Film Review: Aurangzeb

Directed by: Atul Sabharwal

Starring: Rishi Kapoor, Prithviraj Sukumaran, Arjun Kapoor, Jackie Shroff, Amrita Singh and Swara Bhaskar

All images courtesy of: http://www.glamsham.com

I cannot ever remember a time when I saw a Hindi film start with a quote from Horace but it was certainly a welcome surprise as was the rest of Aurangzeb. Having only seen the trailer once and forgetting entirely what happened, I was in the best frame of mind to watch the film – knowing nothing about it). Right from the off, Aurangzeb demands attention as the credits compete with the voice over which neatly sets up the premise and then goes on to fulfill its ambitions, fully expecting the viewer to keep up with it all.

Yes, there are a few missteps (the unnecessary disco song though I did like the styling) but overall, I loved the way Sabharwal takes lots of different themes/conventions and twists them with astonishing clarity and confidence to make a dark and complex film. Whether it was the tense family relations that play the silent character throughout to the more prevalent theme of corruption and the relentless and sometimes ruthless pace of India progressing as a superpower, Sabharwal keeps a tight rein on things meaning the odd inevitable misstep (read commercial pressure) is entirely forgivable.

Of course, there is a formidable cast to work with and everyone steps up to plate. Rishi Kapoor is superb as the calculating puppet master who will do anything to achieve his goal – after Agneepath, this is yet another amazing turn in a complex role from Rishi. I was also impressed by Arjun in his double role – he manages to make both Ajay and Vishal separate and distinctive entities and manages to not be overwhelmed by the demands placed on him. Sukumaran is also very good as the man caught in the middle whilst Singh  and Bhaskar give excellent accounts of themselves amongst the male dominated premise.

I really enjoyed Aurangzeb and would go as far as to say this is the best film to come out of Yashraj Films since Band Baaja Baaraat. I am always ready to champion a film that challenges the viewer and remains committed to its creative remit. In particular, the way Aurangzeb interprets conventional Hindi film themes  like double roles and disruptive dynamics and reinvents them made for a satisfying watch. Highly recommended, Aurangzeb is worth catching – just like the inclusion of Horace at the start, this film is a pleasant and very welcome surprise.

Go Goa Gone

Directed by: Raj Nidimoru and Krishna D.K.

Starring: Saif Ali Khan, Kunak Khemu, Vir Das, Anand Tiwari and Puja Gupta

All images courtesy of: http://www.glamsham.com

When I first heard that Hindi cinema was going to be taking on zombies, I did feel a little apprehensive – as a fan of The Walking Dead, a US TV show that has taken zombies to new heights in the mainstream, whatever follows after has to be pretty damn good to impress. Even without that point of reference, Go Goa Gone has the massive task of explaining and repackaging zombies for a Hindi speaking audience before it can really get going which is a tall order for a well known concept, never mind an unfamiliar one.

But GGG rises to the challenge admirably and what we have is a foul mouthed, very witty and visually impressive entertainer that doesn’t outstay its welcome. From mocking how zombies reached India (“globalisation“) to making fun of the film itself (zombies in daylight and who will die first), GGG is sassy and smart and fully expects its audience to keep up but what I really liked was how the script manages itself so that the film works on lots of different levels without ever straying from its main purpose which is to entertain and not get bogged down with unnecessary baggage.

Performance wise, the cast are very good – Das and Khemu share a fantastic chemistry but are also just as strong individually, making Luv and Hardik feel like three dimensional and likeable characters inspite of being drug addicted alcoholic womanisers. Tiwari sometimes steals the show as Bunny, the uptight manager whilst Puja Gupta makes sure she stands out inspite of a sketchy role. But it is Khan who has the most fun as Boris, the blonde Russian who remains enigmatic and aloof yet still makes us laugh. I thought Khan quite wisely underplayed the character which works in GGG’s favour and handles the action and comedy with equal aplomb.

With cheeky asides and a justified liberal helping of the F-bomb throughout, GGG is that rare film that uses its audaciousness in an intelligent way – that is to say, though the film questions its own morals, it never judges or tries to force an opinion on the viewer. In a similar vein to Delhi Belly, GGG may not explicitly be intending to change things up but will certainly find itself positioned as a significant point in the ladder of change. More importantly, in a year full of remakes, franchises and little in the way of inspiration, GGG is a breath of fresh air and definitely worth a watch. Recommended.

