefs. Now, Disney can make their Mushus, as a part of comic relief, but in Ghibli’s universe Mushu would be more than that - it’ll be an ancestral significance with not just magic but a guiding light to Mulan’s spirit.

<h5><img alt="p" data-entity-type="file" data-entity-uuid="dba9e557-5e51-464c-83e1-6abebfd66d45" src="//cdn.wionews.com/sites/default/files/inline-images/Princess%20Monoke.jpg" /> 
(A still from Princess Mononoke) </h5>

Magic in mundane

In ‘My Neighbour Totoro’, Mei and Satsuki’s mother is suffering from an illness, leaving the two young girls to support each other. It is during these dark times that they become friends with the magic within, and their surrounding, invoking the care of the great forest spirit. In ‘Kiki’s delivery Service’,&nbsp; a witch finds her calling in something as mundane as delivering goods to people. In ‘Whisper In The Heart’, the whole story revolves around a girl and her passion for writing a story and discovering her affection towards an ambitious boy. The emotions that are mostly addons, in grand and adventurous Disney films, become plot for an entire film in the Ghibli world. The care to nuances and emotions given to the characters in each and every film is commendable, making even the most mundane life magical without even a touch of pixie dust.

<h5><img alt="n" data-entity-type="file" data-entity-uuid="9d09ed8c-2168-46ca-b3c1-95313d597699" src="//cdn.wionews.com/sites/default/files/inline-images/My%20Neighbour%20Totoro.jpg" /> 
(A still from My Neighbour Totoro) </h5>

Gut-wrenching other side

Not everything in this Universe is happy and cheerful. The Ghibli Universe doesn’t shy away from presenting harsh realities of characters. The best example is ‘Grave of Fireflies’, a film&nbsp; set during World War II and the effect it had on siblings, who become orphans and are left to fend for themselves. The innocence of Setsuka and the struggle of her older brother Seita, splits your heart into two and you are left wondering about these two characters for days to come. No Disney animation has been able to capture the girth of existence and the darkness of human apathy till now. Ghibli did it in 1988.

Not just PG-13 anime

Since the 2010s, notably since ‘The Princess and the Frog’, Disney has made a clear point in making films that are not just about magic. With films like ‘Up’, ‘Inside Out’, ‘Coco’, and even ‘Moana’, we’ve seen great diversity in the content, making it not just a fairytale meant for kids. However, it still has a long way to tread, to follow the footsteps of the Ghibli Universe. With films like, ‘Only Yesterday’, ‘From Up The Poppy Hill’ and ‘The Tale of Princess Kaguya’, Ghibli Universe has set a benchmark, too high to achieve. ‘The Tale of Princess Kaguya’, talks about spirituality , the essence of enlightenment and the price of that enlightenment. The story starts like any fairytale but takes a deeper turn when Kayuga reveals her actual motive of coming to Earth and giving up the land of enlightenment. This is a film you can’t watch with your seven-year-old, without the kid having some deeper questions. Similarly, ‘Only Yesterday’, is a series of a woman’s past experience, told in such a simplistic and true fashion, that even a 25-year-old, sitting in India could relate to them.

<h5><img alt="p" data-entity-type="file" data-entity-uuid="ec26fa82-049f-42a9-93fc-21adc44e38be" src="//cdn.wionews.com/sites/default/files/inline-images/Ponyo.jpg" /> 
(A still from Ponyo)&nbsp; </h5>

Japan has always been ahead of the curve with its anime genre, with classics like 'Naruto' and 'The Death Note', the Manga series has enjoyed a niche and deep fan following. However, the takers of Ghibli Universe don't have to be niche, as they are as simplistic as Disney films, yet as deep as the Japanese storytelling. Rooted in culture, with mass appeal, the Ghibli Universe is everything that Disney lacks in terms of far-eastern representation and inclusiveness. If you’ve been a hardcore Disney buff, you need to give Studio Ghibli a chance and let yourself experience a world of animation that goes beyond the reach and understanding of the west.

&nbsp;Also, an additional tip, watch them in original Japanese audio with subtitles, there are a lot of gestures and tone that the English dubbed version misses out on, just like the authentic magic of the east.

