In today's Bollywood, I would pick two women, Kangana Ranaut
and Deepika Padukone, who people will go and watch irrespective of the flesh
and face that plays the male counterpart. Obviously, I say this because I love
them both :-). Kangana, because she is a number 23. We '23' people, or
summarized as 5, have cognitive powers to sense each other's energies. A 5 will
always love a 5. That's a given.
I stand in awe of
her, for a girl with no God father in bad Bollywood, she stood out on her own
gut and proved herself one film after another. Her versatility radiates through
contrasting characters like Shonali Gujral and Rani, her brilliance shines on
ramp shows and personal sense of style, but above all what impresses me is a pahadi girl's drive to be a better
English orator and career woman of the future (apparent through her interviews).
A big SALUTE to her.
I will flux out all her flops, like she told Anupama Chopra,
as 'odd-jobs that paid the bills'.
However, a bigger SALUTE to Vikas Bahl, who has faith in
Kangana's potential and puts up an engaging exhibit by beautifully weaving
moments of the past with happenings of the future. Kangana is his clay that he
transforms from psychotic actress or the drug-abused fashion model of the past into
an endearing, demure, beautiful girl next door of today who everybody loves. Her
dadi / nani is a breath of fresh wisdom as far as matters of the heart or adult
films are concerned. Although, a middle class Punjabi household, QUEEN is probably
representative of more than half of India's women in their 20s.
The story is about a devoted daughter stepping up to an obedient
fiancée. But her world topples over when
her fiancé decides to call off the wedding. After a sobbing night, she decides to venture
on to her pre-booked honeymoon to the two Europe destinations of Paris and
Amsterdam by herself, where she meets people of diverse lifestyles and befriends
them as part of her honeymoon package. The story is spiked with random humor. My
personal favorite was when Imran Hashmi was poached as reference to Indians
being the best kissers in the world.
With a release followed by International Women's day, Rani's
slow motion walk on the streets of Amsterdam makes a more liberating wonder
than any fashion ramps Kangana has ever walked on. While keeping Rani's essence
intact, Vikas Bahl, in those 2.31 hours, liberates her into a more modern
imagery of herself who now has straightened hair and is comfortable in deep
necks. What a savory film to ring in a few weeks before she celebrates her
birthday on March 23.
Kangana is Bollywood's exemplary to Cate Blanchett's Oscar's
speech, "There are those who are still foolishly clinging to the idea that
female films with women at the center are niche experiences." she
said. "They are not. Audiences want
to see them, and in fact, they earn money."
My money for the best actress award this year is on you know
who.
As for the flaws, I find it difficult to comprehend as to
why the fiancé wants her back? Is it simply a matter of one selfie from the
changing room? The fiancé wanting her back doesn't really make a compelling
argument to me. Also, in real life, the
thought of travelling alone in foreign lands, for somebody in Rani's
personality, can be daunting and scary. However, the simplicity and sweetness
quotient of this film is so overpowering that I am happy to dismiss the second
one as 'ignorance is bliss.'
This is a film I have wanted to write about in a long, long
time. An inner voice said, "Jeevan, you should have some words for this
film."
Above they are.
A MUST WATCH.