Shootout At Wadala

Directed by: Sanjay Gupta

Starring: John Abraham, Anil Kapoor, Manoj Bajpai, Sonu Sood, Kangana Ranut

All images courtesy of: http://www.glamsham.com & http://www.ndtv.com

It is one thing to be able to build up momentum in a film but another thing entirely to control and manipulate this force for the duration of the running time, which is the main problem faced by Shootout At Wadala (SOW). Inspite of some really good sequences and an interesting concept, the script of SOW runs about like a bull on steroids unable to focus or decide on what it wants to be. As a result, we get a mixed bag of a film that hits upon a number of good ideas by accident rather than design and is clearly capable of more than it actually achieves.

The strongest parts of SOW are those gleaned from facts – Gupta seems to know how to exert the right amount of pressure at these points so that the first half is largely watchable and even absorbing in parts. Unfortunately, it is when SOW goes into new territory or tries to fill in the gaps that it falters – the love angle is clumsy (as is much of the dialogue) and the nexus between the police and the underworld is poorly explored. I was also disappointed by the lack of thought given to the female characters – the item numbers are leery and lazy whilst Kangana’s part seems like a token gesture.

Performance wise, I have to give Abraham props for trying to get out of his comfort zone and do something different – though largely unsuccessful (and woefully miscast in my opinion as a man-child) Abraham does do well in some scenes,especially when it comes to group dynamics. Kangana is bored and wasted in a rather pointless role that was no doubt narrated differently to her. Similarly, the potent combination of Sood and Bajpai is ridiculously under utilised but to their credit, both actors elevate the role with a gravitas not given by the script. Surprisingly, it is Anil Kapoor in 80′s mode that steals the show – when he is not hamming or checking his appearance in the mirror, he is the only one who gives an even portrayal in the testosterone laden cast.

I have to say, inspite of its flaws, SOW is watchable and for what it’s worth, I didn’t walk out hating it at the end. I would have preferred a much more pared down streamlined screenplay than the larger than life version that we are presented with but SOW could have been much worse and that it hits any notes of inspiration is an achievement but not enough to make it a must watch – if you miss it, you won’t really miss out.

Ek Thi Daayan

Directed by: Kannan Iyer

Starring: Emraan Hashmi, Konkona Sen Sharma, Huma Qureshi and Kalki Koechin.

All pictures courtesy of: http://www.glamsham.com

I really enjoyed Ek Thi Daayan more than I had expected to. Much like the smoke and mirrors that the protagonist Bobo (surely the silliest name ever) uses when demonstrating his magic tricks, there are the usual thrills and spills that now come as standard with any Hindi film assigned to the horror genre. But as always, it is more about what the horror alludes to and in ETD‘s case, we have an interesting study of how superstition is fuelled by paranoia and in this particular case, becomes a basis for misogyny and a coping mechanism for a tragedy that disturbs especially as we never really learn the truth behind it.

There are a few wobbly moments, especially in the second half but when ETD gets it right, it is a compelling and absorbing watch. I liked the dark strand of humour running through the film – the script confidently casts a healthy and cynical dose of doubt on superstition only to tease one moments later by cheekily showing a scene that suggests the superstition is valid and throwing in a scary moment for good measure. There is also a bohemian sensibility that comes through in the look,feel and sound of the film that underlines the eeriness ETD has in abundance and adds to the menacing ambience. I also felt I genuinely didn’t know where the film was going to go next (in a good way) which makes for a satisfying watch.

Performance wise, Hashmi plays it by numbers but manages not to irritate and is genuinely better than he has been for a while. Kalki has little to do but enjoys her role and does what is needed. It is Sharma and Qureshi who steal the show here, with Sharma effortlessly dominating the first half with her femme fatale who never quite makes her intentions clear but intrigues and even adds an element of sympathy to her character. Similarly, Qureshi is fresh and natural, switching gears with apparent ease and demonstrating a confidence and charm that is a delight to watch.

I was pleased that ETD uses the motifs of witchcraft and superstition with a degree of restraint but even so, the accusations of showing women as witches is a risky proposition as there is always a chance it can be misconstrued and seen as propagating a negative stereotype. The resolution at the end also seems to wimp out  from taking a stand which is at odds with the progressive tone of the rest of the film. But on the whole, ETD is worth a watch and is more thought provoking than scary, touching on issues that are very relevant for modern audiences and certainly making for a interesting addition to the Hindi film horror canon. Definitely worth a watch.