As a millennial, Disney has been a big part of my life growing up in the early 2000s. For any animation film junkie, the moment you ask their favourite animated film, 8 out of 10 times the answer is a Disney film.

As a millennial, Disney has been a big part of my life growing up in the early 2000s. For any animation film junkie, the moment you ask their favourite animated film, 8 out of 10 times the answer is a Disney film. Does that mean no other studio has the fan-base that matches the supremacy of the studio giant? Maybe yes. However, there’s a studio far out in the east that has given Disney a run for its content since the 1980s. Studio Ghibli, established in 1985, is a prominent name in the Japanese Anime genre and is known for heart-warming films depicting the nuances of Japanese folklore and traditions. Though Buena Vista (Walt Disney Motion Pictures) holds the international distribution rights of Ghibli Studio films, the power of content is still in the hands of the latter with a serious ‘no cuts’ clause. So what makes us talk about the Ghibli studios right now? Well, Disney has recently released the live-action version of one of its first South-Asian films, 'Mulan', and while we all love the 1998 animated version, the film, like much of its other Disney Renaissance counterparts, lacked the depth of the diversity. While the live-action film is yet to release in India, and efforts have been made in the times of inclusion, to make it as authentic to the culture it is representing, let’s take a step back and refocus our gaze to a studio which has been relentlessly producing authentic eastern stories, the kinds Disney can never make. The ‘Spirited’ adventures The essential soul of the Ghibli studios are it's magical creates, which unlike fairies, are rooted in the culture of the east. The spirits are the magical beings in the universe, derived from the ancient cultural belief of ‘everything is alive’. In ‘Princess Mononoke’, the main story revolves around the Forest Spirit. In Ghibli’s most successful film, ‘Spirited Away’, the entire magical journey takes place in the spirit land, the kinds we hear stories from our grandparents. In ‘Castle In The Air’, it’s again the magic of the stone that drives the entire storyline. The entire magic in the Ghibli Universe is rooted to the elements that make the Universe. They are not just writers’ figment of imagination, but imagination rooted into a culture’s history and beliefs. Now, Disney can make their Mushus, as a part of comic relief, but in Ghibli’s universe Mushu would be more than that - it’ll be an ancestral significance with not just magic but a guiding light to Mulan’s spirit. (A still from Princess Mononoke) Magic in mundane In ‘My Neighbour Totoro’, Mei and Satsuki’s mother is suffering from an illness, leaving the two young girls to support each other. It is during these dark times that they become friends with the magic within, and their surrounding, invoking the care of the great forest spirit. In ‘Kiki’s delivery Service’, a witch finds her calling in something as mundane as delivering goods to people. In ‘Whisper In The Heart’, the whole story revolves around a girl and her passion for writing a story and discovering her affection towards an ambitious boy. The emotions that are mostly addons, in grand and adventurous Disney films, become plot for an entire film in the Ghibli world. The care to nuances and emotions given to the characters in each and every film is commendable, making even the most mundane life magical without even a touch of pixie dust. (A still from My Neighbour Totoro) Gut-wrenching other side Not everything in this Universe is happy and cheerful. The Ghibli Universe doesn’t shy away from presenting harsh realities of characters. The best example is ‘Grave of Fireflies’, a film set during World War II and the effect it had on siblings, who become orphans and are left to fend for themselves. The innocence of Setsuka and the struggle of her older brother Seita, splits your heart into two and you are left wondering about these two characters for days to come. No Disney animation has been able to capture the girth of existence and the darkness of human apathy till now. Ghibli did it in 1988. Not just PG-13 anime Since the 2010s, notably since ‘The Princess and the Frog’, Disney has made a clear point in making films that are not just about magic. With films like ‘Up’, ‘Inside Out’, ‘Coco’, and even ‘Moana’, we’ve seen great diversity in the content, making it not just a fairytale meant for kids. However, it still has a long way to tread, to follow the footsteps of the Ghibli Universe. With films like, ‘Only Yesterday’, ‘From Up The Poppy Hill’ and ‘The Tale of Princess Kaguya’, Ghibli Universe has set a benchmark, too high to achieve. ‘The Tale of Princess Kaguya’, talks about spirituality , the essence of enlightenment and the price of that enlightenment. The story starts like any fairytale but takes a deeper turn when Kayuga reveals her actual motive of coming to Earth and giving up the land of enlightenment. This is a film you can’t watch with your seven-year-old, without the kid having some deeper questions. Similarly, ‘Only Yesterday’, is a series of a woman’s past experience, told in such a simplistic and true fashion, that even a 25-year-old, sitting in India could relate to them. (A still from Ponyo) Japan has always been ahead of the curve with its anime genre, with classics like 'Naruto' and 'The Death Note', the Manga series has enjoyed a niche and deep fan following. However, the takers of Ghibli Universe don't have to be niche, as they are as simplistic as Disney films, yet as deep as the Japanese storytelling. Rooted in culture, with mass appeal, the Ghibli Universe is everything that Disney lacks in terms of far-eastern representation and inclusiveness. If you’ve been a hardcore Disney buff, you need to give Studio Ghibli a chance and let yourself experience a world of animation that goes beyond the reach and understanding of the west. Also, an additional tip, watch them in original Japanese audio with subtitles, there are a lot of gestures and tone that the English dubbed version misses out on, just like the authentic magic of the east.

