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First of all, I would like to admit that this is not a routine review of just another new film released this Friday from Bollywood. Because in true words, we all so called literate, knowledgeable countrymen sitting in the comfort of our cozy houses in the metros, simply have no right to judge this honest film made on a real-life gifted character, who was ready to die for the country if given a chance. So please excuse me if you were looking for a detailed movie review here as per the custom.
Beginning with the headline used above, I really felt both proud as well as ashamed after watching this honest well crafted film revealing the bitter truth of our Indian Social System through its powerful narrative.
PROUD, because the film perfectly proves to be a true example of CINEMA made in the right manner for the overall benefit of the society. CINEMA, as per my understanding is a powerful medium of expression which basically needs to serve two main purposes. It has to entertain as well as enlighten its viewers about the various important issues prevailing in the system which need to be addressed urgently. Though in India, the medium is largely used and exploited for mere entertainment of the masses, but still it feels proud to have directors like Tigmanshu Dhulia who are blessed with the spirit, understanding and enthusiasm to make movies on such subjects which otherwise remain untouched and underground due to their fiery political nature.
To be precise, how many of us ever knew about this character called PAAN SINGH TOMAR who actually existed in our society a few decades ago? We all love Cricket so much, remembering all its record makers and breakers on our tips. But how many of us ever knew about this seven-time NATIONAL CHAMPION in steeplechase (obstacle) race, a born athlete who later had to pick up arms and became a hard-core WANTED rebel (not Dacoit) of Beeharh? The film enlightens us all about Paan Singh’s sad life-story and thus fulfills its duty of being a “True Cinematic Effort” made by Tigmanshu, Irfan and the team. So on a positive note, I really felt great watching PAAN SINGH TOMAR as our own Bollywood product made in the most authentic manner as it should have been, ignoring all the commercial aspects associated with the business.
It also made me remember another proud product of our Indian Film Industry, BANDIT QUEEN directed by Shekhar Kapoor in 1994, which is till date considered to be a major benchmark in the history of Film-making in India. Interestingly, (as reported) director Tigmashu Dhulia worked with Shekhar in this project only in his early days, which undoubtedly must have helped while making his own present masterpiece on a similar subject. As mentioned above, BANDIT QUEEN was also mainly responsible of making its key character PHOOLAN DEVI, hugely famous all over the country, who was still alive at the time the film got released. But unfortunately PAAN SINGH TOMAR is not with us today, otherwise he would have surely got his much awaited honor and respect from the Indian audience after seeing this shocking bio-pic made on his actual life.
Before moving on to the acidic part of this write-up, I would like to say that as a movie, it’s a gripping experience which works majorly in its first half with a pinch of comic moments too, added brilliantly in its screenplay. The second half expectedly talks about the transformation part which can also be considered as just another ‘Vengeance Saga’ by many critiques. However, putting all the pieces together, it’s a lot more than only a revenge tale, taking you deep into the innocent world of PAAN SINGH and the reasons for which he was forced to pick up the gun.
Well supported by a spectacular cinematography, sharp editing and an award winning performance by Irfan Khan, it’s a worth watching gem striking a difficult balance between the life of a sportsman and a rebel. Though as I felt, the background score could have been better but still it serves the purpose well while watching the film. But here instead of giving you a review, I would like to mention a few dialogues of the film (as I can recall), which should be enough to prove the precious value of this rare gem (a biography) coming out of Bollywood after a long time.
As the film starts off, defining the thin line between a Dacoit and a Rebel, Paan Singh informs his officer saying, “Hamaar Mama Beeharh Ke Baaghi Thhey, Dacait Nahin…..Aur Bahut Izzat Thi Unki Purey Ziley Mein!”
After winning an important race, PAAN SINGH goes straight to his coach, touches his feet and says, “Guruji, Aap Hamare Guru Hain Par Aage Se Kabhi Hamein Gaali Mat Deejiyega, Hamse Sehan Nahin Hota”
On being addressed as a Daku by the reporter in his interview, Paan Singh comes forward and says, “‘Beeharh Mein Baaghi Hotey Hain…..Dacait Milte Hain Parliament Mein'.
In the last meeting (after becoming a rebel) with his supportive Military Officer, the Officer leaves Paan Singh saying, “Ab Main Tumse Kabhi Nahin Milunga Aur Yeh Hamari Aakhri Mulaqaat Hogi”……..but to this Paan Singh replies, “Par Khabrein Milti Rahengi!”
And lastly, on hearing the radio, broadcasting the news of Paan Singh Tomar’s search by the Police all over, he laughs in anger and says, “Jab Desh Ke Liye Bhaaga, Tab Kisi Ne Nahin Poocha………, Ab Beeharh Mein Bhaag Rahey Hain To Saaley Sab Naam Jap Rahey Hain!”