Chashme Baddoor (2013)

Directed by: David Dhawan

Starring: Rishi Kapoor, Anupam Kher, Ali Zafar, Siddharth, Taapsee Pannu, Divyendu Sharma

All images courtesy of: http://www.glamsham.com

I’ll be honest, I had no intention of seeing this film at any stage but after being invited to a press screening by a good friend, even if Chashme Baddoor was awful, at least I got to spend some time with my friend. As I hadn’t seen the original version on which the film is based, the fairest thing to do was to review Chashme Baddoor as a standalone film – after all, I truly believe any good film should work on its own merits rather than relying purely on a knowledge of its source material.

However, it seems that some extra curricular knowledge is required – the entire film makes a big deal about paying homage to many different Hindi films, both well known and obscure, extending to some of Dhawan’s own films. I will admit some of the references flew over my head and most of the audience seemed bemused too. Furthermore, using this homage device occasionally is funny but quickly becomes tired, irritating, and to my mind, a rather lazy way to make a film. Similarly, there are some very good one liners and puns which are universally funny but the humour level is generally below puerile, attempting to offend as many minority groups as possible and then repeating this ad nauseum.

This is a shame as there are some good performances to be had here. Zafar and Sharma both play their roles well, with the former playing his role with an endearing honesty whilst the latter shows excellent comic timing and dialogue delivery. I also like how Siddharth made his role very physical in its nature and exudes a manic energy level throughout. Pannu has little to do and one cannot really estimate her talent from such a bland role. Meanwhile, Rishi Kapoor looks relaxed/guilty to be phoning it in and is totally wasted whilst Anupam Kher  seems to overact out of sheer boredom in his triple role.

Even if I had seen the original, I doubt I would have enjoyed Chashme Baddoor much. I feel if a film is going to be remade, at the very least, it needs to be relevant to its audience or reinvented entirely without losing the essence of its source material. Yes, this is a Dhawan film and one is going to get straight up masala but when there is neither plot nor characterisation, what should be two hours of entertainment quickly becomes a test of endurance. Unless you are a hardcore fan of Zafar or Siddharth, I imagine one would be better off seeking out the original and watching that. Otherwise, Chashme Baddoor is not worth your time or money and this is yet another disappointing film in what is turning into a dismal year for Hindi cinema so far.

Bogey’s Bollywood Quarterly: Jan – Mar 2013

2013 is turning out to be a strange year, where Bollywood seems to be more cray-cray than usual. First, more popular than botox is the ridiculous obsession with every film that doesn’t make a 100 crore at the box office being termed a failure – irrespective of content. Then there is the plague of the unnecessary sequel/franchise which is clogging up the pipeline as I type. And worse still, nothing but nothing is sacred anymore with any and every film being remade and desecrated with no regard for posterity.

Closer to home, one of my favourite bloggers, the awesome @getfilmy has decided to go on a hiatus to escape the oncoming kalyug. Then Sanjay Dutt has been sent back to jail which is a whole other blog post of its own. And if that wasn’t enough, thanks to the marvellous spoof of the Race 2 trailer (the only 100 crore entrant for 2013 thus far – wait, I’m not supposed to champion that!), I can no longer think of/refer to John Abraham without using the epithet “bag of steroids“.

So I’ve decided to throw in a curveball of my own and present a summary of the first quarter of 2013, so that I can document this moment and make sense of  what feels like the onset of turbulent times. Will this become a quarterly post? Who knows – let’s see how things go.

But I can say for certain, that after a marvellous year of cinema in 2012, it looks like the comedown ain’t going to be pretty folks!