Studio Ghibli: The real magic from the east that Disney can never create

Remember the days when the role of a heroine's father was limited to marry her off, kidnap or beat up the hero, lock her up or make her realise that her actions are critically scrutinised by society? Well, clearly the '90s was a different era and in 2020, looks like the Hindi film industry is making the audience familiar with a different kind of a patriarch. A father who is vulnerable, soft, and kind towards his daughter; a father who fights with his daughter for her own ambition; a father who is in support of his daughter's every decision and gives her freedom to make her own choices in life; a father who is close to the figure you and I have in the house.

'Gunjan Saxena: The Kargil Girl' and 'Dangal'

After watching Gunjan Saxena recently, I couldn't help but relate to the sensitivity with which the bond between the father and the dreamy daughter was depicted. How being a patriarch, and a part of the rigid defence forces, paved the way for his daughter whose only aim was to fly in the air. Unfortunately, he does see a disappointment in his son, who despite having a feminist role model at home, falls into the pit of patriarchy. He is the wind beneath Gunjan's wings, he never overpowers her narrative or forces her to follow her dreams, but gives a polite nudge in the direction where she wants to be. Just the 'kind motivation' you need. 
 
<img alt="g" data-entity-type="file" data-entity-uuid="b97bc811-f8a1-47ba-a281-016a64aaad3d" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%289%29.jpg" />

&nbsp;In comparison, one can say 'Dangal's' Mahavir Singh Phogat's tough feminist walked so that Anup Saxena of 'Gunjan Saxena' could run. Unlike Saxena, Phogat walked a thin line of imposing his ambition on his daughters and thus forcing them to find happiness in a path that he carved and desired for them. He used the trope of the imbibed cultural notion of 'parents know the best' with 'daughters are no less' and gave the perception that appeared like feminism but lacked depth. Nonetheless, what he lacks, was taken up and polished by Anup Saxena.

'Thappad' and 'Kya Kehna'

Another film in 2020 that made headlines for its progressive approach was Anubhav Sinha's 'Thappad', the beautifully crafted film showed a very sentimental father (played brilliantly by Kumud Mishra) standing side-by-side with his daughter as she discovered her worth in a 'happy marriage' after an unfortunate incident. He is the father who would've given his '90s counterpart a heart attack. He is unapologetic, holds the husband responsible and reminds Amrita of building a life which she gave up on her own post-marriage. Again, in no way is he dramatic about what happened, doesn't go and slap the husband for mistreating his daughter or goes to the police to file the complaint. He just gives Amrita space and support, like an adult, to figure out her decision. 
 