So, if the above few dialogues cannot convince you to watch PAAN SINGH TOMAR as soon as possible then I seriously don’t know what else can.
Now coming to the harsh part of this write-up, I felt ashamed after watching this flick due to more than one reason related to both Bollywood as well as the polticial social system we are living in.
Taking up Bollywood first, it was really a shame that this well-made film was lying in cans, waiting to get released for more than one year for some undisclosed reasons. If it was due to any personal disputes in the team then that’s a different case, but if it was due to lack of buyers (because of its non-commercial subject) then that is really something serious to think upon by the Industry. The word CINEMA is complete only if we keep on making films on diversified subjects related with its various genres. Otherwise it will be just like eating the same dish in dinner every day leading to boredom. So if films like PAAN SINGH TOMAR will continue finding difficulties in getting released then Who will like to make them in the near future?
It was also painful watching the movie as a viewer too since there were only 20-25 people watching it in the theater in its first show. At one end we all keep shouting loudly on all those crap movies offered to us week after week in the disguise of big budget multi-starrers. But when such a meaningful, well conceived and superbly performed enlightening movie releases, we don’t opt for it to save our money for something else. So it’s like double standard mindsets working on both the sides, in the makers as well as in the viewers. And if that goes on like this, then the gap between such enlightening gems is sure going to increase further, which would indeed be a big loss for all the true lovers of Indian Cinema.
Talking about the real theme of the film, I was ashamed to know the facts since I never knew or ever read about PAAN SINGH TOMAR’s tragedy before watching the film. As an Indian it was really shameful to know that Paan Singh opted for SPORTS during his Defence services, not due to any passion for athletics but only for the reason that in SPORTS there was no restriction on the quantity of meals you eat during a day. It was also shocking to know that even before going for international events, the Indian athletes were never given Spikes to wear in their practice sessions, but were asked to do the same just before the final race. (Reminding me of another film under-production on the life of MILKHA SINGH)
Further, it was really disgusting to see the way, a NATIONAL CHAMPION from the Defence services was treated by a Police officer asking him the proof of winning all the games and throwing away his Gold medal with some loud abuses. And then how the same NATIONAL CHAMPION was not given any chance of “A Dialogue” or “Surrender” by the government for whom he had served and won several prizes during his service tenure.
But that was not all, as the biggest shock came when in the end they showed a whole list of names on the black screen, who were NATIONAL Champions in OLYMPICS and other games but had died eventually either due to lack of medical treatment or being penniless without any kind of help given from the Indian Government. Reading the list scrolling on the screen was really disheartening which only reminded me of a scene from the film itself, which was just contradicting to the list.
In the movie, as the WAR is on, everyone is leaving for the Front but Paan Singh is not allowed to go since he is a fantastic Athlete representing the Defence forces in its various competitions. When he questions this decision from his officers, he is told that “Sportsmen are not allowed to go because they are our National Treasures and we cannot afford to lose them”.
The words came to my mind while reading the list of all those great sportsmen shown on the screen and I asked to myself,
“Are these talented people, the NATIONAL TREASURES of the country only till the day they can perform on the field?
Don’t they remain the same NATIONAL TREASURES once they get retired?
And Isn’t this a NATIONAL RESPONSIBILITY of the Nation’s Government to take care of all these gifted personalities after their retirement, till their last breath and give them a honorable farewell in the end?”.
The same principle applies to every art form including the Film Industry, where we have recently seen veterans like A. K. Hangal in a sorry state asking for monetary help on the national news channels.
So this is not a review of the film PAAN SINGH TOMAR but a humble tribute from my side along with Tigmanshu and Irfan Khan, for such blessed souls who were sadly not treated well by our own society. Paan Singh may have opted for a wrong or debatable path in order to fight for this own rights. But had the Government been there to take care of him in those difficult days, considering him as A NATIONAL TREASURE, we could have got a great COACH instead of a REBEL running in the Beeharh.
Ratings : RESPECT instead of Stars and Highly Recommended.
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The veteran director Basu Chatterjee has a long list of highly reputed and entertaining films which were all sadly undisclosed versions of their foreign originals. And here is a new addition to the same as informed by one of our friendly readers of the site.
Basu’s 1983 movie “Pasand Apni Apni” featuring Mithun Chakraborty, Rati Agnihotri and Utpal Dutt in the lead has its basic plot all inspired from the 1951 English Flick “Happy Go Lovely” directed by H. Bruce Humberstone. As seen in the Hindi version, the original also talks about a rich successful businessman falling in love with one of the stage artists visiting the city. Due to an unforced misunderstanding, the girl takes him as a simple newspaper reporter and starts loving him without knowing about his real rich status. And then the further misconceptions and confusions lead to a happy ending.