So:

Bogey’s Top Films Of 2013 So Far

You know when you get to a clothing sale too late and all that is left is what everyone else didn’t want or may have missed because they were too hyper to focus? That is how I feel about Jan-Mar 2013 in Hindi cinema. That’s not to say we didn’t have some good films but as a basis for comparison, by this time last year, we had already had Agneepath, Paan Singh Tomar, Kahaani and Agent Vinod  (say what you want, having rewatched it, it is one of Saif’s best films to date) to set the standard. But so far in 2013, there have been only been three films which have shown any sort of longevity/class:

Matru Ki Bijlee Ka Mandola – Criminally underrated and totally mislabelled after everyone seemed more concerned with commerce than content, this is definitely worth a watch if you haven’t seen it. Read my review here.

http://bogeyno2.wordpress.com/2013/01/15/matru-ki-bijlee-ka-mandola/

Special 26 – Slim pickings indeed when I have to recommend an Akshay Kumar film – but this was genuinely well written and entertaining and with sequel talk already in the offing, enjoy this before it gets lost in franchise hinterland. Read my review here.

http://bogeyno2.wordpress.com/2013/02/09/film-review-special-26/

Kai Po Che – Yes, there are too many films on male bonding but if they are done well and offer something different to the canon, I’ll take that over some poor Dil Chahta Hai/Zindagi Na Milegi Dobara wannabe. Read my review here.

http://bogeyno2.wordpress.com/2013/02/28/kai-po-che/.

Fashion Round Up (because style matters)

After a dull red carpet season all over the world with few high points (yup, Hathaway, “pointing” fingers at you) the fashion highs have come from a rather welcome contender in the first quarter of 2013 – none other than the wonderful Mrs Kareena Kapoor Khan. First there was that awesome Vogue India February 2013 cover:

Picture courtesy of: http://www.deccanchronicle.com

Then came this chic Tom Ford look that has non-fashionistas bewildered but hard core fashionistas applauding her as to elevate this deceptively simple ensemble takes something you can’t buy in stores – ATTITUDE:

Picture courtesy of: http://www.mumbaiboss.com

And you know, from the waist up, I’ll defend this one too.

Picture courtesy of: http://www.photos.businessofcinema.com

Two other people who worked it like the rent was due included Priyanka Chopra at the Indian MTV VMA in a polarising look (you’ll either get it or not get it), wearing this fun Gauri and Nainika dress which is super event appropriate and is styled to perfection.

Picture courtesy of: http://www.sify.com/facebook

Next up is Kajol who channels her firebrand and irrepressible personality in her fashion sense, meaning when she gets it right, one is blown away. See below, where at the Manish Malhotra show, she gives a masterclass in pulling focus from Karisma Kapoor and Manish Malhotra.

Picture courtesy of: http://www.photogallery.indiatimes.com

Props also go to the underrrated Sameera Reddy who always looks fashion forward but doesn’t get enough credit because, er…why aren’t we bigging her up again?  Feel free to leave your answer below in the comments.

Picture courtesy of: http://www.indianexpress.com

Second Quarter – Films To Look Out For

But fear not people! The year has only begun and all hope is not lost. Here are some of our potential saviours – and remember kids, release dates are always subject to change.

Go Goa Gone – Yes, it has Saif. Yes, I am biased. But this could be a stealth attack on generic crapola like Delhi Belly tried to be in 2011. Fingers crossed!

Bombay Talkies – On screen ego massaging can go one of two ways but offers endless opportunity to lavish praise/snark, so one to look out for.

Aurangzeb – Interesting poster. On the fence about this one.

Yeh Jawani Hai Deewani – Ranbir, your industry needs you more than ever. First trailer doesn’t suggest a game changer but right now, we’ll take an decent entertainer and all pretend not to be trying to spot awkward moments between Ranbir and Deepika (don’t lie, I know y’all are thinking it too).

Ghaanchakkar – And if all else fails in second quarter, we have the awesomeness that is Vidya Balan waiting in the wings. Dear Vidya, please don’t let us down – what you’ve done so far is awesome and cometh the hour, cometh the superheroine.

Picture courtesy of: http://www.glamsham.com

So that’s what we have to look forward to – let’s hope the tide turns soon; seriously Hindi cinema, I haven’t fought your corner, championed your cause and battled a constant stream of criticism from people who are scared by what you can achieve and keep comparing you to the “other” industry to be fobbed off with nonsense like Himmatwala (yeah, I took it there). Fingers crossed for a better second quarter.

The Attacks of 26/11

Directed by: Ram Gopal Varma

Starring: Nana Patekar, Sanjeev Jaiswal

All images are courtesy of: http://www.glamsham.com

Even though I had anticipated watching The Attacks of 26/11 (26/11) would be difficult, I was not prepared for the impact the film would have on me. For some reason, I had expected a sensationalist account of events as I could not fathom how the devastating attacks could be turned into a watchable film and that too, as a dramatic interpretation rather than a factual one. But Ram Gopal Varma (RGV) exercises a great deal of control to create a restrained vision of the attack, showing us how the night of 26/11 unfolded, and guiding the viewer through a maze of shock,anger and ultimately, sadness.