<img alt="k" data-entity-type="file" data-entity-uuid="801e811e-d381-4522-b36e-1d70dbb5e231" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%2810%29.jpg" />

Similarly, ‘Kya Kehna's Gulshan Baxi, embodied the character of a somewhat supportive father. Though initially, he does dismiss his unmarried daughter for being pregnant, runs to the boy's house to plead him to accept his daughter and the unborn child and thinks about 'samaj kya kahega', but learns to accept his daughter's bold decision eventually, gives her space and comfort and becomes her home during the tumultuous time. He gave an empty structure to 'Thappad's' Sachin Sandhu, which the latter filled with a better conscious and correct approach

'Angrezi Medium' and 'Akele Hum, Akele Tum'

The third film which beautifully embodied the banter-esque relationship between a father and a daughter is the late Irrfan Khan-starrer 'Angrezi Medium'. The heartfelt film sees Tarika Bansal (played by Radhika Madan) dreaming about studying in London and his father Champak Bansal (played by Irrfan Khan) going to great lengths to make his daughter's dream a reality. He sells off his legacy to see her daughter fulfil her dream, his daughter's dream becomes his own and he embodies the image of a sacrificial parent, normally associated with the mothers in Hindi cinema.

<img alt="a" data-entity-type="file" data-entity-uuid="c9da401e-f382-4b49-8aa9-11b376f3fafd" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%2811%29.jpg" />

Another single dad who sheds the expectations of the society and dedicates his life solely to his child is Rohit Kumar from 'Akele Hum Akele Tum' (played by Aamir Khan). Now calling Rohit a feminist wouldn't be right as he struggles with his wife's decision to leave the family to pursue her dream, but he did shatter the expected mould of a rigid father when he gets down to the nuances of caretaking. Now the term, 'benevolent sexism' is apt for the imagery of fatherhood showcased in the film, where the mere task of being there for his son in absence of his mother is seen as empathy and 'path-breaking' for a father to do. However, considering the time, Rohit did form a loose structure, nurtured, strengthened and taken to a progressive front by Champak Bansal in Angrezi Medium.&nbsp; &nbsp;

While motherhood has been constructed and reconstructed several times in Hindi Cinema, right from the '50s ('Mother India', 'Aradhana' and more), when it comes to father, the deconstruction of the image has always been scattered and rare. Post-2010 has seen films like 'Dil Dhadhkne Do', 'Piku' and more where fathers break the stereotypes essayed by the likes of Alok Nath and Amrish Puri (and no in-betweens). Unlike mothers, the interpretation of fathers' role is often if not only, seemed limited to a child's career or upholding of social expectations. What binds the three father-daughter films released this year is the sentiment of remorse and apologetic approach by the father towards the years of suppression faced by the women of the household. In all three films, fathers at some point tell their daughters about the role of their mothers and how they killed their dreams in order to be the perfect wives and mothers according to the patriarchy. Now, this is no coincidence that all three films have been directed by men and if the men in the director's chair are making a conscious effort to get into the root cause of everyday household patriarchy and aiming to change the system, something good is brewing in the heart of the industry.

Here's an ode to on-screen fathers who resemble our own old men in the house, cheering, supporting and bantering with their daughters and treating them as individuals rather than the custodian of their and their families' 'izzat and maryada'.

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL.)

Remember the days when the role of a heroine's father was limited to marry her off, kidnap or beat up the hero, lock her up or make her realise that her actions are critically scrutinised by society?