Interestingly Aamir Khan’s over-famous “Ghajini” also had the same plot incorporated in is script as a parallel love story running along with its main story track.
(Thanks to Madhurageethan for this valuable info about the original source.)
Tags :
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Throughout their career since the early 90s, director duo Abbas-Mustan have been making inspired films taking it all from the West, with a fairly good success ratio at the box office. Despite of being unoriginal and copying in almost all their films, the two still remain one of the best directors of Bollywood when it comes to the “Thriller Genre” without any doubt. Quite astonishingly they sometimes have even given us better movies than the Originals like their last RACE. But sadly with PLAYERS the story is not the same unexpectedly.
Keeping it straight, when they were copying, they were good. But now when for the first time they have gone for An Official Remake of a Hit Cult Movie, they go all wrong with some hugely un-necessary moves ruining a fine exciting script. However, before talking about PLAYERS let me enlighten you about its Originals briefly, as then it will become easy to understand the criticism.
Abbad-Mustan’s PLAYERS is based on two movies, “The Italian Job” made in 1969 and its Official Remake made in 2003 with the same name. Now the first one made in 1969 is a fine British film featuring Michael Caine as the leader Charlie, who plans a Big Gold robbery and the film revolves around only one heist in all till the climax. The main highlights of the film included the massive traffic jam plan and 3 mini coopers (small cars) chase sequence towards its end. Along with that it had an open climax with a surprise. The film has a Cult Status but if watched today you may find it too simple and straight.
The second ITALIAN JOB got released in 2003 with some brilliant, well written additions in the same plot, introducing a traitor in the team with a second heist plan too executed perfectly. This updated version of the classic excelled its original with a great script, featuring two exciting robberies in just 111 minutes. And plus it had all the elements of the original intact including the huge Traffic Jam and the 3 mini coopers chasing climax. So in short the second version of the classic came out to be much better, fast paced, exciting and entertaining.
Now coming to the third Official Indian Remake of the same called PLAYERS, it fails to leave you satisfied due to its own faulty and un-required insertions. This time Abbas-Mustan go legal and take the rights of making the film in Hindi as it should be done ethically. With a big production house backing them, they make a visually stunning movie with all the glitters of gold shining in the grand foreign locations. But when it comes to script, they mess it up posing as more intelligent than the original writers of both the classics.
So, PLAYERS misses the target mainly due to its writers and directors acting over-smart and adding many unwanted elements in the film ruining its original charm and feel. I am still confused that when there is already a Hit, well written script in front of you to follow legally, then what’s the need of adding the same rotten plots of love and betrayal to it un-necessarily? Why we still have to use 3-4 songs in a heist movie at places where they are strictly not required? And Why we always tend to stretch things to an over-limit, exceeding the length of the movie towards its climax.
Honestly speaking, if you haven’t seen the exciting 2003 version of THE ITALIAN JOB, then you may like PLAYERS as a one-time watch. But in case you have already witnessed its better remake then you are sure going to find its Hindi Version strange, bizarre and absurd. In fact the same things which were so exciting, thrilling and highpoints of its Original Remake, seem to be very childish, uninteresting and weird in this Bollywood version of the Classic.
For instance, the whole first hour is wasted in just showing the selection of various players. The train robbery sequence, though well shot, is based on very unrealistic and funny assumption where every window in the train is having a virtual film running on it, controlled by our computer man. A national treasure in Russia is robbed with such a convenience with everything falling in place giving it a highly fake look. A man wears a mask of a senior officer and enters their security easily without any suspicion (in Russia itself). The Big Golden safe gets opened in just a few seconds by only a drilling machine and a small device. The spy gadgets shown in the film are having cheap LEDs which can be spotted by even a child and the same can be said about the computer graphics used in it. A big mansion is hugely guarded by Hi-tech security but our angry young hero simply enters it in his bullet proof van smashing every gate and door reaching right in front of the culprit, just like a typical 70s Amitabh film. Plus the last scene in a very illogical manner tells you that all the Gold bars have actually been melted and converted into small cars made out of the same Gold. (By the way who thought of this legendary idea?)
Moreover, the massive traffic jam in the city, the road blasting sequence and the 3 mini coopers chase scenes in the climax, which were the key feature of its original, simply lose their existence in this over-intelligently made official remake. And then this all has a long running time of more than 160 minutes without much power to keep you hooked. The directors do make their presence felt in certain portions, especially in the execution of the heist scenes and just before the interval but overall one doesn’t feel entertained by them as compared to their last venture RACE.