The attacks themselves are shown in a very raw way and make for harrowing viewing, with many disturbing images that linger long after the film has ended. There is also minimal dialogue with Nana Patekar’s monologues establishing, punctuating and commentating on events but it is the climax where RGV finally gives himself a licence to vent his own thoughts, with a monologue from the surviving terrorist and a response by Patekar which is heartfelt, powerful and achieves the impossible of presenting a very rational summary of RGV’s thoughts in a sea of high emotions and tensions.

Nana Patekar is an inspired piece of casting as the joint commisioner, giving the role the authority, strength and humanity it needs. Not only does he hold the film together switching between narrator, commentator and protagonist but the key scene in the climax also sees a tour de force acting performance that culminates the emotional journey of the film with astonishing clarity. I was also surprised by Jaiswal as Kasab, the terrorist caught alive – exuding the terror and menace with a very dark sensibility, Jaiswal also shines in his monologue which is genuinely scary and absorbing.

Even without the distressing reconstructions, 26/11 holds up as an engaging film and serves as a starting point for Hindi cinema to begin to make some sense of the atrocities committed on 26/11 without resorting to jingoism or anti-religious sentiment. In fact, this is RGV back on form of sorts, making a film that on the one hand is completely out of his comfort zone but at the same time, suited to his abilities and calibre as a filmmaker. The Attacks of 26/11 is a hard film to watch and moved me to tears at times, especially when surveying the aftermath of the attacks. But it is a much better film than I had expected it to be and I daresay in time to come, may even be an important part of Hindi cinema’s exploration of one of India’s darkest hours in recent memory. Recommended.

Kai Po Che!

Directed by: Abhishek Kapoor

Starring: Raj Kumar, Amit Sudh, Sushant Singh Rajput and Amrita Puri

All images courtesy of: http://www.glamsham.com

Whilst films centering on male friendships are not a rare concept in Hindi cinema, with each film on the subject comes the responsibility to raise the bar higher. And despite the hype surrounding it, Kai Po Che! is a film that manages to do this successfully so that even if we are on familiar territory here, that all essential treatment is applied correctly and prudently. Confidently bringing together politics, natural disasters, sport ,enterprise and male bonding under one roof, Kai Po Che! could easily collapse under the weight of its own ambition.

But Kapoor maintains taut direction throughout, keeping the film firmly on track and on a very local level – our characters are not so lucky to completely escape the world around them but thanks to the very believable friendship between the three leads, we see events from their perspective and have a genuine emotional investment in what happens to these characters. I also liked the fact that there was no conclusion where everyone ends up living happily ever after – in particular, one imagines Omi’s character will forever be haunted by his actions for the rest of his life.

The three leads give superb performances in their respective roles – Kumar captures Govind’s geeky nature and awkwardness perfectly as well as the nervous energy that continually drives him forward. Rajput is a fireball of energy as Ishaan, switching between the gauntlet of emotions that Ishaan endures with a naturalness that feels very fresh. I really liked Amit Sudh’s performance as Omi which I felt could be construed as very laidback but was actually very understated and likeable. The three actors also share a wonderful chemistry together which really forms the soul of Kai Po Che! and is crucial to making the film succeed. Though Amrita Puri has little to do, she does it well and makes her presence felt amongst the testosterone.

So Kai Po Che! may not be a revolutionary ground-breaking film but to be honest, I was quite glad it wasn’t. Not only is it a pleasure to watch a film that is comfortable in its own skin but I also felt this was a story told well with no hidden agenda; after viewing the film, it was the characters who were foremost on my mind, not the politics, and it was the nuances and quiet moments that really made the film for me. Furthermore, Kai Po Che! has an element of universality that I felt would appeal to a wider audience as well as conversing with the viewer in a very direct and simple manner. Without a doubt worth a watch, this is one film I am looking forward to seeing again at a later date and another early entrant for the top films of 2013. Recommended.