Remember the days when the role of a heroine's father was limited to marry her off, kidnap or beat up the hero, lock her up or make her realise that her actions are critically scrutinised by society? Well, clearly the '90s was a different era and in 2020, looks like the Hindi film industry is making the audience familiar with a different kind of a patriarch. A father who is vulnerable, soft, and kind towards his daughter; a father who fights with his daughter for her own ambition; a father who is in support of his daughter's every decision and gives her freedom to make her own choices in life; a father who is close to the figure you and I have in the house. 'Gunjan Saxena: The Kargil Girl' and 'Dangal' After watching Gunjan Saxena recently, I couldn't help but relate to the sensitivity with which the bond between the father and the dreamy daughter was depicted. How being a patriarch, and a part of the rigid defence forces, paved the way for his daughter whose only aim was to fly in the air. Unfortunately, he does see a disappointment in his son, who despite having a feminist role model at home, falls into the pit of patriarchy. He is the wind beneath Gunjan's wings, he never overpowers her narrative or forces her to follow her dreams, but gives a polite nudge in the direction where she wants to be. Just the 'kind motivation' you need. In comparison, one can say 'Dangal's' Mahavir Singh Phogat's tough feminist walked so that Anup Saxena of 'Gunjan Saxena' could run. Unlike Saxena, Phogat walked a thin line of imposing his ambition on his daughters and thus forcing them to find happiness in a path that he carved and desired for them. He used the trope of the imbibed cultural notion of 'parents know the best' with 'daughters are no less' and gave the perception that appeared like feminism but lacked depth. Nonetheless, what he lacks, was taken up and polished by Anup Saxena. 'Thappad' and 'Kya Kehna' Another film in 2020 that made headlines for its progressive approach was Anubhav Sinha's 'Thappad', the beautifully crafted film showed a very sentimental father (played brilliantly by Kumud Mishra) standing side-by-side with his daughter as she discovered her worth in a 'happy marriage' after an unfortunate incident. He is the father who would've given his '90s counterpart a heart attack. He is unapologetic, holds the husband responsible and reminds Amrita of building a life which she gave up on her own post-marriage. Again, in no way is he dramatic about what happened, doesn't go and slap the husband for mistreating his daughter or goes to the police to file the complaint. He just gives Amrita space and support, like an adult, to figure out her decision. Similarly, ‘Kya Kehna's Gulshan Baxi, embodied the character of a somewhat supportive father. Though initially, he does dismiss his unmarried daughter for being pregnant, runs to the boy's house to plead him to accept his daughter and the unborn child and thinks about 'samaj kya kahega', but learns to accept his daughter's bold decision eventually, gives her space and comfort and becomes her home during the tumultuous time. He gave an empty structure to 'Thappad's' Sachin Sandhu, which the latter filled with a better conscious and correct approach 'Angrezi Medium' and 'Akele Hum, Akele Tum' The third film which beautifully embodied the banter-esque relationship between a father and a daughter is the late Irrfan Khan-starrer 'Angrezi Medium'. The heartfelt film sees Tarika Bansal (played by Radhika Madan) dreaming about studying in London and his father Champak Bansal (played by Irrfan Khan) going to great lengths to make his daughter's dream a reality. He sells off his legacy to see her daughter fulfil her dream, his daughter's dream becomes his own and he embodies the image of a sacrificial parent, normally associated with the mothers in Hindi cinema. Another single dad who sheds the expectations of the society and dedicates his life solely to his child is Rohit Kumar from 'Akele Hum Akele Tum' (played by Aamir Khan). Now calling Rohit a feminist wouldn't be right as he struggles with his wife's decision to leave the family to pursue her dream, but he did shatter the expected mould of a rigid father when he gets down to the nuances of caretaking. Now the term, 'benevolent sexism' is apt for the imagery of fatherhood showcased in the film, where the mere task of being there for his son in absence of his mother is seen as empathy and 'path-breaking' for a father to do. However, considering the time, Rohit did form a loose structure, nurtured, strengthened and taken to a progressive front by Champak Bansal in Angrezi Medium. While motherhood has been constructed and reconstructed several times in Hindi Cinema, right from the '50s ('Mother India', 'Aradhana' and more), when it comes to father, the deconstruction of the image has always been scattered and rare. Post-2010 has seen films like 'Dil Dhadhkne Do', 'Piku' and more where fathers break the stereotypes essayed by the likes of Alok Nath and Amrish Puri (and no in-betweens). Unlike mothers, the interpretation of fathers' role is often if not only, seemed limited to a child's career or upholding of social expectations. What binds the three father-daughter films released this year is the sentiment of remorse and apologetic approach by the father towards the years of suppression faced by the women of the household. In all three films, fathers at some point tell their daughters about the role of their mothers and how they killed their dreams in order to be the perfect wives and mothers according to the patriarchy. Now, this is no coincidence that all three films have been directed by men and if the men in the director's chair are making a conscious effort to get into the root cause of everyday household patriarchy and aiming to change the system, something good is brewing in the heart of the industry. Here's an ode to on-screen fathers who resemble our own old men in the house, cheering, supporting and bantering with their daughters and treating them as individuals rather than the custodian of their and their families' 'izzat and maryada'. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL.)

'Gunjan Saxena' to 'Angrezi Medium': How winds are changing for the patriarch in Hindi cinema

Author

Zee News Rajasthan

Editor

Sameeksha Dandriyal

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