Musically PLAYERS is a big dud delivered by the Hit-machine Pritam, with not even one good song in its entire soundtrack. The film is shot superbly as most of the recent big ventures but I hope the makers start giving the same attention to their script department too.
Performance wise it also doesn’t give you anything great to write about. Most of them in the cast remain wasted with only a few given more time on the screen showing the imbalance. Abhishek in the lead, remains the same in his style and act as he was in his other popular films such as “Dhoom”. Bipasha is simply there to show off her body and nothing else. Sonam once again looks over-confident with attitude. Bobby Deol, Omi Vaidya & Sikander Kher do not contribute anything significant in the film and are simply wasted. It seems Bobby just signed this film only due to his decades long relationship with the directors. Neil Nitin Mukesh tries his best but manages to do just fine. Vinod Khanna looks tired and out of form whereas Johny Lever still manages to make you laugh in his few scenes.
In all, PLAYERS can be used as a perfect example to compare the film-making styles in both parts of the world. It straight away reminded me of a great book of Satyajit Ray’s essays with the title, “Our Films Their Films”. What they can do perfectly in just 111 minutes, we mess it all and ruin the script in more than 160 minutes. And that’s only due to our fixed norms of deliberately adding irrelevant material to an already Hit script in the name of Indian elements required for a project.
If you ask the truth, then PLAYERS gets crushed by the EGO of our own creators Abbas-Mustan. Being known as great directors of this particular genre, they coudn’t accept following a script strictly as an official remake. So to show their own contribution in the project, they go on adding twists and more twists in its second half resulting in a big drag. If only they had made it simply as an official remake mixing the content of both the Hit movies, PLAYERS would have been a winner for sure.
As for now, I have one suggestion to make. If you are not going to see “The Italian Job” (2003 version) in any case, then you may opt for PLAYERS as a one-time watch if you wish. But if you are really interested in watching some quality cinema, then strictly watch its 2003 remake first before opting for PLAYERS. Because Abbas Mustan’s PLAYERS is highly capable of ruining your exciting experience of watching the best ITALIAN JOB (2003) till date.
Rating : 2 / 5 (including 1 only for its Grandeur and Cinematography)
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The posters of the film read “From the producers of 1920 and Haunted” and they are also designed in such a way that you get an idea that this is another horror movie coming from the same production house which gave us these two HITS. Its good to be associated with some successful projects but its also shameful trying to fool the viewers by giving them a wrong impression of the film in such a way.
The reason behind the above statement is that PHHIR is not at all a Horror film as being projected. It has got only one element of “A Telepathic Girl” in its storyline and doesn’t have anything else, usually related with the horror genre. In real terms it’s a mystery thriller with a slight reference of re-incarnation of the lead pair who meet again after a very childish kind of climax, opening the suspense. So just don’t get fooled by its deceiving publicity campaign tried by the producers.
Taking its references from “Eyes of Laura Mars” (1978), which has already inspired more than one movie in Bollywood, PHHIR remains a very weak film throughout which neither excites nor impresses even once till its end. The writers are not able to hold your attention at all since their content is all repetitive and boring without anything interesting to offer in the name of suspense. The whole film revolves around a loving husband’s search of his beloved wife, who has vanished all of a sudden without any intimation. He is helped by another girl who has got some God-gifted psychic powers, but soon after the introduction of her kidnapping plot, the film loses it all.
Director Girish Damija, gets only one thing right in his film and that’s the Cinematography. By approving and working on a very old, overseen and flop kind of mystery revealing in the end, the director wastes his own hard work and efforts put into the project, quite amazingly.
And when there is nothing in the film to keep you hooked, the performers remain handicapped and fail to make any kind of impact on the viewers. Hence though Rajneesh Duggal and Adah Sharma show big signs of improvement in their respective acts but their sincerity goes in vain. Roshni Chopra playing the vanishing wife is there just like a guest actor, who is only asked to give some glamorous poses in front of the camera, instead of acting.
Incidentally this film was leaked over the net in an unmixed format much before its theatrical release, which is indeed a serious matter to be looked into by all the producers of the Industry and I hope it never happens again. But its leaking before the release cannot be given as an excuse for its non performance at the box office, because the film actually hasn’t got anything in it to be HIT. And I strongly believe that its makers too knew this bitter truth and that is why they opted for the misguiding way of publicizing it as a Horror flick in order to get some initial audience. However in real terms, this should have been released on the Home Video directly and that should say it all.
Rating : 0.5 / 5
Tags :
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