Film Review: Special 26

Directed by: Neeraj Pandey

Starring: Akshay Kumar, Anupam Kher, Manoj Bajpayee, Jimmy Sheirgill, Divya Dutta and Kajal Aggarwal

All images courtesy of: http://www.glamsham.com

From the trailer, it would appear Special 26 (S-26) is a by the letter film where crooks decide to carry out a big heist whilst a determined and honest policeman sets out to stop them. But such a sweeping summary ignores the wonderful treatment that the talented Neeraj Pandey’s vision adds to this story. Because much like a Dabangg, our protagonists are  firmly entrenched in a grey area, committing illegal and immoral crimes but to balance that out, Pandey also gives us a glimpse into what drives them; two men responsible for looking after large families, a downtrodden husband who feels emasculated and a man who overcompensates for not realising his dream all coming together to pull off lucrative robberies.

Interestingly, Pandey doesn’t preach solutions or give us a character driven piece – instead, he takes a critical look at a system that is open to abuse and allows individuals to use the law to their advantage and escape recrimination whilst working in some wonderful moments of humour and drama that make the film engaging and entertaining. The weakest part of the film is the Ajay-Priya love story which I felt could have been done away with entirely  to make the film flow more concisely (though it was nice to see Neeru Bajwa in the wedding song).

Performance wise, whilst I give Akshay props for trying to do something different, I didn’t feel he added anything to the film except commercial value. Kajal Aggarwal pulls off an actual heist in the film with two scenes and two songs which do nothing for her talent nor for the film, yet she gets second billing in the credits. It is left to Anupam Kher and Manoj Bajpayee to bring the bread home and both do so wonderfully – whilst Kher brings a lovely vulnerability and realism to Sharma, Bajpayee brings across Khan’s determination with a touch of humour and lightness underpinned by fanatical drive to emerge triumphant. I also loved Divya Dutta and Jimmy Shergill who both make an impact in their short screen time and leave one wanting to see more of their characters as do Rajesh Sharma and Kishor Kadam in their supporting roles.

Much like Pandey’s previous film,the excellent A Wednesday, S-26 explores themes of vigilante style justice and the common man taking larger than life situations into hand for survival and succeeding in their quest. Fortunately, under Pandey’s direction, this not only makes for the kind of cinema that Hindi film in general could do with a lot more of but also makes for a timely and relevant commentary on India’s biggest ongoing problem with corruption in government and how this permeates every aspect of life in the country. Without a doubt, I highly recommend S-26 which I suspect may find its way in a few top ten lists of 2013 and certainly deserves this accolade too. Recommended.

58th Filmfare Awards 2013 – Winner’s Circle

For me, awards season in the world of Hindi cinema is just like the arrival of snow in England. I know it is going to happen. I know that I have to prepare for it. And yet, when it does happen, I go into a denial/shock/hibernation phase of sorts, only emerging afterwards to swear on my Dilwale Dulhaniya Le Jayenge collector’s edition DVD  that the following year I will be better organised. Hence, BEFORE the awards took place, I wanted to do a write up on who I thought should win and why. But it didn’t happen.

So instead I present a short summary of who won what in the popular awards category where I am either congratulating the jury on a task well done or berating their ineptitude. Plus, as a reward at the end, I’ve listed my three favourite “looks” of the night, also known as working the fierce on the red carpet. Alors, let us begin.

All images are courtesy of: http://www.glamsham.com

Best Film

Barfi!

English Vinglish

Gangs of Wasseypur

Kahaani

Vicky Donor

Actual Winner: Barfi!

Who I wanted to win: Kahaani

Look at that stellar line up. No one can deny 2012 was a fantastic year for Hindi cinema and this is probably the toughest category to judge as all the nominees were awesome films. Personally, I would have chosen Kahaani but can’t  and won’t crib too much about Barfi! winning as this film has already received a 100 crore worthy drubbing from its detractors in the past.

Best Director

Sujoy Ghosh – Kahaani

Anurag Basu – Barfi!

Anurag Kashyap – Gangs Of Wasseypur

Gauri Shinde – English Vinglish

Shoojit Sircar – Vicky Donor

Winner: Sujoy Ghosh – Kahaani

My winner: Sujoy Ghosh – Kahaani

Yup, sounds about right. Gauri Shinde did a fantastic job with English Vinglish and Anurag with Gangs of Wasseypur,  but Sujoy smashed it with Kahaani; whilst all the nominees boast of taut direction, a dedication to maintaining a creative vision and a quiet confidence that shone through in the final product, Kahaani brought that extra something something to the table.

Best Actor

Ranbir Kapoor – Barfi!

Hrithik Roshan – Agneepath

Irrfan Khan – Paan Singh Tomar

Manoj Bajpai – Gangs Of Wasseypur

Salman Khan – Dabangg 2

Shah Rukh Khan – Jab Tak Hai Jaan

Winner: Ranbir Kapoor – Barfi!

My winner: Irrfan Khan – Paan Singh Tomar

I get that these are popular awards but why on earth nominate Salman for Dabangg 2? Surely Ek Tha Tiger was his best film of 2012? I digress – this was a three horse race for me with Hrithik in third, Ranbir in second and Irrfan my top choice. Though Irrfan won the Critic’s Award for Best Actor, a popular award win would have gone some way to restoring credibility to the awards in general.

Best Actress

Vidya Balan – Kahaani

Deepika Padukone – Cocktail

Kareena Kapoor – Heroine

Parineeti Chopra – Ishqzaade

Priyanka Chopra – Barfi!

Sridevi – English Vinglish

Winner: Vidya Balan – Kahaani

My Winner: Vidya and Sridevi in English Vinglish

Minor verging on major gripe – I would rather have had Bipasha Basu get a nomination for Raaz 3 than Parineeti – controversial I know but Bips’ brilliant performance deserved a shout out. Tough times for PC who was my third choice, but it was always going to be Vidya or Sridevi – with Vidya forging ahead in her career and for all heroine kind in general, perhaps it was fitting that it went to Vidya in the end.

Best Supporting Actor

Annu Kapoor – Vicky Donor

Akshay Kumar – OMG – Oh My God

Emraan Hashmi – Shanghai

Nawazuddin Siddiqui – Talaash

Rishi Kapoor – Agneepath

Winner: Annu Kapoor – Vicky Donor

My winner: Rishi Kapoor – Agneepath

Seriously, why is Akshay Kumar even in this category? Paresh Rawal carried OMG on his own with AK nothing more than laconic set piece. In other news, nice to see Nawazuddin Siddiqui get a shout out here and I can’t hate on Annu Kapoor as he made Vicky Donor so entertaining. But Rishi was the surprise of Agneepath, essaying his role perfectly – the risk he took paid off and should have been acknowledged.

Best Supporting Actress

Huma Qureshi – Gangs Of Wasseypur

Richa Chadda – Gangs of Wasseypur

IIeana D’Cruz – Barfi!

Rani Mukerji – Talaash

Anushka Sharma – Jab Tak Hai Jaan

Winner: Anushka Sharma – Jab Tak Hai Jaan

My winner: Rani Mukerji – Talaash

Nice to see the GOW actresses’ getting recognition in the popular category – no mean feat to stand out amongst all that testosterone. Same with Ileana withstanding an on form Ranbir and Priyanka. Whilst Anushka did steal the show from Katrina in JTHJ and deserves a nomination, Rani really stood out in Talaash on pure merit. I’m not a Rani fan but her performance deserved this accolade.

Best Music Director

Amit Trivedi – Ishqzaade

Pritam – Cocktail

Pritam – Barfi!

Sneha Khanwalkar – Gangs Of Wasseypur

Vishal Shekhar – Student of The Year

Winner: Pritam – Barfi!

My winner: Pritam – Cocktail

My additional Nominations: A R Rehman – Jab Tak Hai Jaan & Sohail Sen – Ek Tha Tiger

MAJOR gripe – where the hell was A R Rehman’s nomination for JTHJ? Or Sohail Sen for Ek Tha Tiger? Popular awards indeed (!) Anyway, this Barfi! hard-on is getting out of hand here – Pritam should have got the award for Cocktail which was far more popular and engaging in my opinion. Vishal-Shekhar are runners up as SOTY was another fab soundtrack that took a while to wean off of.

Best Lyricist

Gulzar – “Saans” – Jab Tak Hai Jaan

Gulzar – “Challa” – Jab Tak Hai Jaan

Amitabh Bhattacharya – “Abhi Mujhe Mein Kahin” – Agneepath

Javed Akhtar – “Jee Le Zara” – Talaash

Swanand Kirkire – “Aashiyan” – Barfi!

Winner: Gulzar – “Challa” – Jab Tak Hai Jaan

My Winner: Gulzar – “Challa” – Jab Tak Hai Jaan

Nice to see Jab Tak Hai Jaan here though I would trade out Saans for Heer  in any category. And why not pick the most obscure song from Agneepath rather than Shah Ka Rutba which kicked ass(?) Serious props on hand here though for Javed Akhtar as Jee Le Zara has some wonderfully profound lyrics but I’m with the jury on this one, Challa is the clear winner.

Best Playback Singer – Male

Sonu Nigam – “Abhi Mujh Mein Kahin” – Agneepath

Mohit Chauhan – “Barfi!” – Barfi!

Nikhil Paul George – “Main Kya Karoon” – Barfi!

Rabbi Shergill – “Challa” – Jab Tak Hai Jaan

Ayushmaan Khurrana – “Pani Da Rang” – Vicky Donor

Winner: Ayushmann Khurana – “Pani Da Rang” – Vicky Donor

My Winner: See above or Rabbi Shergill  for “Challa” – Jab Tak Hai Jaan

Mohit Chauhan not getting a nod for Saiyaaran for Ek Tha Tiger is a damn damn shame. Nikhil deserves the nomination for Main Kya Karoon but Sonu Nigaam seem to be phoning it in with his song. As much as I love Challa from Jab Tak Hai Jaan and how Shergill’s voice suits Shah Rukh on screen, Ayushmann does deserve the award for rendering this song so well.

Best Playback Singer – Female

Kavita Seth – “Tumhi Ho Bandhu” – Cocktail

Neeti Mohan – “Jiya Re” – Jab Tak Hai Jaan

Shreya Goshal – “Saans” – Jab Tak Hai Jaan

Shalmali Kholgade – “Pareshaan” – Ishqzaade

Shreya Goshal – “Chikni Chameli” – Agneepath

Winner: Shalmali Kholgade – “Pareshaan” -  Ishqzaade

My winner: Neeti Mohan -”Jiya Re” – Jab Tak Hai Jaan

Additional Nomination: Harshdeep Kaur – “Heer” – Jab Tak Hai Jaan

First off, why was Harshdeep Kaur not nominated once and Shreya Goshal nominated twice (and for her vocally weakest songs too?). I did like Shalmali’s voice which has that earthy quality to it and Kavita Seth also has a gorgeous voice as Tumhi Ho Bandhu proves. But in Harshdeep’s absence, this should have gone to Neeti who sounds fresh and is certainly a promising voice that deserves encouragement.

Fashion Round Up:

All images are courtesy of: http://www.glamsham.com

What a dull red carpet – apart from these three which caught my eye, I was disappointed by the saris on show with ballgowns clearly ruling the roost. Equally disappointing were the heroes who had some interesting looks going on (Ranbir, Ranveer, Irrfan) but lacked the polish to elevate their respective looks any further.

Now that the red carpet phenomenon is part and parcel of film award ceremonies and indeed film promotions, it would be lovely to have more stars knocking it out of the park – the right designer name or frock of the moment just will not cut it. Attitude, proper styling and attention to detail is what is the order of the day.

Whilst award season fatigue may be setting in, I’m looking towards the stylists to raise the game as they did for these three ladies who in my view, were the best dressed at the event. Let’s hope next year my biggest problem is choosing the best looks rather than shutting down the meh list for too many entries.

Deepika Padukone

Look at that Prabal Gurung dress. Check out that amazing hair and make up. And that hand on hip and confidence in her eyes. From London to LA to Bombay- you could put Deepika on a red carpet anywhere and she would get universal praise for her look. This is the standard we expect from an award ceremony peeps.

Anushka Sharma

Another one that could be transported to a red carpet anywhere, Anushka smizes like the rent is due and so she should. Working every inch of that Victoria Beckham dress with spot on hair and make up, Anushka had me at the colour which I’ll admit is not for everyone. An example of how the right styling makes all the difference.

Priyanka Chopra

This also won’t be to everyone’s taste but for me, it stood out for the right reasons. PC keeps it elegantly simple in this Armani Prive number with the colour of the dress suiting her to a tee and a gorgeous red lip to finish things off. Out of all three looks, this is the only one I would  think of modifying, namely  PC’s hair. It is a little too safe and I wish she had experimented with something more adventurous to really raise the bar. Having said that, she still looks awesome.

The 58th Filmfare Awards took place on Sunday 20th January 2013 at the Yash Raj Films  Studios in Mumbai.

The telecast is scheduled for Sunday 17th February 2013 on Sony Television Networks.